Richard Strauss: Die Frau Ohne Schatten / Böhm, Rysanek
Orfeo
Available as
CD
$37.99
Sep 21, 2005
This recording, live from the Vienna State Opera in 1955, was taped just weeks before virtually the same cast (there's only one major difference) entered the studio and recorded it for Decca. The performances are remarkably similar: Karl Böhm, a master of this complex, beautiful score, presents it almost complete (there are, I believe, very small cuts here and there) and has assembled a superb, enthralled, and enthralling cast. The one major change from the studio recording is that whereas Paul Schöffler was the Barak for Decca, here we get Ludwig Weber, whose voice may be somewhat less beautiful than Schöffler's, but is easily as expressive, endearing, and impressive.
Leonie Rysanek is the familiar Empress, seemingly hypnotized and enchanted, her voice settling down after some initial pitch problems mid-range to offer a glorious reading, with gleaming, cutting top notes and true sentiment throughout. She makes us feel for the character and her plight. Her Emperor is the beefy tenor Hans Hopf, who is less crude than usual and has the notes and stamina for the role, particularly in the seemingly endless final scene, which, when presented as complete as is it here, can be quite a challenge.
As the Dyer's Wife, Christel Goltz is not quite in the same class with the others; her singing is secure and good enough but she lacks any subtlety and can't compare with, say, Christa Ludwig in the role. Elisabeth Höngen's Nurse is nasty and biting, and she gets through the role without shouting. Kurt Böhme's Messenger is potent and the rest of the cast--Vienna stalwarts from the '50s--is top notch.
Böhm captures just the correct otherworldliness of the music, and the Vienna Philharmonic, tam tam, gongs and all, plays with great feeling and love. The sound is pure, clear monaural (the studio recording is early stereo but is essentially no better), with even the harps audible; Strauss' exotica is underlined but not so prominent that we can't hear the gorgeously tonal score. The vibrancy of the live experience is thrilling. If you own the Decca, you won't need this, really, but you must own one or the other.
--Robert Levine, ClassicsToday.com
Richard Strauss: Die Frau Ohne Schatten / Böhm, Rysanek
$37.99
CD
Orfeo
Sep 21, 2005
ORF-C668053
Strauss: Enoch Arden / Ganz, Gerstein
Myrios Classics
Available as
CD
$21.99
Apr 17, 2020
On his final recording, the great actor Bruno Ganz narrates Tennyson’s poem, Enoch Arden, with its echoes of the everlasting stories of Odysseus and Robinson Crusoe. In a unique synthesis of words and music, Tennyson’s verse is further deepened by R. Strauss’ flamboyant musical depiction, played here by pianist Kirill Gerstein. Bruno Ganz; 22 March 1941 – 16 February 2019) was a Swiss actor whose career in German television and film productions spanned nearly 60 years. He was known for his collaborations with the directors Werner Herzog, Éric Rohmer, Francis Ford Coppola, and Wim Wenders, earning widespread recognition with his roles as Jonathan Zimmerman in The American Friend (1977), Jonathan Harker in Nosferatu the Vampyre (1979) and Damiel the Angel in Wings of Desire (1987).
Strauss: Enoch Arden / Ganz, Gerstein
$21.99
CD
Myrios Classics
Apr 17, 2020
MYR025
HÄNDEL:DER MESSIAS (Q)/KOCH
Berlin Classics
Available as
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$10.99
Apr 28, 2008
HÄNDEL:DER MESSIAS (Q)/KOCH
HÄNDEL:DER MESSIAS (Q)/KOCH
$10.99
CD
Berlin Classics
Apr 28, 2008
BC0014302
Strauss II-Korngold: Eine Nacht In Venedig / Burkert, Oper Graz
CPO
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$18.99
$13.99
May 03, 2019
Erich Wolfgang Korngold greatly revised the comic operetta A Night in Venice by Johann Strauss (Jr.) on the basis of the libretto version by Ernst Marischka. The original Straussian version initially rapidly made its way around the world, with performances in the lands of the Danube monarchy as well as in Hamburg, Munich, and London and even in New York. Nevertheless, until the end of World War I it experienced only about five hundred performances, which means that it was clearly overshadowed by Die Fledermaus. Again and again the attempt was made to reinterpret the text with interventions revising its content. Erich Wolfgang Korngold took an additional step in 1923, when he not only adapted the text but also changed the original instrumentation and integrated inserts into the work from other operettas by Strauss, for example, from Simplicius (1880). For several reasons Korngold’s revised version was a success when it was performed at the Theater an der Wien on 25 October 1923: the stage set was lavish and magnificent, the new orchestration displayed tonal sophistication, and the great Richard Tauber was heard in the role of the Duke in quest of erotic adventures. A few years later Korngold’s version made its way to the stage of the Vienna State Opera.
