Strauss - Der Rosenkavalier / Schwarzkopf · Ludwig · Karajan

Strauss - Der Rosenkavalier / Schwarzkopf · Ludwig · Karajan

Strauss - Der Rosenkavalier / Schwarzkopf · Ludwig · Karajan
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Edition: Music CD
Format: Box set, Original recording remastered
CD Release Date: 2001-09-11
Music Label: EMI Classics
Soundtracks:
Music CD 1
  1. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1.: Introduction - Philharmonia Orch/Herbert Von Karajan
  2. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1.: 'Wie du warst! Wie du bist!' - Christa Edelmann/Elisabeth Schwarzkopf
  3. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1.: 'Lachst du mich aus? ... Lach' ich dich aus?' - Christa Edelmann/Elisabeth Schwarzkopf
  4. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1.: 'Der Feldmarschall sitzt im krowatischen Wald' - Christa Edelmann/Elisabeth Schwarzkopf
  5. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1.: 'Quinquin, es ist ein Besech' - Elisabeth Schwarzkopf/Erich Mjkut/Gerhard Unger/Otto Edelmann/Christa Ludwig
  6. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1.: 'Selbstverständlich empfängt mich Ihro Gnaden' - Otto Edelmann/Gerhard Unger/Erich Majkut/Eberhard Wachter/Harald Proglhof
  7. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1.: 'Euer Gnaden werden vielleicht verwundert sein' - Otto Edelmann/Elisabeth Schwarzkopf
  8. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1.: 'Dann ziehen wir ins Palais von Faninal' - Otto Edelmann/Elisabeth Schwarzkopf/Erich Majkut/Gerhard Unger
  9. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1.: 'Hat Sie schon einmal mit einem Kavalier' - Otto Edelmann/Christa Ludwig/Elisabeth Schwarzkopf
  10. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1.: 'Geben mir Euer Gnaden den Grasaff' da' - Otto Edelmann/Christa Ludwig/Elisabeth Schwarzkopf
  11. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1.: 'I komm' glei' ... Drei arme, adelige Waisen' - Christa Ludwig/Elisabeth Schwarzkopf/Christa Ludwig/Kerstin Meyer/Anny Felbermayer/Gerhard Unger...
  12. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1.: 'Di rigori armato il seno' - Nicolai Gedda
  13. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1.:'Als Morgengabe, ganz separatim jedoch' - Otto Edelmann/Harald Proglhof/Nicolai Gedda
  14. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1.: 'Mein lieber Hippolyte' - Elisabeth Schwarzkopf/Kerstin Meyer/Christa Ludwig/Kerstin Meyer
  15. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1.: 'Da geht er hin, der aufgeblasene schlechte Keri' - Elisabeth Schwarzkopf
  16. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1.: 'Ach, du bist wieder da?' - Elisabeth Schwarzkopf/Eberhard Wachter
  17. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1.: 'Oh, sei Er gut, Quinquin' - Elisabeth Schwarzkopf/Eberhard Wachter
  18. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1.: 'Die Zeit in Grunde, Quinquin' - Elisabeth Schwarzkopf
  19. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1.: 'Mein schöner Schatz' - Christa Ludwig/Elisabeth Schwarzkopf
  20. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1.: 'Quinquin, Er soll jetzt geh'n' - Christa Ludwig/Elisabeth Schwarzkopf
  21. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1.: Ich hab' ihn nicht einmal gekü�t!' - Elisabeth Schwarzkopf/Gerhard Unger/Erich Majkut/Eberhard Wachter/Harald Proglhof
Music CD 2
  1. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2.: 'Ein ernster Tag, ein groÃ?er Tag' - Eberhard Wachter/Ljuba Welitsch/Erich Majkut/Gerhard Unger
  2. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2.: 'In dieser feierlichen Stunde der Prüfung' - Teresa Stich-Randall/Ljuba Welitsch
  3. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2.: 'Mir ist die Ehre widerfahren' - Eberhard Wachter/Teresa Stich-Randall
  4. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2.: 'Hat einen starken Geruch wie Rosen' - Eberhard Wachter/Teresa Stich-Randall
  5. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2.: 'Wo war ich schon einmal und war so selig?' - Eberhard Wachter/Teresa Stich-Randall
