{"product_id":"schwarzkopf-strauss-der-rosenkavalier-covent-garden-1959-paco142","title":"SCHWARZKOPF Strauss - Der Rosenkavalier (Covent Garden, 1959) - PACO142","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Der Rosenkavalier\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast performance, 1959\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  3hr 16:56\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003eFeldmarschallin Fürstin Werdenberg - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eElisabeth Schwarzkopf\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBaron Ochs auf Lerchenau - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eKurt Böhme\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eOctavian - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSena Jurinac\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eHerr von Faninal - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRonald Lewis\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSophie, his daughter - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHanny Steffek\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCovent Garden Opera Orchestra \u0026amp; Chorus    \u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGeorg Solti\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAs superb as the EMI interpretation is, my preference is for the Covent Garden performance578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv id=\"BodyDiv\"\u003e\n\u003cspan class=\"TIMES\"\u003eThere are many reasons to purchase in-performance\nrecordings, even when there already exist superb and immaculately\nexecuted studio versions of the same repertoire. A new release by\nPristine Audio, of a December 7, 1959 Covent Garden performance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Rosenkavalier\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nis a strong case in point. The conductor (Solti-London\/Decca) and three\nof the principals (Schwarzkopf-EMI, Jurinac-London\/Decca, and\nBöhme-Urania and DGG) all participated in important studio recordings of\nthe Strauss-Hofmannsthal comic masterpiece. But whereas contractual\nrestrictions prevented many of these artists from recording together, we\nare able to enjoy them on the same stage in live performance. And as is\noften the case, the opportunity to hear these artists before an\naudience can provide a different perspective on their craft. Elisabeth\nSchwarzkopf was returning to Covent Garden for the first time in six\nyears, in one of her signature roles, the Marschallin. Schwarzkopf’s EMI\nrecording, conducted by Herbert von Karajan, is one of the iconic\nversions of this work. It is an impressive achievement overall, as is\nmost certainly Schwarzkopf’s interpretation. But I have long felt that\nSchwarzkopf was a more spontaneous artist in live performance (or at\nleast she gave that impression), far less inclined toward the kind of\nmicromanagement, both of articulation and vocal color, that could appear\nin her studio recordings. Schwarzkopf is in marvelous voice for the\n1959 Covent Garden \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRosenkavalier\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nand, as in the EMI recording, is brilliant in portraying the\nMarschallin’s complex and sympathetic character (and of course,\nrecordings don’t take into account her extraordinary stage presence and\nphysical beauty). But in this live performance Schwarzkopf strikes me as\nless calculated and more sympathetic. As superb as the EMI\ninterpretation is, my preference is for the Covent Garden performance. \u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv id=\"BodyDiv\"\u003e\n\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\n\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003ePerhaps on this occasion Schwarzkopf was spurred\non by her wonderful colleague Sena Jurinac as the Marschallin’s young\nlover. Jurinac’s Octavian in the 1954 Decca \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRosenkavalier\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nconducted by Erich Kleiber, remains my favorite studio interpretation\nof the role. Jurinac possessed the ideal combination of vocal beauty,\nyouthful exuberance, and superb balance of noble and comic elements.