Ben Heppner - German Romantic Opera

Editorial Reviews
Amazon.com
Forget the superannuated Three Tenors; Ben Heppner, with his huge voice, tonal brilliance, and interpretive sensitivity, is a 1990s throwback to the greats of the past. In this repertory, he's king of the hill. The recital's delights begin with a golden-voiced, 40-minute Wagner set chockfull of vocal thrills, made all the more compelling by Heppner's rhythmic mastery and discreet rubato. You expect excitement from a tenor with his ringing top, but just as impressive is the delicate soft singing that makes the Korngold aria, to take but one of many examples, a moving experience. Good accompaniments. Slightly subpar engineering doesn't dim the attractions of this outstanding disc. --Dan Davis

Ben Heppner - German Romantic Opera, Music, Ludwig van Beethoven, Erich Wolfgang Korngold, Richard Wagner, Carl Maria von Weber, Donald Runnicles, Sir Colin Davis, Hamburg North German Radio Symphony Orchestra, Winds of the Bavarian Radio Symphony Orchestra, Ben Heppner, Classical, Classical Artists, Classical Music, Classical Vocals, German/Austrian 20th/21st Century Opera, German/Austrian Classical Period Opera, German/Austrian Romantic Opera, Opera
Wagner - Der fliegende Holländer / Morris, Voigt, Heppner, Rootering, Groves, Svendén, MET, Levine
Average customer rating: 3 out of 5 stars
  • A Fine Dutchman
  • Orchestra is fine, but . . .
  • A complete DUD. Avoid.
  • Great performance, but POOR sound
  • Slow and Dull but Nice Enough
 Wagner - Der fliegende Holländer / Morris, Voigt, Heppner, Rootering, Groves, Svendén, MET, Levine
Deborah Voigt , Richard Wagner , James Morris , Ben Heppner , James Levine , Brigitta Svendén , Paul Groves , Metropolitan Opera Chorus and Orchestra , and Jan-Hendrick Rootering
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Wagner - Tristan und Isolde / Heppner, Eaglen, Pape, Dalayman, Ketelsen, Metropolitan Opera
  2. Wagner - Die Meistersinger von Nurnberg / Heppner, Mattila, Morris, Pape, Allen, Polenzani, Levine, Metropolitan Opera

ASIN: B000002AR1
Release Date: 1997-04-15

Tracks:

  1. The Flying Dutchman: Ach! wo weilt sie
  2. The Flying Dutchman: Senta! Willst du mich verderben?
  3. The Flying Dutchman: Nr. 5: Duett: Bleib, Senta!
  4. The Flying Dutchman: Auf hohem Felsen lag ich traumend
  5. The Flying Dutchman: Nr. 6 Finale: Mein Kind, du siehst mich auf der Schwelle
  6. The Flying Dutchman: Arie: Mogst du, mein Kind, den fremden Mann
  7. The Flying Dutchman: Duett: Wie aus der Ferne langst ver gangner Zeiten
  8. The Flying Dutchman: Wirst du des Vaters Wahl nicht schelten?
  9. The Flying Dutchman: Terzett: Verzeiht! Mein Volk halt drauben sich nicht mehr
  10. The Flying Dutchman: Nr. 7 Chor und Szene: Steuermann! Lab die Wacht!
  11. The Flying Dutchman: Johohoe! Johohoe! Hoe! Hoe!
  12. The Flying Dutchman: Nr. 8 Finale: Was mubt ich horen!
  13. The Flying Dutchman: Kavatine: Willst jenes Tags du nicht dich mehr entsinnen
  14. The Flying Dutchman: Verloen! Ach! Verloen!
  15. The Flying Dutchman: Erfaehre das Geschick, vor dem ich dich bewar'

Tracks:

  1. Overture
  2. Hojoje! Hojoje! Hollojo! Ho!
  3. Lied: Mit Gewitter und Sturm
  4. Die Frist ist um
  5. He! Holla! Steuermann!
  6. Duett: Durch Strum und bosen Wind verschlagen
  7. Wie! Hort! ich recht?
  8. Sudwind! Sudwind!
  9. summ und brumm, du gutes Radchen
  10. Du boses Kind! Wenn du nicht spinnst
  11. Ballade: Johohoe! -- Traft ihr das Schiff

Amazon.com

James Levine's is a more recent entry in the realm of Dutchman recordings, and sonically the recording is absolutely stunning, with great attention having been paid to the recording process. The casting for this Metropolitan Opera effort is also uniformly first rate, even in the less grateful roles of the hapless Erik, sung by the impressive Ben Heppner, and the scolding nurse, Mary, sung by Birgitta Svendén. Morris's brooding Dutchman is hard to match on any other available recording, and Deborah Voigt is a ravishing Senta. The chorus work is quite good, though not quite as rich as that heard in the Solti/Chicago recording. Overall, Levine does a workmanlike job of conducting these impressive forces, though there are passages in which his tempi seem to drag. This recording is a must for anyone who needs a completely up to date version of Wagner's first major opera. --Christian C. Rix

Customer Reviews:

5 out of 5 stars A Fine Dutchman.......2006-10-02

This recording, featuring noted Wagnerians James Morris and Deborah Voight, is a great recording of Dutchman. I can't figure out why there are so many negative reviews here.

Morris' Dutchman is nothing short of stunning and Voigt makes an amazing Senta (her rendition of Senta's Ballad is just perfect). Dismiss the naysayers and add this to your collection.

2 out of 5 stars Orchestra is fine, but . . ........2006-08-23

The Metropolitan Opera Orchestra gives out a spectacular performance, creating enormous power and precision. And that's probably the only thing that's good about this Flying Dutchman. James Levine's tempi are dragged (most notably the "Overture" and the "Spinning Chorus"), making this the least Wagnerian of all studio recordings. The choir is surprisingly unpleasant: their diction isn't good enough and their pitch isn't completely correct. The vocal soloists . . . well, let's just say that even Daniel Barenboim's choice of casting is better than this. As for the sound quality, it's just plain awful: The volume is a bit weak and the bass sound is heard incorrectly.

All in all, if you want to get this ONLY for the orchestral sound, then do it. Otherwise, go for the Solti, Sinopoli, or Klemperer recordings.

1 out of 5 stars A complete DUD. Avoid........2006-07-04

I'll just get straight to the point. I agree with the other reviews, this is not a good Dutchman. The cast is certainly decent, if not great, but there are more insightful performances on other sets, Klemperer on EMI having the best cast overall. The amazon review mentions the good sound quality, and it is very good.......if all you want to hear is the orchestra. True the MET orchestra plays superbly, at loud parts the orchestra sounds massive and powerful, impressive in its own right. But the orchestra simultaneously drowns out the singers at every tutti throughout the entire performance. And the loud parts are the only times this performance sounds any good. Levine's shaping of the score is formless and lifeless, lacking in any sense of drive or momentum, sounding pratically comatose in slow and/or quiet sections. Just listen the beginning of Act 2, the maiden's spinning song. No pulse, no verve, no life. I was quite frankly bored listening to this performance. There are many better performances of this piece on record. Among them, the classic Klemperer on EMI; Steinberg on Naxos, a great bargain version; and in the realm of modern digital recordings, Sinopoli on DG and Dohnanyi on Decca are both superb. Get any of them before getting this dud of a performance.

1 out of 5 stars Great performance, but POOR sound.......2005-02-10

I wanted this recording to sound good, technically. But, that is where it falls way short. The recorded sound is distant. The performance is outstanding. I disagree with other review about Levine's tempo -- I like what he does here. The singers are fantastic. It is just the technical quality of the recording that is so darn bad.

3 out of 5 stars Slow and Dull but Nice Enough.......2004-08-27

This recording seems to have been made at the nadir of Levine's fixation on glacial tempos. The result is not more profound or more sublime--it's just dull. The sound is lovely but entirely bereft of any trace of drama. So much so that I'd almost recommend Barenboim's recording--with Eaglen's horrific Senta--just as an antidote. But luckily there are plenty of recordings to go around, so no such choice is necessary. In any event, though, skip this one. The overture, spinning song, ballade, double chorus--they're all pretty, but deadly dull. The choral singing is also pretty unfocused.
Wagner: Die Meistersinger von Nurnberg
Average customer rating: 4 out of 5 stars
  • Surprise--Solti gives us the most elegant, best sung Meistersinger on disc
  • Something missing...
  • It's good
  • One of the Best Meistersinger around!!
  • SUBLIME AND PROFOUND
 Wagner: Die Meistersinger von Nurnberg
Richard Wagner , Georg Solti , Karita Mattila, Iris Vermillion, Herbert Lippert, José van Dam Ben Heppner , Richard Byrne, Alan Opie, Albert Dohmen, René Pape, Kevin Daes Roberto Saccà , and Chicago Symphony Orchestra
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Der fliegende Holländer / Weikl, Studer, Domingo, Sotin, Seiffert; Sinopoli
  2. Puccini - Il Trittico / Alagna, Gheorghiu, Guelfi, Guleghina, Gallardo-Domás, Manca di Nissa, Palmer, Shicoff, van Dam, Pappano

ASIN: B0000042FC
Release Date: 1997-02-11

Tracks:

  1. Die Meistersinger von Nurnberg: Vorspiel - Prelude
  2. Die Meistersinger von Nurnberg - Act I: Da zu dir der Heiland kam
  3. Die Meistersinger von Nurnberg - Act I: Verweilt! Ein Wort - ein einzig Wort!
  4. Die Meistersinger von Nurnberg - Act I: Da war der Ritter ja am rechten Ort!
  5. Die Meistersinger von Nurnberg - Act I: David! Was stehst?
  6. Die Meistersinger von Nurnberg - Act I: Mein Herr! Der Singer Meisterschlag
  7. Die Meistersinger von Nurnberg - Act I: Der Meister Ton und Weisen
  8. Die Meistersinger von Nurnberg - Act I: Aller End ist doch David der Allergescheit'st'
  9. Die Meistersinger von Nurnberg - Act I: Seid meiner Treue wohl versehen
  10. Die Meistersinger von Nurnberg - Act I: Gott gruss euch, Meister!
  11. Die Meistersinger von Nurnberg - Act I: Beliebt's, wir schreiten zur Merkerwahl?
  12. Die Meistersinger von Nurnberg - Act I: Das heisst ein Wort, ein Wort ein Mann!
  13. Die Meistersinger von Nurnberg - Act I: Verzeiht, vielleicht schon ginget ihr zu weit
  14. Die Meistersinger von Nurnberg - Act I: Wohl, Meister! Zur Tagesordnung kehrt
  15. Die Meistersinger von Nurnberg - Act I: Am stillen Herd in Winterszeit
  16. Die Meistersinger von Nurnberg - Act I: Nun, Meister! Wenn's gefallt
  17. Die Meistersinger von Nurnberg - Act I: Was Euch zum Liede Richt und Schnur

Tracks:

  1. Die Meistersinger von Nurnberg - Act I: Fanget an! So rief der Lenz in den Wald
  2. Die Meistersinger von Nurnberg - Act I: Seid Ihr nun fertig?
  3. Die Meistersinger von Nurnberg - Act I: Halt, Meister! Nicht so geeilt!
  4. Die Meistersinger von Nurnberg - Act I: Doch wird's wohl jetzt mir kund
  5. Die Meistersinger von Nurnberg - Act II: Johannistag! Johannistag!
  6. Die Meistersinger von Nurnberg - Act II: Was gibt's? Treff ich dich wieder am Schlag?
  7. Die Meistersinger von Nurnberg - Act II: Nich doch, 's ist mild und labend
  8. Die Meistersinger von Nurnberg - Act II: Was duftet doch der Flieder so mild
  9. Die Meistersinger von Nurnberg - Act II: Gut'n Abend, Meister! Noch so fleisBig?
  10. Die Meistersinger von Nurnberg - Act II: K?nnt's einem Witwer nich gelingen?
  11. Die Meistersinger von Nurnberg - Act II: Das dacht ich wohl. Nun heisst's: schaff Rat!
  12. Die Meistersinger von Nurnberg - Act II: Da ist er!
  13. Die Meistersinger von Nurnberg - Act II: H?rt, ihr Leut, und lasst euch sagen
  14. Die Meistersinger von Nurnberg - Act II: Jerum! Jerum! Hallahalohe!
  15. Die Meistersinger von Nurnberg - Act II: Mich schmerzt das Lied, ich weiss nicht wie!
  16. Die Meistersinger von Nurnberg - Act II: War das Eu'r Lied?
  17. Die Meistersinger von Nurnberg - Act II: Den Tag seh' ich erscheinen
  18. Die Meistersinger von Nurnberg - Act II: Zum Teufel mit dir, verdammter Kerl!

Tracks:

  1. Die Meistersinger von Nurnberg - Act III: Vorspiel - Prelude
  2. Die Meistersinger von Nurnberg - Act III: Scene 1 - Gleich, Meister! Hier!
  3. Die Meistersinger von Nurnberg - Act III: Scene 1 - Blumen und Bander seh ich dort?
  4. Die Meistersinger von Nurnberg - Act III: Scene 1 - Wahn! Wahn! Uberall Wahn!
  5. Die Meistersinger von Nurnberg - Act III: Scene 1 - Gruss Gott, mein Junker
  6. Die Meistersinger von Nurnberg - Act III: Scene 1 - Mein Freund, In Holder Jugendzeit
  7. Die Meistersinger von Nurnberg - Act III: Scene 1 - Morgenlich leuchtend in rosigem Schein
  8. Die Meistersinger von Nurnberg - Act III: Scene 1 - Das nenn ich mir einen Abgesang!
  9. Die Meistersinger von Nurnberg - Act III: Scene 1 - Ein Werbelied! Von Sachs!
  10. Die Meistersinger von Nurnberg - Act III: Scene 1 - Sie da, Herr Schreiber: auch am Morgen?
  11. Die Meistersinger von Nurnberg - Act III: Scene 1 - Das Gedicht? ...heir liess ich's
  12. Die Meistersinger von Nurnberg - Act III: Scene 1 - So ganz boshaft doch keinen ich fand
  13. Die Meistersinger von Nurnberg - Act III: Sceine 1 - Immer schuster, das ist nun mein Los
  14. Die Meistersinger von Nurnberg - Act III: Scene 1 - Hat Man mit dem Schuhwerk nicht seine Not!
  15. Die Meistersinger von Nurnberg - Act III: Scene 1 - Mein Kind, von Tristan und Isolde

Tracks:

  1. Die Meistersinger von Nurnberg - Act III: Scene 1 - Die 'selige Morgentraum-Deutweise'
  2. Die Meistersinger von Nurnberg - Act III: Scene 2 - Sankt Krispin, lobet ihn!
  3. Die Meistersinger von Nurnberg - Act III: Scene 2 - Als Nurenberg belagert war
  4. Die Meistersinger von Nurnberg - Act III: Scene 2 - Hungersnot! Hungersnot!
  5. Die Meistersinger von Nurnberg - Act III: Scene 2 - Ihr tanzt? Was werden die Meister sagen? 'Lehrbubentanz'
  6. Die Meistersinger von Nurnberg - Act III: Scene 2 - Die Meistersinger! Die Meistersinger!
  7. Die Meistersinger von Nurnberg - Act III: Scene 2 - 'Wach' auf, es nahet gen den Tag'
  8. Die Meistersinger von Nurnberg - Act III: Scene 2 - Euch macht ihr's leicht, mir macht ihr's schwer
  9. Die Meistersinger von Nurnberg - Act III: Scene 2 - O Sachs, mein Freund!
  10. Die Meistersinger von Nurnberg - Act III: Scene 2 - 'Morgen ich leuchte In rosigem Schien'
  11. Die Meistersinger von Nurnberg - Act III: Scene 2 - 'Heimlich mir graut'
  12. Die Meistersinger von Nurnberg - Act III: Scene 2 - 'Morgenlich leuchtend im rosegen Schein'
  13. Die Meistersinger von Nurnberg - Act III: Scene 2 - Den Zeugen, denk es, wahlt ich gut
  14. Die Meistersinger von Nurnberg - Act III: Scene 2 - Verachtet mir die Meister nicht

Customer Reviews:

4 out of 5 stars Surprise--Solti gives us the most elegant, best sung Meistersinger on disc.......2007-01-12

As someone who has also experienced and owned a good many recordinngs of Die Meistersinger, I have a different perspective from the reviewer above who lists his five favorite versions. Often the problem with Wagner recordings is that one critical element ruins the rest, however excellent. With that in mind, the second of Solti's two recordings scores high--there are no bad, or even mediocre singers, and some are among the best we've ever had. The opera world flocks to hear Heppner's Walther, and with good reason. In addition, the sonics, orchestral playing, and chorus are beyond reproach. The biggest suprise, however, is Solti himself, who had mellowed enough by 1997 to drop his habit of going into overdrive: this is a gentle, refined, but alert performance, with lots of inner life in the setting of a live concert-hall audinece.

But before praising the individual parts of this set, let me offer some comparisons with the competition, concentrating on that plague of Wagner recordings, the one dreadful singer who becomes the fly in the ointment.

Karajan, Bayreuth (EMI)-- This, the first important postwar Meistersinger, comes from Karajan's fleeting appearance at Bayretuh. Here in a live 1951 stage production we hear a great conductor at his finest and a cast that couldn't be bettered at that time, with Otto Edelmann's Sachs and Elisabeth Schwarzkopf's Eva standing out. Long a famous set, this one nevertheless suffers from the curse of the nearly insufferable Hans Hopf, a bawling, burly Walther. You must listen around him and also make allowances for murky sonics.

Kempe, Berlin (EMI) -- Also in mono (EMI was just dipping into stereo for its operas by 1956) this set appeals to fans of Kempe and Elisabeth Grummer as Elsa--they also paired in Lohengrin to great success. I can only say that the gritty Sachs of Ferdinand Frantz, a coarse, loud singer, disqualifies the whole performance for me, and the Walther of Windgassen holds few charms.

Jochum, Bavarian State (DG) -- The very fine set conducted by Kubelik in 1967 was shelved becasued Fischer-Dieskau, the company's superstar, and Placido Domingo, taking his first steps into Wagner, wanted to record Sachs and Waltehr. Nothing worked. F-D mugs constantly and is far too light-voiced for the part; Domingo's German is rudimentary at best. Add a poor Eva and the routine conducting of Jochum, and this set can be bypased.

Solti, Vienna (London/Decca) - I can understand the English fondness for this set, consistently praised over the years by the Gramophone, because the Sachs, Norman Bailey, is British, and Solti was a pet conductor. But Bailey, however noble, is rather wooly and sluggish of voice. Love him if you will, but nothing can help the painfully uncharming Walther of Rene Kollo, who was lucky to come along during a complete famine of Wagner tenors. Not so lucky for us, he is marginally fresher of voice here than for Karajan. The Eva is even weaker, and Solti's conducting is coarse and totally without humor.

