Die Herrschaften Stehen Vom Tisch Auf! - Otakar Kraus/Karl Donch/Alfred Neugebauer/Elisabeth Schwarzkopf/Hugues Cuenod...
Ariadne Auf Naxos, Herr - Irmgard Seefried/Hugues Cuenod/Alfred Neugebauer/Karl Donch
Nein, Herr, So Kommt Es Nicht! - Irmgard Seefried/Rita Streich/Karl Donch
Kindskopf! Merkt Auf, Wir Spielen Mit In Dem Stuck 'Ariadne Auf Naxos'... - Rita Streich/Irmgard Seefried
An Ihre Platze, Meine Damen Und Herren! - Karl Donch/Elisabeth Schwarzkopf/Irmgard Seefried
Ov - Philharmonia Orch/Herbert Von Karajan
Schlaft Sie? - Lisa Otto/Grace Hoffman/Anny Felbermayer
Ach! Wo War Ich? - Elisabeth Schwarzkoph/Anny Felbermayer/Hermann Prey/Rita Streich/Fritz Ollendorf
Ein Schones War, Hies Theseus-Ariadne... - Elisabeth Schwarzkopf/Lisa Otto/Grace Hoffman/Irmgard Seefried/Hugues Cuenod
Ach, So Versuchet Doch Ein Kleines Lied! - Rita Streich/Hermann Prey
Track Listings (9) - Disc #2
Es Gibt Ein Reich, Wo Alles Rein Ist - Elisabeth Schwarzkopf
Die Dame Gibt Mit Trubem Sinn - Helmut Krebs/Gerhard unger/Hermann Prey/Fritz Ollendorf/Rita Streich
Grobmachtige Prinzessin, Wer Vestunde Nicht - Rita Streich
Hubsch Gepredigt! Aber Tauben Ohren! - Hermann Prey/Rita Streich/Helmut Krebs/Gerhard Unger/Fritz Ollendorf
Ein Schones Wunder! - Grace Hoffman/Lisa Otto/Anny Felbermayer
Circe, Circe, Kannst Du Mich Horen? - Rudolf Schock/Elisabeth Schwarzkopf/Lisa Otto/Grace Hoffman/Anny Felbermayer
Du Schones Wesen! - Rudolf Schock/Elisabeth Schwarzkopf
Ein Ich Ein Gott, Schuf Mich Ein Gott - Elisabeth Schwarzkopf/Rudolf Schock/Lisa Otto/Grace Hoffman/Anny Felbermayer/Rita Streich
Gibt Es Kein Hinuber? - Elisabeth Schwarzkopf/Rudolf Schock/Lisa Otto/Grace Hoffman/Anny Felbermayer/Rita Streich
This first studio version of Ariadne, from 1954, was long considered the gold standard and has stood the test of time exceptionally well. London's Philharmonia Orchestra produces a gorgeous sound, sensitive and refined in ... more »detail. Karajan shapes an often rapturously poetic account, replete with broad and lingering tempi and an expertly calibrated sense of balance--features that likewise mark the 1956 Rosenkavalier that many count as one of the conductor's highest achievements. Irmgard Seefried confirms her status as the composer's unparalleled interpreter. Her detailed characterization confirms the rightness of Strauss's instinct to make his young idealist a travesti role. Rita Streich's uniquely styled polish and sweet purity of tone make her one of Zerbinetta's most memorable exponents, while Elisabeth Schwarzkopf's Ariadne (surprisingly, a role she never sang on stage) abounds in vocal splendor and cuts through the inherent abstractness of the character with dramatic insight. Karajan's carefully measured approach proves a trifle too deliberate for the commedia scenes, but his sense of finesse shapes a dreamlike, misty fabric (almost suggestive of Wagner's Norns) for the trio of nymphs; their chorus "Töne, töne," resounds with silky translucence. Above all, Karajan establishes a credible throughline in the meandering textures of the final scene between Ariadne and Bacchus. Karajan's scope ensures that this recording is the ideal embarkation point for one of Strauss's most enchanting creations. --Thomas May« less
This first studio version of Ariadne, from 1954, was long considered the gold standard and has stood the test of time exceptionally well. London's Philharmonia Orchestra produces a gorgeous sound, sensitive and refined in detail. Karajan shapes an often rapturously poetic account, replete with broad and lingering tempi and an expertly calibrated sense of balance--features that likewise mark the 1956 Rosenkavalier that many count as one of the conductor's highest achievements. Irmgard Seefried confirms her status as the composer's unparalleled interpreter. Her detailed characterization confirms the rightness of Strauss's instinct to make his young idealist a travesti role. Rita Streich's uniquely styled polish and sweet purity of tone make her one of Zerbinetta's most memorable exponents, while Elisabeth Schwarzkopf's Ariadne (surprisingly, a role she never sang on stage) abounds in vocal splendor and cuts through the inherent abstractness of the character with dramatic insight. Karajan's carefully measured approach proves a trifle too deliberate for the commedia scenes, but his sense of finesse shapes a dreamlike, misty fabric (almost suggestive of Wagner's Norns) for the trio of nymphs; their chorus "Töne, töne," resounds with silky translucence. Above all, Karajan establishes a credible throughline in the meandering textures of the final scene between Ariadne and Bacchus. Karajan's scope ensures that this recording is the ideal embarkation point for one of Strauss's most enchanting creations. --Thomas May
