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Offer, Strauss: Arabella & Vier letzte Lieder

Lisa della Casa (Arabella), Anneliese Rothenberger (Zdenka), Dietrich Fischer-Dieskau (Mandryka), Kurt Ruesche (Matteo), Otto Edelmann (Waldner), Ira Malaniuk (Adelaide), Eta Köhre (Fiakermilli), Helmut Melchert (Elemer), Georg Stern (Dominik), Lisa della Casa (soprano)

Wiener Philharmoniker,...

A performance recorded by DG in Munich in 1963 had the same Arabella, Mandryka and conductor.
That production originated in 1958 at the Salzburg Festival and it is a broadcast of its auspicious... — Gramophone Classical Music Guide, 2010 More…

Release Date: 12th Sep 2005
Catalogue No: C651053
Label: Orfeo
Series: Orfeo d'Or, Salzburger Festspieldokumente
Length: 2 hours 57 minutes

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Strauss, R: Arabella, Op. 79, TrV 263, Act I

Work length1:05:16

$16.00

$19.20

Lisa della Casa (soprano), Anneliese Rothenberger (soprano), Kerstin Meyer (mezzo-soprano), Kurt Ruesche (vocals), Helmut Melchert (vocals), Otto Edelmann (vocals), Ira Malaniuk (soprano), Dietrich Fischer-Dieskau (baritone), Wilhelm Lenninger (vocals)
Wiener Philharmoniker
Joseph Keilberth
Recorded: 29 July 1958
Recording Venue: Live recording, Salzburger Festspiele, Austria

Arabella, Op. 79, TrV 263, Act I: Die Karten fallen besser als das letzte Mal (Live)

Track length4:49

$1.00

$1.20

Arabella, Op. 79, TrV 263, Act I: Sie wollen alle Geld! (Live)

Track length1:55

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$1.20

Arabella, Op. 79, TrV 263, Act I: Matteo! - Zdenko! Du! Bist du allein? (Live)

Track length4:46

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$1.20

Arabella, Op. 79, TrV 263, Act I: Ich danke, Fräulein (Live)

Track length5:53

$2.00

$2.40

Arabella, Op. 79, TrV 263, Act I: Aber der Richtige, wenn's einen gibt (Live)

Track length5:17

$1.00

$1.20

Arabella, Op. 79, TrV 263, Act I: Das ist der Schlitten vom Elemer (Live)

Track length2:42

$1.00

$1.20

Arabella, Op. 79, TrV 263, Act I: Was hast du denn? (Live)

Track length7:39

$2.00

$2.40

Arabella, Op. 79, TrV 263, Act I: Lasst uns allein, meine Tochter (Live)

Track length5:25

$1.00

$1.20

Arabella, Op. 79, TrV 263, Act I: Mandryka! Der reiche Kerl! (Live)

Track length13:39

$3.00

$3.60

Arabella, Op. 79, TrV 263, Act I: Hab' ich geträumt? (Live)

Track length3:22

$1.00

$1.20

Arabella, Op. 79, TrV 263, Act I: Mein Elemer! (Live)

Track length9:49

$2.00

$2.40

Arabella, Op. 79, TrV 263, Act II

Work length51:53

$14.00

$16.80

Georg Stern (baritone), Karl Weber (vocals), Eta Köhrer (soprano)
Recorded: 29 July 1958
Recording Venue: Live recording, Salzburger Festspiele, Austria

Arabella, Op. 79, TrV 263, Act II: Das ist ein Engel, der vom Himmel niedersteigt! (Live)

Track length2:45

$1.00

$1.20

Arabella, Op. 79, TrV 263, Act II: Sie sehn nicht aus wie jemand (Live)

Track length5:57

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$1.20

Arabella, Op. 79, TrV 263, Act II: Sie wollen mich heiraten (Live)

Track length7:14

$2.00

$2.40

Arabella, Op. 79, TrV 263, Act II: Und du wirst mein Gebieter sein (Live)

Track length4:23

$1.00

$1.20

Arabella, Op. 79, TrV 263, Act II: Der ball begehrt nach seiner Königin (Live)

Track length2:29

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$1.20

Arabella, Op. 79, TrV 263, Act II: Sie sind allein? Wo ist Arabella? (Live)

Track length4:00

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$1.20

Arabella, Op. 79, TrV 263, Act II: Und jetzt sag' ich Adieu, mein lieber Dominik (Live)

Track length8:15

$2.00

$2.40

Arabella, Op. 79, TrV 263, Act II: Ein Feigling bin ich. Fort mit mir! (Live)

Track length2:42

$1.00

$1.20

Arabella, Op. 79, TrV 263, Act II: Halt Du irgendeiner ored, wer du bist! (Live)

Track length3:38

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Arabella, Op. 79, TrV 263, Act II: Wer, Herr Gott, hat diesem Gesicht (Live)

Track length2:56

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$1.20

Arabella, Op. 79, TrV 263, Act II: Herr von Mandryka, wo ist meine Tochter? (Live)

Track length2:34

$1.00

$1.20

Arabella, Op. 79, TrV 263, Act II: Die Herren und Damen sind einstweilen meine Gäste! (Live)