\nJurinac is an Octavian that lights up the stage every time she is\npresent. She is equally fine in the Covent Garden \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRosenkavalier\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nbut with the added frisson inspired by a live performance. I find Hanny\nSteffek’s Sophie less satisfying, particularly in comparison to the\nperformances of Schwarzkopf and Jurinac. Steffek certainly sounds\nappropriately youthful, but I don’t discern much of a sense of\nindividual characterization (granted, Sophie is sketched with far less\ndetail, both by Hofmannsthal and Strauss, than the other two female\nleads). And in the great moments of the Presentation of the Rose and the\nFinal Trio, Steffek’s floated high notes don’t have quite the magic and\nbeauty of the greatest Sophies. The veteran Kurt Böhme turns in a\nmarvelous performance as Baron Ochs. Böhme’s large, rich bass voice and\ncrystal-clear diction are decided assets. But the bass’s assumption of\nthe role extends far beyond those welcome attributes. He is ever\nattentive to the text, constantly funny without lapsing into slapstick,\nand turns the conclusion of act II into a virtuoso turn, where it is\nclear that Böhme and the Covent Garden audience are having a marvelous\ntime. \u003c\/span\u003e\n\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThis performance marked Georg Solti’s Covent\nGarden debut. Two years later, he would become the company’s music\ndirector. The liner notes for the Pristine Audio release mention that\nSolti’s career had received a huge boost in 1958 with the release of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDas Rheingold\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, the first installment in Decca’s historic Wagner \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRing \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ecycle.\nOn that recording, and other studio efforts, Solti demonstrated an\nability to generate tremendous excitement and momentum, but in a manner\nthat could be hard-driven. In this \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRosenkavalier\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nthere is excitement to be sure, but also a captivating sense charm, and\nof ebb and flow. The great moments hit their marks, but it is perhaps\nin the more problematic stretches that Solti shines brightest. I have a\ndear friend who is an avid operagoer. He insists that when he goes to a\nperformance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Rosenkavalier\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nhe stays from the opera’s beginning through the act II Presentation of\nthe Rose. At that point, he’s off to dinner, returning just in time for\nthe Final Trio in act III! Whether my friend is pulling my leg (I don’t\nthink he is), the point is made. The music my friend purports to miss\nwhile having his meal can seem endless if not directed with care,\npurpose, and a sense of balance. Solti’s direction in these episodes may\nbe the best I’ve heard. He and the Covent Garden cast certainly\ncommanded my attention, making the final scene a grand culmination,\nrather than a source of relief. But I want to emphasize that throughout,\nSolti and the Covent Garden Orchestra acquit themselves in marvelous\nfashion. The subsidiary roles are well performed, a necessity if the\naforementioned act II and III stretches are to succeed. Special kudos to\nthe Scottish tenor Kenneth MacDonald, who strikes just the right\nbalance between vocal opulence, temperament, and parody as the Italian\nSinger. \u003c\/span\u003e\n\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eProducer Andrew Rose notes that the original\nsource material for this broadcast is quite fine. His restoration,\nemploying “XR remastering and Ambient Stereo processing” sounds\nexcellent, and without any sense of artificial enhancement. While the\nsound may not be quite the equal of studio recordings of the time\n(stereo or mono), it has a full dynamic range, admirable color and\ndetail, and will pose no hurdles to anyone curious to hear this\nperformance. The CD packaging includes an essay on the performance and\nsingers, and some contemporary performance reviews. No texts or\ntranslations. This Covent Garden performance probably won’t serve as the\nfirst choice for a recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Rosenkavalier\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nparticularly with several wonderful studio recordings available. But if\nyou are a fan of Solti, Schwarzkopf, Jurinac, or Böhme, or if you are\nsimply looking for an excellent performance of this magical work, in\nvery good sound, this Pristine Audio release will provide much pleasure.