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CPO
May 03, 2019
555235-2
Strauss II: Waltzes
Berlin Classics
Available as
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$21.99
Jan 03, 2005
Strauss II: Waltzes
Strauss II: Waltzes
$21.99
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Berlin Classics
Jan 03, 2005
BC0012582
Strauss: Also sprach Zarathustra & Burleske / Jansons, Bavarian Radio Symphony
BR Klassik
Available as
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$19.99
$14.99
Feb 07, 2020
One of the most popular symphonic poems by Richard Strauss -actually one of the most famous tone poems ever -is his "Thus Spoke Zarathustra" op. 30, from 1896. The distinctive theme, followed by timpani blows and powerful, surging chords in the brass, was well-known long before it was used for a film score (Stanley Kubrick's "2001: A Space Odyssey"). Fifty years ago, this work went far beyond the limits of classical music -and is now familiar to all. The cumbersome title, along with the fact that the composition tackles Friedrich Nietzsche's eponymous poetic and philosophical work may even have initially hampered its overwhelming popularity. Nietzsche himself fittingly commented: "To which genre does this 'Zarathustra' belong, I wonder? I am rather inclined to think it is 'symphonies'. "Strauss’s "Burleske" for Piano and Orchestra sounds completely different. It was composed a decade earlier in 1885/86, when the 21-year-old composer had just begun his first job as Capellmeister of the Meiningen Court Orchestra and as the assistant of Hans von Bülow. Originally referred to as "Scherzo" (Strauss also called it a "piano concerto" ina letter to his mother), the work was dedicated to Strauss’s mentor, Bülow. It was first performed in Eisenach in 1890 by the piano soloist Eugen d'Albert. The themes are cheerful and "burlesque", and the solo instrument and the orchestra perform together in the best sense. The music shows us Strauss in an early phase –he had not yet linked his compositional technique to that of Liszt and Wagner. In the year the work was premiered, Strauss himself referred to the "Burleske" as a work that "he had left far behind him". Only rarely performed for many years, the work regained popularity over the past two decades, thanks not least to Glenn Gould.
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Strauss: Also sprach Zarathustra & Burleske / Jansons, Bavarian Radio Symphony
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BR Klassik
Feb 07, 2020
BRK900182
Weber, C.M. Von: Freischutz (Der) [Opera] (Staatskapelle Dre
Profil
Available as
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$24.99
Oct 27, 2009
Classical Music
Weber, C.M. Von: Freischutz (Der) [Opera] (Staatskapelle Dre
$24.99
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Profil
Oct 27, 2009
PH07060
Mendelssohn: Geistliches Chorwerk
Carus
Available as
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$128.99
May 29, 2012
Carus's complete recording with Frieder Bernius and the Kammerchor Stuttgart of Felix Mendelssohn's sacred choral works represents a magnificent act of interpretation and editing. A better recording can hardly be imagined. This edition, which has won numerous prizes and has now been released as a box at a reasonable price, should form part of every CD collection.
Mendelssohn: Geistliches Chorwerk
$128.99
CD
Carus
May 29, 2012
CV83020
Der Rosenkavalier / Waart, Rotterdam Philharmonic
Brilliant Classics
Available as
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$18.99
Apr 24, 2012
Der Rosenkavalier is one of Strauss’ best known operas. Set in Vienna during the early years of the Empress Maria Theresa’s reign, the work takes the form of a comedy in 3 acts, set to an original German libretto by Hugo von Hofmannsthal. It bears a strong resemblance in terms of plot to Mozart’s Le Nozze di Figaro and is written in a different vein to Strauss’s preceding avant-gardist creations, something the composer, appearing to have succumbed to popular taste, was heavily criticized for.
