Robert Heger - Strauss: Der Rosenkavalier [1933 Recording] [CD]

Name: Robert Heger - Strauss: Der Rosenkavalier [1933 Recording] [CD]
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Richard STRAUSS (1864-1949)Der Rosenkavalier (abridged version) Die Zeit, die ist ein sonderbar Ding Time is such a curious thingThe Marschallin, Act 1 of Der RosenkavalierTime - a curious thing indeed; for it seems that as the origins of this celebrated recording recede further into the past, the more it reveals of the early performing style of this greatest high comedy in all opera. Even though the sessions took place 22 years after Der Rosenkavaliers first performance, it must be remembered that three of the recordings principals, Lehmann, Schumann and Mayr, all sang in productions within twelve weeks of the Dresden première, the two sopranos in Hamburg and the bass in Vienna. Indeed, it was in Hamburg that the intriguing single performance took place in which Lehmann sang Sophie and Schumann sang Octavian. (In those early days Sophie and, slightly later, Octavian were Lehmanns rôles and she undertook the Marschallin for the first time only in 1924, at Covent Garden.) Olszewskas experience of the opera was not as extensive as that of her colleagues but, by 1933, she was already greatly admired for her interpretation of Octavian. How fortunate that the greatest Marschallin of her day, perhaps the finest ever, the most enchanting Sophie, such a gallant Octavian and an unsurpassed Ochs were all able to participate in the recording. Abridged? Yes, but the principal scenes are here largely intact, so much of the atmosphere of the operas early productions is re-created on this historic set. Der Rosenkavalier was fortunate in its early recordings. Shortly after the première the three leading ladies made several discs, and over the years many fine singers set down their interpretations of choice excerpts; several are included on CD2, including Tauber (remarkably sweet-toned); Barbara Kemp (both in the studio and live at the Theater Unter der Linden, Berlin, where she sang for twenty seasons); Delia Reinhardt (the customary Octavian at Covent Garden with Lehmann and Schumann), Conchita Supervia (the Octavian of the Rome première in 1911); and Alexander Kipnis, somewhat strait-laced, but a bass of tremendous authority, whose Ochs was later much praised at the Met. Such important fragments paved the way for this 1933 set, but it was to be another seventeen years before the first complete studio recording of Der Rosenkavalier was made. Since then many further versions of the opera have been released but none has earned the affectionate admiration accorded to this one, often referred to in short as Lehmanns Rosenkavalier. That abbreviation is misleading, of course. Other performances with Lehmann survive, notably a 1939 live recording from the Met (Naxos 8.110034-36). The Marschallin is really not the main rôle; she does not feature at all in the second act, re-appearing only halfway through the third, and the opera&

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1. Introduction

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3. Muss jetzt partout zu ihr!

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1. Wie du warst! Wie du bist!

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3. Weiss bereits nicht

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1. Der Feldmarschall sitzt im krowatischen Wald

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3. Leupold, wir geh'n!

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1. Die Stimm'!

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3. Mein Gott, es war nicht mehr als ein Farce

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1. Hat Sie schon einmal mit einem Kavalier

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3. Heut' oder morgen oder den \xc3\xbcbern\xc3\xa4chsten Tag

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1. Da geht er hin, der aufgeblasene schlechte Kerl

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3. Marie Theres'!... Hab' mir's gelobt

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1. Ach! Du bist wieder da!

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3. Ist ein Traum, kann nicht wirklich sein

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1. Die Zeit, die ist ein sonderbar Ding

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3. Sind halt aso, die jungen Leut'!

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1. Mein sch\xc3\xb6ner Schatz

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3. Ist ein Traum, kann nicht wirklich sein

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1. Ich werd jetzt in die Kirchen geh'n

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1. Di rigori armato il seno

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2. In dieser feierlichen Stunde der Pr\xc3\xbcfung

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1. Oh sei Er gut, Quinquin... Die Zeit, die ist ein

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2. Mir ist die Ehre widerfahren

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1. Kann mich auch an ein M\xc3\xa4del erinnern... Die Zeit

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2. Ich kenn' Ihn schon recht wohl

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2. Mir ist Ehre widerfahren

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2. Zu Ihm h\xc3\xa4tt' ich ein Zutrau'n

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2. Da lieg' ich!... Herr Kavalier!

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2. Wart', dich hau' i' z'samm

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2. Herr Kavalier!

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2. Da!... Herr Kavalier!

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3. Ich weiss auch nix, gar nix!... Marie Theres'!

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3. Introduction and Pantomime

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3. Ja, ja... Ist ein Traum

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3. Hab'n Euer Gnaden noch weitre Befehle?

Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3. Nein, nein, nein, nein! I trink' kein Wein

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Please Note Not All Our New Items Are Shrink Wrapped.All items shipped within 3 working days of payment.Richard STRAUSS (1864-1949)Der Rosenkavalier (abridged version) Die Zeit, die ist ein sonderbar Ding Time is such a curious thingThe Marschallin, Act 1 of Der RosenkavalierTime - a curious thing indeed; for it seems that as the origins of this celebrated recording recede further into the past, the more it reveals of the early performing style of this greatest high comedy in all opera. Even though the sessions took place 22 years after Der Rosenkavaliers first performance, it must be remembered that three of the recordings principals, Lehmann, Schumann and Mayr, all sang in productions within twelve weeks of the Dresden première, the two sopranos in Hamburg and the bass in Vienna. Indeed, it was in Hamburg that the intriguing single performance took place in which Lehmann sang Sophie and Schumann sang Octavian. (In those early days Sophie and, slightly later, Octavian were Lehmanns rôles and she undertook the Marschallin for the first time only in 1924, at Covent Garden.) Olszewskas experience of the opera was not as extensive as that of her colleagues but, by 1933, she was already greatly admired for her interpretation of Octavian. How fortunate that the greatest Marschallin of her day, perhaps the finest ever, the most enchanting Sophie, such a gallant Octavian and an unsurpassed Ochs were all able to participate in the recording. Abridged? Yes, but the principal scenes are here largely intact, so much of the atmosphere of the operas early productions is re-created on this historic set. Der Rosenkavalier was fortunate in its early recordings. Shortly after the première the three leading ladies made several discs, and over the years many fine singers set down their interpretations of choice excerpts; several are included on CD2, including Tauber (remarkably sweet-toned); Barbara Kemp (both in the studio and live at the Theater Unter der Linden, Berlin, where she sang for twenty seasons); Delia Reinhardt (the customary Octavian at Covent Garden with Lehmann and Schumann), Conchita Supervia (the Octavian of the Rome première in 1911); and Alexander Kipnis, somewhat strait-laced, but a bass of tremendous authority, whose Ochs was later much praised at the Met. Such important fragments paved the way for this 1933 set, but it was to be another seventeen years before the first complete studio recording of Der Rosenkavalier was made. Since then many further versions of the opera have been released but none has earned the affectionate admiration accorded to this one, often referred to in short as Lehmanns Rosenkavalier. That abbreviation is misleading, of course. Other performances with Lehmann survive, notably a 1939 live recording from the Met (Naxos 8.110034-36). The Marschallin is really not the main rôle; she does not feature at all in the second act, re-appearing only halfway through the third, and the opera&