Search - Richard Strauss, Herbert von Karajan, Elisabeth Schwarzkopf :: R. Strauss - Ariadne auf Naxos / Schwarzkopf ˇ Seefried ˇ Streich ˇ Schock ˇ Prey ˇ PO ˇ Karajan

R. Strauss - Ariadne auf Naxos / Schwarzkopf · Seefried · Streich · Schock · Prey · PO · Karajan
Richard Strauss, Herbert von Karajan, Elisabeth Schwarzkopf
R. Strauss - Ariadne auf Naxos / Schwarzkopf ˇ Seefried ˇ Streich ˇ Schock ˇ Prey ˇ PO ˇ Karajan
Genre: Classical
 
  •  Track Listings (18) - Disc #1
  •  Track Listings (9) - Disc #2

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 »

     
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Amazon.com essential recording
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
 

CD Reviews

Lovely score benefits of splendorous cast
12/11/1999
(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.
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