Der Rosenkavalier / Waart, Rotterdam Philharmonic
$18.99
CD
Brilliant Classics
Apr 24, 2012
BRI9248
Offenbach: La Perichole / Theis, Brohm, Simon, Konnes, Gunzel
CPO
Available as
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$36.99
$25.99
Oct 29, 2013
CPO’s series featuring productions by the Dresden State Operetta has quickly gained renown with its discoveries of unknown works by Johann Strauss. When the same theater presented an extremely successful new production of Jacques Offenbach’s rarely staged La Périchole during the 2008 season, cpo immediately decided to produce this masterpiece in the studio. The State Operetta had commissioned the cabaret performer and author Peter Ensikat to supply a new translation, and it was with superb wit that he accomplished the task of updating the satirical double meanings in Offenbach’s libretto and the references to current events of the composer’s times without losing the charm of the original. In musical matters the production oriented itself by the three-act second version of this masterpiece set in faraway Lima; it was written for Vienna in 1874 and is filled to overflowing with original melodies. CPO included the numbers written especially for Vienna and its then operetta diva Marie Geistinger as special bonuses. The result: an all-around successful operetta production and spirited listening fun!
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Offenbach: La Perichole / Theis, Brohm, Simon, Konnes, Gunzel
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CPO
Oct 29, 2013
777493-2
Warum Toben Die Heiden: Cantatas By Gottfried August Homilius
Carus
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$20.99
Feb 25, 2014
HOMILIUS Habe deine Lust an dem Herrn. Kommt her und sehet an die Wunder Gottes. Brich dem Hungrigen dein Brot. Die Elenden sollen essen. Domine ad adiuvandum me. Magnificat in C. Deo dicamus gratias. Ich will den Herrn loben. Mir hast du Arbeit gemacht. Dennoch bleib ich stets an dir. Die richtig für sich gewandelt haben. Lasset euch begnügen. Wo ist ein solcher Gott. Der Herr ist meine Stärke. Siehe, den Herrn Auge sieht • Stefan Schuck, cond; sirventes Berlin • CARUS 83.266(Text and Translation)
HOMILIUS Warum toben die Heiden. Frohlocke, Zion, dein Erlöser. In der Zeit meiner Not. Kommt, frohe Völker. Steig, Allgewaltiger, von deinem festen Sitze • Rainer Johannes Homburg, cond; Marie-Pierre Roy (sop); Henriette Gödde (alt); Knut Schoch (ten); Markus Köhler (bs); Handel’s Company Ch; Handel’s Company • CARUS 83.267 (71:10 Text and Translation)
HOMILIUS MUSIK AN DER DRESDNER FRAUENKIRCHE: Jubiläumsedition • Various performers • CARUS 83.268 (2 CDs: 141:14 Text and Translation)
With three exceptions—a 1980 recording of organ works issued by Arion, a 1985 CD of motets released by MDG (reviewed by J. F. Weber in 8:6), and the 1992 Berlin Classics set of the St. Matthew Passion (see the enthusiastic review in 18:3 by Martin Anderson)—the revival of the music of Gottfried August Homilius (1714–1785) appears to be entirely an endeavor of the Carus label. Like CPO, a label which has also devoted much effort to reviving the work of neglected German composers, Carus—the publishing division of which is producing a complete edition of the works of Homilius—is to be congratulated for both its courage and discernment in selecting this repertoire for revival. Along with Anderson, Weber, Brian Robins (in a review of a disc of cantatas in 29: 6), and Michael Carter (in multiple reviews in 29:2, 29:6, and 30:6), I concur in ranking Homilius as an unjustly overlooked figure who composed works of unfailingly high quality that fully merit renewed attention.
