Warner's big box of Strauss operas isn't complete, so it's advertised as containing only the "great" ones. It should come as no surprise that some are, and some aren't.
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The best part of Die schweigsame Frau is also the ending, when Sir Morosus monologues while falling asleep.
@petterw5318Ай бұрын
Great music superbly played and sung. A fabulous legacy from a golden age of recording. You won't get those casts these days.
@jdeesideАй бұрын
Yes, a very good average. Thanks Dave!
@TheTmackeyАй бұрын
Already have all of them. Yes, I am one of those people.
@jgesselbertyАй бұрын
Surprisingly, they didn't include Arabella, which is more popular than Friedenstag, Intermezzo or Die schweigsame Frau. Apropos cuts... Strauss once said: "I already composed the opera, now I am going to compose the cuts" :)) Maybe Doktor Hurwitz will remember more precisely the anecdote. Thank you for your review, interesting as usual.
@holgadoencinasraul2820Ай бұрын
Strauss himself recommended and specified the cuts for Rosenkavalier. Most follow his lead. Some aren't for time or pacing but things like passages of hubbub in Acts 2 and 3 that require a lot of rehearsal and are frankly not worth the effort.
@bbailey7818Ай бұрын
Years ago I compared several recordings and videos of Der Rosenkavalier, specifically the third act, and was surprised to discover these tiny cuts. I knew cuts were often made in Italian operas (Don Giovanni, Così, Il trovatore...) but never thought they were also made in German-infinite-melody-Operas. Thanks for your comment!
@holgadoencinasraul2820Ай бұрын
Not surprising, they don't have an Arabella in their catalogue.
@UlfilasNZАй бұрын
It's not that simple. Yes, Strauss suggested and was pressured to make cuts to Rosenkavalier, but for specific performances, not to be taken as gospel forever. As late as 1942 (in his Reminiscences), Strauss had this to say about Ernst von Schuch, the conductor of the Rosenkavalier premiere: “Immediately after my departure he proceeded to make the most dreadful cuts in Rosenkavalier, which were immediately copied by the thoughtless directors of other theaters; I had to fight for years against this stupidity. It is not true that a well-composed and dramatically carefully arranged opera is made shorter by cuts.” Since there are virtually no complete staged performances of Rosenkavalier, how does one know how well the cut sections work or don't work? Everyone does the cuts because that's what everyone else does, as Strauss himself lamented. Musically the score is stronger and more cohesive when it is complete, and Hofmannsthal's libretto makes more sense. Solti and Erich Kleiber's recordings have proved this, at least to my ears.
@scotttisdel138Ай бұрын
"Musically the score is stronger and more cohesive when it is complete." Amen.
@holgadoencinasraul2820Ай бұрын
This is the only uncut Schweigsame Frau I believe.
@UlfilasNZАй бұрын
The only valid reason for an opera recording not having a libretto is inability, after diligent effort, to secure rights. And the notes that come with it should expressly say so.
@jimslancioАй бұрын
I remember Erato issued a recording, the first, of Rameau's Les Boreades. The booklet stated that they could not print a text and translation because somehow, some way, a person had copyrighted the 200 plus year old text! Go figure.
@bbailey7818Ай бұрын
For me, the output of Strauss after Die Frau ohne Schatten is strangely irregular, considering he had composed such masterpieces as Elektra or Ariadne. My ideal Strauss opera box would be: Salome: Sinopoli - Studer (or Malfitano in video) Elektra: Böhm - Inge Borkh Rosenkavalier - Karajan Schwarzkopf (or Carlos Kleiber in video, with Dame G. Jones and B. Fassbaender) Ariadne - Karajan Schwarzkopf Die Frau ohne Schatten - Solti Capriccio - Böhm Janowitz
@holgadoencinasraul2820Ай бұрын
What are you doing to me Dave!? Now I have to go to spend some extra money for multiplying many Strauss operas that already exist in my quite sizable collection. Anyway, I forgive you for that sin. But I'm not sure if may wife will forgive me!? Thank you very much for motivating aspect of your show!!! 👍🎉👏
@bozidarsicel3884Ай бұрын
This is really a strong selection of Strauss opera performances, a great place to start for newbies who don't own them individually already. FYI, the performances are also, for the most part, uncut, including Elektra and Die Frau Ohne Schatten, even though you almost never hear them that way live. Karajan's Rosenkavalier unfortunately is cut, in every other way it is perfect. Janowski's Schweigsame Frau, however, is UNcut, I believe the only uncut recording out there. That's because it is the only studio version, all the rest come from live performances and are HEAVILY cut, (including the best one, Hotter/Böhm). Usually I hate cuts, especially in Strauss, but I have to admit that Janowski's recording is a long slog to get through - Too much of a good thing.
@scotttisdel138Ай бұрын
I believe both the Solti and Sawallisch recordings are uncut.
@clementewernerАй бұрын
Hi Dave, slightly off topic query here if I may...I was watching your video from 3 years ago with regard to recommended Beethoven complete piano sonata cycles. One of your recommendations was for Claudio Arrau, but now that is unfortunately unavailable. I am hoping (with it being ex Phillips) that Decca Eloquence may re issue the box at some point but when I pull up their website there is no option to contact them. Can you please advise what you think of what I should do if anything? Kind regards from the UK
@davidl8298Ай бұрын
I'm sorry, I have no idea what you can do. I assume they will be reissued in due course, but there are so many fine cycles out there: Goode, Gulda, Levit, etc...just try someone else instead.
