Strauss, R: Der Rosenkavalier

Brigitte Fassbaender (Octavian), Claire Watson (Marschallin), Karl Ridderbusch (Ochs), Lucia Popp (Sophie), Benno Kusche (Faninal), Annelie Waas (Marianne), David Thaw (Valzacchi), Margarethe Bence (Annina) & Gerhard Unger (Italian singer)

Bavarian State Opera, Carlos Kleiber

This performance from 1973 is notable for its extraordinary textural clarity, in this densest of scores, and its rhythmic vitality. The vocal hero of the occasion is Brigitte Fassbaender as... — BBC Music Magazine, May 2009, 4 out of 5 stars More…

Release Date: 24th Nov 2008
Catalogue No: C581083D
Label: Orfeo
Series: Orfeo d'Or, Bayerische Staatsoper live
Length: 2 hours 57 minutes

Gramophone Awards

2009

Finalist - Historic Archive
Gramophone Magazine

April 2009

Editor's Choice

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Strauss, R: Der Rosenkavalier

Work length2:57:00

$63.00

$75.60

Claire Watson (soprano), Brigitte Fassbaender (mezzo-soprano), Lorenz Fehenberger (tenor), Margarethe Bence (mezzo-soprano), Karl Ridderbusch (bass), Franz Klarwein (tenor), Albrecht Peter (baritone), Gerhard Unger (tenor), Lucia Popp (soprano), Benno Kusche (baritone), Hans Wilbrink (bass), David Thaw (tenor), Georg Paskuda (tenor), Annelie Waas (soprano)
Bayerisches Staatsorchester, Chor der Bayerischen Staatsoper
Carlos Kleiber

Introduction

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Act I: Wie du warst! Wie du bist! (Octavian, Marschallin)

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Act I: Du bist mein Bub, Du Bist mein Schatz! (Marschallin, Octavian)

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Act I: Der Feldmarschall sitzt im krowatischen Wald (Octavian, Marschallin)

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Act I: Quinquin, es ist mein Mann! (Marschallin, Octavian, Marschallin's Majordomo, Baron)

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Act I: Selbstverstandlich empfangt mich Ihro Gnaden (Baron, Footmen, Marschallin)

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Act I: Hat Sie schon einmal mit einem Kavalier (Baron, Octavian, Marschallin)

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Act I: Macht das einen lahmen Esel aus mir? (Baron, Marschallin, Octavian)

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Act I: Geben mir Euer Gnaden den Grasaff' da (Baron, Marschallin, Octavian)

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Act I: Wollen Euer Gnaden leicht den Jungen Herrn da (Marschallin, Baron, Octavian)

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Act I: I komm' glei! (Octavian, Orphans, Milliner, Animal Vendor, Marschallin, Valzacchi)

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Act I: Die swarze Seitung! (Valzacchi, Marschallin, Waisen)

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Act I: Di rigori armato il seno (Singer)

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Act I: Als Morgengabe – ganz separatim jedoch (Baron, Notary, Singer)

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Act I : Ma si caro e'l mio tormento (Singer, Notary, Baron)

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Act I: Mein lieber Hippolyte (Marschallin, Valzacchi, Baron, Annina)

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Act I: Da geht er hin (Marschallin)

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Act I: Ach, du bist wieder da! (Marschallin, Octavian)

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Act I: Die Zeit im Grunde, Quinquin (Marschallin)

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Act I: Mein schoner Schatz (Octavian, Marschallin)

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Act I: Ich werd' jetzt in die Kirchen geh'n (Marschallin)

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Act I: Wie Sie befehlt, Bichette (Octavian, Marschallin, Lakaien)

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Act I: Es ist gut, Geht nur wieder (Marschallin)

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Act II: Introduction

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Act II: Ein ernster Tag, ein grosser Tag! (Faninal, Marianne, Faninal's Majordomo)

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Act II: In dieser feierlichen Stunde der Prufung (Sophie, Marianne, Three Runners)

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Act II: Mir ist die Ehre widerfahren (Octavian, Sophie)

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Act II: Ich kenn Ihn schon recht wohl, mon Cousin! (Sophie, Octavian)

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Act II: Jetzt aber kommt mein Herr Zukunftiger (Sophie, Faninal, Baron, Octavian)

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Act II: Brav, Faninal, er weiss, was sich gehort (Baron, Octavian, Sophie, Faninal, Marianne)

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Act II: Wird kommen uber Nacht (Baron, Octavian, Marianne, Faninal)

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Act II: Hab' nichts dawider (Baron, Octavian, Sophie, Faninal's Major-domo, Marianne)

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Act II: Was Sie ist - Mit Ihren Augen voll Tranen (Marschallin, Sophie, Octavian)

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Act II: Herr Baron von Lerchenau! (Valzacchi, Annina, Baron, Sophie, Octavian)

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Act II: Eh bien, Mamsell (Ochs, Sophie, Octavian)

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Act II: Ich hoff', Er kommt vielmehr jetzt mit mir hinters Haus (Octavian, Ochs, Sophie, Chorus, Annina, Marianne, Faninal)

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Act II: Mord! Mord! Mein Blut! Zu Hilfe! (Baron, Lerchenau's Servants, Annina, Sophie, Faninal's Servants, Octavian)

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Act II: Er muss mich pardonieren (Octavian, Faninal, Sophie, Marianne, Baron)

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Act II: Sie heirat' ihn! (Faninal, Sophie, Oktavian, Marianne, Baron)

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Act II: Da lieg' ich! (Baron, Lerchenau's Servants)

