R. Strauss Der Rosenkavalier
View record and artist detailsRecord and Artist Details
Composer or Director: Richard Strauss
Genre:
Opera
Label: EMI
Magazine Review Date: 9/1996
Media Format: CD or Download
Media Runtime: 182
Mastering:
Mono
ADD
Catalogue Number: 556113-2
Tracks:
Composition | Artist Credit |
---|---|
(Der) Rosenkavalier |
Richard Strauss, Composer
Anny Felbermayer, Milliner, Soprano Bancroft's School Choir Christa Ludwig, Orphan II, Mezzo soprano Christa Ludwig, Octavian, Soprano Christa Ludwig, Orphan II, Soprano Christa Ludwig, Octavian, Soprano Christa Ludwig, Orphan II, Soprano Christa Ludwig, Octavian, Soprano Eberhard Waechter, Footman III, Tenor Eberhard Waechter, Faninal, Tenor Eberhard Waechter, Faninal, Baritone Eberhard Waechter, Faninal, Tenor Eberhard Waechter, Footman III, Tenor Eberhard Waechter, Waiter III, Tenor Eberhard Waechter, Footman III, Tenor Eberhard Waechter, Waiter III, Tenor Eberhard Waechter, Waiter III, Tenor Elisabeth Schwarzkopf, Orphan I, Soprano Elisabeth Schwarzkopf, Orphan I, Soprano Elisabeth Schwarzkopf, Die Feldmarschallin, Soprano Elisabeth Schwarzkopf, Die Feldmarschallin, Soprano Elisabeth Schwarzkopf, Die Feldmarschallin, Soprano Elisabeth Schwarzkopf, Orphan I, Soprano Erich Majkut, Footman II, Tenor Erich Majkut, Waiter II, Tenor Erich Majkut, Footman II, Tenor Erich Majkut, Marschallin's Major-domo, Tenor Erich Majkut, Waiter II, Tenor Erich Majkut, Marschallin's Major-domo, Tenor Erich Majkut, Marschallin's Major-domo, Tenor Erich Majkut, Waiter II, Tenor Erich Majkut, Footman II, Tenor Franz Bierbach, Waiter IV, Bass Franz Bierbach, Police Commissioner, Bass Gerhard Unger, Faninal's Major-domo, Tenor Gerhard Unger, Waiter I, Tenor Gerhard Unger, Animal Seller, Tenor Gerhard Unger, Waiter I, Tenor Gerhard Unger, Footman I, Tenor Gerhard Unger, Faninal's Major-domo, Tenor Gerhard Unger, Footman I, Tenor Gerhard Unger, Animal Seller, Tenor Harald Pröglhöf, Notary, Bass Harald Pröglhöf, Footman IV, Bass-baritone Harald Pröglhöf, Notary, Bass-baritone Harald Pröglhöf, Notary, Bass-baritone Harald Pröglhöf, Footman IV, Bass-baritone Harald Pröglhöf, Footman IV, Bass-baritone Herbert von Karajan, Conductor Karl Friedrich, Landlord, Tenor Kerstin Meyer, Annina, Contralto (Female alto) Kerstin Meyer, Orphan III, Contralto (Female alto) Ljuba Welitsch, Leitmetzerin, Soprano Loughton High School for Girls' Choir Nicolai Gedda, Italian Tenor, Tenor Otto Edelmann, Baron Ochs, Bass Paul Kuen, Valzacchi, Tenor Philharmonia Chorus Philharmonia Orchestra Richard Strauss, Composer Teresa Stich-Randall, Sophie, Soprano |
Author: ihumphreys
A landmark in the history of the gramophone, Karajan’s 1956 EMI recording of Der Rosenkavalier featured an unrivalled cast, with Elisabeth Schwarzkopf as the Marschallin, Christa Ludwig as Octavian, Teresa Stich-Randall as Sophie and Otto Edelmann as Baron Ochs. Stereo recording was new to the commercial recording world and, unwilling to gamble everything on the new medium, producer Walter Legge arranged for the sessions to be captured in both mono and stereo, using quite separate microphone layouts and separate balance engineers – Douglas Larter for the mono and Christopher Parker for the stereo. The mono version was issued on LP but for the transfer to Compact Disc in 1987 the stereo tapes were used. The mono recording has never before been issued on CD and for the remastering sessions Dame Elisabeth herself joined re-engineering consultant Professor Johann-Nikolaus Matthes and Senior EMI balance engineer Andrew Walter. This process is said to have amounted “less to a transcription than to a recreation of the performance and atmosphere of the Kingsway Hall 40 years ago”.
