Strauss - Die Liebe der Danae / Flanigan, Coleman Wright, Sotin, W. Lewis, Saffer, ASO, Botstein [Box set]

Track Listings
Disc: 1
1. Act One: 'Der Konig, Wo?' - Conc Chor Of New York/Gary Wedow/William Lewis    
2. Act One: Interlude - Der Goldregen - American SO/Leon Botstein    
3. Act One: 'O Gold! O Susses Gold!' - Lauren Flanigan/Lisa Saffer    
4. Act One: Interlude - 'Was Bringen Die Fursten?' - Conc Chor Of New York/Gary Wedow/William Lewis/Tamara Mesic/Jane Jennings/Mary Phillips...    
5. Act One: 'Leuchtet Mein Traum?' - Lauren Flanigan/Hugh Smith/Conc Chor Of New York/Gary Wedow    
6. Act One: 'Auf Goldnen Fluten Kommst Du Gezogen' - Conc Chor Of New York/Gary Wedow/Tamara Mesic/Jane Jennings/Mary Phillips/Elisabeth Canis...    
Disc: 2
1. Act Two: 'Kranze Winden Wir Fremder Hochzeit!' - Tamara Mesic/Jane Jennings/Mary Phillips/Elisabeth Canis/Peter Coleman Wright    
2. Act Two: 'Der Helm Druckt Mich' - Peter Coleman Wright/Hugh Smith    
3. Act Two: Interlude - 'Hochzeitszug!' - Tamara Mesic/Jane Jennings/Mary Phillips/Elisabeth Canis    
4. Act Two: Niemand Rief Mich' - Lauren Flanigan/Hugh Smith    
5. Act Two: 'Was Tat Ich?' - Hugh Smith/Peter Coleman Wright    
6. Act Two: 'Midas-Geliebter-Bleibe Mir Hold!' - Lauren Flanigan    
7. Act Two: 'Treulose Danae! Du Hast Gewahlt!' - Peter Coleman Wright    
Disc: 3
1. Act Three: Prld - American SO/Leon Botstein    
2. Act Three: 'Geliebter! Freund!' - Lauren Flanigan/Hugh Smith    
3. Act Three: 'In Syriens Glut' - Hugh Smith    
4. Act Three: 'Als Mit Des Kleides Glanz Du Gekommen' - Lauren Flanigan/Hugh Smith    
5. Act Three: 'Du Schon Hier?' - Michael Hendrick/Peter Coleman Wright/Tamara Mesic/Jane Jennings/Mary Phillips/Elisabeth Canis    
6. Act Three: 'Halt! Halt! Da Ist Er!' - William Lewis/Rodne Brown/James Archie Worley/William Berges/Richard Crist/Conc Chor Of New York...    
7. Act Three: 'Bluht Doch Die Welt' - Michael Hendrick    
See all 13 tracks on this disc

Editorial Reviews
Amazon.com
Die Liebe der Danae had its origins with a scenario (imagined as a "lighter" effort) suggested by Strauss's great collaborator Hugo von Hofmannsthal. But it wasn't until after the librettist's death that Strauss--under the more mediocre partnership of Joseph Gregor--returned to the project. His second-to-last opera, Danae never managed to establish itself and has slipped through the cracks, becoming one of the composer's least-produced works. More's the pity, as Strauss enthusiast Leon Botstein eloquently proves in this largely admirable live recording (captured from concert performances in January 2000 given in Avery Fisher Hall).

The story involves one of those delicious conflations typical of Hofmannstahl--here the (otherwise) unrelated classical legends of King Midas and Jupiter seducing Danae in the form of golden rain--that allow for several layers of irony as well as sudden reversals leading to unexpected wisdom. Though the score is late Strauss, full of the ripeness you'd expect from this period, there's a sense of recapturing youthful exuberance in some of its inventive profusion. Note, for example, the obvious pleasure Strauss takes in conjuring a world of golden imagery through sound--a vein that also, incidentally, allows him scope for some affectionate parody of Wagner's Ring.

Some of the music, to be sure, represents rote-Strauss (a particularly weak spot includes most of the choral writing). But there are passages of, well, Straussian gold as well, above all in the love music between Danae and Midas. Lauren Flanigan captivates in the exceedingly difficult title role, and there's good chemistry with Hugh Smith as the king with the cursed touch. Fans of one of the last century's greatest opera composers will find this a discovery that's pleasurably rewarding. --Thomas May

Strauss - Die Liebe der Danae / Flanigan, Coleman Wright, Sotin, W. Lewis, Saffer, ASO, Botstein, Music, Richard Strauss, Leon Botstein, Lauren Flanigan, Peter Coleman Wright, American Symphony Orchestra, Hans Sotin, Lisa Saffer, Classical, Classical Music, German/Austrian Romantic Opera, Opera, Opera / Operetta / Oratorio, Opera/Operetta
Strauss - Die Liebe der Danae / Flanigan, Coleman Wright, Sotin, W. Lewis, Saffer, ASO, Botstein
Average customer rating: 4 out of 5 stars
  • Worth Hearing!
  • New and better recording
  • Fine Recording; Secondary Work
  • THE OLD BRAVERY
  • Achingly, Ravishingly Beautiful
 Strauss - Die Liebe der Danae / Flanigan, Coleman Wright, Sotin, W. Lewis, Saffer, ASO, Botstein

