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Strauss: Der Rosenkavalier / Haitink, Te Kanawa, Von Otter


Release Date: 10/17/2006 
Label:  Emi Classics   Catalog #: 58618   Spars Code: DDD 
Composer:  Richard Strauss
Performer:  Michael KrausKurt RydlArmin UdeHeinz Zednik,   ... 
Conductor:  Bernard Haitink
Orchestra/Ensemble:  Dresden State Opera ChorusDresden State Opera OrchestraDresden Kreuz Choir Boys
Number of Discs: 3 
Recorded in: Stereo 
Length: 3 Hours 25 Mins. 

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Notes and Editorial Reviews



R. STRAUSS Der Rosenkavalier Bernard Haitink, cond; Kiri Te Kanawa ( Marschallin ); Barbara Hendricks ( Sofie ); Anne Sofie von Otter ( Octavian ); Kurt Rydl ( Baron Ochs ); Franz Grundheber ( Faninal ); Richard Leech ( Italian Singer ); Julia Faulkner Read more ( Marianne ); Graham Clark ( Valzacchi ); Claire Powell ( Annina ); Dresden St Op O & Ch; Dresden Kreuz Ch Boys EMI 58618 (3 CDs: 204:42)


It is a little surprising that there have been so few studio recordings of Der Rosenkavalier , especially given its enduring presence on the opera stages of the world and its status as perhaps Richard Strauss’s best-loved opera. Indeed, none at all has appeared since this 1990 EMI version, here reissued in the company’s series of convenient budget boxes (with the CDs cased in album sleeves rather than jewel boxes). In my view, there are two reasons for this avoidance. On one hand, there is the ready availability of several serviceable and even great films of the opera on DVD, chiefly the two versions led by the late, great Carlos Kleiber, who seemed better able than any other recent conductor to balance the opera’s alternating light music, Wagnerian, and conversational idioms, and who could not be coaxed into the studio. On the other, there is the lingering, ominous weight of some truly great recordings from the past, dominated by some truly wonderful Marschallins: Schwarzkopf, of course, in the classic and irreplaceable Karajan version (EMI 67609), and Maria Reining, with Erich Kleiber (Decca 425950). There are also some strong live recordings that have emerged on labels like Gala and Orfeo, from the Salzburg Festival (with Gundula Janowitz, Gala 610) and (with Della Casa, Gala 606), but none of these post-date the studio recording captured here.


On its own terms, this Haitink effort is self-recommending. It features the leading Marschallin of her generation, Kiri Te Kanawa, partnered with Anne Sophie von Otter’s classic Octavian and Barbara Hendricks as Sophie. Frame by frame, this is a Rosenkavalier to treasure, and is also completely uncut, as only the Solti (Decca) recording is among issues currently available. But the whole lacks thrust, due to Haitink’s fastidiously correct, typically Apollonian approach. The leading singers also contribute to the recording’s longueurs by sacrificing long line and grand gesture in favor of micromanaging the moment. The focus on detail, though, exposes countless vividly realized moments that will capture the most jaded listeners. One such moment occurs in the duet between Sophie and Octavian at their first encounter in act II. A stream of s words toss back and forth between the singers, a dance of sibilants suggesting a striking, twining intimacy that lends depth to their initial attraction.


In short, this occasion may be best described as the careful unfolding of a string of carefully set jewels. Kiri Te Kanawa’s Marschallin enshrines the warm, flexible satin of her voice in perhaps its best recording. Compared to a Schwarzkopf, her approach may seem too pretty and under-characterized, but then whose wouldn’t? There are many Marschallins who bring less to the table.


While von Otter works her expected androgynous magic with her part, Barbara Hendricks brings a more complex timbre than one normally expects from Sophie. In ensembles, especially the famous trio, the voice blends less easily, but it also possesses more individuality, suggesting that this is a warmer, more intelligent, less icy and shallow Sophie than the norm.


