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LS 0726
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LS 0726

Weber - Der Freischütz

The Classical Shop
release date: June 2013

Recorded in 24 Bit / 96Khz
album available as a Studio Master
Originally recorded in 2012


London Symphony Orchestra

Sir Colin Davis

Marcus Farnsworth

- (baritone) Kilian

Gidon Saks

- (bass) Ein Eremit

Martin Snell

- (bass) Kuno

Lars Woldt

- (bass-baritone) Kaspar

Stephan Loges

- (bass-baritone) Samiel/Ottokar

Christine Brewer

- (soprano) Agathe

Sally Matthews

- (soprano) Ännchen

Emily Hall

- (soprano) Four bridesmaids

Simon O'Neill

- (tenor) Max

London Symphony Chorus


Barbican Centre, London


James Mallinson


Jonathan Stokes

Neil Hutchinson

Record Label



Total Time - 122:43
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Der Freischütz

1 Overture 10:38
  Erster Akt  
2 No.1 Introduction: 'Victoria, der Meister soll leben' 5:46
3 No.2 Terzett mit Chor: 'O! diese Sonne!' 6:59
4 No.3 Scene, Walzer und Arie: 'Nein! länger trag' ich nicht die Qualen' 9:27
5 No.4 Lied: 'Hier im ird'schen Jammerthal' 2:36
6 No.5 Arie: 'Schweig'! Schweig'! damit dich niemand warnt' 3:44
  Zweiter Akt  
7 No.6 Duett: 'Schelm! halt fest!' 5:01
8 No.7 Ariette: 'Kommt ein schlanker Bursch gegangen' 4:07
9 No.8 Scene und Arie: 'Wie nahte mir der Schlummer' 8:56
10 No.9 Terzett: 'Wie? Was? Entsetzen!' 7:06
11 No.10 Finale - Die Wolfsschlucht: 'Milch des Mondes fiel aufs Kraut' 18:08
  Dritter Akt  
12 No.11 Entre-Acte 2:04
13 No.12 Cavatine: 'Und ob die Wolke sie verhülle' 5:30
14 No.13 Romanze und Arie: 'Einst träumte meiner sel'gen Base' 6:51
15 No.14 Volkslied: 'Wir winden dir den Jungfernkranz' 4:11
16 No.15 Jägerchor: 'Was gleicht wohl auf Erden dem Jägervergnügen' 2:52
17 No.16 Finale: 'Schaut, o schaut, er traf die eig'ne Braut!' 18:47

LSO Live LS 0726

Weber: Der Freischütz – Christine Brewer, Sally Matthews, Simon O’Neill, Lars Woldt, London Symphony Orchestra, Sir Colin Davis

Weber’s eerily fantastical Der Freischütz is hailed as one of the cornerstones of romantic opera, being the first in operatic history to draw on traditional German folk tunes and elements of romanticism. The evocative and colourful orchestration of the ‘Wolf’s Glen’ scene, the most gruesomely expressive rendering of evil ever found in a musical score, is particularly impressive. Much of the music is instantly familiar: several of the melodies have been adapted as hymn tunes, and the Overture is regularly heard in the concert hall.

‘One of the marvels of [Davis’s] old age was the vitality he continued to bring to his music-making, combined with the wisdom of experience. Both are in evidence here, reinforcing Der Freischütz’s reputation as one of the most tuneful and psychologically profound operas in the repertoire.’

***** The Financial Times

 In this his last opera recording, the late Sir Colin Davis conducts the London Symphony Orchestra and Chorus and a stellar cast of soloists in a concert performance of Weber’s eerily fantastical opera, Der Freischütz.

Der Freischütz is heralded as one of the cornerstones of Romantic opera, drawing on traditional German folk tunes and elements of Romanticism for the first time in the history of opera. The evocative and colourful orchestration is particularly impressive in the scene ’Wolf’s Glen’; long considered the most gruesomely expressive rendering of evil ever found in a musical score.
Sir Colin Davis has left behind a legacy of authoritative recordings. Regarded as one of the greatest interpreters of Berlioz by critics and fans alike, he also championed the music of Mozart, Sibelius, Elgar, Dvorak, and most recently, Nielsen. His memory lives on in his incomparable recordings for LSO Live.

                      *** (Good)

Roberto Brusotti - Musica magazine - October 2013

                      **** (Excellent Disc)

Sylvain Fort - Classica magazine (France) - September 2013

                    Music ***½ (Good/Very Good)          Sound **** 

Gerhard Persché - Fono Forum magazine - August 2013

"...This release is a fitting tribute for a conductor who knew precisely what he wanted in term of expression and colour, and who was blessed by having an orchestra – the LSO (of which he had been both Principal Conductor and President) – that could deliver it. Their rapport is palpable... The ghostly melodrama and other ingredients of this romantic opera (the horn-playing and instrumental solos are terrific) come across with such vigour and immediacy that it’s hard to realise that Sir Colin Davis is no longer here to continue generating his special magic."
Peter Reed - - 18 June 2013

 "...Weber’s beguiling score is full of rustic energy and vivid evocations of the natural world. The winning cast is headed by the tenor Simon O’Neill, who brings both heroic  heft and Mozartean lyricism to Max. The luminous soprano Christine Brewer is wonderful as Agathe ... The astonishing Wolf’s Glen scene, when Max enters a haunted realm of the Forest, is Weber at his most ingenious and Davis’s performance captures the music’s ominous and magical allure."

Anthony Tommasini - The New York Times - 21 June 2013

                      Performance ****      Recording *****

"...This is a sincere reading of the work ... The orchestral textures are pristine, the tempos and colours bracing and plaintive, with faultless work from clarinettist Chris Richards ..."

Anna Picard - BBC Music magazine - August 2013

"There is no sign of failing powers in Sir Colin Davis’s last opera recording taken from live performances at the Barbican: his account of Weber’s score captures both its folkish ebullince and the Gothic horrors of the Wolf’s Glen scene ... Christine Brewer and SallyMatthews give glowing accounts of their arias."

Rupert Christiansen - The Daily Telegraph - 8 June 2013

D Glyn-Jones