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Richard Strauss Collection

Release Date: 04/29/2014 
Label:  Arthaus Musik   Catalog #: 107539  
Composer:  Richard Strauss
Performer:  Matthias KlinkFalk StruckmannPeter BronderNadja Michael,   ... 
Conductor:  Daniel HardingClaudio AbbadoKarl BöhmWolfgang Sawallisch,   ... 
Orchestra/Ensemble:  Milan Teatro alla Scala OrchestraVienna State Opera ChorusVienna State Opera Orchestra,   ... 
Number of Discs: 11 
Recorded in: Mixed 
In Stock: Usually ships in 24 hours.  
DVD:  $148.99
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Notes and Editorial Reviews

(11-DVD Box Set)

Authorised and Selected by the Richard Strauss Family

* Limited DVD Box Set with the 7 greatest operas by Richard Strauss
* Legendary recordings conducted by Karl Böhm, Carlos Kleiber, Claudio Abbado, Wolfgang Sawallisch and others
* Book including texts by the Strauss Family and Brigitte Fassbaender
* Rare photo materials from the family archive
* Serialised Facsimile reproduction

Salome, Op. 54, TrV 215 (La Scala, 2007)
Elektra, Op. 58, TrV 223 (Vienna State Opera, 1989)
Der Rosenkavalier, Op. 59, TrV 227 (Bavarian State Opera, 1979)
Ariadne auf Naxos, Op. 60, TrV 228a (Salzburg
Read more Festival, 1965)
Die Frau ohne Schatten, Op. 65, TrV 234 (Bavarian State Opera, 1992)
Die Liebe der Danae, Op. 83, TrV 278 (Deutsche Oper, Berlin, 2011)
Capriccio, Op. 85, TrV 279 (Paris National Opera, 2004)

Picture format: NTSC 4:3 (Elektra, der Rosenkavalier, Ariadne auf Naxos, Die Frau ohne Schatten) / 16:9

Sound format: PCM Mono (Ariadne auf Naxos) / PCM Stereo (Elektra), + Dolby Digital 5.0 (Salome, Die Liebe der Danae, Capriccio) / + DTS 5.0 (Capriccio) / + Dolby Digital 5.1 (Die Frau ohne Schatten) / + DTS 5.1 (Der Rosenkavalier, Die Frau ohne Schatten)

Region code: 0 (worldwide)
Subtitles: German, English, French, Spanish (Der Rosenkavalier) / + Italian (Salome, Elektra, Die Frau ohne Schatten, Die Liebe der Danae, Capriccio) / + Korean (Salome, Die Liebe der Danae) / + Chinese (Der Rosenkavalier)
Running time: 16 hours 59 mins
No. of DVDs: 11 (9x DVD 9 + 2x DVD 5)



The triumph is Eva Marton's Elektra. I have never much warmed to Marton as a singer, but here she is staggering. Her first monologue, Allein? Weh, ganz allein, has all the power one could ask for - and her cries of Agamemnon! Agamemnon! are deeply moving. The depth of tone is resplendent. In fact, nothing about her assumption of this role is ordinary - the Recognition Scene with Orestes is profound when most are perfunctory, and her systematic torment of her mother, Klytaemnestra, is as unsettling as it should be. That she has the vocal resources left for her final monologue, and her totentanz, is a tribute to her stamina. The conclusion is just thrilling.

-- Marc Bridle, MusicWeb International

Die Frau ohne Schatten

The singing here is mighty impressive... Despite the huge orchestral forces and ferocious effects, the story is a gentle, intimate one, and when called for, Sawallisch's cast sings accordingly. Luana De Vol's powerful soprano has somewhat of a pronounced beat (less prominent than in more recent performances, but still apparent), but she is an alert, intelligent singer who finds all the nuances in the Empress' character and has no trouble with the viciously high tessitura. Janis Martin's darker tone is right for the Dyer's wife, and her humanity shines through. Alan Titus sings Barak with a smooth baritone, never resorting to shouting, stressing the man's sensitivity. Peter Seiffert sings the ungrateful role of the Emperor with ease and golden tone--the finest in my memory. Marjana Lipovsek's Nurse also is the best I've heard; she "sings" every note of the angular vocal line and is truly terrifying.