Kurt Rydl’s impressive ring, depth, and characterful inflections can make one forget Kurt Moll, among more recent Ochs portrayers. His vulgarity is understated, even smoothed over, except in his choice of words, which ring the more jarringly. Many internal phrases acquire a plodding quality, calling attention to themselves for their banality, as in the second act conflict between Sophie and Ochs. However, Haitink’s self-consciousness frequently intrudes upon the dramatic flow. The scene with the Italian singer, for instance, lacks violence and impatience, thus missing the point; Sachs doesn’t interrupt so much as just get louder. (Though Richard Leech’s memorably tasteful Italian tenor deserves comment.)


Haitink is at his best in the turbulent Prelude to act III, where swirling, pointillistic details are realized with thrilling clarity. Kaleidoscopic color shifts come to life, suggesting that Strauss’s modernism had shifted from his harmonies (though there are plenty of dissonances that Haitink brings out here, dissonances that Strauss claimed were more intense than anything he supplied to Salome or Electra). But even in this act III Prelude, detail comes at the price of operatic excitement. Occasionally the larger arrival points—the arrival of the Marschallin for the final scene, for instance—simply “happen” rather than emerge as the inevitable punctuation of the drama and of musical developments.


At the same time, this remains one of the most consistently polished recordings of the work in existence. Diction is clear and impeccable; even rusty German speakers should be able to follow easily without a libretto (which this reissued set lacks in any case). Consistent with the other operas in this budget-box, EMI “Classics” series, this recording comes in a convenient box, the CDs in cardboard sleeves, and with essays and a synopsis, but no enclosed libretto; for libretto and translations, listeners are referred to the company Web site. Recommended with only mild caution to anyone who craves a polished and complete version of one of opera’s essential repertoire works.


FANFARE: Christopher Williams
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Works on This Recording

1. Der Rosenkavalier, Op. 59 by Richard Strauss
Performer:  Michael Kraus (Tenor), Kurt Rydl (Bass), Armin Ude (Tenor),
Heinz Zednik (Tenor), Alfred Sramek (Baritone), Ferry Grüber (Tenor),
Bodo Schwanbeck (Bass), Claire Powell (Mezzo Soprano), Graham Clark (Tenor),
Julia Faulkner (Soprano), Franz Grundheber (Bass), Richard Leech (Tenor),
Barbara Hendricks (Soprano), Anne Sofie von Otter (Mezzo Soprano), Dame Kiri Te Kanawa (Soprano)
Conductor:  Bernard Haitink
Orchestra/Ensemble:  Dresden State Opera Chorus,  Dresden State Opera Orchestra,  Dresden Kreuz Choir Boys
Period: Romantic 
Written: 1909-1910; Germany 
Length: 204 Minutes 45 Secs. 
Language: German 