@DavesClassicalGuideАй бұрын
"Humor in music never goes over very well." That's gonna come as a surprise to Haydn. And Rossini.
@bbailey7818Ай бұрын
I can live without the booklets and all in a budget box, but these days they could at least include a QR code.
The best part of Die schweigsame Frau is also the ending, when Sir Morosus monologues while falling asleep.
Great music superbly played and sung. A fabulous legacy from a golden age of recording. You won't get those casts these days.
Yes, a very good average. Thanks Dave!
Already have all of them. Yes, I am one of those people.
Surprisingly, they didn't include Arabella, which is more popular than Friedenstag, Intermezzo or Die schweigsame Frau. Apropos cuts... Strauss once said: "I already composed the opera, now I am going to compose the cuts" :)) Maybe Doktor Hurwitz will remember more precisely the anecdote. Thank you for your review, interesting as usual.
Strauss himself recommended and specified the cuts for Rosenkavalier. Most follow his lead. Some aren't for time or pacing but things like passages of hubbub in Acts 2 and 3 that require a lot of rehearsal and are frankly not worth the effort.
Years ago I compared several recordings and videos of Der Rosenkavalier, specifically the third act, and was surprised to discover these tiny cuts. I knew cuts were often made in Italian operas (Don Giovanni, Così, Il trovatore...) but never thought they were also made in German-infinite-melody-Operas. Thanks for your comment!
Not surprising, they don't have an Arabella in their catalogue.
It's not that simple. Yes, Strauss suggested and was pressured to make cuts to Rosenkavalier, but for specific performances, not to be taken as gospel forever. As late as 1942 (in his Reminiscences), Strauss had this to say about Ernst von Schuch, the conductor of the Rosenkavalier premiere: “Immediately after my departure he proceeded to make the most dreadful cuts in Rosenkavalier, which were immediately copied by the thoughtless directors of other theaters; I had to fight for years against this stupidity. It is not true that a well-composed and dramatically carefully arranged opera is made shorter by cuts.” Since there are virtually no complete staged performances of Rosenkavalier, how does one know how well the cut sections work or don't work? Everyone does the cuts because that's what everyone else does, as Strauss himself lamented. Musically the score is stronger and more cohesive when it is complete, and Hofmannsthal's libretto makes more sense. Solti and Erich Kleiber's recordings have proved this, at least to my ears.
"Musically the score is stronger and more cohesive when it is complete." Amen.
This is the only uncut Schweigsame Frau I believe.
The only valid reason for an opera recording not having a libretto is inability, after diligent effort, to secure rights. And the notes that come with it should expressly say so.
I remember Erato issued a recording, the first, of Rameau's Les Boreades. The booklet stated that they could not print a text and translation because somehow, some way, a person had copyrighted the 200 plus year old text! Go figure.
For me, the output of Strauss after Die Frau ohne Schatten is strangely irregular, considering he had composed such masterpieces as Elektra or Ariadne. My ideal Strauss opera box would be: Salome: Sinopoli - Studer (or Malfitano in video) Elektra: Böhm - Inge Borkh Rosenkavalier - Karajan Schwarzkopf (or Carlos Kleiber in video, with Dame G. Jones and B. Fassbaender) Ariadne - Karajan Schwarzkopf Die Frau ohne Schatten - Solti Capriccio - Böhm Janowitz
What are you doing to me Dave!? Now I have to go to spend some extra money for multiplying many Strauss operas that already exist in my quite sizable collection. Anyway, I forgive you for that sin. But I'm not sure if may wife will forgive me!? Thank you very much for motivating aspect of your show!!! 👍🎉👏
This is really a strong selection of Strauss opera performances, a great place to start for newbies who don't own them individually already. FYI, the performances are also, for the most part, uncut, including Elektra and Die Frau Ohne Schatten, even though you almost never hear them that way live. Karajan's Rosenkavalier unfortunately is cut, in every other way it is perfect. Janowski's Schweigsame Frau, however, is UNcut, I believe the only uncut recording out there. That's because it is the only studio version, all the rest come from live performances and are HEAVILY cut, (including the best one, Hotter/Böhm). Usually I hate cuts, especially in Strauss, but I have to admit that Janowski's recording is a long slog to get through - Too much of a good thing.
I believe both the Solti and Sawallisch recordings are uncut.
Hi Dave, slightly off topic query here if I may...I was watching your video from 3 years ago with regard to recommended Beethoven complete piano sonata cycles. One of your recommendations was for Claudio Arrau, but now that is unfortunately unavailable. I am hoping (with it being ex Phillips) that Decca Eloquence may re issue the box at some point but when I pull up their website there is no option to contact them. Can you please advise what you think of what I should do if anything? Kind regards from the UK
I'm sorry, I have no idea what you can do. I assume they will be reissued in due course, but there are so many fine cycles out there: Goode, Gulda, Levit, etc...just try someone else instead.
"Humor in music never goes over very well." That's gonna come as a surprise to Haydn. And Rossini.
I can live without the booklets and all in a budget box, but these days they could at least include a QR code.
But no ARABELLA1