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Strauss - Der Rosenkavalier | 
 enlarge | Creators: Richard Strauss, Georg Solti, Vienna Philharmonic Orchestra, Vienna State Opera Chorus
Label: London
Category: Music
List Price: $50.98
Buy New: $32.99
You Save: $17.99 (35%)
New (35) Used (13) from $19.00
Avg. Customer Rating:  9 reviews
Sales Rank: 100933
Format: Import, Box Set
Media: Audio CD
Discs: 3
Shipping Weight (lbs): 1
Dimensions (in): 5.8 x 5.1 x 1.4
MPN: 417493
UPC: 028941749321
EAN: 0028941749321
ASIN: B0000041S4
Release Date: September 11, 2001
Availability: Usually ships in 1-2 business days
Shipping: Expedited shipping available
Shipping: International shipping available
Condition: Brand new, factory sealed. Fast shipping!
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| Tracks:
Disc 1
| • | Act 1.: Prelude | | • | Act 1.: "Wie du warst! Wie du bist!" | | • | Act 1.: "Marie Theres!" "Octavian!" | | • | Act 1.: "Quinquin, es ist mein Mann!" | | • | Act 1.: "Selbsterstaendlich empfaengt mich Ihro Gnaden" | | • | Act 1.: "Hat Sie schon einmal mit einem Kavalier" | | • | Act 1.: "Nein, Er agiert mir gar zu gut!" | | • | Act 1.: "I komm' glei" | | • | Act 1.: "Di rigori armato il seno" | | • | Act 1.: "Als Morgengabe - ganz separatim jedoch" | | • | Act 1.: "Mein lieber Hippolyte" | | • | Act 1.: "Da geht er hin" | | • | Act 1.: "Ach, du bist wieder da!" | | • | Act 1.: "Die Zeit, die ist ein sonderbar Ding" | | • | Act 1.: "Ich hab' ihn nicht einmal gekuesst" |
Disc 2
| • | Act 2.: "Ein ernster Tag, ein grosser Tag!" | | • | Act 2.: "In dieser feierlichen Stunde der Pruefung" | | • | Act 2.: "Mir ist die Ehre widerfahren" | | • | Act 2.: "Ich kenn' Ihn schon recht wohl, mon cousin!" | | • | Act 2.: "Jetzt aber kommt mein Herr Zukuenftiger" | | • | Act 2.: "Eh bien! Nun plauder' Sie uns eins" | | • | Act 2.: "Wird Sie das Mannsbild da heiraten, ma cousine?" | | • | Act 2.: "Haerr Baron von Lerchenau! - Herr Baron von Lerchenau!" | | • | Act 2.: "Mord! Mord! Mein Blut! Zu Hilfe!" | | • | Act 2.: "Herr Schviegersohn! Wie ist Ihm denn?" | | • | Act 2.: "Blamage. Mir auseinander meine Eh' " | | • | Act 2.: "Is gut! Is gut! Ein Schluck von was zum Trinken!" | | • | Act 2.: "Da lieg' ich! Was einem Kavalier nit all's passieren kann" | | • | Act 2.: "Ohne mich, ohne mich jeder Tag dir so bang" |
Disc 3
| • | Act 3.: "Einleitung und Pantomine | | • | Act 3.: "Hab'n Euer Gnaden noch wietre Befehle?" | | • | Act 3.: "Nein, nein, nein, nein! I trink' kein Wein." | | • | Act 3.: "Es is ja eh all'd eins, es is ja dh all's eins" | | • | Act 3.: "'Da und da und da und da!" | | • | Act 3.: "Halt! Keiner ruehrt sich! Was ist los?" | | • | Act 3.: "Zur Stelle! Was wird von mir gewuenscht?" | | • | Act 3.: "Sind desto eher im klaren. Ich zahl', i geh'!" | | • | Act 3.: "Bin gluecklich ueber Massen, hab' die Gnad' kaum meritiert" | | • | Act 3.: "Leupold, wir gehn!" | | • | Act 3.: "Mein Gott, es war nicht nehr als eine Farce" | | • | Act 3.: "Marie Theres!" "Hab mirs gelobt" | | • | Act 3.: "Ist ein Traum, kann nicht wirklich sein" |
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| Similar Items:
| • | Richard Strauss: Salome [Remastered] | | • | Strauss: Die Frau ohne Schatten / Varady, Domingo, Behrens, van Dam, Sir Georg Solti | | • | R. Strauss: Elektra | | • | Solti Strauss ~ Arabella / della Casa, Gueden, Dermota, London, Wiener Phil. | | • | Richard Strauss - Der Rosenkavalier / Te Kanawa, Howells, Haugland, Bonney, Solti, Schlesinger (The Royal Opera House, Covent Garden) |
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| Customer Reviews: Read 4 more reviews...