It is not my brief here to reassess the issue in terms of the performance. That has already been expertly covered – by Alec Robertson in the original November 1959 review and by Hilary Finch writing in January 1988 of the stereo recording’s appearance on CD, where she said as much as really needs to be said in that “It really does triumph over them all – even the outstanding 1969 Solti/Decca – and the triumph is, almost entirely, Schwarzkopf’s own.” The Philharmonia do indeed play like angels and Schwarzkopf gives one of her greatest performances.
The recorded balances do, however, present us with something of a challenge because they are so very different. At the ‘root’ level a helpful A-B test can be made by summing the stereo channels to provide a double-mono signal, and listening to this against the new release of the mono recording – comparing to an extent like with like. One is immediately struck by the mono recording’s warmer, closer balance: Schwarzkopf, for example, a significantly more rounded, fuller and essentially dominant presence, never in danger of being overwhelmed by the orchestra. The stereo recording (heard, as I’ve said, for the moment in mono) puts the voice into the sort of proportion one would expect to hear in the opera house itself, on a more equal footing with the orchestra, the result inevitably a little less analytically clear but on the other hand arguably more realistic.
Listening in stereo I personally find the detail and transparency of the overall canvas more naturally convincing, some hiss from the original tapes notwithstanding. This is a very good balance of its time, an impressive three-dimensional portrayal of the studio event with everything in its place and the voices nicely ‘staged’. The remastered mono will make a special appeal to those who prefer intimate access to these great singers; it has a compelling immediacy in which every vocal nuance is conveyed with a drawing-room-like clarity. The dilemma is that each recording is impressive in its way and yet so very different. Students of the voice will almost certainly favour this new mono release; devotees of the opera itself may well prefer the stereo. '
It is not my brief here to reassess the issue in terms of the performance. That has already been expertly covered – by Alec Robertson in the original November 1959 review and by Hilary Finch writing in January 1988 of the stereo recording’s appearance on CD, where she said as much as really needs to be said in that “It really does triumph over them all – even the outstanding 1969 Solti/Decca – and the triumph is, almost entirely, Schwarzkopf’s own.” The Philharmonia do indeed play like angels and Schwarzkopf gives one of her greatest performances.
The recorded balances do, however, present us with something of a challenge because they are so very different. At the ‘root’ level a helpful A-B test can be made by summing the stereo channels to provide a double-mono signal, and listening to this against the new release of the mono recording – comparing to an extent like with like. One is immediately struck by the mono recording’s warmer, closer balance: Schwarzkopf, for example, a significantly more rounded, fuller and essentially dominant presence, never in danger of being overwhelmed by the orchestra. The stereo recording (heard, as I’ve said, for the moment in mono) puts the voice into the sort of proportion one would expect to hear in the opera house itself, on a more equal footing with the orchestra, the result inevitably a little less analytically clear but on the other hand arguably more realistic.
Listening in stereo I personally find the detail and transparency of the overall canvas more naturally convincing, some hiss from the original tapes notwithstanding. This is a very good balance of its time, an impressive three-dimensional portrayal of the studio event with everything in its place and the voices nicely ‘staged’. The remastered mono will make a special appeal to those who prefer intimate access to these great singers; it has a compelling immediacy in which every vocal nuance is conveyed with a drawing-room-like clarity. The dilemma is that each recording is impressive in its way and yet so very different. Students of the voice will almost certainly favour this new mono release; devotees of the opera itself may well prefer the stereo. '
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