Notes and Editorial Reviews
Dame Kiri Te Kanawa brings considerable insight into Arabella's character, with an appropriate touch of coolness while still being lovable. A shining performance.
Arabella has gradually become the most popular of Strauss's operas after Der Rosenkavalier and it is not really surprising. The score is almost consistently romantic and entrancing; although there are some relatively weak passages, so there are in most operas... Dame Kiri Te Kanawa...has considerable insight into Arabella's character—her scene with Elemer in Act 1 is really first rate—and is entirely believable, with just that touch of coolness that I believe the best Arabellas should always have. She is lovable, too, in the musing aria that opens Act 3. It is
a shining performance and her many admirers will rejoice that this permanent record of a role she adorns is available at last... Ernst Gutstein's Waldner and Helga Dernesch's Adelaide are memorably vivid vocal characterizations of Arabella's feckless parents... Peter Seiffert is as plausible as it is possible to be as Matteo, and sings what is sometimes one of Strauss's thankless tenor roles with a heroic ring...
-- Gramophone [2/1988]
Works on This Recording
Arabella, Op. 79 by Richard Strauss
Helga Dernesch (Mezzo Soprano),
Ernst Gutstein (Baritone),
Peter Seiffert (Tenor),
Gabriele Fontana (Soprano),
Franz Grundheber (Baritone),
Dame Kiri Te Kanawa (Soprano)
Royal Opera House Covent Garden Orchestra,
Royal Opera House Covent Garden Chorus
Written: 1929-1932; Germany
Length: 158 Minutes 0 Secs.
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