  6. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2.: 'Ich kenn' ich doch recht wohl' - Eberhard Wachter/Teresa Stich-Randall
  7. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2.: 'Jetzt aber kommt mein Herr Zukünftiger' - Teresa Stich-Randall/Eberhard Wachter/Otto Edelmann/Christa Ludwig
  8. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2.: 'Belieben jetzt vielleicht ... ist ein alter Tokaier' - Teresa Stich-Randall/Eberhard Wachter/Otto Edelmann/Christa Ludwig
  9. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2.: 'Möcht' wissen, was Ihm dünkt von mir und Ihm'
  10. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2.: 'Wird Sie das Mannsbild da heiraten'
  11. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2.: 'Mit Ihren Augen voll Tränen'
  12. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2.: 'Herr Baron von Lerchenau!'
  13. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2.: 'Ich hoff' Er kommt vielmehr jetzt mit mir hinters Haus'
  14. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2.: 'Er muÃ? mich pardonieren'
  15. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2.: 'Heirat' den Herrn dort nicht lebendig und nicht tot!
  16. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2.: 'Da lieg' ich!'
  17. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2.: 'Und doch, muÃ? lachen, wie sich so ein Luder'
  18. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2.: 'Ganz zu Befehl, Herr Kavalier'
Music CD 3
  1. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3.: Introduction - Christa Ludwig/Otto Edelmann
  2. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3.: Pantomine - Christa Ludwig/Otto Edelmann
  3. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3.: 'Hab'n Euer Gnaden noch weitre Befehle?' - Otto Edelmann
  4. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3.: 'Nein, nein, nein! I trink' kein Wein' - Kerstin Meyer/Otto Edelmann/Christa Ludwig/Karl Friedrich/Erich Majkut/Gerhard Unger...
  5. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3.: 'Die schöne Musi!' - Franz Bierbach/Paul Kuen/Christa Ludwig/Otto Edelmann/Karl Friedrich
  6. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3.: 'Macht Sie der Wein leicht immer so?' - Eberhard Wachter/Otto Edelmann/Franz Bierbach
  7. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3.: 'Er ist es! Es ist mein Mann!' - Children's Chor From Loughton High School For Girls And Bancroft's School/Philharmonia Cho...
  8. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3.: 'Halt! Keiner rührt sich!' - Otto Edelmann/Fraz Bierbach/Christa Ludwig/Karl Friedrich
  9. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3.: 'Zur Stelle! Was wird von mir gewünscht?' - Otto Edelmann/Christa Ludwig/Franz Bierbach/Elisabeth Schwarzkopf/Teresa Stich-Randall
  10. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3.: 'Die Braut! Oh was für ein Skandal!'
  11. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3.: 'Sind desto eher im Klaren!'
  12. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3.:'Bin glücklich über Ma�en'
  13. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3.: 'Er sieht, Herr Kommissar, das Ganze war halt eine Farce'
  14. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3.: 'Bin von so viel Finesse charmiert'
  15. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3.: 'Leupold, wir geh'n!'
  16. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3.: 'Mein Gott, es war nicht mehr als eine Farce'
  17. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3.: 'Heut oder morgen oder den übernächsten Tag'
  18. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3.: 'So schnell hat Sie ihn gar so lieb?'
  19. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3.: 'Ist ein Traum, kann nicht wirklich sein ... Spür' nur dich allein'
  20. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3.:'Sind halt aso, die jungen Leut'!'
  21. Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3.: 'Ist ein Traum, kann nicht wirklich sein ... Spür nur dich allein'

Free Music Notes for Strauss - Der Rosenkavalier / Schwarzkopf · Ludwig · Karajan

Free Music Review: The Ochs is stayed before it tramples the rosegarden
Hit: 5 Stars