Karajan, Dresden (EMI) -- After the left the Philharmonia in the early Sixties it was rare for Karajan to conduct any orchestra except Berlin and Vienna, so it was an event when he traveled to Dresden to make one of the most magisterial Meistersingers on record. There are listeners who cannot abide Karajan's Wagner, and even a huge admirer like me has reservations, but not here. We get a lovely Eva from Donath, and all the minor parts are fine. But Kollo is distressingly ugly of voice as Walther, and just as unlistenable is the Sachs of Theo Adam, whose gargly, gravelly voicalism grates like fingernails on a blackboard.

Kubelik, Bavarian RSO (Calig) - You could heaar the cheering from Tokyo to Bayareth in 1994 when DG allowed this long-shelved set to be licensed by Calig. In retrospect the mid-Sixties feels like a golden age for Wagner, and here we get some of the best singers of the era. There are no weaknesses whatever in the cast. One can sit back to luxuriate in the gorgeous, easy, charismatic Walther of Sandor Konya (who also excelled as Lohengrin), the perfect vocal production of Gundula Janowitz as Eva, and the firm, masucline, youngish Sachs of Thomas Stewart. It was insane for DG to prefer the Jochum/ Fischer-Dieskau recording, but now amends have been made. Is this the perfect Meistersinger? Well, now that we've lived with it for a while, Kubelik could relax more, Stewart lacks the mellow wisdom one associates with Sachs; he's a bit fierce for such a benign figure. And Janowitz lacks charm in her pursuit of an almost mechanical perfection. Still and all, this set was miles ahead of the competition.

Sawallisch, Bavarian State (EMI) - Here we have EMI's fourth Meistersinger since the end of WW II and in many ways the most eagerlyanticipated, becasue for the first time since Melchior and Konya, a truly magnificent Walther was available in Ben Hepppner, here caught at his freshest. The voice is as beautiful as Konya's and, if not as powerful as Melchior's, more than strong enough to soar over Wagner's huge orchestra. The Eva, Cheryl Studer, was also caught in her all-too-brief prime. Neither sounds like the traditional German singers we're used to, but much of the cast were Bayreuth veterans. Sadly, two huge disappointments arose, Bernd Weikl, a strong baritone but a routine artist, makes nothing of Sachs, and for the first time in a great while, the conducting falls far short of ideal. Sawallisch has been lucky to outlive better conductors from his generation, but here his slack, unimaginative time-beating makes for a dull evening at the opera.

Which brings us to the set at hand. The Gramophone was highly critical of Jose van Dam as Sachs, and it's true that he is light of voice for the part, and very un-German. He isn't wise, benign, or exciting. His long shoemaker's song in the second act reveals a certain shallow, threadbare quality in his voice. However, he is a real artist, and every note is sung with finesse. Van Dam may not be to your taste, but he doesn't ruin the proceedings. Likewise, the Eva of Mattila is somewhat mature and ripe-sounding; you won't mistake her for an innocent young girl. But she triumphs onstage as Eva, even close to fifty as she is now, by looking lovely and acting well. As a musician she's certainly up to the task, nad her vocal production is creamy and affectionate.

After those reservations it's smooth sailing. Every other part is wonderfully sung, and all earlier Mesitersingers are put in the sahde by Decca's full, likelike sonics. Meistersinger is replete with ensemble singing, and Solti's forces blend like none other on disc. All in all, I want to give five stars, but I must bow to the deficits of Van Dam and Mattila and limit my rating to four.

3 out of 5 stars Something missing..........2004-10-21

There is something missing from Solti's 2nd recording of Meistersinger. Sure the sound is nice, the singing is great and the playing too, but I don't get a sense of the drama and the dramatic through line, and for me that's the most important thing.

I don't understand Meistersinger as Meistersinger upon repeated listening to this "reputable" recording. When comparing it to his earlier version with the Vienna, this one sounds superficial...even listening to Karajan's two famous recordings I totally understand it and love it.

You can have the best cast in the world, the best orchestra, the best sound engineers etc. but if you don't show the drama, you got nothing. Sorry.

4 out of 5 stars It's good.......2004-04-04

There is absolutely nothing wrong with this recording. Mattila can sometimes be a problem. She tends to go a bit off pitch and can become a little squally on top. That is not in evidence here. Perhaps the engineers helped her a bit. Perhaps she was just in very good voice. I don't know.

Heppner is, well Heppner. And that's pretty great, in my book. Clearly of the Melchior school, and much better than in the disappointing (at least to me) Met Tristan telecast.

Solti, I think, was more exciting (which is what you go to Solti for, after all) in the earlier recording.

Now, here's the deal. I like the Sawallisch recording better. He is more from the "kappelmeister" school, and less of the "Übermäßiger Stern", if that means anything to you. Heppner is a little freer of spirit, if that makes any sense. And Studer is more interesting than Mattila. I also prefer Weikl here to van Dam. I simply feel its a little late in the game for van Dam. Of course, that's a personal opinion. Isn't that what all music is?

As for the Karajan recordings. I am awed by Karajan's talent. I love his Ring Cycle (except Rheingold). But I think he over refines "Meistersinger" and the undervoiced, overmiked and way over-recorded Kollo is always, at least for me, objectionable. Heppner is much to be preferred, in either recording.

And perhaps one of the recording companies will discover the fabulous American, ROBERT DEAN SMITH, put him in front of a microphone, give him a great conductor and allow him to put to disc the greatest Walther (and Lohengrin and Parsifal and Siegmund) of this generation. Hopefully, soon.

5 out of 5 stars One of the Best Meistersinger around!!.......2004-01-05

DON'T listen to this cdsullivan. He/She is totally inconsistent in his/her recommendation of Meistersingers. Here, she praises the Kubelik, to quote "he pulls off so well you don't notice what speed they are: you only notice the music." AND "Walther, often the weak link, is here turned into one of the greatest strengths of the opera by Sándor Kónya, a little-recorded Hungarian tenor. He sings here with a youthful ardency that is enormously compelling, and his voice is a radiant outpouring of liquid gold, quite able to match the voice of his Eva in tonal beauty."

But she also wrote a "So you like to buy a Meistersingers guide" in which, she herself said of the Kubelik, "It is sunk by the unacceptable Walther, the orchestra's overbright, string-dominated sound, and Kubelik's at times sluggish tempi."

First she says the tempi is good and Konya is wonderful. Then she turns around and lambasts the tempi & Konya. What kind of reviewer is that.

On the other hand, here she gives the Solti 3 stars, but there she says "Solti's second set ('Wagner: Die Meistersinger von Nurnberg'), from live Chicago concerts, is more musical but less idiomatic. Every member of the cast offers some of the most solid, beautiful vocalization anywhere in the Meistersinger discography...This will be first choice for many."

Again, totally inconsistent reviews!!

Let me give you a more objective viewpoint. The recording was made from live performances in Chicago's Orchestra Hall in Sep 1995. In the concert performance, the orchestra, soloists and chorus were situated next to each other with little separation. As a result, when Decca's engineers recorded the concert, they would not "separate" the three elements. The result you get is relatively closedly miked soloists, very upfront choral singing (unlike most modern sets where the chorus is placed backwards" and also upfront orchestral playing "Culshaw-style" (though perhaps a little less upfront than "Culshaw-style". Basically everything is upfront and the soloists, orchestra and chorus sound like they are next to each other (and in fact they are). Whether you like it or not is a matter of taste. But the digital sound is full, vivid and gorgeous. The choral singing is superb - the precision is breathtaking and astonishing. The soloists vocalize very beautifully but not very dramatically. If they had addded more "drama" into their vocalization, this would have been even a better set. Having said that, everyone of the singers sing very beautifully and there's not a weak link in terms of vocal beauty. Solti's conducting is "flowing" rather than "punchy". The orchestra plays magnificently, but like the soloists the playing is beautiful with a certain lack of "drama" in their playing (the CSO is afterall a symphony orchestra not an opera orchestra).

If you listen to, for examples, the Vienna Philharmonic Orchestra or Convent Garden Orchestra or Orchestre de l'Opera-Bastille, you will realize that these opera orchestras play somewhat differently - with more "drama". Listen to Solti's La Traviata (Convent Garden) or Solti's Die Frau Ohne Schatten (Vienna Philharmonic) or Chung's Samson Et Dalila or Chung's Otello, and you will get the point. For that matter listen to Solti's Lohengrin, Tannhauser, Parsifal (all played by the Vienna philharmonic), and you feel the difference immediately.

The conclusion is this: This is a gorgeous performance by first-class solosists, orchestra and chorus beautifully caught by Decca's engineers. The dramatic side is downplayed somewhat (not totally). But it works!!! I love this recording. Whoever said that Meistersingers can only be performed very dramatically?? The fun with listening to opera is to hear different ways of playing it. Would this work as a top recommendation? Definitely.

5 out of 5 stars SUBLIME AND PROFOUND.......2002-01-13

First, I'd like to thank the reviewer below, cdsullivan, from Cambridge, Massachusetts, who took the time and energy and talent to write critiques of every CD set available of Wagner's "Die Meistersinger von Nurnberg." I read and re-read the critiques and then decided to go, not with sullivan's top choices, but with a set that had the most up-to-date sound, singers I admired and a conductor with whom I had a "relationship:" Every year, in the spring, Sir Georg Solti brought his Chicago Symphony to Carnegie Hall for a two or three concert series. And I was there. Sitting in the "nosebleed" section of that greatest of halls, I heard my first (and some of my best) Mahler, Bartok, Wagner, Richard Strauss and Ravel.

Last season, I was lucky enough to hear "Meistersinger" at the Met with both Ben Heppner and Karita Mattila. They were superb. Heppner's sweet and yet powerful voice is never strained; Mattila's innocence and purity glowed in her voice and in her person. Rene Pape is, perhaps, the finest young bass singing today: certainly his 'King Mark' in "Tristan and Isolde" will never be forgotten by Met audiences.

