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Opera - Der Rosenkavalier (Highlights)

Strauss, R: Der Rosenkavalier (Highlights)

The Classical Shop
release date: May 1999

Originally recorded in 1998

Artists:

London Philharmonic Orchestra


David Parry


Andrew Shore

baritone - Herr von Faninal

John Tomlinson

bass - Baron Ochs of Lerchenau

Paul Parfitt

bass-baritone - Boots

Elizabeth Vaughan

contralto - Annina

Diana Montague

mezzo-soprano - Octavian

Jennifer Rhys-Davies

soprano - Marianne

Rosemary Joshua

soprano - Sophie

Yvonne Kenny

soprano - The Feldmarschallin

Eugene Ginty

tenor - Major-Domo/Landlord

Gareth Roberts

tenor - Valzacchi

Peter Kay Children's Choir


Geoffrey Mitchell Choir



Venue:

Blackheath Halls, London



Producer:

Brian Couzens



Engineer:

Ralph Couzens


Jonathan Cooper

(16 December only)

Richard Smoker

(Assistant)

Record Label
Opera In English

Genre:

Vocal & Song


Opera in English

Total Time - 79:05
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Opera - Der Rosenkavalier (Highlights)

 

RICHARD STRAUSS

Select Complete Single Disc for
 

Der Rosenkavalier Highlights

79:40  
  The Knight of the Rose  
  Libretto by Hugo von Hofmannsthal  
  English version by Alfred Kalisch  
   
  Act I (opening) 8:28      
1 Introduction - 3:10
2 'How you were! How you are!' 5:17
  Octavian, Marschallin  
   
  Act I (conclusion) 21:24      
3 'Ah, there he goes . . .' 5:08
4 'Ah! You are back again?' 5:59
5 'For time is a mysterious thing' 2:23
6 'My dearest love, why do you torture yourself . . .' 4:46
7 'I'll go now, go to church, an pray' 3:08
  Marschallin, Octavian  
   
  Act II (opening) 13:01      
8 Introduction - 2:00
  'A solemn day, a wondrous day'  
  Faninal, Marianne, Major-Domo  
9 'In this most wonderful and serious moment' 3:40
  Sophie, Marianne, Footmen  
10 'It is an honour, an enchantment' 7:21
  Octavian, Sophie  
   
  Act II (conclusion) 13:05      
11 'Here I am' 7:23
  Ochs, Servants, Annina  
12 'Here.' 5:42
  Ochs, Annina  
   
  Act III (conclusion) 13:05      
13 'Leupold, let's go' 2:26
  Ochs, Annina, Children, Waiters, Landlord, Valzacchi, Musicians, Coachmen, Boots  
14 'Oh God! The story was a masquerade and no more' 2:40
  Sophie, Octavian, Marschallin  
15 'Now or tomorrow; if not tomorrow, very soon' 5:12
  Marschallin, Sophie, Octavian  
16 'Marie Theres', how good you are' 5:14
  Octavian, Marschallin, Sophie  
17 'Bliss is too deep to understand' 4:19
  Octavian, Sophie, Faninal, Marschallin  
18 'Bliss is too deep to understand' 3:17
  Octavian, Sophie  


Conventional wisdom has it that after the revolutionary, avant-garde scores of Salome or Elektra, Richard Strauss gave up the innovatory struggle and took an easier road to success with Der Rosenkavalier . Nothing could be further from the truth. While the new work was certainly not as aggressive or, for its day, as dissonant as its two predecessors, it was equally ground-breaking in its own, more appealing way. In no operatic work that preceded it had composer and librettist written such an obviously conversational piece in which the text, perhaps Hofmannsthal’s masterpiece in the genre, is absolutely on a par with the music, so the twin creators had invented virtually a new genre of musical play.

It was Hofmannsthal who suggested the subject of Der Rosenkavalier, a comedy set in Vienna in Maria Theresa’s time, but an unrealistic fairy-story Vienna, where wit and elegance redeemed anything and all could be forgiven provided it was done with style. From its first performance Der Rosenkavalier was a success, and has been performed more than any other German opera written in the twentieth century.


 

…a highly enjoyable addition
Classic CD



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