Weber (Der) Freischütz
Hamburg raids the archives to show us future stars in the making
View record and artist detailsRecord and Artist Details
Composer or Director: Carl Maria von Weber
Genre:
Opera
Label: Arthaus Musik
Magazine Review Date: 5/2007
Media Format: Digital Versatile Disc
Media Runtime: 0
Mastering:
Stereo
Catalogue Number: 101 271
Tracks:
Composition | Artist Credit |
---|---|
(Der) Freischütz |
Carl Maria von Weber, Composer
Arlene Saunders, Agathe, Soprano Bernhard Minetti, Samiel, Speaker Carl Maria von Weber, Composer Edith Mathis, Aennchen, Soprano Ernst Kozub, Max, Tenor Franz Grundheber, Kilian, Baritone Gottlob Frick, Caspar, Bass Hamburg State Opera Chorus Hamburg State Opera Orchestra Hans Sotin, Hermit, Bass Leopold Ludwig, Conductor Regina Marheineke, First Bridesmaid, Soprano Tom Krause, Ottokar, Baritone Toni Blankenheim, Cuno, Bass |
Composer or Director: (Gustav) Albert Lortzing
Genre:
Opera
Label: Arthaus Musik
Magazine Review Date: 5/2007
Media Format: Digital Versatile Disc
Media Runtime: 131
Mastering:
Stereo
Catalogue Number: 101 269
Tracks:
Composition | Artist Credit |
---|---|
Zar und Zimmermann |
(Gustav) Albert Lortzing, Composer
(Gustav) Albert Lortzing, Composer Charles Mackerras, Conductor Hamburg Philharmonic Orchestra Hamburg State Opera Chorus Hans Sotin, Van Bett, Bass Herbert Fliether, General Lefort Horst Wilhelm, Marquis de Chateauneuf, Tenor Lucia Popp, Marie, Soprano Noel Mangin, Lord Syndham, Bass Peter Haage, Peter Ivanov, Tenor Raymond Wolansky, Peter the Great, Baritone Ursula Boese, Widow Browe, Contralto (Female alto) |
Author: Mike Ashman
They say that Lortzing does not travel (even in Germany his light operas play only to their own, unique audience) but this tale of mistaken identities about two Russians called Peter in a Dutch shipyard has the seamless inevitability of the best comedy, and a decidedly modern turn of phrase. “He could have told me he was a Tsar,” complains the young Lucia Popp’s nicely judged Marie, “and I’d have behaved quite differently.” Also from the top drawer, and caught at an early stage of their careers, are the “real” Peter of Raymond Wolansky (best known in the UK for the Frühbeck Carmina Burana), the normally serious Hans Sotin revelling in the slapstick of Mayor van Bett, Horst Wilhelm as the French Marquis, and a tiny role for Franz Grundheber. Charles Mackerras, a Hamburg regular in those days, conducts with, you won’t be surprised to hear, astonishing fluency.
The Weber performance at least lets you see archetypal bass villain Gottlob Frick and Ernst Kozub, the tenor who nearly recorded Siegfried for Solti, in a complete performance – although, close to, Frick is quite over-the-top in this very traditional production. With Saunders and Mathis (intelligently understated) as the ladies, and Krause and Blankenheim as relative walk-ons, the casting alone may tempt purchase. Sadly however, the effects in the Wolf’s Glen scene would have looked weak in the first run of Dr Who, and there’s little evidence of involving actor direction. Ludwig conducts with unobjectionable style. The DVD remasterings have been excellently done. The discs will please those who prefer souvenirs of important artists to intelligent music-theatre.
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