The best Rosenkavalier recording December 25, 2007
For many, Karajan's earlier recording is an automatic first choice; not for me as I am one who finds Schwarzkopf's mannerisms irritating, despite her obvious skill with word-painting. Crespin, because of the very slight wear in her rich, lovely voice, is perfect to depict a beautiful, still young woman who is just slightly past her prime. The sound in this Decca recording is also superior to the EMI and Solti belies his reputation for harshness in an affectionate and detailed interpretation which gives his singers plenty of time to make their points. There isn't much to choose between the other principal singers: both Octavians, Ludwig and Minton, are boyish and impassioned, both Stich-Randall and Donath have silvery, soaring voices which handle the arcing line of Sophie's music with consummate ease, both Ochs (Ochses? Oxes?) are rude, crude, humorous and rich of voice; I haven't much time for a "refined" Ochs; he's meant to be a glorious boor of the type you can find only among a spoilt, provincial aristocracy who have little to do with urban civilisation; big fish in their rural pond. The clincher for me, apart from the better sound in the Decca, is the Italian tenor of Pavarotti, so much more glamorous and vainglorious than Gedda's rather pinched effort. I admire the old mono Viennese style set conducted by Erich Kleiber, but this is the one to choose if you want modern sound - and don't forget the wonderful excerpts by Fleming, Graham and Bonney in Fleming's Strauss recital disc. (But what's with the absurd cover design in this latest re-mastering? The original was a stylish silver box, not this silly attempt to look trendy.)
A great Strauss recording salvaged by remastering February 19, 2007
5 out of 5 found this review helpful
The CD revolution of the 80s sent record companies scrambling to transfer their LP treasures into digital sound. Ironically, Decca at first came up with shrill, metallic transfers that betrayed their famous analog sound. And so matters stood for over a decaade with such indispensable recordings as Solti's Ring cycle and renowned Strauss operas. Der Ronsenkavalier was severely harmed given that the LP version was already a birght recording with x-ray detail.
But here it is sounding, if not mellow, at least not ear-piercing. The loudest tuttis from the ever-magnificent Vienna Phil. still cause some ear burn, but the voices no longer do, thank God. It's a joy to hear Crespin, Minton, and Donath soar on high without having to wince. As for the performance itself, I agree with almost every reviewer here. Solti drives a bit hard and is prone to over-emphasis, but he lowers the sugar content considerably, a great thing in Rosenkavalier. His aim is pointed drama, not luscious Viennese schlag. His singers follow suit, especially Yvonne Minton, who gives us an impetuous, headstrong Oktavian shorn of feminine nuance--this boy strides the stage like a man.
Manfred Jungwirth abolishes the stereotype of Ochs as a buffoon; his characterization is full of sharp personality and shrewd detail; he's capable of being boorish and snappish, proud and brutal, without turning those attitudes into jokes. This Baron would run right over you if you stepped in his way. Helen Donath sings with complete ease and girlish charm as Sophie,. In my mind, Regine Crespin is probably Schwarzkopf's only rival in the modern era as the Marschallin. Solti never stops moving things along, so Crespin isn't given the proper setting for an inward, reflective performance of the kind Schwarzkopf had mastered. Instead, this Marschallin is restless, at times panicky, alert, and seductively young--a great portrayal full of womanly warmth as well.