Lovely score benefits of splendorous cast
(4 out of 5 stars)
"This was the prime recommendation for this work until recent recordings, especially the one with Norman, Gruberova, and Paul Frey in the most difficult role of Bacchus. Still, Karajan's is a classic of its own. Rita Streich's Zerbinetta is gorgeous. But Irmgard Seefried steals the show as the composer, hands down. Her portrayal alone is worth much more than the price of this bargain. If you love this subtle score as I do, you will want this set and also Kurt Masur's."
THE WAY TO GO
MOVIE MAVEN | New York, NY USA | 04/08/2001
(5 out of 5 stars)
"Since this opera is being performed this season at the Metropolitan Opera House and is, actually, not ever long out of their repertoire, many first-time listeners will want to buy a CD set to hear before actually sitting in the audience. I believe that this is the set to purchase. The cast could not possibly be bettered anywhere: Elizabeth Schwartzkopf in the title role, Rita Streich as the coquette, Zerbinetta, (with an unbelievably difficult aria that reaches the stratosphere) and Irmgard Seefried as the put-upon Composer were all Strauss veterans and obviously came to this recording at the peek of their powers. In the heroic and vocally punishing role of "Bacchus," Rudolf Schock is fine. The Philharmonia Orchestra plays this lush music beautifully and the sound for 1957 does not get in the way. No, it doesn't compare to the spectacular sound of the much more recent recording on Philips starring Jessye Norman, but it never detracts.This is a gorgeous recording of wonderful, memorable music set to a clever libretto. Buying one recording of the work? This is the way to go."
Una gran interpretación discográfica
P. Emilio Rossi | Caracas, Venezuela | 01/24/2007
(5 out of 5 stars)
"Esta grabación de Ariadne auf Naxos, es uno de los máximos logros del exitosísimo productor Walter Legge para el sello discográfico EMI en los cincuenta. Este experimentado y muy hábil productor tenía la gran capacidad de reunir cast absolutamente ideales, con lo mejor que ofrecía el panorama lírico de los años cincuenta (época gloriosa por lo demas, plena de grandes artistas). Lograr un trío femenino conformado por Elizabeth Schwarzkopf, Irmgard Seefried y Rita Streich es un mérito que deberá agradecérsele por mucho tiempo. Es difícil conseguir hoy en día un trío de artistas tan espectacular y completo como este. Elizabeth Schwarzkopf puede considerarse la mejor Ariadne discográfica, su estilo depurado pero a la vez expresivo, su conocimiento profundo del idioma alemán y su voz tan especial le hacen interpretar, por ejemplo, una versión ideal del aria "Es gibt ein reicht". Por su lado, Irmgard Seefried es un compositor magnífico. La de la Seefried era otra voz prodigiosa, ligeramente aterciopelada, de gran elegancia, buen gusto y sobre todo muy idiomática. La Zerbinetta de Rita Streich es absolutamente proverbial. Su difícil aria "Grossmachtige Prinzessin" está interpretada no solo con una habilidad técnica digna del mejor elogio, sino también con un fraseo muy apropiado para el personaje, valiéndose de una voz cuya naturalidad de emisión y timbre penetrante eran realmente fascinantes. Rudolf Schock fue un excelente tenor, con voz heroica y fraseo amplio y contundente, ideales por lo demás para el personaje de Bacchus. Hasta las ninfas están interpretadas por cantantes de primera categoría (Grace Hoffman, Anny Felbermayer y Lisa Otto). No debemos olvidar al Arlecchino de ese gran barítono alemán llamado Herman Prey, en una de sus primeras grabaciones. La dirección de Karajan es fantástica, sutil y delicada. El gran maestro austriaco era un gran amante de los sonidos orquestales tersos y hedonistas, y de la elegancia en el discurso musical. En una obra como esta, estos criterios encajan a la perfección. Sobre todo en el segundo acto, da una imagen de magia y vaporoso lirismo de verdadera antología. Versión imprescindible por lo tanto, que debe formar parte de la colección discográfica de cualquier amante de la música en general y de las obras de Richard Strauss en particular. "
Which 'Ariadne auf Naxos' to buy?