-- Robert Levine, ClassicsToday.com

Der Liebe der Danae

Manuela Uhl’s soprano is dramatic and slightly brittle, missing some of the voluptuous nature of Danae’s music, but she holds nothing back and her identification with the role is very convincing. Even more so is the heroic tenor of Matthias Klink whose Midas achieves the feat of seeming vulnerable while remaining heroic. Mark Delavan is an outstanding Jupiter, rich and commanding yet with an air of faded glory and managing successfully to suggest that this god’s best days are behind him. Thomas Blondelle as Mercury and Burkhard Ulrich as Pollux both make the most of their smallish tenor roles and the quartet of mistresses sounds ravishing. The playing of the large orchestra is sensational from start to finish. I can’t imagine this score being given a better treatment, and it helps immeasurably that they are captured in surround sound so that the glories of Strauss’s orchestration come at you from all angles. Andrew Litton directs this score with the assurance of someone who has taken the time to get to know it well. Orchestra and singers respond to him with confidence and the result is outstanding.

-- Simon Thompson, MusicWeb International Read less

Works on This Recording

Salome, Op. 54 by Richard Strauss
Performer:  Matthias Klink (Tenor), Falk Struckmann (Baritone), Peter Bronder (Tenor),
Nadja Michael (Mezzo Soprano), Iris Vermillion (Mezzo Soprano), Natela Nicoli (Mezzo Soprano)
Conductor:  Daniel Harding
Orchestra/Ensemble:  Milan Teatro alla Scala Orchestra
Period: Romantic 
Written: 1903-1905; Germany 
Elektra, Op. 58 by Richard Strauss
Performer:  Cheryl Studer (Soprano), Eva Martón (Soprano), James King (Tenor),
Brigitte Fassbaender (Mezzo Soprano), Franz Grundheber (Baritone)
Conductor:  Claudio Abbado
Orchestra/Ensemble:  Vienna State Opera Chorus,  Vienna State Opera Orchestra
Period: 20th Century 
Written: 1906-1908; Germany 
Date of Recording: 1989 
Venue:  Vienna State Opera 
Ariadne auf Naxos, Op. 60 by Richard Strauss
Performer:  Reri Grist (Soprano), Sena Jurinac (Soprano), Hildegard Hillebrecht (Soprano),
Jess Thomas (Tenor)
Conductor:  Karl Böhm
Orchestra/Ensemble:  Vienna Philharmonic Orchestra
Period: Romantic 
Written: 1911/1916; Germany 
Date of Recording: 8/21/1965 
Die Frau ohne Schatten, Op. 65 by Richard Strauss
Performer:  Luana DeVol (Soprano), Peter Seiffert (Tenor), Marjana Lipovsek (Mezzo Soprano),
Alan Titus (Baritone), Janis Martin (Soprano)
Conductor:  Wolfgang Sawallisch
Orchestra/Ensemble:  Bavarian State Opera Orchestra,  Bavarian State Opera Chorus
Period: Romantic 
Written: 1914-1918; Germany 
Date of Recording: 11/1992 
Venue:  Nagoya, Japan 
Die Liebe der Danae, Op. 83 by Richard Strauss
Performer:  Thomas Blondelle (Tenor), Manuela Uhl (Soprano), Matthias Klink (Tenor),
Mark Delavan (Baritone), Burkhard Ulrich (Tenor)
Conductor:  Andrew Litton
Orchestra/Ensemble:  Berlin Deutsche Oper Chorus,  Berlin Deutsche Oper Orchestra
Period: Romantic 
Written: 1938-1940; Germany 
Capriccio, Op. 85 by Richard Strauss
Performer:  Franz Hawlata (Bass), Dietrich Henschel (Baritone), Gerald Finley (Bass Baritone),
Rainer Trost (Baritone), Anne Sofie von Otter (Mezzo Soprano), Renée Fleming (Soprano),
Anna Maria Dell'Oste (Soprano), Barry Banks (Tenor), Robert Tear (Tenor)
Conductor:  Ulf Schirmer
Orchestra/Ensemble:  Paris National Opera Orchestra
Period: Romantic 
Written: 1940-1941; Germany 
Der Rosenkavalier, Op. 59 by Richard Strauss
Period: Romantic 
Written: 1909-1910; Germany 
Date of Recording: 1979 