In sum, I will turn to the famed Karajan/Schwarzkopf set on EMI for wisdom and the Solti for thrills. Highly recommended.
P.S. - a Mid-riced 'Originals' version was issued in 2008 that mmight be softer still in the remastering -- I haven't heard it yet.
Fabulous Crespin March 7, 2004
23 out of 27 found this review helpful
It is probably a good idea to remember Solti came along roughly at the time stereo sound was being introduced (not exactly, but close enough for my argument). I've always felt Decca wanted a conductor capable of demonstrating to one and all why the improvements stereo offered over mono were worth spending money on. Solti was just what they were looking for. Hair trigger climaxes, louder than loud fortissimi, often brisk tempi to the point of being brusk, etc. The thing is, as people got used to stereo sound, the need for "sound demonstration" decreased. Unfortunately, Decca and Solti never figured that out. So, Solti remained Solti. Don't misunderstand me. Decca and Solti have given us a legacy of wonderful recordings (not including, in my opinion, The Ring, but that's another story). This "Rosenkavalier" is one of them. Yes, Solti is still Solti. Overemphatic to a fault. Decca is still Decca. Every small detail in the clearest relief, whether Strauss intended it to be so or not. But it has Crespin. That would be Regine Crespin, to the younger amongst us. One of the great soprani of the 20th Century. And, arguably, in the finest recording she ever made. Those of us who were lucky enough to have heard her in the house on a good night (she had bad ones from time to time) will forever be grateful this recording, the best document we have of her fabulous voice, exists. The rest of the cast is good, although perhaps not quite up to her standard. Yvonne Minton had a distinguised career, and every note she sings her is just about perfect. But she was always, at least to me, a bit too reserved. I always wanted her to just let loose. So far as I know, she never did. At least not in the recording studio. Helen Donath is as lovely here as she was in the house. A great artist. Manfred Jungwirth is teriffic here. He presents a vivid image of Ochs. Pavarotti doesn't have a clue about the satirical nature of what he is singing, of course. You need a Gedda for that. But he sure does sing it! I know I'm not being terribly critical, but I can't help it. Regine Crespin was a force of nature and I cherish my memories of her. And this recording. By-the-way, although the new cover art is abysmal (the original LP box set's cover was silver with a beautiful embossed silver rose in relief) the new mastering actually makes what was already good even better. I marvel at the untiring technical wizards in their endless quest to make something just a little better.
Absolutely gorgeous!! November 27, 2003
2 out of 5 found this review helpful
Gorgeously sung and gorgeously conducted!! What more could anybody want??? Solti's is one of the few Rosenkavaliers where you don't fall asleep halfway through. He keeps the drama moving along nicely so that you don't have to "wait for the next bit" because it's always exciting. And the sound is absolutely gorgeous as well.Final analysis - a drop dead gorgeous set that must feature in every Strauss collection.
MY cup of tea November 15, 2003
10 out of 16 found this review helpful
It is exactly because Solti is dramatic and emphatic that his Rosenkavalier is not boring. Although Rosenkavalier is Strauss' most successful opera to date, it is common consensus that parts of it are just plain boring. This is especially so in Act 1, what one reviewer calls boudair (?). I would call it somewhat boring. Other conductors like to linger and bath in sound so that you feel like the music comes to a standstill. With Solti, the pulse never sags!!Sound-wise, the Solti wins hnads down! No doubt about that!! As the gramophone guide says, some reviewers consider Solti to be better than the Karajan. I'm in that camp! Rather than say which is better I will describe the characteristics and let the buyre decide. The Solti is exciting, lively, sumptuous in sound - somewhat like an action thriller. The Karajan is more lovey-dovey and slow, like a romantic movie showing 2 lovers slowly kissing. But really, this applies mainly to the first act. In Act2 and Act3 the differences are smaller.
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