\n\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eKen Meltzer \u003c\/span\u003e\n\u003c\/p\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv id=\"dateBlockDiv\"\u003e\n\u003ch4\u003eThis article originally appeared in Issue 41:4 (Mar\/Apr 2018) of \u003ci\u003eFanfare\u003c\/i\u003e Magazine.\u003c\/h4\u003e\n\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO142.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis broadcast of \u003ci\u003eDer Rosenkavalier \u003c\/i\u003emarked both a new arrival and a return that would prove to be a farewell. Georg Solti had burst onto the international musical scene the year before with his recording of Wagner’s\u003ci\u003e Das Rheingold\u003c\/i\u003e for Decca. Although Solti’s career had started in the 1930s, and continued after the war with posts at the Bavarian State Opera and in Frankfurt, it was the recording of\u003ci\u003e Das Rheingold\u003c\/i\u003e that made him globally known. \u003ci\u003eDer Rosenkavalier \u003c\/i\u003ewas an auspicious choice for his Covent Garden opera debut since he had worked with Richard Strauss while in Munich after the war. Critics were impressed, praising ‘a rich orchestral performance that was full of dramatic élan’ as well as his ‘fluent, transparent, refined and rhythmically strong’ conducting.  The Covent Garden management also liked what they saw (and heard) persuading him to become music director of the company in 1961, a post he held for 10 years. Solti is widely credited with turning Covent Garden from a middle ranking to a top tier opera house where all the international stars wanted to perform. \u003cbr\u003e\u003cbr\u003eElisabeth Schwarzkopf, singing the Marschallin, was returning to Covent Garden after an absence of six years. Schwarzkopf had sung a wide variety of roles at Covent Garden while a member of the company between 1947 and 1953, including Sophie in \u003ci\u003eDer Rosenkavalier\u003c\/i\u003e. Schwarzkopf became an international superstar based in Vienna during the 1950s and appeared in numerous recordings for EMI, including a well-received \u003ci\u003eDer Rosenkavalier\u003c\/i\u003e under Herbert von Karajan. Schwarzkopf became the greatest Marschallin of her day, combining a truly beautiful voice with the required pathos and attention to detail. This live broadcast finds her with several years of experience already in the role, and preserves her wonderful ability to shape her voice to give added meaning to the text. Peter Heyworth, writing in The Observer, believed this ‘prodigiously accomplished’ singer to be the only one fit ‘to don the illustrious mantle of Lotte Lehmann.’ Although she would return to London many times in the concert hall, and the recording studio, she never again sang at Covent Garden after these performances of \u003ci\u003eDer Rosenkavalier\u003c\/i\u003e.\u003cbr\u003e\u003cbr\u003eYugoslavian soprano Sena Jurinac sings Octavian. She made her debut at Covent Garden the previous season, singing Madama Butterfly, but had appeared regularly at Glyndebourne since 1951. She was a notable interpreter of Richard Strauss, making the first commercial recording of the \u003ci\u003eFour Last Songs \u003c\/i\u003efor EMI in 1951, and later becoming a famed Ariadne and Marschallin. Heyworth thought Jurinac gave ‘the performance of the evening’ offering the audience ‘a glorious voice, gloriously used, musical style and sensibility to psychological detail.’ It was a performance, he thought, ‘whose fame will surely live for years to come.’\u003cbr\u003e\u003cbr\u003eHanny Steffek, who sings Sophie, was born in Poland but spent the vast majority of her career at the Vienna Staatsoper specialising in the operas of Mozart and Strauss. She can be heard as Despina in the EMI recording of\u003ci\u003e Cosi fan tutte\u003c\/i\u003e under Karl Böhm. This run of \u003ci\u003eDer Rosenkavalier\u003c\/i\u003e was her only appearance at Covent Garden, though she returned to the UK in 1965 when the Bavarian State Opera brought another of her signature roles, Christine in Strauss’s \u003ci\u003eIntermezzo\u003c\/i\u003e, to the Edinburgh Festival.