An ardent advocate of Weber’s most successful opera over many years, Furtwangler attempted to have Der Freischutz staged at Salzburg after the war when he was the festival’s leading light, but succeeded in his aim only in the final year of his life, and then he had to be satisfied with it being performed in the old Festival Theatre rather than in the more atmospheric surroundings of the Felsenreitschule (needed that year for the to-be-filmed staging of Don Giovanni).
Thank goodness, the conductor was granted his wish as this interpretation, wilful and unorthodox as it may be in respect of slow speeds and the conductor’s well-known emphases, is revelatory in penetrating to the heart of the work’s romanticism. From a superb account of the Overture, always a favourite with him in concert and on disc, his reading simply re-enacts the work as Weber intended, presenting it overall and in detail as the original masterpiece it is but so seldom seems in modern productions. The Vienna Philharmonic play to the hilt for the revered conductor and the chorus sing their collective heart out in music written so appealingly for ensemble voices.
Furtwangler is enormously helped by having German soloists steeped in the traditions of the piece. Heading them is the unforgettable Elisabeth Grummer. She recorded the role of Agathe a couple of years later in the studio with Keilberth (EMI, 9/89), but here in the theatre with a greater conductor and in live circumstances she is supreme, a perfect performance of a difficult role but one made for her particular gifts. Throughout Agathe’s long scena in Act 2 she sings with ideal tone and phrasing, able to produce the amazingly long breath demanded by Furtwangler’s speeds. The Cavatine is, if possible, even more remarkable in broad line and ideally poised tone, with firm and fresh high notes. In addition she conveys, in turn, all Agathe’s joy and fears. If for nothing else, this set would be worth acquiring for Grummer’s interpretation.
By her side Rita Streich, as always on disc, is a gratifying Aennchen, singing both her solos with easy, natural tone and feeling, wholly vital in her dialogue. She, too, produces clear, firm, smiling tone of a kind so seldom encountered today. Kurt Bohme was another singer who had made his role very much his own, and performed it in various studio recordings. Here, in the theatre, he is even more louring and menacing, his dark, granite bass of a kind hard to come by nowadays. The success of these three throws into even poorer light than might otherwise be the case the wooden, ill-pitched, clumsy singing of Hopf as Max: he is surpassed by almost every tenor on succeeding sets. Edelmann is a good, imposing Hermit, and the smaller roles are well taken by Vienna stalwarts of the day.
The choice between the two sets is easy. Not only does EMI boast original tapes but it has remastered them intelligently, and its issue comes at mid-price as compared with Music & Arts’ full price. Its notes are also more informative and longer but neither – heinously – offers text and translation. Any lover of this unique score ought to invest in the EMI in spite of Hopf.
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