Richard Strauss - Der Rosenkavalier (Schwarzkopf, Ludwig, Stich-Randall - C.r.: Hebert Von Karajan)
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- Опубликовано: 23 июл 2024
- Richard Strauss (1864-1949) Der Rosenkavalier: Opera in three acts.
Click to activate the English subtitles for the presentation (00:00-02:15)
Act 1
00:00 Einleitung/Introduction
03:26 Wie du warst! Wie du bist!
06:23 Du bist mein Bub', du bist mein Schatz!
12:02 Der Feldmarschall sitzt im krowatischen Wald
16:12 Quinquin, es ist ein Besuch
18:01 Selbstverständlich empfängt mich Ihro Gnaden
26:18 Hat Sie schon einmal
27:13 Macht das einen lahmen Esel aus mir?
30:10 Geben mir Euer Gnaden den Grasaff da
31:55 Wollen Euer Gnaden leicht den Jungen Herren da
33:18 I komm' lei ... Drei arme adelige Waisen
36:15 Di rigori armato il seno
38:15 Als Morgengabe
41:17 Mein lieber Hippolyte
44:56 Da geht er hin, der aufgeblasene schlechte Kerl
50:13 Ach, du bist wieder da!
55:53 Die Zeit, die ist ein sonderbar Ding
58:19 Mein schöner Schatz
1:02:38 Ich werd' jett in die Kirchen
Act 2
1:10:05 Einleitung/lntroduction
1:10:43 En ansta ein gosser Tag
1:11:53 In diser feierlichen Stunde der Rüfung
1:15:36 Mir ist die Ehre widerfahrn
1:22:56 Ich kenn' Ihn schon recht wohl
1:26:58 Jett aber kommt mein Herr Zukünffger
1:29:58 Brav, Faninal, er weiss, was sich gehört
1:34:28 Wird kommen über Nacht"
1:36:36 Hab' nichts dawider
1:40:22 Was Sie ist ... Mit Ihren Augen voll Tränen
1:44:03 Herr Baron von Lerchenau!
1:51:47 Er muss mich pardonieren
1:58:10 Da lieg' ich!
2:04:57 Da ... Herr Cavalier!
Act 3
2:09:47 Einleitung und Pantomime/lntroduction & Pantomime
2:16:34 Hab'n Euer Gnaden noch weitre Befehle?
2:19:08 Nein, nein, nein, nein! I trink' kein Wein
2:20:40 Ach, lass Sie schon einmal das fade Wort!
2:23:59 Die schöne Musi!
(2:26:46 Wie di Stund' hingeht
2:31:39 Oh weh, was maken wir? ... Halt! Keiner dihrt sich!
2:37:15 Sind desto eher im Klaren
2:38:59 Muss jett partout zu ihr! lhre hochfürstliche Gnaden
2:49:02 Ist halt vorbei
2:51:39 Mein Gott, es war nicht mehr als eine Farce
2:53:58 Heut oder morgen oder den übemächsten Tag
2:58:31 Marie Theres'! ... Hab'mir's gelobt
3:04:35 Ist ein Traum, kann nicht wirklich sein
3:08:24 Ist ein Traum ... Spür nur dich
Die Feldmarschallin: Elisabeth Schwarzkopf, Sopran
Der Baron Ochs auf Lerchenau: Otto Edelmann, Baß
Octavian: Christa Ludwig, Mezzosopran
Herr von Faninal: Eberhard Wächter, Bariton
Sophie: Teresa Stich-Randall, Sopran
Marianne: Ljuba Welitsch, Sopran
Valzacchi: Paul Kuen, Tenor
Annina: Kerstin Meyer, Alt
Philharmonia Chorus
Chorus master: Wilhelm Pitz
Chorus of Children: Loughton High School for Girls & Bancroft’s School
Philharmonia Orchestra
Herbert Von Karajan
Recorded in 1956, at London
The Knight of the Rose unites the most supreme elegance with the most painful vertigo, that of time slipping away on the skin, between the fingers, between lives. It is all this and a thousand other things that some of us have learned from this recording, which remains the benchmark that has never been called into question, despite the many other Knights who have appeared with the rose of their emotions in their throats, voices and hearts. Karajan is aristocratic, refined, but also playful, even playful, pulling all the orchestral strings of a miraculous score with emotion that is never underlined but prepared, so that it can blossom from the music itself and seize you in this quivering, endless turmoil that spreads from this painfully tender work.
And then, of course, there is the splendid cast, down to the smallest roles, with the gifts of Teresa Stich Randall as Sophie, or Christa Ludwig as Octavian, whose every inflection is inhabited - and above all, the Marshal of all nostalgia, Elisabeth Schwarzkopf, with her voice of silvery silk, this almost volatile yet embodied fluidity of timbre, this harmony with the instrumental lines, and this singing which is connivance and confidence.