\u003cbr\u003e\u003cbr\u003eGerman bass Kurt Böhme is Baron Ochs. Böhme was better known in Britain for his Wagnerian bass roles (Hagen and Hunding), but during his more than fifty-year career he actually sang quite a wide variety of roles.  Mozart and Strauss may have formed the heart of his repertoire, but his versatile voice graced operas by Auber, Orff, Lortzing, Egk, and many others. He would return frequently to Covent Garden until 1967.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eTechnical Note\u003c\/b\u003e\u003cbr\u003eThe source recording used for this release was a very well preserved taped copy of the BBC FM broadcast. Despite its age, dropouts were very infrequent throughout most of the recording and sound quality was excellent. I was able to further improve on this with XR remastering and Ambient Stereo processing. I chose to retain the BBC announcement at the end of the opera, which was all that survives. \u003c\/p\u003e\u003cp\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e  Der Rosenkavalier\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCD 1 - ACT ONE\u003cbr\u003e\u003c\/b\u003e1 Einleitung  (3:42)\u003cbr\u003e2 Wie du warst! Wie du bist!  (3:11)\u003cbr\u003e3 Du bist mein Bub'  (4:28)\u003cbr\u003e4 Marie Theres'! ... Octavian!  (7:31)\u003cbr\u003e5 Selbstverständlich empfängt mich  (8:11)\u003cbr\u003e6 Hat sie schon einmal mit einem Kavalier  (8:43)\u003cbr\u003e7 Drei arme adelige Waisen  (2:57)\u003cbr\u003e8 Di rigori armato  (2:18)\u003cbr\u003e9 Als Morgengabe  (3:13)\u003cbr\u003e10 Mein lieber Hippolyte  (3:39)\u003cbr\u003e11 Da geht er hin, der aufgeblasene  (5:14)\u003cbr\u003e12 Ach, du bist wieder da!  (6:06)\u003cbr\u003e13 Die Zeit, die ist ein sonderbar Ding  (6:52)\u003cbr\u003e14 Quinquin, Er soll jetzt gehn  (4:12)\u003cbr\u003e15 Ich hab' Ihn nicht einmal geküsst  (4:10)\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCD 2 - ACT TWO\u003c\/b\u003e\u003cbr\u003e1 Ein ernster Tag, ein großer Tag!  (5:22)\u003cbr\u003e2 Mir ist die Ehre widerfahren  (7:54)\u003cbr\u003e3 Ich kenn' Ihn schon recht wohl  (4:17)\u003cbr\u003e4 Ich präsentiere Euer Gnaden  (5:21)\u003cbr\u003e5 Ganz meine Maßen!  (4:37)\u003cbr\u003e6 Wird Sie das Mannsbild da heiraten  (3:26)\u003cbr\u003e7 Mit Ihren Augen voller Tränen  (3:57)\u003cbr\u003e8 Eh bien, Mamsell  (4:06)\u003cbr\u003e9 Mord! Mord! Mein Blut!  (4:08)\u003cbr\u003e10 Sieht ihn nicht an  (5:15)\u003cbr\u003e11 Da lieg' ich!  (6:15)\u003cbr\u003e12 Luft da!  (5:08)\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCD 3 - ACT THREE\u003c\/b\u003e\u003cbr\u003e1 Einleitung  (5:20)\u003cbr\u003e2 Haben Euer Gnaden noch  (3:47)\u003cbr\u003e3 Nein, nein! I trink' kein Wein  (4:51)\u003cbr\u003e4 Die schöne Musik!  (4:17)\u003cbr\u003e5 Da und da und da und da!  (9:15)\u003cbr\u003e6 Bin glücklich über Maßen  (10:44)\u003cbr\u003e7 Leupold, wir gehn!  (1:52)\u003cbr\u003e8 Mein Gott, es war nicht mehr als  (7:22)\u003cbr\u003e9 Marie Theres'! ... Hab' mir's gelobt  (6:55)\u003cbr\u003e10 Spür' nur dich  (8:23)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eFeldmarschallin Fürstin Werdenberg - \u003cb\u003eElisabeth Schwarzkopf\u003c\/b\u003e\u003cbr\u003eBaron Ochs auf Lerchenau - \u003cb\u003eKurt Böhme\u003c\/b\u003e\u003cbr\u003eOctavian, a young nobleman - \u003cb\u003eSena Jurinac\u003c\/b\u003e\u003cbr\u003eHerr von Faninal, a merchant, newly ennobled - \u003cb\u003eRonald Lewis\u003c\/b\u003e\u003cbr\u003eSophie, his daughter - \u003cb\u003eHanny Steffek\u003c\/b\u003e\u003cbr\u003eMistress Marianne Leitmetzerin, her duenna - \u003cb\u003eJudith Pierce\u003c\/b\u003e\u003cbr\u003eValzacchi, an intriguer - \u003cb\u003eRaymond Nilsson\u003c\/b\u003e\u003cbr\u003eAnnina, his partner - \u003cb\u003eMonica Sinclair\u003c\/b\u003e\u003cbr\u003eAn Italian Singer - \u003cb\u003eKenneth MacDonald\u003c\/b\u003e\u003cbr\u003eA Police Inspector -\u003cb\u003e Rhydderch Davies\u003c\/b\u003e\u003cbr\u003eMajordomo to the Princess -\u003cb\u003e David Tree\u003c\/b\u003e\u003cbr\u003eMajordomo to Faninal - \u003cb\u003eJohn Dobson\u003c\/b\u003e\u003cbr\u003eA Landlord - \u003cb\u003eDavid Tree\u003c\/b\u003e\u003cbr\u003eAn Attorney - \u003cb\u003eRhydderch Davies\u003c\/b\u003e\u003cbr\u003eLeopold, Baron Ochs’s bodyservant - \u003cb\u003eLeonard Law\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eCovent Garden Opera Orchestra \u0026amp; Chorus    \u003cbr\u003econducted by\u003cb\u003e Georg Solti\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eElisabeth Schwarzkopf\u003c\/b\u003e and \u003cb\u003eSena Jurinac \u003c\/b\u003ein Der Rosenkavalier\u003cbr\u003e\u003cbr\u003eBBC Broadcast recording\u003cbr\u003eCovent Garden Opera, London\u003cbr\u003e7 December 1959\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  \u003cb\u003e3hr 16:56  \u003c\/b\u003e  \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO142.