Search - Strauss, Ridderbusch, Fassbaender :: Der Rosenkavalier

Kleiber JR. conducts Der Rosenkavalier at La Scala

Ha-De Nguyen | Paris, France (Europe) | 11/08/2000

(5 out of 5 stars)

"This recording can be considered as the greatest one for this opera, which surprisingly had never assembled so many great artists, conductor, orchestra and singers all together in those particular roles. For many listeners, there are wonderful recordings of this famous opera but none had really outshone all others so far (try Karajan with Schwarzkopf/studio/EMI or della Casa/live/DG, with Jurinac or Ludwig, he will not better Carlos Kleiber!). Carlos Kleiber now has a long story with that opera although he has never recorded it officially because his father did so wonderfully in 1954 for Decca (beautiful cast included Jurinac, Gueden, Weber except Reining sounding too old). The most recent productions in Vienna with him conducting, have gathered such wonderful singers as Lott, von Otter, Bonney and Kurt Moll as the Baron Ochs, but now sound as recond revivals of those famous productions from the seventies. In 1973, Carlos Kleiber introduced this new production for the Munich festival and that would later be transferred to the Scala identically with same staging and singing (many recordings can be found of the Munich revivals but also need to be avoided now). Casting this particular opera has alway been a problem for him and he felt happy enough to get the partnership of both Fassbaender as Oktavian and Lucia Popp as Sophie never replacing any of her (he would later stopped this staging as Popp would start singing the Marshallin part elsewhere in 1982-83). Fassbaender is a reference in acting (that anyone can easily imagine) and vocally speaking too. She alone has the difficult musical demands of Strauss and the impetuous boyish character of the role, she doesn't sound mezzo or soprano, she's really and simply a young count in love! (only one high note at the very end is missing in this recording, but this can be related to the special event!). Lucia Popp IS Sophie, innocent at the beginning, then characterful although she has already been in better voice elsewhere (Italian roles always give her more silver into the voice). Carlos Kleiber was never really lucky with his Marshallins. He first tried Claire Watson that was already too old and not "clean" enough. He later worked with Jones despite her unsteady voice, acceptable for an Elektra but not in that noble role and Margaret Price's German was not good enough at that time (she later recorded Isolde with him for DG). Evelyn Lear, this wonderful American singer, is rather known for her interpretation of Pamina in DG's Boehm recording of The magic Flute. Her refusal of lingering on top notes despite conventional habits of that time has always made her composition a little controversial. But here, as the Marshallin, she combines the nobility of a Schwarzkopf with warmth and the creamy sound of a Te Kanawa with cleverness, without making one regret any of them, even if her top register is not always as free as it should; in any case she cannot be compared to her performance in the Philips recording of the same year. Here at La Scala, she gives an unforgettable beautiful portrayal, a revelation for many listeners. Ridderbush could have been miscast as his normal wagnerian repertory was far from the Viennese acting and typical expressions from the Austrian capital but he is perfect in this role all through. The Scala event adds some exciting moments compare to the regular productions of the Munich festival year after year. And small parts are very well undertaken indeed (thanks to uncomparable Italian counterparts including famous tenor aria!). The Orchestra itself is in superlative form (listen to the horns!) and sounds far superior than many German orchestras including the Viennese Philharmonic normally suited to this opera. Actually Kleiber conducts all this so naturally that he convinces all of them and the audience together! Sound is clean in true stereo (with always a good remastering from MYTO) although one feels rather back from the stage but this also adds to the live experience of a fabulous evening!"

Some reservations

Ha-De Nguyen | 05/23/2001

(4 out of 5 stars)

"This is clearly a great performance, with marvellous orchestral playing and conducting, but some people may find the sound problematic. The singing is very recessed, while the audience's coughing isn't! Not a huge problem, but potential buyers should be aware of it, since the recording isn't reduced in price. I also have some difficulty with Evelyn Lear's Marschallin - to my ears the tone is rather grey, with some thinning out on certain vowel sounds ('Quinquin' for example). She is celebrated for her attention to words and details, but the recorded sound doesn't really help us to hear them. The other three principals are all at their peak and excellent, but this is really a recording for connoisseurs rather than a 'reference shelf' edition. My personal favourite is Bohm's 1969 live performance with Ludwig, Troyanos and Mathis: the sound is much better balanced than here and all three ladies are excellent (although Ludwig may be a little too rich-toned for the Marschallin). Theo Adam is a rather gritty Ochs, but more than makes up for this in characterisation."

Der Hustenkavalier

Per Hedberg | Copenhagen Denmark | 07/16/2001

(1 out of 5 stars)

"I find it very hard to rate this performance. The drive and force of Kleiber's interpretation does come through, however, the coughing is not a minor problem, it overshadows everything. In fact the coughers are much better recorded than the singers. Particularly Evelyn Lear suffers, her diction seems weak and her voice doesn't carry. Even Ridderbusch suffers. Fassbänder is really marvellous and so far (I have yet to hear acts 2 and 3) the only one who carries through the coughing. I am looking forward to hearing the rest, but with great misgivings. It being a full price set, I don't think Myto merits more than 1 star for having managed to transfer the Scala's public's (and the recorder's?!) coughing so faithfully. The performance is hard to rate because it's hard to hear. Per Hedberg Copenhagen, Denmark"