How can one not be moved by her monologue at the end of the first act, this sweet sadness that takes hold of her when, on a carpet of ecstatic strings, she thinks of the passing of time, of the time that slips over her shoulders ("Die Zeit, die ist ein sonderbar Ding" (Time is a strange thing), this time, she says, that "trickles down on our faces, that trickles down on the mirror, that trickles down between our temples... "with this sudden desperate admission: "Sometimes I get up in the middle of the night and stop all the clocks... "
But there is so much to tell about this recording, one of the most absolutely moving in the history of the record, the end of the first act, but also the presentation of the Rose, the Octavian-Sophie dialogue, the animation of the inn, the sublime trio of the last act - everything, everything, everything: not one second is pure gold.
Richard Strauss PLAYLIST (reference recordings) : • Richard Strauss (1864-... 
Видеоклипы
Richard Strauss (1864-1949) Der Rosenkavalier: Opera in three acts.
Click to activate the English subtitles for the presentation (00:00-02:15)
Act 1
00:00 Einleitung/Introduction
(Orchester)
03:26 Wie du warst! Wie du bist!
(Octavian/Mapschallin)
06:23 Du bist mein Bub', du bist mein Schatz!
(Marschallin/Octavian)
12:02 Der Feldmarschall sitzt im krowatischen Wald
(Octavian/Marschallin)
16:12 Quinquin, es ist ein Besuch
(Marschallin/Haushofmeister/Baron/Octavian)
18:01 Selbstverständlich empfängt mich Ihro Gnaden
(Baron/Lakaien/Marschallin/Haushofmeister)
26:18 Hat Sie schon einmal
(Baron/Octavian/Marschallin)
27:13 Macht das einen lahmen Esel aus mir?
(Baron/Marschallin/Octavian)
30:10 Geben mir Euer Gnaden den Grasaff da
(Baron/Marschallin/Octavian)
31:55 Wollen Euer Gnaden leicht den Jungen Herren da
(Marschallin/Baron/Octavian)
33:18 I komm' lei ... Drei arme adelige Waisen
(Octavian Die drei Weisen/Modistin/Tierhändler/Marschallin/Valzacchi)
36:15 Di rigori armato il seno
(Ein Sänger)
38:15 Als Morgengabe
(Baron/Notar/Sänger)
41:17 Mein lieber Hippolyte
(Marschallin/Valmcchi/Baron/Annina)
44:56 Da geht er hin, der aufgeblasene schlechte Kerl
(Marschallin)
50:13 Ach, du bist wieder da!
(Marschallin/Octavian)
55:53 Die Zeit, die ist ein sonderbar Ding
(Marschallin)
58:19 Mein schöner Schatz
(Octavian/Marschallin)
1:02:38 Ich werd' jett in die Kirchen
(Marschallin/Octavian/Lakaien)
Act 2
1:10:05 Einleitung/lntroduction
(Orchester)
1:10:43 En ansta ein gosser Tag
(Faninal/Marianne/Haushofmeister)
1:11:53 In diser feierlichen Stunde der Rüfung
(Sophie/Marianne/mi Läufer)
1:15:36 Mir ist die Ehre widerfahrn
(Octavian/Sophie)
1:22:56 Ich kenn' Ihn schon recht wohl
(Sophie/Octavian)
1:26:58 Jett aber kommt mein Herr Zukünffger
(Sophie/Faninal/Baron/Octavian/Marianne)
1:29:58 Brav, Faninal, er weiss, was sich gehört
(Baron/Octavian/Sophie/Faninal/Marianne)
1:34:28 Wird kommen über Nacht"
(Baron/Octavian/Marianne/Faninal)
1:36:36 Hab' nichts dawider
(Baron/Octavian/Sophie/Faninals Haushofmeister/Marianne)
1:40:22 Was Sie ist ... Mit Ihren Augen voll Tränen
(Octavian/Sophie)
1:44:03 Herr Baron von Lerchenau!
(Valzacchi/Annina/Baron/Sophie/Octavian/Die Lerchenauschen/Faninals Dienerschaft/Marianne/Faninal)
1:51:47 Er muss mich pardonieren
(Octavian/Faninal/Sophie/Marianne/Baron)
1:58:10 Da lieg' ich!
(Baron/Die Lerchenauschen/Annina)
2:04:57 Da ... Herr Cavalier!
(Baron/Annina)
Act 3
2:09:47 Einleitung und Pantomime/lntroduction & Pantomime
(Orchester)
2:16:34 Hab'n Euer Gnaden noch weitre Befehle?
(Der Wirt/Kellner/Baron)
2:19:08 Nein, nein, nein, nein! I trink' kein Wein
(Octavian/Baron)
2:20:40 Ach, lass Sie schon einmal das fade Wort!
(Baron/Octavian)
2:23:59 Die schöne Musi!