On this recording the Chicago Symphony Chorus is, as it always was for Solti, forceful and sure. The Chicago Symphony Orchestra is, as I remembered them, nothing short of tops.

This sublimely and profoundly musical opera gets better and more beautiful every time I play it. And let's admit it: committing oneself to a complete performance of this opera (more than 255 minutes on this recording) takes the better part of one's waking day! HIGHLY RECOMMENDED.
Solti: The Wagner Opera Collection (Limited Edition) [21-CD Box Set with Bonus Unreleased CD]
Average customer rating: 4.5 out of 5 stars
  • One of the triumphs of recorded sound
  • A decent Wagner collection, for the price
  • Part 2: DIE MEISTERSINGER Analysis
  • Difficult
  • Part 1 of Comments
 Solti: The Wagner Opera Collection (Limited Edition) [21-CD Box Set with Bonus Unreleased CD]
Manfred Jungwirth , Peter Klein , Waldemar Kmentt , Tom Krause , and Resnik, Regina
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti
  2. An Introduction to Der Ring des Nibelungen
  3. Wagner: Der Ring Des Nibelungen (Milan 1950)
  4. Puccini - La Bohème / Freni, Pavarotti, Harwood, Ghiaurov, Karajan
  5. Wagner: Tristan und Isolde

ASIN: B00006469R
Release Date: 2002-10-08

Album Description

Track Listings:

Discs 1-3 Der Fliegender Holldnder

Discs 4-6 Tannhduser

Discs 7-9 Lohengrin

Discs 10-13 Tristan und Isolde

Discs 14-17 Die Meistersinger von N|rnberg

Discs 18-21 Parsifal

Bonus CD: The Birth of an Opera (Solti in rehearsal of Tristan und Isolde)

Customer Reviews:

5 out of 5 stars One of the triumphs of recorded sound.......2007-01-09

This collection not only represents all of the glorious music of Wagner the continues to influence composers to this day; it is also one of the greatest achievements both for Maestro Solti and for recording technology that was in practice during this time period. Yes, this music is lengthy, and because of the german dialogue often difficult to follow and comprehend, but I assure you that the rewards of listening to this collection will change your life. I would also recommend seeing any of these operas live, in that they are a truly magical experience.

3 out of 5 stars A decent Wagner collection, for the price.......2004-06-08

None of these is my favorite recording of each particular opera, but for the new fan of Wagner who wants an instant, and decent, collection of recordings, one could do much, much worse than this. These recordings feature the most accomplished singers and orchestras of their day, as well as the most advanced sound engineering available. That said, these recordings (The Ring in particular) suffer from an over-consciousness of their own greatness. The producers strove too hard to create perfect, definitive recordings. The result frequently is a gorgeous, but lifeless reading of the drama. Solti's languid tempi don't help, either. Bohm or Kegel (when you can find him) are far better Wagner conductors. On the positive side, the presence of French tenor Rene Kollo in several of these recordings is a particular delight. He was a singer of extraordinary taste and refinement.

A note about Tristan und Isolde: The main reason to own this recording is for the supporting cast: Tom Krause as Kurwenal, and particularly Regina Resnik as Brangaene (the best recorded Brangaene ever, by far). Fritz Uhl as Tristan is a nonentity (where's Kollo when you need him!). Nilsson of course is brilliant, but her 1966 live recording under Karl Bohm has more fire.

5 out of 5 stars Part 2: DIE MEISTERSINGER Analysis.......2004-01-29

Solti's Die Meistersingers is without doubt one of the best in the catalogue. His conducting is lively and very animated, and all the singers sing very beautifully - they all have beautiful voices. As with ANY wagner opera recording, there are drawbacks. Firstly, the orchestra and singers are really recorded too closely to each other - there is a lack of space in between orchestra, singer and chorus. Secondly, the microphones were placed too close, again, to singers, chorus and orchestra. This has to do with the recording venue - Orchestra Hall in Chicago - which does not allow the singers, chorus and orchestra to be spaced out nicely. So the sound is slightly unpleasant - but you can mitigate that by turning the volume down a little. It does help. Having said that, the digital sound is very full and vivid, all the details are beautifully captured by Decca's engineers. The Chicago Symphony Orchestra is absolutely gorgeous - they play beautifully and articulate clearly. Having said that, you notice that the Chicago forces lack something that the Vienna Philharmonic possesses. Call it the X-factor. The Vienna Philharmonic is an opera orchestra - they play under the name Vienna State opera orchestra at the Vienna State Opera. But in concert and in recordings, they assume the name Vienna Philharmonic Orchestra. Anyway, being an opera orchestra, the Vienna Philharmonic certainly knows how to play opera music better than the Chicago Symphony. The Chicago forces, though technically wonderful, lack that extra X-factor in their playing. I think it has to do with injecting emotion into the playing. The end result is that although the Chicago Symphony plays beautifully, the playing is sometimes a bit bland, and you miss the kind of frisson an opera orchestra provides. Mattila sings very beautifully as Eva - she is one of the highlights of the performance. the other highlight is Ben Heppner who is wonderful in his singing and phrasing. Van Dam is excellent as Hans Sachs. All the other principals are never less than adequate although they are a bit detached.

Having said all that, this is still one of the best Die Meistersingers in the catalogue. But you have to listen to it over a long period of time before you can appreciate it properly. I only began to really enjoy the performance after spending over a year listening to it (in between other things). But that's only because I listen to tons of other music. I guess if you just concentrate on Die Meistersinger, it might take a shorter time.

There's always this talk about the K's in Die Meistersinger - Karajan, Kubelik, Kempe. Well, Kempe is in MONO, Karajan's 1951 performance is in MONO, Kubelik's recorded sound is not very nice - on the hard side. I guess Jochum and Karajan's stereo would be good alternative, but this version can hold its own against those two. Unless you are a Wagner freak (in which case, you should just buy them all), this is perfectly fine as a sole representation of Die Meistersinger in your collection.

5 out of 5 stars Difficult.......2004-01-27

Wagner's non-Ring operas can be quite difficult to listen to. If you buy this set, be prepared to spend time on it. I listened to it for a very long time. For some time I was quite dissatisfied. But with time, you learn to appreciate the operas. Now I enjoy them thoroughly. Like good wine, these operas become better over time. So don't throw your set away after 1 hearing. Listen to each opera for 100 times, then you'll discover the magic.

5 out of 5 stars Part 1 of Comments.......2003-07-25

LOHENGRIN ANALYSIS:

Lohengrin. My goodness, the singing here is simply gorgeous. Jessye Norman is in superb voice and her voice rings out gloriously throughout the opera. Domingo has been criticized for his German diction. But don't forget that Lohengrin is supposed to be a foreigner. Besides, his beautiful golden tone more than makes up for the unidiomatic diction. With such wonderful singing from Domingo, you just forget any shortcomings with respect to diction and related stuff. Besides, a lot of listeners do not know German (I don't) so they won't really care. Contrary to popular beliefs, Wagner loved beautiful singing. Many will be astounded to know that Bellini was one of his favorite composers. Did you know that Brunhilde's battle cry "Hoyotoho!" HAVE TRILLS WRITTEN IN THEM!!!!! YES!! Birgit Nilsson doesn't sing the trills. Almost no Brunnhilde ever attempts the trills. Only exception is Gwyneth Jones. Yes, contrary to popular belief, Wagner has some elements of Bel Canto written in them. Wagner's music has been subject to much abuse - singers singing it in a rough way. the Solti set shines out for the wonderful legato lines by Domingo, Norman, Randova et. al. It is simply a ravishing performance. No doubt one of Solti's most beautiful Wagner recording. I am not suprised that the Penguin Guide once gave this opera a rosette. Finally, instead of a tenor and a soprano with pressed shrill sound and a forced out tone, we have sensuous, beautiful, gorgeous legato lines - ravishing tone poured out minute after minute, underscored beautifully by the incomparable VPO and Solti's lively conducting - the tempi never sags but Solti never drives the music hard either.

More comments on other sets to come in time....
Strauss - Die Frau ohne Schatten / Voigt, Heppner, Schwarz, Grundheber, Hass, Sinopoli
Average customer rating: 4.5 out of 5 stars
  • Fantastic performance - shame about the cuts
  • Interesting, but not enough to grab me
  • Not the best
  • Can't be compared to the classic Solti set
  • A Lasting Memorial
 Strauss - Die Frau ohne Schatten / Voigt, Heppner, Schwarz, Grundheber, Hass, Sinopoli
Richard Strauss , Giuseppe Sinopoli , Deborah Voigt , Ben Heppner , Hanna Schwarz , Franz Grundheber , Sabine Hass , Ute Selbig , and Werner Güra
Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

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  1. Strauss - Elektra / Marc, Voigt, Schwarz, Jerusalem, Ramey, Wiener Phil., Sinopoli
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  4. Strauss: Die Frau ohne Schatten / Varady, Domingo, Behrens, van Dam, Sir Georg Solti
  5. Strauss - Der Rosenkavalier / Te Kanawa, von Otter, Hendricks, Rydl, Leech, Grundheber, Haitink

ASIN: B000000S90
Release Date: 1997-11-25

Tracks:

  1. Die Frau ohne Schatten - Or, A Fairy-Tale By Two Intellectuals: Act I - 'Licht ubern See...'
  2. Die Frau ohne Schatten - Or, A Fairy-Tale By Two Intellectuals: Act I - 'Amme! Wachst Du?'
  3. Die Frau ohne Schatten - Or, A Fairy-Tale By Two Intellectuals: Act I - 'Ist mein Liebster dahin,..'
  4. Die Frau ohne Schatten - Or, A Fairy-Tale By Two Intellectuals: Act I - 'Wie soll ich denn nicht weinen?'
  5. Die Frau ohne Schatten - Or, A Fairy-Tale By Two Intellectuals: Act I - 'Amne, um alles, wo find ich den Schatten?'
  6. Die Frau ohne Schatten - Or, A Fairy-Tale By Two Intellectuals: Act I - Verwandlung: Erdenflug
  7. Die Frau ohne Schatten - Or, A Fairy-Tale By Two Intellectuals: Act I - 'Dieb! Da nimm!'
  8. Die Frau ohne Schatten - Or, A Fairy-Tale By Two Intellectuals: Act I - 'Sie aus dem Hause,..'
  9. Die Frau ohne Schatten - Or, A Fairy-Tale By Two Intellectuals: Act I - 'Dritthalb Jahr bin ich dein Weib' -
  10. Die Frau ohne Schatten - Or, A Fairy-Tale By Two Intellectuals: Act I - 'Was wolt ihr hier?'
  11. Die Frau ohne Schatten - Or, A Fairy-Tale By Two Intellectuals: Act I - 'Ach Herrin, susse Herrin!'
  12. Die Frau ohne Schatten - Or, A Fairy-Tale By Two Intellectuals: Act I - 'Hat es dich blutige Tranen gekostet,..'
  13. Die Frau ohne Schatten - Or, A Fairy-Tale By Two Intellectuals: Act I - 'Mutter, Mutter, lass uns nach Hause!'
  14. Die Frau ohne Schatten - Or, A Fairy-Tale By Two Intellectuals: Act I - 'Trag' ich die Ware selber zu Markt,..'
  15. Die Frau ohne Schatten - Or, A Fairy-Tale By Two Intellectuals: Act I - 'Ihr Gatten in den Hausern dieser Stadt,..'

Tracks:

  1. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act II - 'Komm bald wieder nach Haus, mein Gebieter,..'
  2. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act II - 'Was ist nun deine Rede, du Prinzessin,..'
  3. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act II - Verwandlung
  4. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act II - 'Falke, Falke, du wiedergefundener' -
  5. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act II - 'Es gibt derer, die haben immer Zeit,..'
  6. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act II - 'Schlange, was hab' ich mit dir zu schaffen!'
  7. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act II - Ein Handwerk verstehst du sicher nicht,..'
  8. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act II - 'Ich, mein Gebieter, deine Dienerin!' - Verwandlung
  9. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act II - 'Zum Lebenwasser!'
  10. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act II - 'Wehe, mein Mann!'
  11. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act II - 'Es dunkelt, Dass ich nicht sehe zur Arbeit...'
  12. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act II - 'Es gibt derer, die bleiben immer gelassen,..'
  13. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act II - 'Sie wirft keinen Schatten.'
  14. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act II - Barak! Ich hab'es nicht getan!'

Tracks:

  1. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act III - 'Schweigt doch, ihr Stimmen!'
  2. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act III - 'Mir anvertraut,..'
  3. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act III - 'Auf, geh nach oben, Mann,..'
  4. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act III - 'Fort von hier!'
  5. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act III - 'Aus unsern Taten steigt ein Gericht!'
  6. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act III - 'Wehe, mein Kind,..'
  7. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act III - Verwandlung
  8. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act III - 'Vater, bist du's?'
  9. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act III - 'Mein Liebster starr!'
  10. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act III - 'Wenn das Herz aus Kristall zerbricht...'
  11. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act III - Verwandlung
  12. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act III - Trifft mich sein Lieben nicht,..'
  13. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act III - Nun will ich jubeln,..'
  14. Die Frau ohne Schatten - Or, A Fairy Tale By Two Intellectuals: Act III - 'Vater, dir drohet nichts,..'

Customer Reviews:

4 out of 5 stars Fantastic performance - shame about the cuts.......2006-07-13

No other recording - not even Solti's - lifts off the way Sinopoli's does in that stunning quartet which concludes this opera ; he controls the huge orchestral forces and intricate vocal lines to engineer the most heart-wrenching climax before the ethereal voices of the unborn children send us off to bed, amazed and delighted. So it's a thousand pities that Sinopoli permitted so many damaging cuts - not least the 'cello solo before the Dyer's wife expresses her remorse in the underground chamber; surely they could have been recorded and spliced in afterwards? My respect for Sabine Hass, who succumbed to cancer not long ago, does not prevent me from observing that while she conveys great intensity in her performance it is also too often a strident pain in the ears. Grundheber is gruff compared with the mellifluous Van Dam in the Solti, though that suits the character; Voigt and Heppner, however, are in unbeatable voice: powerful, lyrical amd true; as good as, if not better than, their counterparts in the Solti, Varady and Domingo. Voigt is especially moving in the statue scene -again, horribly pruned but still very effective. I have four recordings of this masterpiece: Karajan 1964 Salzburg set, the Solti, the Bohm on "Opera d'Oro" (in indifferent sound but it enshrines some wonderful performances) and this one - and I wouldn't want to be without any of them, especially the Sinopoli if only for that last scene.

5 out of 5 stars Interesting, but not enough to grab me.......2003-12-05

I am sure that most who read this comment, the one that leads into this review, and then look at the star rating will wonder if I had made a mistake. Well, I didn't. I do rate it a five star performance, but the opera itself is very dry to me. When the subtitle states it is a "Fairy tale opera by two intellectuals" that is a perfect statement. There is nothing fairly tale about this work (at least not in the Humperdinck way of things), nor is there anything remotely involving. Like much of Strauss, the music meanders around in a wash of orchestral sound never really finding a theme, or a tune, or much of anything, yet always filled with something that is captivating, and nearly touching the soul. I rate the opera, not the recording, along side Wagner's two operas that took me years to enjoy; Parsifal and Tristan. Nothing happens for ever in this opera. Yes, there is glorious music in it, that I will admit, much glorious music. To me the drama is completely lost.

I came to this opera because of comments made by musicians who are friends who are "in the know." They all raved about the performances of Christa Ludwig as the drier's wife, and how the ending of the opera (with all the future children to be born to the emperor and empress singing) was a revelation. Of course, I was completely intrigued. I saw photos of that talked about ending with Ludwig in them. Surely this opera must be as beautiful and imaginative as the photos presented. Well, I put the recording on and drifted off entirely. Obviously, the opera didn't keep me awake long enough to know if it really was all that good. Now I have to admit, I loved Elektra and Salome and could find all the melodic beauty in those scores; there are moments in Rosenkavalier, beautiful as the score is, where I am so bored it isn't even funny (act three is a waste), and in most of Strauss' operas I have found he learned well from Wagner: whatever you write if it can be said in three words make sure you say it in three hundred words; if the scene can be completely acted out and make a super impact in 10 minutes, make sure you take three hours to do the same. For the most part, this doesn't bother me too much, for in many of his operas there is much beautiful music to relish in while nothing especially important is happening (excepting in Capriccio, that opera has nothing happen all night long, and only some of the music is captivating, the rest is deadly dull).

Sadly, that is exactly how I view this opera: it is a bunch of nothing happening for hours on end. At least there is a wealth of beautiful music to listen to, but as far as the story is concerned, there is nothing to engage you. Now I guess in performance it is another matter, but I have never seen this opera in performance. I have only listened to it on recording. I heard the Karajan recording, and it is wonderful as far as the lush sound is concerned, but I found myself outside of everything just like I found that in this recording.

To some readers, this is going to sound like a review that should have rated only one star, but you see, the recording is not the problem, the singers are not the problem, the conducting is not the problem; these things are all perfection. It is the opera itself. I cannot fault the performers, the conductor, or the engineers if the work itself is dull. They do a masterful job and what I am hearing is simply breathtaking. To me, it is unfair to fault the work of the performers when the work itself is the fault. It is a wonderful recording, and complete. I can even listen to it one act at a time, if I give myself time to rest between each (one act a day is enough), and during that time period I can really enjoy this opera all because of the wonderful singing, conducting, and orchestral playing.

I would recommend that you become familiar with the opera BEFORE you buy it. Get to know it and enjoy it (I didn't do that, and I am sure that is one reason it has taken me so long to enjoy it). Then buy it and you will enjoy it. If you are not certain about it, then borrow it first and listen to parts of it. It is expensive, as all opera recordings are, so do approach this recording with full awareness of what you are getting, and don't let the glowing reports of friends who saw the opera in generations past influence you into getting something you may or may not like.

5 out of 5 stars Not the best.......2003-08-12

This is an excellent performance. But my advice is to get the Vienna 1964 under Karajan from DG. That version is in mono not stereo. Also, Karajan makes cuts and reorganizes some of the scens so that they don't follow Strauss direction. So why do I recommend that version?