Sound Samples

Der Rosenkavalier Op. 59: Introduktion (Orchester)
Der Rosenkavalier Op. 59, ERSTER AKT/ACT 1/PREMIER ACTE/ATTO PRIMO: Wie du warst! Wie du bist! (Oktavian/Marschallin)
Der Rosenkavalier Op. 59, ERSTER AKT/ACT 1/PREMIER ACTE/ATTO PRIMO: Du bist mein Bub', du bist mein Schatz! (Marschallin/Oktavian)
Der Rosenkavalier Op. 59, ERSTER AKT/ACT 1/PREMIER ACTE/ATTO PRIMO: Der Feldmarschall silzt im krowatischen Wald! (Oktavian/Marschallin)
Der Rosenkavalier Op. 59, ERSTER AKT/ACT 1/PREMIER ACTE/ATTO PRIMO: Quinquin, es ist ein Besuch (Marschallin/Oktavian/Baron/Haushofmeister)
Der Rosenkavalier Op. 59, ERSTER AKT/ACT 1/PREMIER ACTE/ATTO PRIMO: Selbstverständlich empfängt mich ihro Gnaden (Baron/Marschallin/Lakaien/Haushofmeister)
Der Rosenkavalier Op. 59, ERSTER AKT/ACT 1/PREMIER ACTE/ATTO PRIMO: Hat sie schon einmal mit einem Kavalier (Baron/Oktavian/Marschallin)
Der Rosenkavalier Op. 59, ERSTER AKT/ACT 1/PREMIER ACTE/ATTO PRIMO: Macht das einen lahmen Esel aus mir? (Baron/Marschallin/Oktavian)
Der Rosenkavalier Op. 59, ERSTER AKT/ACT 1/PREMIER ACTE/ATTO PRIMO: Geben mir Euer Gnaden den Grasaff' da (Baron/Marschallin/Oktavian)
Der Rosenkavalier Op. 59, ERSTER AKT/ACT 1/PREMIER ACTE/ATTO PRIMO: Wollen Euer Gnaden leicht den jungen Herren da (Baron/Marschallin/Oktavian)
Der Rosenkavalier Op. 59, ERSTER AKT/ACT 1/PREMIER ACTE/ATTO PRIMO: I komm' glei' ... Drei arme, adelige Waisen (Oktavian/Die drei Waisen/Modistin/Tierhändler/Marschallin/Valzacchi)
Der Rosenkavalier Op. 59, ERSTER AKT/ACT 1/PREMIER ACTE/ATTO PRIMO: Die swarze Seitung! (Valzacchi/Marschallin/Waisen)
Der Rosenkavalier Op. 59, ERSTER AKT/ACT 1/PREMIER ACTE/ATTO PRIMO: Di rigori armato il seno (Ein Sänger)
Der Rosenkavalier Op. 59, ERSTER AKT/ACT 1/PREMIER ACTE/ATTO PRIMO: Als Morgengabe ganz separtim jedoch (Baron/Notar)
Der Rosenkavalier Op. 59, ERSTER AKT/ACT 1/PREMIER ACTE/ATTO PRIMO: Ma si caro è'l mio tormento (Ein Sänger/Baron/Notar)
Der Rosenkavalier Op. 59, ERSTER AKT/ACT 1/PREMIER ACTE/ATTO PRIMO: Mein lieber Hippolyte (Marschallin/Valzacchi/Baron/Annina)
Der Rosenkavalier Op. 59, ERSTER AKT/ACT 1/PREMIER ACTE/ATTO PRIMO: Da geht er hin, der aufgeblasene schlechte Kerl (Marschallin)
Der Rosenkavalier Op. 59, ERSTER AKT/ACT 1/PREMIER ACTE/ATTO PRIMO: Ach, du bist wieder da! (Marschallin/Oktavian)
Der Rosenkavalier Op. 59, ERSTER AKT/ACT 1/PREMIER ACTE/ATTO PRIMO: Die Zeit, die ist ein sonderbar' Ding (Marschallin)
Der Rosenkavalier Op. 59, ERSTER AKT/ACT 1/PREMIER ACTE/ATTO PRIMO: Mein schöner Schatz (Oktavian/Marschallin)
Der Rosenkavalier Op. 59, ERSTER AKT/ACT 1/PREMIER ACTE/ATTO PRIMO: Ich werd' jetzt in die Kirchen geh'n (Marschallin/Oktavian/Lakaien)