(Octavian/Baron)
2:26:46 Wie di Stund' hingeht
(Octavian/Baron/Annina/Wirt/Vier Kinder/Kellner/Valmcchi)
2:31:39 Oh weh, was maken wir? ... Halt! Keiner dihrt sich!
(Valzacchi/Kommissarius/Octavian/Baron/Wirt/Faninal/Vier Kinder/Chor der Zuschauer)
2:37:15 Sind desto eher im Klaren
(Baron/Kommissarius/Octavian)
2:38:59 Muss jett partout zu ihr! lhre hochfürstliche Gnaden
(Baron/WWOctavian/Kommissarius/Marschallin/Sophie)
2:49:02 Ist halt vorbei
(Marschallin/Sophie/Baron/Annina/Die Kinder/Kellner/Wirt/Valzacchi/
Die Musikanten/Die Kutscher/Hausknecht)
2:51:39 Mein Gott, es war nicht mehr als eine Farce
(Sophie/Octavian/Marschallin)
2:53:58 Heut oder morgen oder den übemächsten Tag
(Marschallin/Octavian/Sophie)
2:58:31 Marie Theres'! ... Hab'mir's gelobt
(Octavian/Marschallin/Sophie)
3:04:35 Ist ein Traum, kann nicht wirklich sein
(Sophie/Octavian/Faninal/Marschallin)
3:08:24 Ist ein Traum ... Spür nur dich
(Sophie/Octavian)
Die Feldmarschallin: Elisabeth Schwarzkopf, Sopran
Der Baron Ochs auf Lerchenau: Otto Edelmann, Baß
Octavian: Christa Ludwig, Mezzosopran
Herr von Faninal: Eberhard Wächter, Bariton
Sophie: Teresa Stich-Randall, Sopran
Marianne: Ljuba Welitsch, Sopran
Valzacchi: Paul Kuen, Tenor
Annina: Kerstin Meyer, Alt
Philharmonia Chorus
Chorus master: Wilhelm Pitz
Chorus of Children: Loughton High School for Girls & Bancroft’s School
Philharmonia Orchestra
Herbert Von Karajan
Recorded in 1956, at London
The Knight of the Rose unites the most supreme elegance with the most painful vertigo, that of time slipping away on the skin, between the fingers, between lives. It is all this and a thousand other things that some of us have learned from this recording, which remains the benchmark that has never been called into question, despite the many other Knights who have appeared with the rose of their emotions in their throats, voices and hearts. Karajan is aristocratic, refined, but also playful, even playful, pulling all the orchestral strings of a miraculous score with emotion that is never underlined but prepared, so that it can blossom from the music itself and seize you in this quivering, endless turmoil that spreads from this painfully tender work.
And then, of course, there is the splendid cast, down to the smallest roles, with the gifts of Teresa Stich Randall as Sophie, or Christa Ludwig as Octavian, whose every inflection is inhabited - and above all, the Marshal of all nostalgia, Elisabeth Schwarzkopf, with her voice of silvery silk, this almost volatile yet embodied fluidity of timbre, this harmony with the instrumental lines, and this singing which is connivance and confidence.
How can one not be moved by her monologue at the end of the first act, this sweet sadness that takes hold of her when, on a carpet of ecstatic strings, she thinks of the passing of time, of the time that slips over her shoulders ("Die Zeit, die ist ein sonderbar Ding" (Time is a strange thing), this time, she says, that "trickles down on our faces, that trickles down on the mirror, that trickles down between our temples... "with this sudden desperate admission: "Sometimes I get up in the middle of the night and stop all the clocks... "
But there is so much to tell about this recording, one of the most absolutely moving in the history of the record, the end of the first act, but also the presentation of the Rose, the Octavian-Sophie dialogue, the animation of the inn, the sublime trio of the last act - everything, everything, everything: not one second is pure gold.
Richard Strauss PLAYLIST (reference recordings) : ruclips.net/video/8pYHS3F7Elo/видео.html
I got chills up and down my spine at a few points. This recording is perfection.
Wunderschöne und spannende Interpretation dieser spätromantischen und großartigen Oper mit herrlichen Stimmen aller unvergleichlichen Solisten und gut harmoniserten Stimmen des ausgezeichneten Chors sowie gut vereinigten und perfekt entsprechenden Tönen aller Instrumente. Der ebenso unvergleichliche Maestro dirigiert das ausgezeichnete Orchester im veränderlichen Tempo und mit möglichst effektiver Dynamik. Wunderbar und atemberaubend vom Anfang bis zum Ende!