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005AQ34
Release Date: 2001-03-27

Tracks:

  1. Act One: 'Der Konig, Wo?' - Conc Chor Of New York/Gary Wedow/William Lewis
  2. Act One: Interlude - Der Goldregen - American SO/Leon Botstein
  3. Act One: 'O Gold! O Susses Gold!' - Lauren Flanigan/Lisa Saffer
  4. Act One: Interlude - 'Was Bringen Die Fursten?' - Conc Chor Of New York/Gary Wedow/William Lewis/Tamara Mesic/Jane Jennings/Mary Phillips...
  5. Act One: 'Leuchtet Mein Traum?' - Lauren Flanigan/Hugh Smith/Conc Chor Of New York/Gary Wedow
  6. Act One: 'Auf Goldnen Fluten Kommst Du Gezogen' - Conc Chor Of New York/Gary Wedow/Tamara Mesic/Jane Jennings/Mary Phillips/Elisabeth Canis...

Tracks:

  1. Act Two: 'Kranze Winden Wir Fremder Hochzeit!' - Tamara Mesic/Jane Jennings/Mary Phillips/Elisabeth Canis/Peter Coleman Wright
  2. Act Two: 'Der Helm Druckt Mich' - Peter Coleman Wright/Hugh Smith
  3. Act Two: Interlude - 'Hochzeitszug!' - Tamara Mesic/Jane Jennings/Mary Phillips/Elisabeth Canis
  4. Act Two: Niemand Rief Mich' - Lauren Flanigan/Hugh Smith
  5. Act Two: 'Was Tat Ich?' - Hugh Smith/Peter Coleman Wright
  6. Act Two: 'Midas-Geliebter-Bleibe Mir Hold!' - Lauren Flanigan
  7. Act Two: 'Treulose Danae! Du Hast Gewahlt!' - Peter Coleman Wright

Tracks:

  1. Act Three: Prld - American SO/Leon Botstein
  2. Act Three: 'Geliebter! Freund!' - Lauren Flanigan/Hugh Smith
  3. Act Three: 'In Syriens Glut' - Hugh Smith
  4. Act Three: 'Als Mit Des Kleides Glanz Du Gekommen' - Lauren Flanigan/Hugh Smith
  5. Act Three: 'Du Schon Hier?' - Michael Hendrick/Peter Coleman Wright/Tamara Mesic/Jane Jennings/Mary Phillips/Elisabeth Canis
  6. Act Three: 'Halt! Halt! Da Ist Er!' - William Lewis/Rodne Brown/James Archie Worley/William Berges/Richard Crist/Conc Chor Of New York...
  7. Act Three: 'Bluht Doch Die Welt' - Michael Hendrick
  8. Act Three: Interlude - American SO/Leon Botstein
  9. Act Three: 'Wie Umgibst Du Mich Mit Frieden' - Lauren Flanigan
  10. Act Three: 'Wer Bist Du, Fremder?' - Lauren Flanigan/Peter Coleman Wright
  11. Act Three: 'Ew'ge Pfade Trennen Sich' - Lauren Flanigan/Peter Coleman Wright
  12. Act Three: 'Nimm Denn Gold Von Mir, Von Danae' - Lauren Flanigan
  13. Act Three: 'Auch Dich Schuf Der Gott' - Peter Coleman Wright

Amazon.com

Die Liebe der Danae had its origins with a scenario (imagined as a "lighter" effort) suggested by Strauss's great collaborator Hugo von Hofmannsthal. But it wasn't until after the librettist's death that Strauss--under the more mediocre partnership of Joseph Gregor--returned to the project. His second-to-last opera, Danae never managed to establish itself and has slipped through the cracks, becoming one of the composer's least-produced works. More's the pity, as Strauss enthusiast Leon Botstein eloquently proves in this largely admirable live recording (captured from concert performances in January 2000 given in Avery Fisher Hall).

The story involves one of those delicious conflations typical of Hofmannstahl--here the (otherwise) unrelated classical legends of King Midas and Jupiter seducing Danae in the form of golden rain--that allow for several layers of irony as well as sudden reversals leading to unexpected wisdom. Though the score is late Strauss, full of the ripeness you'd expect from this period, there's a sense of recapturing youthful exuberance in some of its inventive profusion. Note, for example, the obvious pleasure Strauss takes in conjuring a world of golden imagery through sound--a vein that also, incidentally, allows him scope for some affectionate parody of Wagner's Ring.