Put simply because the performance is simply exceptionally outstanding. Christa Ludwig gives a miraculous performance as the Dyer's Wife - the supreme interpreter of the role, above all competition. Your heart stops whenever she starts singing. Leonie Rysanek, it need not be said, is incomparable as the Empress - no one can touch Rysanek in the role of the Empress except Rysanek herself!! Grace Hoffman sings with searing dramatic sense in the difficult role of the Nurse. Her voice is strong and incisive. Her malevolence comes through clearly and her voice has sufficient heft to cut through the Straussian orchestration. Walter Berry is in sensational voice as Barak and his partnership with then-wife Christa Ludwig is unbeatable. Their duet at the beginning of Act 3 is a collectors' item to be treasured. Jess Thomas is in excellent voice as the Emperor. Plus we have the great Fritz Wunderlich in a small role and the lovely soprano, Lucia Popp in a number of small roles - the falcon, the voice from heaven, the voices of unborn children. The Vienna Philharmonic play like gods. They knew that this was Karajan's last opera with them and they gave nothing but their best - their quality of musicianship puts all and sundry to shame. Finally, the DG transfers are superb. No doubt it is in mono but the clarity of detail is amazing. One could only wish that someone had been smart enough to record it in stereo back then. Unfortunately, no one did. It is always worthwhile getting a DG 'live' performance than some of those on smaller labels simply because DG has access to the original tapes and always make superb transfers. Karajan's 1962 Il Trovatore for example, had been available for a long time on smaller labels but the smaller labels had bad sonic quality. So when the DG version came out I just snapped it up because the quality was better although I had to pay more.

Therefore, if you want the 1964 Karajan Vienna, better snap up now. It's already not available Amazon.com but you can still find it elsewhere. By all means, if you want a stereo version, this and the Solti are both excellent recordings. But that night in 1964 at the Vienna State Opera was a miraculously special one that Straussians will not want to miss. In particular, if you like Die Frau Ohne Schatten, you must not miss that performance, esp when DG has done such superb transfers.

1 out of 5 stars Can't be compared to the classic Solti set.......2003-07-30

This set is very disappointing. Not only is it uncompetitive when faced with the classic Solti set on Decca, the principal singers here are all caught well below their best. Sinopoli's conducting is very idiosyncratic and I don't think it is effectively musically or dramatically. All the other available versions of this opera is better than this one, which should be avoided.

5 out of 5 stars A Lasting Memorial.......2001-09-20

Giuseppe Sinopoli was a truely brilliant man, and he died much to soon. Ariadne auf Naxos will stand as a towing memorial to him. Never have I heard such an incredible rendering of this devine music, all of the beauty is revealed in prefect pacing and attention to detail.Each singer has given their all, brilliant preformances all around.
If you love this opera, this is a "must have". If you never quite cared for it, run out and buy it, and be prepared to fall in love.
We has lost one of the finest conductors of all time, Rest in Peace,we will miss you.
Margot Roby-McGowan
Ben Heppner - German Romantic Opera
Average customer rating: 4.5 out of 5 stars
  • A foretaste of greatness to come
  • Not the worst I've heard
  • MAGNIFICENT.
  • Ben Heppner is arguably the top Heldentenor
  • Heppner made a German Opera fan out of me.
 Ben Heppner - German Romantic Opera

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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  5. My Secret Heart - Songs of Parlour, Stage and Screen

ASIN: B00000DFKI
Release Date: 1998-10-13

Tracks:

  1. Tristan und Isolde: 'Wo Ich Erwacht, Weilt' Ich Nicht'
  2. Rienzi: 'Allmacht' Ger Vater'
  3. Siegfried: 'Selige Ode Auf Sonniger Hoh!'
  4. Gotterdammerung: 'Brunnhilde, Heilige Braut!'
  5. Parsifal: 'Nur Eine Waffe Taugt'
  6. Der fliegende Hollander: 'Willst Jenes Tags Du Dich Nicht Mehr Entsinnen'
  7. Fidelio: Gott! Welch Dunkel hier!
  8. Der Freischutz: 'Nein, Langer Traic' Ich Nicht Die Qualen'
  9. Euryanthe: 'Wehen Mir Lufte Ruh'
  10. Die tote Stadt: 'O Freund, Ich Werde Sie Nicht Wiedersehen'

Amazon.com

Forget the superannuated Three Tenors; Ben Heppner, with his huge voice, tonal brilliance, and interpretive sensitivity, is a 1990s throwback to the greats of the past. In this repertory, he's king of the hill. The recital's delights begin with a golden-voiced, 40-minute Wagner set chockfull of vocal thrills, made all the more compelling by Heppner's rhythmic mastery and discreet rubato. You expect excitement from a tenor with his ringing top, but just as impressive is the delicate soft singing that makes the Korngold aria, to take but one of many examples, a moving experience. Good accompaniments. Slightly subpar engineering doesn't dim the attractions of this outstanding disc. --Dan Davis

Customer Reviews:

4 out of 5 stars A foretaste of greatness to come.......2006-08-29

RCA made two hits when they signed up two great singers early in their careers--Thomas Quasthoff and Ben Heppner. In both cases the voice sounded great but the interpretations had yet to reach their full depth and feeling. This CD of German opera excerpts, with its large chunk of Wanger, presages the enormous career Heppner would have as the world's leading Heldentenor. The voice is young and fresh--listen to the ravishing legato in the big aria from Die Tote Stadt--but there's a lot of growth to come. The readings tend to be rather literal and stiff, as does the conducting. Fans will love everything here anyway, and so do I, with reservations.

3 out of 5 stars Not the worst I've heard.......2003-09-26

This is a nice long program with many opportunities for Heppner to be heard in the best possible light. But please; nothing against big Ben, but those who would have you believe that he is a great heldentenor are mistaken on two counts. A: he's not a heldentenor. And B: he's not a great anything. He's the best of the current voices in this repertoire but calling him great just diminishes the true greatness in the history of opera singing.
When Melchior retired, Suthaus and Windgassen suffered in comparison to the great Dane. Their recordings now stand on their own merits. Jon Vickers was followed by Kollo,Jerusalem, Hofman, Goldberg, and Lakes. These fine tenors were found wanting due to the huge shadow cast by the great Vickers. With true greatness so long gone, Heppner came along at just the right time when standards and expectations would not be nearly so high.
Wagnerian tenors succeed through endurance, power or beauty of tone. Heppner has a few ringing high notes but beauty of tone is rarely heard. And his Tristan performances don't speak well for his vocal stamina.
Among recent recordings in this repertoire, Kollo, Jerusalem and Lakes offer far more beautiful singing. And Goldberg and Hofman offer ringing high notes as well as tonal beauty. Don't be sold by record company promoters or music directors who realize that he's simply the best of the current lot. Heppner isn't the heldentenor of our times, he's just the handy tenor of our times.

5 out of 5 stars MAGNIFICENT........2001-02-05

What a magnificent album: Ben Heppner could easily be called the finest Wagnerian heldentenor singing today. I was fortunate enough to hear him in the title role of Wagner's "Lohengrin" at the Metropolitan Opera House a few seasons ago in a startling production by Robert Wilson. Heppner's voice is strong and clear and beautifully produced. And even when he is singing with that mighty, huge Met orchestra, he never loses the sweetness in his voice which is one of its most precious qualities. This year he took on the role of 'Florestan' in Beethoven's "Fidelio" in New York and that character's major aria is gorgeously done on this album. Besides the six Wagner excerpts, my personal favorite is from Korngold's "Die Tote Stadt." Highly Recommended for anyone who loves Wagner or for anyone who has no real exposure to him and would like to begin with a beautiful album.

5 out of 5 stars Ben Heppner is arguably the top Heldentenor.......2000-07-05

Although I am not a big fan of recordings of this kind, preferring instead either complete scenes or Acts instead of selected arias, it would be hard to seriously fault this record. Heppner's pitch control is excellent and he reallys sings instead of resorting to declamation (once referred to as the Bayreuth Bark). The orchestral playing and conducting is successful too, as is the sound engineering. All the items on this release are interesting, but I wonder why the Preislied from Meistersinger was excluded, which may well be his signature aria. It is a generous program and the notes are well written. Recommended.

5 out of 5 stars Heppner made a German Opera fan out of me........2000-04-27

Before Heppner came around I had little interest in German music, other than Beethoven, and Mozart. His interpretation of these arias, as well as his disc of Strauss arias converted me. He never barks this music, but sings with artistry, and technical mastery. He infuses this music with the technique of an italian singer, and gives this music the beauty it deserves. After listening to Heppner sing these operas, I did more exploring, and found that there were other singers, who sang German opera beautiful as well. Thanks to Heppner and his beautiful singing, apparent on this disc, I have been opened to this music.
Wagner: Der fliegende Holländer (Highlights)
Average customer rating: Not rated
    		Wagner: Der fliegende Holländer (Highlights)

    Manufacturer: Sony
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B0000029N4
    Release Date: 1997-04-15

    Tracks:

    1. Ouverture
    2. Mit Gewitter Und Sturm
    3. Die Frist Ist Um
    4. Johohoe! Traft Ihr Das Schiff
    5. Wie Aus Der Ferne Langst Vergangner Zeiten
    6. Steuermann! Lab Die Wacht!
    7. Willst Jenes Tags Du Nicht Dich Mehr Entsinnen
    Heppner Sings Wagner
    Average customer rating: 5 out of 5 stars
    • Highly under-rated singer.
    • Thrilling
    • Best of all possible worlds ...
    • A great Heldentenor in thrilling form
    		 Heppner Sings Wagner

    Manufacturer: Deutsche Grammophon
    ProductGroup: Music
    Binding: Audio CD

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    Similar Items:
    1. Ben Heppner - German Romantic Opera
    2. Wagner: Die Walküre
    3. Russian Album
    4. Ben Heppner - Great Tenor Arias
    5. The Mozart Album

    ASIN: B000EPFDOY
    Release Date: 2006-05-09

    Tracks:

    1. Ein Schwert Verhiess Mir Der Vater
    2. Wintersturme Wicchen Dem Wonnemond
    3. Siegmund Heiss Ich Und Siegmund Bin Ich!
    4. Notung! Notung! Neidliches Schwert!
    5. Hoho! Hoho! Hohei! Schmiede, Mein Hammer, Ein Hartes Schwert
    6. Dass Der Mein Vater Nicht Ist
    7. Noch Einmal, Liebes Voglein
    8. Selige Ode Auf Sonniger Hoh!
    9. Siegfrieds Rheinfahrt
    10. Brunnhilde, Heilige raut!
    11. Trauermarsch

    Customer Reviews:

    5 out of 5 stars Highly under-rated singer........2007-05-28

    You may wonder why this title, but...
    if you are looking for tenors to hold up the banner after the big Three, Ben Heppner certainly is one such. Probably he should be one of the big FOUR, but nobody in the 'popular' classical world seems to recognise this, except a bunch of diehard vocal followers.
    Big Ben has been around singing top quality stuff for more than a decade now. Surely, being burly and middle-aged, he isn't that fancy stuff for today's opera goers. Even the once good-looking face is aging fast.
    So what? His voice sounds young and vibrant. This recording of the Ring cycle tenor excerpts is a real gem in any collection.
    It is heartening to know that there IS around in this generation a heldentenor in the calibre as big Ben. His Siegfried is hard to beat - not even my favorite heldentenor Windgassen.
    Yea, DG is being stingy, and Ben deserves more recordings on Wagner. I am also dying to get a Tristan recording by him. Not necessarily Eaglen, but certainly very few sopranos could match Heppner in such repertoire.
    And I am dying to hear Ben in recital in my part of the world, too.