Customer Reviews

Average Customer Review:  1 Customer Review )
 A flawed but still fabulous bargain May 29, 2014 By Richard D. (Columbus, OH) See All My Reviews "The set contains DVDs of performances of 7 of Strauss’s most significant operas: Salome, Elektra, Der Rosenkavalier, Ariadne auf Naxos, Die Frau ohne Schatten, Der Liebe dear Danae, and Capriccio (a pity there’s no Arabella). The packaging is handsome, if a bit cumbersome; one annoying factor is that cast lists are nowhere given (major singers are listed for each opera but we are not told which parts they are singing, and the singers of minor roles are not even listed). Who is singing what is not difficult to find out on the internet, but it would be a courtesy and a convenience if we could be told this somewhere in the set itself. In general the dvds, with one exception, are well produced and very well sung and conducted. The Salome is more than adequate in musical terms and at times quite spectacular in visual terms, but it’s not one of the best Salomes on DVD (it’s not up to the Teresa Stratas version for example). Visually its main drawbacks are the appearance of John the Baptist (who looks well-fed, soft and pudgy rather than starved, hard-bitten and gaunt, as the text demands, and this can be distracting) and the fact that, as is usually the case, neither the Salome (Nadja Michael) nor the director (Luc Bondy) really know what to do with the Dance of the Seven Veils, which turns out to be not much more than a lot of vampy flouncing about. Musically it’s fine; not superlatively out-of-this-world fine, but fine. Elektra is almost a complete triumph. The conducting (Claudio Abbado), the orchestra, the singing and acting (particularly that of the incredibly powerful Eva Marton in the title role, but really of everyone concerned) are all first rate, often overwhelmingly so. The slight drawbacks come from the direction: almost the whole opera takes place in stygian darkness (warranted, but even so tiring to watch); the singers are quite often not doing what the libretto implies they are doing (this is particularly irritating in the recognition scene between Elektra and Orestes); most annoying are the ropes with which the director has draped parts of the set, and which the singers see to have been told to clutch at every opportunity - at one point Elektra and Orestes seem to be lolling on a swing set in a children’s playground, which is surely not what either Strauss or Hofmannsthal had in mind (this might not matter much to the director, but it can matter quite a lot to people who want to see Strauss’s and Hofmannsthal’s opera). Der Rosenkavalier is simply the best Rosenkavalier available; everything about it is superlatively good. Gwyneth Jones is a fabulous and very moving Marschallin, it seems impossible to imagine a finer Cavalier than Brigitte Fassbaender, and Lucia Popp is an enchanting Sophie (even if she’s a bit plump, rather than skinny as the libretto says she is; never mind, her voice and acting are so beautiful you don’t care). The sets are gorgeous, the directing is impeccable, the orchestra and conducting (Carlos Kleiber) are beyond praise, and the acting and singing throughout seem virtually flawless. This must be one of the best productions of any opera on dvd, if not the best. Ariadne auf Naxos is a relatively old production in back and white, but it’s a lovely one, and though the monochrome is initially distracting one soon gets used to it; the sound is adequate but sometimes not a lot more than this. The standouts are Reri Grist as Zerbinetta, who steals the show, and Jess Thomas as Bacchus. The directing is a bit stiff, and Hildegard Hillebrecht, as Ariadne, seem the closest to a weak link in the cast. But it’s in general a very satisfying, even endearing, performance. Die Frau ohne Schatten. This is a truly fine production of an opera I personally find hard to warm to. It has some genuinely lovely music in it, which is lovingly sung and played in this production, but the plot is inane (not a rarity for opera plots admittedly, but this is inane because it’s trying to be too sophisticated and significant, which seems far more off-putting than because a plot is simply a shilling-shocker hodge-podge), and dramatically I feel the piece doesn’t hang together. But everyone involved in this performance seems to give it their all, and I doubt those who like this opera will find a more satisfying rendering of it. Capriccio. This has been updated from the mid 18th century to the 1940’s, the date of the opera’s first performance. The period change has been done tastefully, fairly unobtrusively and well, but given what the opera is about it makes for an added problem where there needn’t have been one. Much of the opera consists of discussion about opera, and specifically about 18th century opera; when you have Gluck referred to as the new up and coming revolutionary composer and the singer-actors are dressed in mid 20th century sweaters and slacks the effect is merely silly. This kind of disjunction is constantly there; it’s low-key, and for much of the time not especially noticeable, but why do it in the first place? It probably seemed like a good idea at the time. The performance, musically and in terms of the acting, is very winning. Renée Fleming is more than usually restrained in her role, but this is justifiable in terms of her character and the effect is pleasing and touching. For me, the one disastrous production here is that of Die Liebe Der Danae. The direction is in the whimsical euro-trash tradition and it is so obtrusive both in calling attention to its inept self and in distracting attention away from Strauss that I admit I couldn’t watch more than half an hour of it, so I can’t really comment on the singers, the orchestra, or the conductor; in the little I watched they seemed to be doing valiantly well." Report Abuse
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