Der Rosenkavalier Op. 59, ERSTER AKT/ACT 1/PREMIER ACTE/ATTO PRIMO: Wie Sie befiehlt, Bichette! (Oktavian/Marschallin/Lakiaen)
Der Rosenkavalier Op. 59, ERSTER AKT/ACT 1/PREMIER ACTE/ATTO PRIMO: Es ist gut. Geht nur wieder (Marschallin)
Der Rosenkavalier Op. 59, ZWEITER AKT/ACT 2/DEUXIEME ACTE/ATTO SECONDO: Introduktion (Orchester)
Der Rosenkavalier Op. 59, ZWEITER AKT/ACT 2/DEUXIEME ACTE/ATTO SECONDO: Ein ernster Tag, ein grosser Tag (Faninal/Marianne/Haushofmeister)
Der Rosenkavalier Op. 59, ZWEITER AKT/ACT 2/DEUXIEME ACTE/ATTO SECONDO: In dieser feierlichen Stunde der Prüfung (Sophie/Marianne/Drei Lauffer)
Der Rosenkavalier Op. 59, ZWEITER AKT/ACT 2/DEUXIEME ACTE/ATTO SECONDO: Mir ist die Ehre widerfahren (Oktavian/Sophie)
Der Rosenkavalier Op. 59, ZWEITER AKT/ACT 2/DEUXIEME ACTE/ATTO SECONDO: Ich kenn' Ihn schon recht wohl (Sophie/Oktavian)
Der Rosenkavalier Op. 59, ZWEITER AKT/ACT 2/DEUXIEME ACTE/ATTO SECONDO: Jetzt aber kommt mein Herr Zukünftiger (Sophie/Faninal/Baron/Oktavian/Marianne)
Der Rosenkavalier Op. 59, ZWEITER AKT/ACT 2/DEUXIEME ACTE/ATTO SECONDO: Brav, Faninal, er weiss, was sich gehört (Baron/Oktavian/Sophie/Faninal/Marianne)
Der Rosenkavalier Op. 59, ZWEITER AKT/ACT 2/DEUXIEME ACTE/ATTO SECONDO: Wird kommen über Nacht (Baron/Oktavian/Marianne/Faninal)
Der Rosenkavalier Op. 59, ZWEITER AKT/ACT 2/DEUXIEME ACTE/ATTO SECONDO: Hab' nichts dawider (Baron/Oktavian/Sophie/Faninals Haushofmeister/Marianne)
Der Rosenkavalier Op. 59, ZWEITER AKT/ACT 2/DEUXIEME ACTE/ATTO SECONDO: Was Sie ist ... Mit Ihren Augen voll Tränen (Sophie/Oktavian)
Der Rosenkavalier Op. 59, ZWEITER AKT/ACT 2/DEUXIEME ACTE/ATTO SECONDO: Herr Baron von Lerchenau! (Annina/Valzacchi)
Der Rosenkavalier Op. 59, ZWEITER AKT/ACT 2/DEUXIEME ACTE/ATTO SECONDO: Eh bien, Mamsell, was hat Sie mir zu sagen?
Der Rosenkavalier Op. 59, ZWEITER AKT/ACT 2/DEUXIEME ACTE/ATTO SECONDO: Ich hoff', Er kommt vielmehr (Baron/Sophie/Oktavian)
Der Rosenkavalier Op. 59, ZWEITER AKT/ACT 2/DEUXIEME ACTE/ATTO SECONDO: Mord! Mord! Mein Blut, zu Hilfe! (Baron/DieLerchenau'schen/Annina/Faninals Dienerschaft/Sophie/Oktavian/Duenna/Faninal)
Der Rosenkavalier Op. 59, ZWEITER AKT/ACT 2/DEUXIEME ACTE/ATTO SECONDO: Er muss mich pardonieren (Oktavian/Faninal/Sophie)
Der Rosenkavalier Op. 59, ZWEITER AKT/ACT 2/DEUXIEME ACTE/ATTO SECONDO: Sie heirat' ihn! (Faninal/Sophie/Oktavian/Marianne/Baron)
Der Rosenkavalier Op. 59, ZWEITER AKT/ACT 2/DEUXIEME ACTE/ATTO SECONDO: Da lieg' ich! (Baron/Die Lerchenauschen/Annina)
Der Rosenkavalier Op. 59, ZWEITER AKT/ACT 2/DEUXIEME ACTE/ATTO SECONDO: Ohne mich, ohne mich (Baron/Annina)
Der Rosenkavalier Op. 59, ZWEITER AKT/ACT 2/DEUXIEME ACTE/ATTO SECONDO: Herr Cavalier! Den morgigen Abend hätt'i frei (Annina/Baron)

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