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R. Strauss: Der Rosenkavalier.(Sound Recording Review)

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| July 01, 2004 | Malafronte, Judith | COPYRIGHT 2004 Metropolitan Opera Guild, Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

R. STRAUSS: Der Rosenkavalier Ludwig, Jurinac, Geszty Benegas; Nait, Berry Cesari, Valori; Orchestra and Chorus of the Colon Theatre Buenos Aires, Leinsdorf. Live recording, September, 1969. No texts. Living Stage LS 1029

Christa Ludwig MAHLER, "KINDERTOTENLIEDER" Dresden Staatskapelle, Bohm. Live recording, Salzburg, 1972. Orfeo C607031B

"LIEDER OF STRAUSS AND WOLF" Werba, piano. No texts or translations. Live recording, Salzburg, 1984. Orfen C613031B

Although she sang her share of Italian opera, modern music and rarities, the meat of Christa Ludwig's career was Mahler, Strauss and Wolf; she possessed the perfect voice and musical temperament for it and had been thoroughly prepared by some of Germany and Austria's best conductors. Three live recordings, from different stages of her career, reveal why Ludwig virtually owned this repertoire.

The mezzo-soprano was a celebrated Octavian, although she never cared for the role and eventually relinquished it for the vocally and temperamentally more congenial Marschallin. A live 1969 recording of Der Rosenkavalier from the Teatro Colon in Buenos Aires suffers from a dry acoustic and poor fidelity (the strings are all but inaudible), but it is deftly paced by Erich Leinsdorf. Ludwig is a passionate, outgoing Octavian, but listeners will notice how hard she has to work at managing the role's high notes.

Sena Jurinac's Marschallin is beautiful and dear of tone, without mannered details of characterization: a gracious and aristocratic woman. She, too, was a famous Octavian, and she can be heard in that role on several recordings, but this is Jurinac's only currently available complete recording as the Marschallin, and her Act I monologue is uncommonly moving. Silvia Geszty rounds brittle but manages Sophie's tessitura brightly. Walter Berry, as Baron Ochs, keeps a grip on the character's nobility, showing a lascivious side without excessive vulgarity in tone or manner, and he is in splendid voice. Berry and Ludwig were husband and wife ...

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