The Knight of the Rose unites the most supreme elegance with the most painful vertigo, that of time slipping away on the skin, between the fingers, between lives. It is all this and a thousand other things that some of us have learned from this recording, which remains the benchmark that has never been called into question, despite the many other Knights who have appeared with the rose of their emotions in their throats, voices and hearts. Karajan is aristocratic, refined, but also playful, even playful, pulling all the orchestral strings of a miraculous score with emotion that is never underlined but prepared, so that it can blossom from the music itself and seize you in this quivering, endless turmoil that spreads from this painfully tender work.
And then, of course, there is the splendid cast, down to the smallest roles, with the gifts of Teresa Stich Randall as Sophie, or Christa Ludwig as Octavian, whose every inflection is inhabited - and above all, the Marshal of all nostalgia, Elisabeth Schwarzkopf, with her voice of silvery silk, this almost volatile yet embodied fluidity of timbre, this harmony with the instrumental lines, and this singing which is connivance and confidence.
How can one not be moved by her monologue at the end of the first act, this sweet sadness that takes hold of her when, on a carpet of ecstatic strings, she thinks of the passing of time, of the time that slips over her shoulders ("Die Zeit, die ist ein sonderbar Ding" (Time is a strange thing), this time, she says, that "trickles down on our faces, that trickles down on the mirror, that trickles down between our temples... "with this sudden desperate admission: "Sometimes I get up in the middle of the night and stop all the clocks... "
But there is so much to tell about this recording, one of the most absolutely moving in the history of the record, the end of the first act, but also the presentation of the Rose, the Octavian-Sophie dialogue, the animation of the inn, the sublime trio of the last act - everything, everything, everything: not one second is pure gold.
Strauss was referred to in Bayreuth circles as 'Richard the Second' (Wagner being Richard the First). Love this opera, Salome too. Great modern composer. This is THE recording. Schwarkopf and Ludwig. Nothing since it comes near.
Thank you . It's hard to believe that this wonderful recording was made 65 years ago, and not last week. The only thing that has dated is the record cover!
großartige Oper ist alles Gute, wenn ich nur meine Eltern und Großeltern an meiner Seite vermisse, die zuhören
Many thanks CM/RR for the upload of this unforgettable opera with a great cast and fine sound quality. Pure enjoyment !
A pleasure Franz, good listening :)
Ljuba Welitsch as Marianne? That's what I call luxury casting.
I saw this film in the 1960s when I was a teenager. Wonderful!
Thank you!
I will have the first Orchestra Rehearsal next week!
Excellent! Which orchestra do you belong to? What is your instrument?
@@classicalmusicreference I am a Violinist in Wiener Volksoper(1993〜) and we will have the Premiere "Der Rosenkavalier" with Maestro Hans Graf on 31.10.2021(in next Saison 2021/22)! I am very exited！
@@AllrounderMaximus that's great!
@@wlrlel Thank You! It is very difficult to play. I must lern very well in this Summer.
Thank you from the bottom of my heart !!!
Fantastic! Thank you!
Lovely. Thank you.
RICHARD STRAUß , GRAND MAESTRO , DER ROSENKAVALIER , CHEF - DŒUVRE , MERCI , CE PARTAGE
:)
HERMOSO!!!!! CON DOS ESTRELLAS INSUPERABLES..
The omission of Gedda and Welitsch on the cover is unforgivable. Could they not find enough space?
la perfezione fatta a registrazione
The madness in these women's eyes adds something to the listen.
Dennis Brain as Principal Horn?
Hello Avrum, sorry we don't know, was he in the band in 1956?
Yes. He was Principal Horn at the time and that is his playing on the recording... one of only a few times he was captured in stereo.
Tom Sudholt
Classic107.3 FM St. Louis Mo. USA
Classic Herbie's Rosenkavalier with Schwarzkopf! However, my personal favorite is Erich Kleiber with VPO with Reining as Marschallin and Jurinac as Octavian. Karajan is the runner up though. Keep up the great work!
Wilhelm Pitz director del coro de Bayreuth de 1951 a 1973.
One of the best choir directors ! Our favourite in any case :)
@@classicalmusicreference Totalmente de acuerdo, solo basta escuchar los coros del Mesías de Handel en la versión de Klemperer. Monumental.
Schwarzkopf, Ludwig and Meyer also sing the three noble orphans, at 33:36, 34:03 and 35:13.
What a great recording! Stereo sound in 1956?
Yes. There was a second recording team on hand to tape the sessions in experimental stereo. It was the mono product though that was balanced as that was the initial issue on LP. As a result, singer placement on this stereo recording can seem a bit haphazard, but not fatally so as the orchestral capture is perfection, not to mention the seamless conveyance of the venue, the still lamented Kingsway Hall. EMI initially experimented in stereo sound as early as 1934. In the tape era, their first stereo record was Prokofiev's symphonies no. 1 and 7 the year before with the Philharmonia and Nicolai Malko also done at Kingsway.
Tom Sudholt
Classic 107.3 FM St. Louis Mo. USA
4:49
1:00:13
2:08:10
Harmonium