Weber: Der Freischütz ~ C. Kleiber

Weber: Der Freischütz ~ C. Kleiber

Weber: Der Freischütz ~ C. Kleiber
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Music CD Cover

Composer: Carl Maria von Weber
Conductor: Carlos Kleiber
Orchestra: Dresden Staatskapelle
Performer: Bernd Weikl
Performer: Brigitte Pfretzschner
Performer: Edith Mathis
Performer: Franz Crass
Performer: Gundula Janowitz
Performer: Gunther Leib
Performer: Ingeborg Springer
Performer: Peter Schreier
Performer: Renate Hoff
Performer: Renate Krahmer
Performer: Siegfried Vogel
Performer: Theo Adam
Edition: Music CD
CD Release Date: 1998-04-14
Music Label: Deutsche Grammophon
Soundtracks:
Music CD 1
  1. Der Freischütz, opera, J. 277 (Op. 77): Ouvertüre
  2. Der Freischütz, opera, J. 277 (Op. 77): Act 1. Scene 1. Introduktion. Viktoria! Viktoria! der Meister soll leben. Peasant March. Scha
  3. Der Freischütz, opera, J. 277 (Op. 77): Act 1. Scene 2. Was git's hier?
  4. Der Freischütz, opera, J. 277 (Op. 77): Act 1. Scene 2. No. 2. Terzett mit Chor. Oh, diese Sonne, furchtbar steigt sie mir empor!
  5. Der Freischütz, opera, J. 277 (Op. 77): Act 1. Scene 3. Ein braver Mann
  6. Der Freischütz, opera, J. 277 (Op. 77): Act 1. Scene 3. No. 3. Walzer
  7. Der Freischütz, opera, J. 277 (Op. 77): Act 1. Scene 4. Rezitativ und Arie. Nein, länger trag' ich nicht die Qualen ... Durch die Wäl
  8. Der Freischütz, opera, J. 277 (Op. 77): Act 1. Scene 5. Kamerad!
  9. Der Freischütz, opera, J. 277 (Op. 77): Act 1. Scene 5. No. 4. Lied. Hier im ird'schen Jammertal!
  10. Der Freischütz, opera, J. 277 (Op. 77): Act 1. Scene 5. Bruderherz!
  11. Der Freischütz, opera, J. 277 (Op. 77): Act 1. Scene 6. No. 5. Arie. Schwieg, schweig, damit dich niemand warnt!
  12. Der Freischütz, opera, J. 277 (Op. 77): Act 2. Scene 1. No. 6. Duett. Schelm, halt fest! Ich will dich's lehren!
  13. Der Freischütz, opera, J. 277 (Op. 77): Act 2. Scene 1. So! Da oben mag ich den Herrn Urältervater
  14. Der Freischütz, opera, J. 277 (Op. 77): Act 2. Scene 1. No. 7. Aritte. Kommt ein schlanker Bursch gegangen
  15. Der Freischütz, opera, J. 277 (Op. 77): Act 2. Scene 1. Und der Bursch nicht minder schön!
  16. Der Freischütz, opera, J. 277 (Op. 77): Act 2. Scene 2. No. 8. Szene und Arie. Wie nahte mir der Schlummer...Leise, leise, fromme Wei
  17. Der Freischütz, opera, J. 277 (Op. 77): Act 2. Scene 3. Meine Agathe!
  18. Der Freischütz, opera, J. 277 (Op. 77): Act 2. Scene 3. No. 9. Terzett. Wie? Was? Entsetzen! Dort in der Schreckensschlucht?
Music CD 2
  1. Der Freischütz, opera, J. 277 (Op. 77): Act 2. Scene 4. Wolf's Glen Scene. No. 10. Finale. Milch des Mondes fiel aufs Kraut! Scene 5.
  2. Der Freischütz, opera, J. 277 (Op. 77): Act 3. No. 11. Entr'acte
  3. Der Freischütz, opera, J. 277 (Op. 77): Act 3. Scene 1. Herrliches Jagdwetter!
  4. Der Freischütz, opera, J. 277 (Op. 77): Act 3. Scene 2. No. 12. Kavatine. Und ob die Wolke sie verhülle
  5. Der Freischütz, opera, J. 277 (Op. 77): Act 3. Scene 3. Du hast dich dazugehalten!
  6. Der Freischütz, opera, J. 277 (Op. 77): Act 3. Scene 3. No. 13. Romanze, Rezitativ und Arie. Einst träumte meiner sel'gen Base...Du z
  7. Der Freischütz, opera, J. 277 (Op. 77): Act 3. Scene 3. Nun muß ich aber den Kranz holen!
  8. Der Freischütz, opera, J. 277 (Op. 77): Act 3. Scene 4. No. 14. Volkslied. Wir winden dir den Jungfernkranz. Scene 5. Da bin ich wied
  9. Der Freischütz, opera, J. 277 (Op. 77): Act 3. Scene 6. No. 15. Jägerchor: Was gleicht wohl auf Erden
  10. Der Freischütz, opera, J. 277 (Op. 77): Act 3. Scene 6. Genug der Freuden des Mahles
  11. Der Freischütz, opera, J. 277 (Op. 77): Act 3. Scene 6. Wer legt auf ihn so strengen Bann?