Some of the music, to be sure, represents rote-Strauss (a particularly weak spot includes most of the choral writing). But there are passages of, well, Straussian gold as well, above all in the love music between Danae and Midas. Lauren Flanigan captivates in the exceedingly difficult title role, and there's good chemistry with Hugh Smith as the king with the cursed touch. Fans of one of the last century's greatest opera composers will find this a discovery that's pleasurably rewarding. --Thomas May

Customer Reviews:

5 out of 5 stars Worth Hearing!.......2006-10-30

"Die Liebe der Danae" is a wonderful opera -- perhaps not as wonderful as some Strauss operas, but the better you get to know it, the more you will appreciate its many beauties. It is an opera that improves as it goes along. The first act has some lovely parts -- especially the "rain of gold" music that leads into the second scene and the duet between Danae and her servant, Xanthe. The second act has a charming, light-hearted scene where Jupiter's previous four lovers banter with him, and the act ends well with Danae's choice of Midas followed by Jupiter's response. Unfortunately, in the first two acts the duets between Midas and Danae are weak, which leaves a poorer impression precisely because you would expect Strauss to have given something especially inspiring at these points. However, the third act is worth the wait. It is psychologically richer, and the music corresponds. Mercury's tongue-in-cheek sections are fun (and show that the librettist was capable of more creative lines than he usually gave Strauss). Both Midas' and Danae's arias are finely crafted. The music leading into the final scene ("Jupiter's Renunciation") is among the loveliest short pieces Strauss ever wrote -- one long, sustained melody (one never hears it in concert, unfortunately). Best of all, Jupiter's music in this act is very rich -- especially the "Maja Erzaehlung" towards the end.

I know this recording as well as the original one from Orfeo, and I appreciate both. However, there are particular things in this recording to recommend it. As one would expect, the quality of the sound is vastly better, and the inclusion of a libretto is a definite plus. Over all, the title role is better sung on this recording and is noticeably better in the 3rd act aria (where the earlier singer hit some embarrassingly flat notes in a very exposed place). The conductor here (Botstein) does a better job sticking to tempo than Clements did, which especially helps the 2nd act duet hold together, and which also helps with Danae's 3rd act aria. While Paul Schoeffler's singing of Jupiter in the Orfeo edition is something to treasure, Peter Coleman-Wright does a great job in his own right (and in some cases sings the role more accurately than Schoeffler did).

All in all, this is a great recording, and if you are going to just purchase one, this is the one I would recommend.

2 out of 5 stars New and better recording.......2004-04-07

...The overall interpretation is better than the one by Botstein, in particular the orchestra, which I found under par, and almost amateurish at times, in the Telarc recording. Kiel's opera house orchestra may not be the Vienna Philarmonic, but it's professional and, at least, it doesn't make me cringe as much as with the ASO...

4 out of 5 stars Fine Recording; Secondary Work.......2004-02-22

This is an excellent recording of one of Stauss's lesser works. Written ostensibly as an escape from the stresses of Strauss's life in the Nazi state, this opera deals with the nature of love, particularly youthful love and passion. In some respects, it is a rehash of that great von Hofmannsthal/Strauss collaboration, Der Rosenkavalier. It is a somewhat satiric meditation on the nature of love and passion. The theme of older lover, the younger lover, and a joint object of desire is present. The gift of a metallic rose is used as a plot device, just as in Rosenkavalier. Perhaps more laden with symbolism than Rosenkavalier. While much of the music in Liebe is lovely, much is just very good. This is not one of Strauss's strongest efforts. This is a recording of a concert version with fine singing and orchestral work. Certainly worth listening to if you enjoy opera, and worth owning if you are a real Strauss enthusiast.

4 out of 5 stars THE OLD BRAVERY.......2002-01-13

I do praise, certainly, the appearance of NEW "Danae". Recording is superb, as well as the singing (Flanigan). I expected a touch of more fiery interpretation by Botstein. By the way, I want to underline the following fact - this "Danae" IS NOT the first CD release ever. The first "Danae" on CDs is the production from 1950 and one can find it on Orfeo D'Or label as a live recording from Salzburg festival, featuring excellent singers (Schoeffler, Traxel, Gostic) and unsurpased FIERY conductor's interpretation by Clemens Krauss. I rate this second "Danae" (new recording) with 4 stars and for the first "Danae" (old recording) - admiring OLD BRAVERY to put on repertoire such, in that times after World War II, strange opera and to produce it with highest artistic standards - I rate it with 5 stars!

5 out of 5 stars Achingly, Ravishingly Beautiful.......2001-08-08

Telarc's recording of Strauss's penultimate opera DIE LIEBE DER DANAE is a magnificent milestone. DIE LIEBE belongs to the sound world of Strauss's great, late works, like the FOUR LAST SONGS, the OBOE CONCERTO, and the METAMORPHOSEN. The tonal palate is golden, autumnal, suffused with melancholy. Although the libretto seems somewhat frivolous at first, so do the libretti of ARIADNE AUF NAXOS and ARABELLA, yet Strauss's glorious music imbues them with pathos and profundity. DIE LIEBE contains some of Strauss's most beautiful and demanding writing for soprano and bartitone. I have nothing but praise for this performance, and the Telarc recording is magnificent. At the end of the first act, I was astonished to hear applause. I had no idea that this is a live performance! It is mercifully free of thundering hooves crossing the stage. One wonders why this wonderful opera has been so long neglected while inferior works like FRIEDENSTAG have received modern recordings before it. This is an obligatory disc--the record of the year--for all Straussians.

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