Since the biographical data for Homilius is scattered throughout multiple previous reviews, I will summarize it here in one place for convenience. The son of a Lutheran pastor, Homilius was born in Porschendorf, a village southeast of Dresden. He attended school in Dresden in 1722 after his father’s death, and then came to Leipzig in about 1735, where (according to Johann Nikolaus Forkel) he studied keyboard with Bach and occasionally substituted for him at the Nikolaikirche organ. In 1742 he was appointed organist at the Frauenkirche in Dresden, and in 1755 was appointed Kreuzkantor of the Kreuzkirche, which made him music master for the city’s three main churches (the third one being the Sophienkirche), serving in that position until his death 30 years later. He composed some 180 sacred cantatas and 60 motets, several Passion settings, a Christmas oratorio, and chorale preludes for organ.
While firmly anchored in the late Baroque and showing the influence of Bach (and perhaps, even more, of Telemann), the music of Homilius also clearly evinces the absorption of the Empfindsamkeit aesthetic of the mid-18th century. There is less use of devices such as fugue and counterpoint (though these are far from absent), and correspondingly greater employment of primary melodic lines with chordal accompaniment. This is particularly true of the motets featured on the first CD here, where the settings are highly homophonic, though still quite challenging technically; the cantatas by contrast adhere more closely to the older Baroque stylistic contours. What makes this music so enjoyable is Homilius’s talent for shapely and expressive thematic lines, which unfailingly fall gracefully and gratefully on the ear. Had not his music, like that of Bach’s sons, been so unfairly eclipsed for so long, some of his melodies might be as familiar to us today as those of Bach. What he does lack, of course, is Bach’s stunning originality, daring, and ingenuity; his music is well crafted but comfortable and safe rather than challenging and provocative. But then, it is hardly fair to blame any other composer for not being Bach, Mozart, or Beethoven.
With the first two items listed above, Carus has now issued 10 sets devoted to Homilius, and these uphold the extremely high standards of quality of their predecessors. Both the sirventes Berlin (the lower case letter of the first word being the usual unfortunate and now hopelessly clichéd current naming affectation) and the Handel’s Company Choir are both exceptionally polished vocal ensembles, and the instrumentalists of Handel’s Company are an equally crackerjack company. All four vocal soloists are quite accomplished, and conductors Stefan Schuck and Rainer Johannes Homburg lead energetic, crisply pointed performances that engage one’s attention at every turn. The recorded sound is ideally balanced, clear and yet warm; detailed booklet notes and complete German (or Latin when occasionally required) texts with English translations are provided.
Readers may be puzzled as to why I have said nothing until now about the third set listed above. The reason is that it is not a new release, but rather an anthology drawn from previous releases in the Carus series. More specifically, it features three of the four cantatas (omitting Selig seid ihr, wenn ihr geschmähet werdet) from Carus 83.183 (reviewed by Michael Carter in 29:2) with soloists, chorus, and instrumentalists conducted by Roderich Kreile; the closing chorale from the St. John Passion on Carus 83.261 (reviewed by Carter in 30:6) featuring the same performers; the Christmas Oratorio from Carus 83.235 (reviewed by J. F. Weber in 32:4) with assembled forces under the leadership of Ludwig Güttler; and two cantatas, four chorales, and an oboe sonata from Carus 83.261 (not reviewed) again with various performers led by Güttler. Once again, Carus is to be praised and congratulated in that, with the exception of the Passion excerpt, instead of offering bleeding chunks it provides the more extended works (the oratorio and five cantatas) complete, so that the release is actually worth acquiring in its own right rather than being a sampler disc to audition once and discard. The same care has been taken as with the original releases to provide detailed booklet notes and full original texts with English translations. This is a veritable model of how such compilations ought to be done, and increases my already high estimation of the quality of this label. In sum, the whole lot is highly enjoyable and heartily recommended.
FANFARE: James A. Altena
Warum Toben Die Heiden: Cantatas By Gottfried August Homilius
$20.99
CD
Carus
Feb 25, 2014
CV83267
Strauss: Der Rosenkavalier
Opus Arte
Available as
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$32.99
$23.99
Nov 16, 2010
Strauss: Der Rosenkavalier
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Strauss: Der Rosenkavalier
$32.99
$23.99
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Opus Arte
Nov 16, 2010
OA CD9006D
Strauss: Ein Heldenleben - Sextet from Capriccio
Naxos
Available as
CD
$19.99
$13.99
Oct 30, 2012
Autobiographical in content, Richard Strauss's Ein Heldenleben is one of a series of tone-poems, including, Also Sprach Zarathustra (Naxos 8.571215), in which he explored the utmost limits of extra-musical content in this form. The hero passes through love and adversity, confrontation, triumph in battle and fulfilment in a single, powerfully descriptive symphonic span. Gerard Schwarz's Ein Heldenleben has been acclaimed as "exciting and inspired" (Gramophone). The opera Capriccio is a romantic struggle to choose between words and music which opens with a gloriously bitter-sweet string sextet.