Free Music Notes for Weber: Der Freischütz ~ C. Kleiber

Free Music Review: GOTHIC GLORY
Hit: 5 Stars

Balancing brilliant value in performance and recording against infuriating lack of commentary in the liner, I still have to give this great set the full 5 stars.

The performance is 30 years old now, but the recording at its frequent best would draw high praise even today. The quality is not quite 100% consistent - now and again passages for full orchestra lack the spaciousness and depth that are so remarkable at many other points, and there is just a hint of distortion on Janowitz's high notes in her big scena in Act II, but these are quibbles. Far more representative of the general proficiency in the recording is the wonderful romantic aura round the even more wonderful horn playing near the start, the really terrific sense of eerie menace in the wolves' glen (with the full terror of Samiel reserved for the end) and the perfect fidelity given in general to the singing, both solo and chorus. Both Janowitz and Mathis sing like angels from on high, the huntsmen in chorus are the nimblest and most accomplished such a body that I ever heard, and the orchestral tone is gorgeous too. All this demanded full justice from the recording staff, and they have done it proud.

I personally go along with Kleiber's handling of the score in practically every way. When steadiness and calm are called for we get them - the slow start to the overture could hardly be better, nor could Agathe's great cavatina in Act III, sublimely done by Janowitz. However this reading has a spring in its step, and that as much as anything is what I love about it. It helps, obviously, to have virtuoso performers, and I have already drawn attention to the chorus in that respect. For all the Gothic shivers and goings-on, this opera is full of joie de vivre, or whatever the German is for that. Like Mozart, Schubert, Chopin, Mendelssohn, Schumann and Bizet, Weber was taken away from us too soon, another sacrifice to consumption. No composer's music could be less suggestive of approaching death that his. His orchestral scoring alone, deeply admired by no less a master of that art than Berlioz, is a celebration of life by itself. His melodic gift is one of the greatest there has ever been, stronger in my view than Mendelssohn's and up there with that of Berlioz and that of Verdi himself. This is what an adequate realisation of this work must bring out, not just the picturesque horrors. On this set you will hear some genuinely spontaneous-sounding laughter for one thing, and the true and vital gusto from the peasants, huntsmen and the rest of them. Obviously `characterisation' in a lightweight and fairy-tale parallel like this to the Faust theme is broad-brush, but where this score excels is in its varied and intensely dramatic delineation of situations. This is something else the conductor must present with the utmost clarity and vividness, and I can hardly imagine it done better than it is done here. And a special mention must be made of the magnificent realisation of the scene with the hermit (der fromme Klausner for initiates) -- credit even-handedly to Kleiber and to Franz Crass.

I love dear Schumann and I love his Manfred, especially in the realisation by Beecham, but I could only sigh to think of what Weber might have done with that theme. We should be grateful for what we've got, I suppose. The entire cast cover themselves with glory, but pride of place goes to the two sopranos. Peter Schreier is what I sometimes think of as a `mezzo-tenor', something like Mark Padmore. Theo Adam is a Wotan and a Sachs that I particularly like because of my own personal interpretation of those roles, but even those who think him lightweight in Wagner surely must have no such reservations about his Kaspar. The men are all fine, but it's the women here who make the really big impression - them and the orchestra. Not to mention the chorus and the conductor. Nor do I overlook the recording personnel.
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Weber: Der Freischütz ~ C. Kleiber Poster

Der Freischütz is one of the great milestones in the history of opera. The resounding success of its premiere in 1821 practically made it a manifesto for German Romantic opera, one that would become a significant formative influence on Wagner. Although it has its roots in the Singspiel tradition exemplified by Mozart's Die Zauberflöte, Der Freischütz cut new ground with its potent mixture of supernatural elements, dreams, folk melodies, evocations of nature, and symphonic tone painting. Here, von Weber exploited his brilliant orchestral imagination--using, for example, carefully divided string tremolos and a gleaming choir of four horns--to maximum effect. This legendary recording from 1973 was Carlos Kleiber's first studio project, and the scrupulous attention he lavished on the score resulted in an interpretation that continues to sound bold, fresh, and authoritative. The Dresden Staatskapelle plays in top form, whether in tenderly sprung wind solos or in the truly spooky atmospherics of the famous Wolf's Glen scene. Peter Schreier's dark, pungent tenor is something of an acquired taste, but he gives fervent voice to the despair of hunter/protagonist Max. Gundula Janowitz sings with stirring beauty and enriches the two-dimensional character of Max's beloved Agathe with remarkable depth, revealing both her innocence and her agonized foreboding. And Theo Adam delivers a thoroughly spiteful, loathesome vocal portrait of the nefarious Kaspar, whose pact with the devil Samiel goes awry. For a work that is not performed nearly as often as it deserves to be, this recording is essential. --Thomas May

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