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO142.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fContemporary Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eCOVENT GARDEN'S \"Der Rosenkavalier,” which has begun to look dowdy and has been known to be dull, had a new infusion of life last night when it was sung in German, for the first time since the war, and cast with three stars of international status (with stalls at two and a half guineas) in a sold-out house.\u003cbr\u003e\u003cbr\u003eThere is a new and even fussier production by Hans Busch in which every waiter is also a waltzer. But the sets are mostly the same, Georg Solti conducted, getting stirring playing from the orchestra, but little of the right silky sheen. The success of the evening was Kurt Boehme as Baron Ochs, portly and gleeful, with a touch of Margaret Rutherford here and there.\u003cbr\u003e\u003cbr\u003eSena Jurinac is a beautifully studied Octavia, wonderfully true in feeling and poise. Elisabeth Schwarzkopf, singing if not quite at her best, at least often with meltingly beautiful inflections, looked young and pretty— beyond what is perhaps wanted. Some of her phrasing was angelic, but this is much more the Dresden figurine, the superb soubrette than the conception of the Marschallin. which lingers from the days of Lotte Lehmann... \u003cbr\u003e\u003cbr\u003e\u003cb\u003ePhilip Hope-Wallace, \u003c\/b\u003eThe Guardian, 5 December 1959, excerpt\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eA LITTLE vulgar, not a little gross, too clever by half, quite decidedly “unprogressive,\" and, worst of al, preposterously successful, “Rosenkavalier” is to some people unendurable and unforgivable. Yet how right the broad operatic public is to have taken it, warts and all, to its heart. It may not be a great score, yet for all that it contrives by the skin of its teeth to be a great opera, and two things make it so. It has in the first place a unique and unmistakable atmosphere. Open the score at any page and the haunting aura of that Viennese never-never land, at once sensuous and nostalgic, lightheaded and melancholy, and shot through with ironic awareness of its own ambivalence, assails the nostrils, as distinctively as the air of “Tristan” or “Falstaff.” That in itself is a mark of genius, for it is the rarest of achievements. \u003cbr\u003e\u003cbr\u003eAnd then thanks in part to the inspiration of Hofmannsthal’s wonderfully sensitive libretto, Strauss gave the world no fewer than three of the richest characters of the operatic stage. It is just this richness of character, set against so distinctive a backcloth of place and mood, that makes an all-star performance, such as Covent Garden assembled for the opera’s revival on Friday, so beguiling a prospect,\u003cbr\u003e\u003cbr\u003eOf all present-day singers Elisabeth Schwarzkopf would seem by far the best equipped to don the illustrious mantle of Lotte Lehmann in the role of the Marschallin, for she is a prodigiously accomplished singer with ability to draw a remarkable variety of colour and expression from her voice. Here for once is “the young and beautiful woman of thirty-two” that Strauss called for; and then Mme Schwarzkopf does not make the mistake of asking us to take her little adventure with Oktavian too seriously.\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePeter Heyworth, \u003c\/b\u003eThe Observer, 6 December 1959, excerpt\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":54932318486867,"sku":"uez1789302131802","price":33.97,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":54932318519635,"sku":"pci1789302131803","price":24.51,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":54932318552403,"sku":"szb1789302131804","price":19.11,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/1833\/9155\/files\/schwarzkopf-strauss---der-rosenkavalier-covent-garden-1959---paco142_1.jpg?v=1789302139","url":"https:\/\/vendnora.com\/products\/schwarzkopf-strauss-der-rosenkavalier-covent-garden-1959-paco142","provider":"My Store","version":"1.0","type":"link"}