Track length5:00

$1.00

$1.20

Arabella, Op. 79, TrV 263, Act III

Work length40:14

$10.00

$12.00

Recorded: 29 July 1958
Recording Venue: Live recording, Salzburger Festspiele, Austria

Arabella, Op. 79, TrV 263, Act III: Uber seine Felder wird der Wagen fahren (Live)

Track length1:51

$1.00

$1.20

Arabella, Op. 79, TrV 263, Act III: Sie hier? So muss ich fragen, Arabella (Live)

Track length4:38

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$1.20

Arabella, Op. 79, TrV 263, Act III: Welch ein erregtes Tete-a-tete im Stiegenhaus! (Live)

Track length6:02

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$1.20

Arabella, Op. 79, TrV 263, Act III: Ich gratuliere Ihnen, Herr Leutnant (Live)

Track length4:46

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Arabella, Op. 79, TrV 263, Act III: Papa, so schau mir ins Gesicht (Live)

Track length4:04

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$1.20

Arabella, Op. 79, TrV 263, Act III: Wie steh' ich vor ihnen, Arabella! (Live)

Track length3:05

$1.00

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Arabella, Op. 79, TrV 263, Act III: Brautwerbung kommt! (Live)

Track length3:52

$1.00

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Arabella, Op. 79, TrV 263, Act III: Sie gibt mir keinen Blick (Live)

Track length2:14

$1.00

$1.20

Arabella, Op. 79, TrV 263, Act III: Das war sehr gut, Mandryka (Live)

Track length9:42

$2.00

$2.40

Strauss, R: Vier letzte Lieder

Work length20:07

$5.00

$6.00

Lisa della Casa (soprano)
Wiener Philharmoniker
Karl Böhm
Recorded: 30 July 1958
Recording Venue: Live recording, Salzburger Festspiele, Austria

4 Letzte Lieder, TrV 296: No. 3, Beim Schlafengehen (Live)

Track length5:15

$1.00

$1.20

4 Letzte Lieder, TrV 296: No. 1, Frühling (Live)

Track length3:08

$1.00

$1.20

4 Letzte Lieder, TrV 296: No. 2, September (Live)

Track length4:28

$1.00

$1.20

4 Letzte Lieder, TrV 296: No. 4, Im Abendrot (Live)

Track length7:16

$2.00

$2.40

About
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Wiener Philharmoniker, Chor der Wiener Staatsoper, Joseph Keilberth, Karl Böhm

Reviews

2010

A performance recorded by DG in Munich in 1963 had the same Arabella, Mandryka and conductor.
That production originated in 1958 at the Salzburg Festival and it is a broadcast of its auspicious first night that appears here for the first time on disc. That was also the year Decca recorded the work with Della Casa under Solti, so there are interesting comparisons.
What cannot be in dispute is that the part of Arabella might have been written for Della Casa.
Excellent as some of her successors may have been, she remains supreme. In 1958 she was at her vocal and interpretative peak: everything she does ravishes the senses. To an even greater extent than in the studio, she inhabits the character from start to finish. Haughty and off-hand with previous lov ers, she aurally melts when coming across 'Der Richtige', the right man for her, in the person of Mandryka. The softness and glow of her singing at the end of Act 1 and the start of Act 2 is balm to the ear, as are her ravishing pianissimi throughout.
Then, when Mandryka unjustly accuses her of infidelity, the tremble suggests all the hurt he is causing her. That's banished when all is cleared up in the ineffably beautiful finale; a memorable climax to a great portrayal.
Fischer-Dieskau on stage was the rough-hewn, impulsive Mandryka to the life. His performance has enormous presence and vitality but he is rather inclined to go into his hectoring mode, with line-breaking over-emphases (George London on Decca may be preferred).
The Adelaide and Waldner are common to Orfeo and Decca, both admirable in depicting the Viennese bourgeoisie.
As Zdenka, Hilde Gueden (Decca) is slightly preferable to Rothenberger on Orfeo and DG because of her greater ease on high. Anton Dermota (Decca) is a more fluent Matteo than Karl Ruesche, a tenor unknown to me.
Keilberth lays a lighter, more lyrical hand on the score than Solti but unfortunately makes the common and disfiguring cuts in Act 3. The Decca set enjoys early stereo against Orfeo's mono. But Della Casa, caught on the wing and in freshest voice, is not be missed.
A clinching factor may be the inclusion of the Four Last Songs, recorded at Salzburg the night after the Arabella. Here she, Böhm and the VPO renew their famous alliance in this work from their classic 1953 recording on Decca. Unlike other interpreters they still start with 'Beim Schlafengehen'. In other respects there are improvements. Speeds overall are a little slower, allowing for subtler shades of colouring, more intensity of feeling, and the voice itself is more rounded. It seems a version that fulfils every one of the work's exigent demands, and surpasses even those by Schwarzkopf, Popp and Janowitz for sheer tonal beauty and sheen, placing it at the top of the pile as the most favoured reading, although it has to be said that the orchestral palette is restricted by modern standards.

Offer, Strauss: Arabella & Vier letzte Lieder

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