This CD is reissued by ArkivMusic.
Notes and Editorial Reviews
For sheer thrills, no one has yet outshone Kleiber’s swashbuckling 1973 Der Freischütz. True, for scrupulous textual honesty, there are strong rivals. On Teldec, Harnoncourt underscores Weber’s brilliant instrumental detail, and benefits from not just Orgonasova’s Agathe and Salminen’s brutalising Kaspar, but Cachemaille’s Kuno, Schäfer’s Ännchen and Moll’s Hermit. Some earlier versions have weathered particularly well. Jochum (DG budget price) allows Weber’s miraculous orchestration to ratchet up tension, free of dazzling ‘effects’ (unlike Kubelík/Decca). Keilberth’s 1958 EMI reading, with Prey and Frick, was a yardstick, sharing with Furtwängler’s cough-ridden Salzburg performances arguably the best Agathe of
all:Elisabeth Grümmer. But if you can hang in with his tempi (contrast Davis’s granite Philips version), Kleiber win hands down. The Staatskapelle is putty in his fingers. Janowitz’s melting Agathe, Schreier’s assertive Max, Mathis and Adam remain my dream cast.
Performance: 5 (out of 5), Sound: 5 (out of 5)
-- Roderic Dunnett, BBC Music Magazine Read less
Works on This Recording
Der Freischütz, J 277 by Carl Maria von Weber
Franz Crass (Bass),
Siegfried Vogel (Bass),
Bernd Weikl (Baritone),
Theo Adam (Bass Baritone),
Peter Schreier (Tenor),
Edith Mathis (Soprano),
Günther Leib (Baritone),
Gundula Janowitz (Soprano)
Leipzig Radio Chorus,
Written: 1817-1821; Dresden, Germany
Date of Recording: 1973
Average Customer Review: ( 1 Customer Review )
Excellent! July 22, 2013
By Henry S. (Springfield, VA) See All My Reviews
"Der Freischutz may be properly regarded as the foundation of German romantic opera. Dating from the early decades of the 19th century, Weber's masterwork, centering on a shooting competition (hence the title) reaches back into old Germanic legends and ancient folk tales to tell an intriguing tale of superstition, fear, greed, and ultimate triumph of reason and humanity over all these negative social characteristics. Carlos Kleiber's early 1970's recording of this stirring opera features a wonderful cast, superb work by the Dresden chorus, and of course the legendary sound of Dresden's great Staatskapelle. Anyone listening to this recording for the first time will note that spoken dialog plays a significant part, such as one finds in some of Mozart's Italian operas. Rest assured that this in no way detracts from the work as a whole; it's how Weber created the opera, and it works. There are plenty of thrills and chills throughout this remarkable recording, among the eerie and even spooky Wolf's Glen scene and the blazing triumph of the work's conclusion. All in all, I submit that this is a landmark recording, which should find favor with anyone who likes opera. Strongly recommended."