R. Strauss - Ariadne auf Naxos / Schwarzkopf ? Seefried ? Streich ? Schock ? Prey ? PO ? Karajan
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Music CD Cover
Edition: Music CDFormat: Original recording remastered
CD Release Date: 1999-09-21
Music Label: EMI Classics
Soundtracks:
Music CD 1
- Ariadne auf Naxos: Prologue: Overture
- Ariadne auf Naxos: Prologue: Mein Herr Haushofmeister!
- Ariadne auf Naxos: Prologue: Lieber Freund! Verschaffen Sie mir die Geigen (Komponist)
- Ariadne auf Naxos: Prologue: O, ich mocht' vieles andern noch in zwolfter Stund' (Komponist)
- Ariadne auf Naxos: Prologue: Das! Fur einen Bacchus! (Tenor - Komponist)
- Ariadne auf Naxos: Prologue: Erst nach der Oper kommen wir daran (Zerbinetta - Primadonna - Komponist)
- Ariadne auf Naxos: Prologue: Nach meiner Oper? (Komponist)
- Ariadne auf Naxos: Prologue: Meine Partner! Meine erprobten Frunde! (Zerbinetta - Komponist - Primadonna)
- Ariadne auf Naxos: Prologue: Die Herrschaften stehen vom Tisch auf! (Primadonna - Tenor - Zerbinetta - Komponist)
- Ariadne auf Naxos: Prologue: Ariadne auf Naxos, Herr (Komponist - Tenor - Primadonna - Zerbinetta)
- Ariadne auf Naxos: Prologue: Nein, Herr, so kommt es nicht! (Komponist - Zerbinetta)
- Ariadne auf Naxos: Prologue: Kindskopf! Merkt auf, wir spielen mit in dem St?ck Ariadne auf Naxos (Zerbinetta - Komponist)
- Ariadne auf Naxos: Prologue: An Ihre Platze, meine Damen und Herren! (Primadonna - Komponist)
- Ariadne auf Naxos: Opera: Overture
- Ariadne auf Naxos: Opera: Schlaft sie?
- Ariadne auf Naxos: Opera: Ach! ... Ach! ... Wo war ich? (Ariadne - Zerbinetta)
- Ariadne auf Naxos: Opera: Ein Schones war, heib Theseus-Ariadne (Ariadne - Zerbinetta)
- Ariadne auf Naxos: Opera: Ach, so versuchet doch ein kleines Lied! (Zerbinetta)
- Ariadne auf Naxos: Opera: Es gibt ein Reich, wo alles rein ist (Ariadne)
- Ariadne auf Naxos: Opera: Die Dame gibt mit trubem Sinn (Zerbinetta)
- Ariadne auf Naxos: Opera: Grobmachtige Prinzessin, wer verstunde nicht (Zerbinetta)
- Ariadne auf Naxos: Opera: Hubsch gepredigt! Aber tauben Ohren! (Zerbinetta)
- Ariadne auf Naxos: Opera: Ein schones Wunder!
- Ariadne auf Naxos: Opera: Circe, Circe, kannst du mich horen? (Ariadne)
- Ariadne auf Naxos: Opera: Du schones Wesen! (Bacchus - Ariadne)
- Ariadne auf Naxos: Opera: Bin ich ein Gott, schuf mich ein Gott
- Ariadne auf Naxos: Opera: Gibt es kein Hinuber? (Ariadne - Bacchus - Zerbinetta)
Free Music Notes for R. Strauss - Ariadne auf Naxos / Schwarzkopf ? Seefried ? Streich ? Schock ? Prey ? PO ? Karajan
Free Music Review: My Favorite Ariadne
Hit: 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.
R. Strauss - Ariadne auf Naxos / Schwarzkopf ? Seefried ? Streich ? Schock ? Prey ? PO ? Karajan Poster
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 "T?ne, t?ne," 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 MayClassical Music CDs
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