Santa Fe Listener | Santa Fe, NM USA | 02/05/2008
(5 out of 5 stars)
"Strauss's chamber opera, preceded by a theatrical spoof as a first act, has had devoted -- even besotted -- admirers since it first appeared. There have been half a dozen notable recordings in the modern era, but I think only four are serious rivals for top place. Let me give the pluses and minuses of each as fairly as I can.
1954 Karajan (EMI) - The Karajan set hasn't been out of print for over fifty years, and its two biggest pluses are unarguable: a dream cast of hand-picked singers and the young Karajan's superb conducting. Schwarzkopf gives one of her greatest performances in the title role, a miracle of technique and characterization. All the other roles match hers in theatricalaity and freshness. Rita Streich amazes with her accuracy and briliance in the coloratura role of Zerbinetta. The weak link (this will become a familiar theme) is the tenor who must engage the voice-killing role of Bacchus. Rudolf Schock sounds tight and strained, but overall he's doing as good a job as all but the very best. The minues are few, consisting mainly of the boxy, dry mono sound that remastering can't disguise. At least EMI has managed to remove some shirlliness from the high frequencies, and one can say that the final product is quite listenable.
1987 Levine (DG) - I am skipping ovver a Sixties recording under Kempe (EMI) that some critics rate very high. I much prefer James Levine, who made the first recording of Ariadne on CD. He leads members of the Vienna Phil. in a sweet-toned, deliberately paced reading that is quite sumptuous. His cast mirrors a very good night at either the Met or the Vienna State Opera. Tomova-Sintov gives her all dramatically as Ariadne, and despite some vocal strain, she triumphs in the role of the vulnerable stranded heroine. Even better is Kathleen Battle as the most coquettish and sweet-voiced of Zerbinettas. Levine had picked Gary Lakes as his Siegmund in Walkure, but the Texas heldentenor was never a star. Here he's quite good, however, as Bacchus, despite some tightness in the upper range. There are no serious minuses. The unremastered digital sound tends to be a bit metallic and shrill in the upper ranges, but not seriously so.
1988 Masur (Philips) -- Coming so soon after Levine's set, Masur's is equally impressive overall, even if it's not the last word in theatricality. The conducting is solid Kapellmeister work without being brilliant, yet Masur has an ace in the hole with the recorded sound, which is airy, detailed, and delicious -- no rival comes close. His Leipzig Gewandhaus musicians play with refinement and delicacy, making up for Masur's occasional lack of dramatic thrust. The cast is dominated by the stellar Ariadne of Jesseye Norman, the only modern soprano to give Schwarzkopf a run for her money. As always, Norman doesn't bother to offer much in the way of character -- she lets her sumptous, effortless singing carry the day, and it does. Her Bacchus is the effective but hardly great Canadian heldentenor Paul Frey, who otherwise never had much of a recorded career. Edita Gruberova was an authoritative Zerbinetta on stage; I find her a bit edgy and too mature, however. Special mention should be made of the famous husband-and-wife team, Dietrich Fischer-Dieskau and Julia Varady, who are outstanding as the Music Master and Composer (Varady is surprisingly successful at bringing a sosprano voice to a role usual taken by mezzos). The minuses are negligible. For me the pacing is a bit staid, and I wish Norman were more than a glorious voice.