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Naxos
Oct 30, 2012
8571218
Strauss: Aschenbrodel / Theis, Vienna Radio Symphony
CPO
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$36.99
$25.99
Oct 05, 2018
It is really not at all surprising that a composer of dance music might eventually get around to writing a full-length dance composition. But did you know this: that the music for the full-length ballet Aschenbrödel (Cinderella) amounts to the swan song of Johann Strauss? Unfortunately, he did not live long enough to complete the work. Before his death he had orchestrated the first act and half of the third act. The versed ballet composer Josef Bayer was assigned the task of completing the work, and he used the extensive sketches to produce a performable version. Over the years a lot of new source material has surfaced. On the basis of these sources the ORF Radio Symphony Orchestra of Vienna has made a new recording of this work so very rich in melodies. The result is also a sort of rediscovery of Aschenbrödel. Our conductor is the Strauss specialist Ernst Theis.
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Strauss: Aschenbrodel / Theis, Vienna Radio Symphony
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CD
CPO
Oct 05, 2018
777950-2
Strauss Ii: Night in Venice (A) / Der Zigeunerbaron (Highlig
Corona Classic Collection
Available as
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$8.99
Aug 29, 1995
Classical Music
Strauss Ii: Night in Venice (A) / Der Zigeunerbaron (Highlig
$8.99
CD
Corona Classic Collection
Aug 29, 1995
0000772CCC
Fritz Reiner Conducts Richard Strauss
Sony Masterworks
Available as
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$24.98
$18.99
Jan 01, 2014
Reviews of some of the earlier releases that make up this set:
Symphonia domestica, Le bourgeois gentilhomme "Fritz Reiner’s 1956 performance of Richard Strauss’s Symphonia domestica was essentially its first recording in modern stereo sound. As such, it probably introduced the work to many American listeners. Prior to this, recordings conducted by Wilhelm Furtwängler with the Berlin Philharmonic Orchestra and Clemens Krauss and the composer himself with the Vienna Philharmonic Orchestra were undoubtedly authoritative, but hardly competitive from a sonic standpoint. Subsequently, fine stereo versions by Rudolf Kempe (EMI), Herbert von Karajan (Deutsche Grammophon), and Zubin Mehta (Decca-London) have been released, but none of them are superior to Reiner’s justly famous Living Stereo interpretation. This represents the Chicago Symphony Orchestra at its peak, and Reiner had no peer as a conductor of the orchestral music of Richard Strauss. If anything, Reiner’s no-nonsense style is even more suited to the charming, chamber-like Le bourgeois gentilhomme Suite."
-- Arthur Lintgen, Fanfare [1/2008]
Scenes From Salome And Elektra "Solti's now-infamous comment that the Chicago Symphony was a provincial orchestra before he appeared is further discounted by the reissue of these unrivalled performances. None of Reiner's successors as a Strauss conductor, neither Solti himself, Kempe nor Sawallisch, seems quite to achieve the clarity of texture, mastery of line and intensity of feeling displayed in these recordings of 35 years and more ago, nor has any orchestra, certainly not the CSO of Solti's day, evinced the richness and brilliance of sound found here. Above all, Reiner brought to these scores, especially Elektra, a classic grandeur of utterance, a saturated sound that overwhelms the ear without ever deafening it. Perhaps these impressions are enhanced by the superb recording, preferable to so much that passes for good sound today. The fidelity, even balance and deep sonority of this early stereo in Chicago is truly amazing. Just as arresting is the perfect placing of the voices in relation to the orchestra."