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Act II: Ohne mich, ohne mich jeder Tag dir so lang (Baron, Annina)

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Act II: Herr Kavalier! (Annina, Baron)

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Act III: Inroduction

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Act III: Haben Euer Gnaden noch weitre Befehle? (Landlord, Baron, Waiters)

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Act III: Nein, nein, nein, nein! I trink' kein Wein (Octavian, Baron)

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Act III: Ach, lass Sie schon einmal das fade Wort! (Baron, Octavian)

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Act III: Die schone Musi! (Octavian, Baron)

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Act III: Es is ja eh all's eins (Octavian, Baron)

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Act III: Wie die Stund' hingeht, wie der Wind verweht (Octavian, Baron, Annina, Wirt, Kinder)

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Act III: Er ist es! Es ist mein Mann!! (Annina, Ochs, Octavian, Innkeeper, Chorus, Waiter, Valzacchi)

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Act III: Halt! Keiner ruhrt sich! (Police Commissioner, Valzacchi, Octavian, Baron, Landlord)

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Act III: Zur Stelle! Was wird von mir gewunscht? (Faninal, Baron, Police Commissioner, Landlord, Four Children, Onlookers, Sophie, Men)

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Act III: Sind desto eher im klaren (Baron, Police Commissioner, Octavian, Landlord)

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Act III: Muss jetzt partout zu ihr (Baron, Wirt, Octavian, Police Commissioner, Marschallin, Sophie)

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Act III: Bin von so viel Finesse charmiert (Baron, Marschallin, Sophie)

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Act III: Leupold, wir gehn! (Baron, Annina, Four Children, Waiters, Landlord, Valzacchi, Musicians, Coachmen, Porter)

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Act III: Mein Gott! Es war nicht mehr als eine Farce! (Sophie, Octavian, Marschallin)

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Act III: Eh bien, hat Sie kein freundlich Wort fur mich? (Oktavian, Sophie)

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Act III: Heut'oder morgen oder den ubernachsten Tag (Marschallin, Octavian, Sophie)

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Act III: Marie Theres'! … Hab' mir's gelobt (Octavian, Marschallin, Sophie, Faninal)

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Act III: Ist ein Traum - Spur' nur dich (Sophie, Octavian, Faninal, Marschallin)

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Act III: Ist ein Traum (Sophie, Octavian)

Track length3:19

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Carlos Kleiber conducted Der Rosenkavalier in the most famous opera houses all over the world, but nowhere as much as at the Bavarian State Opera in Munich. These performances justifiably remain in the audiences' memory, as proven by this recording of a 1973 festival performance. A year after the première of this Munich production, the performances had become that of a perfect ensemble: the different vocal characteristics of the various singing personalities also inspired Kleiber to bring to light other details of the score: the blackness and the seriousness of the bass Karl Ridderbusch as Baron Ochs is made all the more intense by the almost threatening quality of the orchestra, and even more refreshing by the purposefully performed comic punchlines; the wise melancholy of the Marschallin is celebrated by Claire Watson and Carlos Kleiber with equally shadowed quality and accentuation; the vocal freshness and natural impetuosity of Lucia Popp as Sophie and Brigitte Fassbaender in the title-role match Carlos Kleiber's direction in its unrestrained vigour.

Reviews

May 2009

This performance from 1973 is notable for its extraordinary textural clarity, in this densest of scores, and its rhythmic vitality. The vocal hero of the occasion is Brigitte Fassbaender as Octavian, her rich and creamy voice bringing her presence vividly before us. Lucia Popp is a classic Sophie, too, pure of voice but determined of purpose.

2010

It's taken over 35 years but at last we have a professional audio transfer of Kleiber leading the opera that probably meant more to him than all others. If you're not yet a convert, or a doubter, cut to the chase: go from track 18 of disc 3 (the great Trio) and you'll hear why the Munich Festival audience cannot wait to start clapping some of the most attentively sculpted Strauss conducting, traditional romance mixed with savouring of those still ear-bending harmonies, since, well, Clemens Krauss and a certain Erich Kleiber .
So what is especially magical? The energy, the attention to the stage drama in the music (not least its wit), the pacing – 'fast' compared with Karajan but with a wonderful rubato that allows for real pointing and emotion but owes more to Kleiber's natural instincts (and his father's) than Viennese so-called tradition – and the slim textures.
Under Kleiber the opera sounds like what its creators sought to do – follow Elektra in a different vein, not retreat from it, either musically or dramatically.
In retrospect we might call this Kleiber's first favoured Rosenkavalier cast which, like the second (Lott, van Otter, Bonney – DG), was led by its ladies. Long-term Munich resident Claire Watson has done little finer on disc and is well 'aged' in relationship to Fassbaender's tour deforce Octavian (she makes a good youth throughout and a laugh-aloud Mariandel) and Popp's sweet but never vacant Sophie. But did Kleiber ever find an Ochs to match his girls? As with Ridderbusch here, he tended to trim their traditional excesses but never quite put enough in its place. The so-called 'supporting' roles are energetically taken by an evidently fired-up house ensemble.

April 2009

So what is especially magical? The energy, the attention to the stage drama in the music (not least its wit), the pacing - "fast" compared with Karajan but with a wonderful rubato that allows for real pointing and emotion but owes more to Kleiber's natural instincts... than Viennese so-called tradition... Long-term Munich resident Claire Watson has done little finer on disc and is well "aged" in relationship to Fassbaender's tour de force Octavian (she makes a good youth throughout and a laugh-aloud Mariandel) and Popp's sweet but never vacant Sophie.

Strauss, R: Der Rosenkavalier

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