2001 Sinopoli (DG) - This set was released just after Sinopoli's premature death while conducting Aida in Berlin, and it's a fitting tribute to his vivid, imaginative way with Strauss. Acclaimed for his Salome with Cheryl Studer (DG), Sinopoli is jsut as good with Ariadne. His singers are the second 'dream cast' that this fortunate opera has received over the years. As a pair, the Ariadne and Bacchus have never been bettered. Deborah Voigt has a perfect Strauss voice, and Ben Heppner delivers a thrilling Bacchus that is far ahead of the competition for ease, sweetness, and musicality. Voigt can't match Schwarzkopf in dramatic authority, but the sheer sound that these two singers make is ravishing. The supporting cast is nearly flawless, and althoiugh I don't respond especially to Natalie Dessay's Zerbinetta, finding it more a technical feat than a lovable coquette, she is exemplary in the role. In my view there are no minuses to this set. One can nitpick that certain singers aren't the very best in their roles, yet they all come close.
The final result, then, is that any lover of this unique opera should try to own two versions, the classic 1954 Karajan, particularly for Schwarzkopf's matchless contribution, and the 2001 Sinopoli, the closest modern equivalent to the Karajan. I can't narrow the competition down to just one winner, because some listeners won't be able to tolerate the boxy mono sound of the Karajan, while others may be set against Sinopoli on principle because he is too individual and willful. In any case, Ariadne has been amazingly well srved on CD. Few if any other Strauss operas have received four recordings of such high quality.
My Favorite Ariadne
Virginia Opera Fan | Falls Church, VA USA | 06/25/2008
(5 out of 5 stars)
"This 1954 recording has been surpassed in sound but never in performance quality. This is an outstanding ensemble effort led by the relatively young Karajan's elegant and witty conducting. The Philharmonia is in vintage form and responds beautifully to his baton.
In the title role, Schwarzkopf turns in a wonderful performance of a role she never sang onstage. Walter Legge, her husband and producer of the recording, wrote years later that she "hankered" after the role but circumstances always prevented it from going into her stage repertory. Her "lieder" style of operatic singing is well suited to the nuances of the part and her singing of Ariadne's first lament is very moving. In contrast, she turns makes an appropriate comic impression with her limited appearance as the haughty prima donna of the prologue. If you are allergic to her style, you won't care much for it, because it is a textbook example of how she brought a character to life through verbal nuance and vocal color. She was also still in her 30s at the time and in fresh voice. Other sopranos, Janowitz and Norman for instance, have brought a fuller timbre to Ariadne's demanding music but Schwarzkopf's artistry and finespun tone are treasurable in their own right.
Irmgard Seefried's Composer is probably her finest achievement on disc and my favorite traversal of the part. It is a wonderful memento of a great singer.
Rita Streich is an expert and comic Zerbinetta who sails easily through the fiendish coloratura of her big aria. She is also seductive in the prologue and the mainspring of the ensembles. No matter the difficulties of the part, she never loses the sweetness of her youthful tone.
Rudolf Shock does as well as the recorded competition as Bacchus, Frey and King possibly excepted. The part isn't very gratefully written in the first place and seems difficult to characterize.
The smaller parts are all nicely sung and include some wonderful singers -Hugues Cuenod, Gerhard Unger, Lisa Otto, and the young Hermann Prey, for example.
EMI has done very well by the sound of this half century old recording in this latest re-issue. It is a definite improvement over the harshness and occasional break up of the EMI Studio release(CMS 7 69296 2). You won't mistake it for state of the art, but it doesn't compromise a great performance. This is still my favorite. The runner up (Rysanek/Jurinac/Peters/Peerce under Leinsdorf on Decca) is no longer available. If you must have stereo, Janowitz/Kempe, Norman/Masur, and Voigt/Sinopoli are all good choices."