-- A.B., Gramophone [5/1993]
Also sprach Zarathustra "Reiner's 1954 Also sprach is arguably more characteristic than his 1962 RCA remake. That is to say, it is even more intense and extrovert. In his second year with the Chicago Symphony Orchestra, the conductor was already getting a thrilling response from the strings, although woodwind intonation could be a problem. Confident and well played as it is, the spectacular opening sunrise inevitably lacks the impact of, say, Preyin's Telarc recording (the organ is particularly disappointing). Nor is there the dark solemnity of and detail in the bass familiar from Karajan's DO versions. What we have instead is a measure of raw passion and forward thrust unequalled on disc. In reflective passages, conductor and/or engineers display some reluctance to achieve a real pianissimo, but as the tempo builds Reiner invariably creates great excitement and the orchestral playing is marvellous."
-- David Gutman, Gramophone [12/1992]
Don Quixote, Burleske Throughout his career Fritz Reiner showed a particular affinity for the music of Richard Strauss. Here he delivers an exceptionally vivid account of Don Quixote – each bizarre episode from the eccentric knight’s adventures is portrayed with razor-sharp insight. One notices, in particular, Reiner’s miraculous attention to detail, his unfailing grip on the structural direction of the work and the superb response from both soloist and orchestra. With its flashes of sardonic wit, the earlier Burleske makes for an excellent coupling, and illustrates Reiner’s formidable prowess as a concerto accompanist. By any standards, a self-recommending issue.
-- Erik Levi, BBC Music Magazine
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Fritz Reiner Conducts Richard Strauss
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Sony Masterworks
Jan 01, 2014
88697686992
Mendelssohn: Te Deum
Haenssler Classic
Available as
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$20.99
$15.99
May 07, 2021
"My commitment to the present new recording is not only important because of advanced ensemble techniques, but also because I believe that with a cast of soloists, as in the sixteen-part Hora est, transparency of the polyphonic movement can be achieved that is not so readily feasible with larger forces. A prerequisite here is the existence of ensemble capabilities among vocal soloists, as we also need it for earlier music. In any case, the vocal works which are also particularly interesting to me among those Mendelssohn composed for the Sing-Akademie are those of stylistically ambiguous definition, in which the composer, inspired by the example of the old masters, looks for - and finds - his own path. Our conception of being able to cast soloists from a chorus, as in the Te Deum, is also influenced by this model." (Frieder Bernius)
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Mendelssohn: Te Deum
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Haenssler Classic
May 07, 2021
HC20034
Humperdinck: Hansel And Gretel / Delfs, Mentzer, Et Al
Avie Records
Available as
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$29.99
$14.99
Nov 01, 2004
If it's Hansel-in-English you're looking for, this set clearly is your choice...Here we get a lovely pair of kids in Suzanne Mentzer and Heidi Grant Murphy, their voices so utterly un-alike that the listening experience is vivid for that alone--but besides that, their interplay is credible and they both make wonderful sounds. Mentzer's dark-hued mezzo is suitably boyish, while Murphy's little-girl tone is charming. Judith Forst, hardly in the first bloom of her career, is a vicious Witch, smacking her lips and exuding spite and malice--and her diction is quite good too, unlike Murphy's, just to offer one comparison. Janice Taylor's portrayal of the mother is very fine, but her tone is wobbly; Robert Orth is a sympathetic, burly father; and Anna Christy's double-duty as Sandman and Dew Fairy is impressive. Conductor Andreas Delfs favors slowish tempos, bringing out the rich, symphonic aspects of the score and always making clear that Humperdinck was heavily influenced by Wagner. The Milwaukee Orchestra is excellent, with playing both atmospheric and grand from the brass section in this live performance (no audience is discernible). I guess it's nice to hear the opera in English even if much of it can't be understood, but--not to pick nits--why would a child say toil" when he can say "work"? The sound is better than good--rich and colorful." --Robert Levine, ClassicsToday.com
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Avie Records
Nov 01, 2004
AV0050
Ein Heldenleben - Ameriques
Challenge Classics
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$14.99
Sep 12, 2014
Classical Music
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Ein Heldenleben - Ameriques
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Challenge Classics
Sep 12, 2014
CC72644
Johann Strauss Edition, Vol. 23
Marco Polo
Available as
CD
$19.99
$13.99
Nov 13, 2012
Despite charitable funds raised by the Fortune and Viennese Kreutzer polkas revolutionary Habsburg insurgencies became a dangerous fact of life in the Vienna of 1848. Strauss (the Elder) demonstrated solidarity through his Austrian National Guard March lampooning the old order with his March of the Legion of Students. Heard on this recording in it's original more transparent orchestration and without the drum roll the irrepressibly festive Radetzky March celebrated military victory in Italy and became his most famous work. Viennese citizens filled the carnival season ballrooms and the escapist Stress Relievers waltzes which conclude this recording roused frenzied cheering.
