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Strauss - Der Rosenkavalier / Schwarzkopf · Ludwig · Karajan
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J. Strauss: Die Fledermaus / Schwarzkopf, Gedda, Streich, Krebs, Kunz, Christ; Karajan
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Mozart: Die Zauberflöte
from: EMI Classics
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Great Recordings Of The Century - Mozart: Die Zauberflote / Karajan, Dermota, Seefried, Lipp, et al
: :Among recordings of Mozart's Magic Flute that omit the spoken dialogue, Herbert von Karajan's 1950 Vienna Philharmonic traversal stands out for its tightly knit vocal ensembles and outstanding cast. Irmgard Seefried's silvery Pamina complements the lyrical flexibility that Anton Dermota brings to Tamino; Erich Kunz is a bubbly, yet dignified, Papageno; and Ludwig Weber imbues Sarastro's arias with gorgeous, sustained tones. At the other end of the pitch spectrum, Wilma Lipp effortlessly negotiates the Queen of the Night's stratospheric turf. The sonics are a tad ...
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Richard Strauss: Der Rosenkavalier
from: EMI Classics
: :Among recordings of Mozart's Magic Flute that omit the spoken dialogue, Herbert von Karajan's 1950 Vienna Philharmonic traversal stands out for its tightly knit vocal ensembles and outstanding cast. Irmgard Seefried's silvery Pamina complements the lyrical flexibility that Anton Dermota brings to Tamino; Erich Kunz is a bubbly, yet dignified, Papageno; and Ludwig Weber imbues Sarastro's arias with gorgeous, sustained tones. At the other end of the pitch spectrum, Wilma Lipp effortlessly negotiates the Queen of the Night's stratospheric turf. The sonics are a tad ...
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Richard Strauss: Der Rosenkavalier
from: Angel Records
: :Among recordings of Mozart's Magic Flute that omit the spoken dialogue, Herbert von Karajan's 1950 Vienna Philharmonic traversal stands out for its tightly knit vocal ensembles and outstanding cast. Irmgard Seefried's silvery Pamina complements the lyrical flexibility that Anton Dermota brings to Tamino; Erich Kunz is a bubbly, yet dignified, Papageno; and Ludwig Weber imbues Sarastro's arias with gorgeous, sustained tones. At the other end of the pitch spectrum, Wilma Lipp effortlessly negotiates the Queen of the Night's stratospheric turf. The sonics are a tad ...
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Mozart: Le Nozze di Figaro
from: EMI Classics
: :Among recordings of Mozart's Magic Flute that omit the spoken dialogue, Herbert von Karajan's 1950 Vienna Philharmonic traversal stands out for its tightly knit vocal ensembles and outstanding cast. Irmgard Seefried's silvery Pamina complements the lyrical flexibility that Anton Dermota brings to Tamino; Erich Kunz is a bubbly, yet dignified, Papageno; and Ludwig Weber imbues Sarastro's arias with gorgeous, sustained tones. At the other end of the pitch spectrum, Wilma Lipp effortlessly negotiates the Queen of the Night's stratospheric turf. The sonics are a tad ...
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Great Recordings Of The Century - Mozart: Le Nozze Di Figaro / Karajan, London, Schwarzkopf, Seefried, et al
: :Herbert von Karajan's 1950 Vienna recording of Mozart's Le Nozze di Figaro was the first that was made for the then-new LP medium. Like its EMI predecessor on 78s (the 1934 Fritz Busch/Glyndebourne version), this recording omits all of the recitatives--a ploy that's analogous to removing all of the bridges from Amsterdam's canals. As a result, you get all of Mozart's wonderful arias and group numbers, but not one iota of dramatic continuity and not much character development. More often than not, Karajan substitutes speed ...
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R. Strauss: Der Rosenkavalier
from: Capitol
: :Herbert von Karajan's 1950 Vienna recording of Mozart's Le Nozze di Figaro was the first that was made for the then-new LP medium. Like its EMI predecessor on 78s (the 1934 Fritz Busch/Glyndebourne version), this recording omits all of the recitatives--a ploy that's analogous to removing all of the bridges from Amsterdam's canals. As a result, you get all of Mozart's wonderful arias and group numbers, but not one iota of dramatic continuity and not much character development. More often than not, Karajan substitutes speed ...
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Vienna State Opera Live Volume 10
: :Herbert von Karajan's 1950 Vienna recording of Mozart's Le Nozze di Figaro was the first that was made for the then-new LP medium. Like its EMI predecessor on 78s (the 1934 Fritz Busch/Glyndebourne version), this recording omits all of the recitatives--a ploy that's analogous to removing all of the bridges from Amsterdam's canals. As a result, you get all of Mozart's wonderful arias and group numbers, but not one iota of dramatic continuity and not much character development. More often than not, Karajan substitutes speed ...
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