    5 out of 5 stars Thrilling.......2007-02-12

    He's no Melchior, but no one is. Heppner is the first in a long while to even be mentioned in the same breath as the great heldentenors of the past, and that's no mean feat. In this recording, he displays the all the hallmarks of a great Wagnerian singer: intelligence, immaculate breath control, and richness of tone. This is a must-buy.

    5 out of 5 stars Best of all possible worlds ..........2006-08-13

    Ben Heppner must have the ideal voice for Wagner: great strength and stamina combined with intelligence of phrasing and flowing legato. I will not try to compare with many other beautiful (modern) Wagner tenor voices that I know - for example such great (but very different) artists like Jon Vickers, Placido Domingo, Rene Kollo and Siegfried Jerusalem (maybe my favorite, especially in the excellent Barenboim Ring), whose recordings of this repertoire/role I love - because such an attempt would be way out of my league.
    Anyhow, Mr. Heppner is to my ears an intelligent singer who IMHO here finds a exquisite balance between power, strength and lyricism. His clear diction of the German 'poem' (as Wagner called his own libretto's) is just fine, and his delivery is always completely involved and convincing, without any sentimentality. Very 'pure' singing.
    And very pure and intelligent music-making as well. The Staatskapelle Dresden is a veritable wellspring of velvety, transparent and crystal-clear, naturally flowing Wagner sounds. The conductor Peter Schneider balances out the instruments exquisitely, so that one is able to hear instrumental details and colorings often unheard in other recordings, but never obtrusively so, because at the same time, orchestral sound is beautifully homogenous and naturally blended. I like it very much indeed. The sound reminds me very much of the early 1980's recording of Wagner's Ring by the same orchestra under Marek Janowski. This is a gorgeous orchestra! Richard Wagner himself didn't call it a 'Wunderharfe' (wonder harp) for nothing :-)
    And, by the way, we shouldn't forget Burkhard Ulrich's Mime, who is quite evocative, providing nice foil for Mr. Heppner's Siegfried.
    If I may be allowed to sum up or describe the characteristics of this recorded performance in just one or two words, then I would like to say it is intelligent and astute, beautifully balanced - literally, but figuratively speaking as well: I may be wrong here, but the music and singing always feels emotionally 'controlled'. But maybe that is an inappropriate description, and should I say 'refined'. But please, do yourself a favour, buy this album and decide for yourself what you feel when listening ...
    To end, I would like to say that I could never do without singers like Jon Vickers and Placido Domingo in this repertoire (whose timbres, sheer power and ability to evoke a sense of emotional abandon I like so very much), but beautiful Ben Heppner is quite something as well! Anyhow, we can only eagerly wait for his performance in the Ring des Nibelungen planned for 2008.

    5 out of 5 stars A great Heldentenor in thrilling form.......2006-06-06

    Ben Heppner, our greatest and only true Heldentenor, has been waiting his whole career to make this recording. It comprises two Wagner roles he has sung in concerrt but, so far as I know, not on stage--Siegmund and Siegfried. Ever since he won the prestigious Lauritz Melchior Prize as a promising young singer, Heppner has nurtured his incredible voice through the stages of lighter roles (Walther, Lohengrin) to the much heavier Tristan, and now he seems ready to give us Siegfried, the pinnacle of the Ring cycle.

    The centerpiece of this recital is Siegfried's Forging Scene, which Heppner tosses off with jaw-dropping ease. We haven't heard such mastery since the end of WW II, and here Heppner makes us realize that other tenors, even ones as great as Windgassen and Domingo, had to struggle compared to what he does so naturally. His Siegfried is powerful, secure, gorgeous of tone, and totally in control. Amazing. The other selections from Act 2 and 3 are just as thrilling--the young Siegfried is a perfect fit for Heppner now, on records at least.

    DG was rather stingy not to hire a Sieglinde so we could have the whole ending to Act 1 of Die Walkure. Instead we get three snippets that end abruptly once the soprano is supposed to enter. No matter. Even though other semi-Heldentenors have given us good Siegmunds, Heppner is unique in his combinaiton of lyrical beauty and power: his cries of "Nothung, Nothung, neidliches Schwert" sound completely effortless. Peter Schneider's conducting is good, if on the servicable side, but thre Walkure selections feel underpowered. The Dresden Staatskapele is a luxury in the pit and plays beauatifully.

    Siegried has little solo music in Gotterdammerung before he dies, and since this is a solo recital, DG fills in with two orchestral selections, the Rhine Journey and Funeral March. Since Heppner is vulnerable and moving in the death scene, I wish we could have heard more from this opera.

    Any devoted Wagnerite hearing this CD will light candles and pray that DG records a complete Ring with Heppner and his regular Brunnhilde, Jane Eaglen. Both singers are aging, and their best Tristans may already be behind them without a CD set to show for it, only a DVD. It would be such a shame not to hear the complete Siegfried roles sung by the only singer who has truly owned the Heldentenor range in many decades.

    Strauss - Ariadne auf Naxos / Voigt · Dessay · von Otter · Heppner · Dohmen · Staatskapelle Dresden · Sinopoli
    Average customer rating: 4 out of 5 stars
    • A Luxurious, Perfect Ariadne
    • Bravo, the best singing cast in decades
    • Technically competent but lacking any artistry
    • ¡Decepcionante!
    • The Last Sinopoli's Goal
    		 Strauss - Ariadne auf Naxos / Voigt · Dessay · von Otter · Heppner · Dohmen · Staatskapelle Dresden · Sinopoli
    Richard Strauss , Giuseppe Sinopoli , Deborah Voigt , Natalie Dessay , Staatskapelle Dresden , Anne Sofie von Otter , Ben Heppner , Albert Dohmen , Romuald Pekny , Klaus Florian Vogt , Michael Howard , Christoph Genz, Stephan Genz, Eva Kirchner Matthias Henneberg , and Ian Thompson, Sami Luttinen, Angela Liebold Christiane Hossfeld
    Manufacturer: Deutsche Grammophon
    ProductGroup: Music
    Binding: Audio CD

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    Similar Items:
    1. Strauss - Salome / Studer, Rysanek, Hiestermann, Terfel, Bieber, A. Murray, Sinopoli
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    ASIN: B00005ND47
    Release Date: 2001-09-18

    Tracks:

    1. Prologue: Orch Intro - Staatskapelle Dresden/Giuseppe Sinopoli
    2. Prologue: Mein Herr Haushofmeister! - Albert Dohmen/Romuald Pekny/Jurgen Commichau/Klaus Forian Vogt/Anne Sofie Von Otter
    3. Prologue: Du Allmachtiger Gott! O Du Mein Zitterndes Herz! - Anne Sofie Von Otter/Ben Heppner/Matthias Henneberg/Natalie Dessay/Deborah Voigt/Albert Dohmen...
    4. Prologue: Hast Ein Stuckerl Notenpapier? - Anne Sofie Von Otter/Natalie Dessay/Albert Dohmen/Deborah Voigt/Michael Howard/Jurgen Commichau...
    5. Prologue: Ist Schon Geschehn. Wir Sind Bereit - Albert Dohmen/Romuald Pekny/Deborah Voigt/Michael Howard/Ben Heppner/Anne Sofie Von Otter...
    6. Prologue: Nein, Herr, So Kommt Es Nicht - Anne Sofie Von Otter/Natalie Dessay/Albert Dohmen
    7. Prologue: Ein Augenblick Ist Wenig - Ein Blick Ist Viel - Natalie Dessay/Anne Sofie Von Otter/Albert Dohmen/Deborah Voigt
    8. Prologue: Seien Wir Wieder Gut - Anne Sofie Von Otter/Albert Dohmen
    9. Ov - Staatskapelle Dresden/Giuseppe Sinopoli
    10. Schlaft Sie? - Christaine Hossfeld/Angela Liebold/Eva Kirchner/Deborah Voigt
    11. Wo War Ich? Tot? - Deborah Voigt/Eva Kirchner/Stephan Genz/Natalie Dessay/Ian Thompson/Sami Luttinen
    12. Ein Schones War: Hiess Theseus - Ariadne - Deborah Voigt/Christiane Hossfeld/Eva Kirchner/Angela Liebold/Stephan Genz/Natalie Dessay/Ian...
    13. Lieben, Hassen, Hoffen, Zagen - Stephan Genz/Eva Kirchner/Natalie Dessay
    14. Es Gibt Ein Reich, Wo Alles Rein Ist - Deborah Voigt
    15. Die Dame Gibt Mit Trubem Sinn - Christoph Genz/Ian Thompson/Stephan Genz/Sami Luttinen/Natalie Dessay