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Johann Strauss Edition, Vol. 23
$19.99
$13.99
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Marco Polo
Nov 13, 2012
8225343
R. Strauss: Der Rosenkavalier Suite & Ein Heldenleben
Orfeo
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$20.99
Nov 25, 2009
Classical Music
R. Strauss: Der Rosenkavalier Suite & Ein Heldenleben
$20.99
CD
Orfeo
Nov 25, 2009
ORF-C803091
FAUST: ROSVAENGE-BOHNEN-SINGEN
MYTO Historical
Available as
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$10.99
Apr 01, 2009
FAUST: ROSVAENGE-BOHNEN-SINGEN
FAUST: ROSVAENGE-BOHNEN-SINGEN
$10.99
CD
MYTO Historical
Apr 01, 2009
MYTO992030
Strauss: Rosenkavalier Suite; Tod und Verklärung; Macbeth / Lan Shui, Singapore SO
BIS
Available as
SACD
$21.99
$15.99
May 01, 2020
Generally acknowledged as one of the great masters of the late-Romantic symphony orchestra, Richard Strauss understood like few others how to use the rich palette of instrumental colours to portray larger-than-life passions and emotions. He did so in a series of pioneering symphonic poems – often choosing as his subject extraordinary characters such as Don Juan, Till Eulenspiegel and Don Quixote. But before either of these, in his very first tone poem, he composed a portrayal of Macbeth, his ferociously ambitious wife and their downfall. It is with this rarely played work that Lan Shui and the Singapore Symphony Orchestra open their all-Strauss disc. Also included is another early tone poem, Tod und Verklärung, which Strauss started composing very shortly after Macbeth, and which was actually premièred before that work. In his new work, Strauss didn’t make use of an existing character or story – instead he set out to depict the emotions of a man struggling against and finally giving in to death. These two works, which both end in death, frame a suite from one of the composer’s most lighthearted ventures – the opera Der Rosenkavalier, set in mid-eighteenth century courtly Vienna. Premièred in 1911, this sophisticated aristocratic comedy, proved a perennial favourite and towards the end of his life, Strauss gave his blessing to the Suite recorded here, which manages to include a fair selection of the opera’s best-loved moments.
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Strauss: Rosenkavalier Suite; Tod und Verklärung; Macbeth / Lan Shui, Singapore SO
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SACD
BIS
May 01, 2020
BIS-2342
Johann Strauss: Perpetuum mobile
BR Klassik
Available as
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$19.99
Sep 18, 2026
In addition to the popular potpourri overture to Johann Strauss II's operetta The Gypsy Baron (1885) and the musical joke Perpetuum mobile, the programme of the new CD from BR-KLASSIK features mostly lesser-known, yet no less rousing, compositions by the 'Viennese Waltz King,' all of them studio productions. Johann Strauss II inherited his father's entrepreneurial passion and artistic mastery. He succeeded in further refining and expanding the repertoire, particularly in the form of the grand concert waltz. This CD features the Revolutionary March, Op. 54 (1848), as well as Perpetuum mobile - A Musical Joke, Op. 257 (1861), and the Intermezzo from the operetta 1001 Nights (1871/1906). The waltz Carnevalsbilder, Op. 357 (1873), and the fast polka Vom Donaustrande, Op. 356 (1873), are both based on melodies from the operetta The Carnival in Rome. The waltz Nordseebilder, Op. 390 (1879), the overture to the operetta Der Zigeunerbaron (1885), and the Csárdás from Strauss's only opera Ritter Pásmán (1892) are also included, as is the musical prelude Klange aus der Raimundzeit, Op. 479 (1898). The CD also has several surprises in store (as bonus tracks)!
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