Richard Strauss humbly announced this opera as some kind of musical comedy. And we must say that the theme and the action are nothing more than a good old bourgeois comedy if not a vaudeville. But it is charming in a way. A page and confindent, Octavian, is the centre of the comedy. In love with and loved by his mistress, the Feldmarshallin, he is used, disguised as a chambermaid, which is easy since he is impersonated by a mezzosoprano, to titillate and also highjack onto a false trail the gross, philandering and greedy Baron Ochs, the well named Baron Ochs, both bovine and sterile. But this same Octavian will become the Rosenkavalier sent by the Feldmarshallin in the name of Baron Ochs to the young daughter Sophie of the very rich Herr von Faninal to propose the very badly matched wedding of the aforesaid Baron Ochs with the very reluctant Sophie who in the meantime falls in love with the charming Rosenkavalier who does the same in return. And it will all end well because Baron Ochs will be trapped in an inn and his multiple marriages will be exposed, thus accusing him of at least bigamy, which will make him run away. A comedy, nothing but a comedy revealing how money is no guarantee against the immorality of feudal practices. In fact it may even make them worse. Luckily love is there to clean up the plate and make things right. So what made this musical comedy of sorts such a success as an opera for one full century ? We may wonder, and yet the answer is simple. The very first reason is the depicting and staging of the feudal Germanic society of Maria Theresias in the middle of the 18th century when Europe is agitated by the Enlightenment, when Germany is already feeling the growing Sturm und Drang that is pushing feudal practices aside and replacing them with new ethics. And Richard Strauss keeps some cute nostalgic customs, like the Rosenkavalier, some kind of go-between of old, and highjacks them to vindicate love in the place and state of feudal arrangements and monetary greed and vanity. In other words it is quaint and it enables the Germans to forget about the looming up first world war that will be coming soon after the opera was created in Vienna on April 8, 1911. And it will become classic since it depicts the Germans as highly light, moral, humane, lovable, the very antithesis of what will develop and triumph to finally fall down ignominously from the 1920s to 1945. An acceptable and charming image of these our friends the Germans, the Austrians. In other words the light side that can counterbalance the very austere wagnerian side, especially when read in a nationalistic direction or distortion, the light side of Mozart's operas, and first of all Figaro's Wedding, to which it is akin by the theme and treatment. But that is not enough, far from it, to explain the phenomenal success of this opera. The music is of course the main reason. And what a music ! First of all, to clear the way for the rest, I will regret the only thing I find kind of easy. Octavian should have a masculine voice and be an alto instead of a feminine mezzosoprano. It makes his role unclearly ambiguous. We should have a page disguising as a chambermaid and then becoming the Rosenkavalier. Instead we have a mezzosoprano disguising as a page, then disguising as a chambermaid, then disguising as a Rosenkavalier and then mimicking love for Sophie. But the music is a lot more than that. The music is systematically anachronic for the 18th century, but who cares in the 20th century, and what's more today in the 21st century. It is light, dancelike and waltzy all the time and all along, from the light whirling and whorling mozartlike tunes everywhere to the real waltzes in the best straussian Viennese tradition. But Strauss also borrows some more exotic and entertaining forms with Italian singers and some popular tunes here and there, or at least tunes that sound as if they were coming out of some public house. But the best achievement of this music is its very high degree of dramatic construction. The music is used to give each character his or her personal depth, and each situation, each scene and each moment in each scene, their flavour and taste, their discursive value. That is probably the most attractive charm of this opera. We can literally let the music flow and forget about the words, the voices being a set of human instruments that join their harmonics to those of the orchestra to tell us a story that is displayed in front of our eyes through the circumvolutions of the measures that mesmerize our ears, due not to too many notes, nor too many instruments, but quite a few nevertheless if not many, just like a meadow scattered with thousands of colourful flowers.

Dr Jacques COULARDEAU, University Paris Dauphine & University Paris 1 Panthéon Sorbonne
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