    Tracks:

    1. Grossmachtige Prinzessin - Natalie Dessay
    2. Hubsch Gepredigt! Aber Tauben Ohren! - Stephan Genz/Natalie Dessay/Christoph Genz/Ian Thompson/Sami Luttinen
    3. Ein Schones Wunder!.../Ein Reizender Knabe! - Angela Liebold/Christiane Hossfeld/Eva Kirchner
    4. Circe, Kannst Du Mich Horen? - Ben Heppner/Deborah Voigt/Christiane Hossfeld/Eva Kirchner/Angela Liebold
    5. Theseus! Nein, Nein! - Deborah Voigt/Ben Heppner
    6. Das Waren Zauberworte! - Deborah Voigt/Ben Heppner
    7. Gibt Es Kein Hinuber? - Deborah Voigt/Ben Heppner/Angela Liebold/Christiane Hossfeld/Eva Kirchner/Natalie Dessay

    Amazon.com

    Recorded in Dresden in December 2000, this new version of Strauss's Ariadne has become by default the last will and testament of Giuseppe Sinopoli. On April 20, 2001, the Venetian maestro collapsed in the middle of a performance in Berlin, victim of a heart attack at age 54. Since 1992, he had been principal conductor of the prestigious Dresden Staatskapell, which undertook a privileged collaboration with Richard Strauss himself in premiering nine of the composer's operas. There's no surprise, therefore, in the excellence exhibited by the orchestra on this recording, under the baton of a man who also had much experience in the works of Strauss.

    Given its final version in 1916, Ariadne auf Naxos abandons the excess of Salome and Electra, orienting itself toward neoclassicism in its juxtaposition of the world of antique opera seria with that of the commedia dell'arte. The Prologue--with its theater within the theater setup--is a playful treatment of the theme of art versus reality and of sublime love versus frivolity, represented by the opposition between a young composer (Anne Sofie von Otter) and a saucy comedian, Zerbinetta (Natalie Dessay). The cast assembled here is exemplary and basically not to be surpassed today, with Deborah Voigt in her famous turn as the title character and Ben Heppner as Bacchus. --Franck Erikson

    Customer Reviews:

    5 out of 5 stars A Luxurious, Perfect Ariadne.......2007-04-12

    I don't understand why some reviewers would give this magnificent recording less than five stars, because the cast, the conductor, and the orchestra are caught at the top of their game! Even if Giuseppe Sinopoli were replaced by a lesser conductor and the orchestra had been the Bavarian Radio or the RAI Symphony, the vocal forces assembled around this Ariadne are simply sensational! Best of the lot is Deborah Voigt's Ariadne, who is in my opinion the best soprano to have ever sung the part. It lacks the self-conscious, academic interpretation of Schwarzkopf and the indulgent jazz swoops of Jessye Norman, but that is all for the better considering how Voigt gets into the part of the character. Her luscious, silvery, creamy voice works wonders for the part of the prima donna, and her Ariadne is sung with a sense of Grecian abandon unheard in sopranos before her. I would say that this perhaps is the best recording of her discography, and brava to Deborah Voigt for making a specialty out of this role!

    Voigt is partnered by the likes of Ben Heppner, Dessay, Von Otter, and Dohmen, artists of a prime calibre who are able to bring an interpretive grain to their music. Ben Heppner's large, heroic timbre fits Bacchus' high-lying, difficult music perfectly, and it is wonderful to know that he has finally overcome that vocal crisis of his so that he can once again share that voice of his with us. I don't think I've ever heard Bacchus sung better by any tenor except James King. Natalie Dessay is a three-dimensional Zerbinetta with sexiness, naughtiness, and warmth, and she is also equipped with all the coloratura in the world to perform the part's difficult pyrotechnics. Her transformation in the opera is a portrayal of this great artist's skill in turning this essentially cardboard role into a character full of life, wisdom, and compassion. I would take her Zerbinetta any day over Gruberova! Von Otter is sensational as the Composer, her chiaroscuro timbre portraying the polar temperament of this character. Although she would never erase the memories of Tatiana Troyanos, von Otter is nonetheless a prime interpreter of the part with a knack for uncovering the dramatic nuances of the part. Albert Dohmen is a vocally endowed music-master, better than the dry-voiced Fischer-Dieskau in his recording with Masur.

    Of course, this recording would not achieve its legendary status without Sinopoli and the Dresden forces, perhaps the greatest Straussian orchestra in the world. Sinopoli conducts the score with outstanding clarity, movement, and verve, every instrument speaking out of the pages with an Italianate passion that only he could bring to the score. Oh that we would hope that he had lived longer to conduct Die Liebe der Danae with this team!

    In short, this recording is highly recommended!

    5 out of 5 stars Bravo, the best singing cast in decades.......2005-09-18

    I think all the good reviews here are right, so I'd simply like to point out that although Voigt is not the equal of Schwarzkopf as Ariadne and Dessay is not the equal of Rita Streich as Zerbinetta--both on the classic Karajan set for EMI--Heppner towers ovre all other tenors in the role of Bacchus, and therefore, even without Sinopooli's exellent conducting, this set vaults to the top as the best-sung Ariadne in the stereo era.

    2 out of 5 stars Technically competent but lacking any artistry.......2005-09-09

    Sinopoli is decent, the principal singers lacking in understanding and charm (Dessay is the exception), quite put into the shade by the so-called secondary characters [Dohmen, the Genzes,etc]. Bright, clean sound --- and all meaningless when the phrasing is lifeless and uncomprehending. Voigt's big aria is, indeed, 'Totenreich' --- lugubrious, rhythmically flaccid, and totally graceless. Yes, the notes ping, but so do those of a synthesizer. Gramophone is spot on to call this voice 'stainless steel'. For those who are unconvinced by this Strauss opera, this will provide ample reinforcement. For those who believe in Ariadne, this recording will test their faith. In a word: stillborn.

    1 out of 5 stars ¡Decepcionante!.......2005-04-16

    Aunque el desempeño de la orquesta es excelente, gracias a la brillante batuta de Sinooli, el importante papel de Ariadna asumido por Debora Voight es decepcionante: terrible vibrato, problemas de fiato y una colocación esforzada y tensa. Les recomiendo mejor la versión de Schwarzkopf o Norman.

    5 out of 5 stars The Last Sinopoli's Goal.......2005-02-21

    This Ariadne deserves the most resounding applause just because it gathers one of the most beautiful Strauss' music ever,perfect singers to their parts,fine engineers at Lukas'church and an insuperable performance of this score by Sinopoli.Previous rewiews tell us enough about the conductor,Voigt,Heppner,...I would like to add up some greetings to this so sweet Harlekin singing by Stephan Genz(what a gorgeous "Lieben,Hassen"!)and his valuable understanding on Strauss' chamber music lines to this character.Likewise,three very clever nymphs standing out trumpeters "Nymphen zogen ihn auf!",that so shining Bacchus entrance(of course,fast tempo by Sinopoli providing that).I believe that comparisons must be avoided just because this recording is a really first class one.However,in spite of very qualified Dessay's singing,I still think Kathleen Battle just enlighten Zerbinetta's complexities to the world.What a pity there're her Met live performance only.
    Documents of the Munich Years, Volume 8
    Average customer rating: Not rated
      		Documents of the Munich Years, Volume 8

      Manufacturer: Oehms Classics
      ProductGroup: Music
      Binding: Audio CD

      All Works by BeethovenAll Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
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      Levine, JamesLevine, James | ( L ) | Featured Performers, A-Z | Classical | Styles | Music
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      ASIN: B000A2GRZA
      Release Date: 2005-01-18

      Product Description

      James Levine's finest performances from his five-year tenure as music director of the Munich Philharmonic are now available in Oehms Classics' series Documents of the Munich Years -- including this program that couples Beethoven's exuberant Seventh Symphony with the final act of Wagner's Siegfried featuring superstar tenor Ben Heppner in the title role.
      German Romantic Opera
      Average customer rating: Not rated
        		German Romantic Opera

        Manufacturer: RCA
        ProductGroup: Classical
        Binding: Audio CD
        ASIN: B000K1MW9Q

        Product Description

        1.tristan und isolde. 2. rienzi.3. siegfried.4.gotterdammerung.5.parsifal.6.der fliegende hollander.7.fidelio.8.der freischutz.9.euryanthe.10.die tote stadt

        Music Review:

        1. Bergamasca
        2. Berlioz: Symphonie fantastique; Love Scene from 'Romeo et Juliette' [SACD] [Hybrid SACD] [Hybrid SACD]
        3. Bloch: Works for Cello
        4. Chausson: Orchestral Works [Import]
        5. Codex Las Huelgas: Music from 13th Century Spain
        6. Couperin: Barricades Mystérieuses, Pièces de Clavecin
        7. Danny Boy: The Music of Percy Grainger
        8. David Diamond: String Quartets, Vol. 4
        9. Diamond - Ahava / Music for Prayer (Milken Archive of American Jewish Music)
        10. Dockstader: Quatermass

        Music Review

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        Global Underground: Los Angeles

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        Give My Regards To Broad Street

        Gold Collection: Feelin' Groovy

        Fauré: 13 Nocturnes

        Frivolous Sal [Import] [Original recording remastered]

        Cromatico [Import]

        El Gran Final

        Piazzolla InTime

        I Sincerely Apologize For All The Trouble I've Caused