The Sawallisch Arabella

81q1t0g5c2l._sl1200_

Arabella is one of Strauss’s most performed operas and there are quite a few complete recordings available, the most famous probably being the Decca set with Lisa Della Casa, who, for many years, was renowned for her portrayal of the leading role.

The main problem with that studio recording, though, is Solti’s hard driven, perfunctory conducting. I think I read somewhere it was his first complete opera recording for Decca, and even his greatest fans admit that he sounds as if he had little sympathy for his task, whereas Sawallisch’s conducting on this set is one of its principal glories, as is the wonderfully warm digital sound.

There are other reasons to treasure the performance here however, not least the performances of Julia Varady as Arabella and Helen Donath as Zdenka. Varady’s husband, Fischer-Dieskau was in his mid 50s at the time of the recording, and it has to be admitted that he does sound a bit over the hill at times, with an occasional tendency to bark. Nonetheless he makes a sympathetic Mandryka, without exactly eclipsing memories of Josef Metternich, who sings Mandryka on a superb excerpts disc with Schwarzkopf as Arabella, which I reviewed as part of the Schwarzkopf Recital box in May last year (what a shame they didn’t record the full opera).

The opera still has its problems, it seems to me. Invariably Zdenka emerges as the more sympathetic character, as she does here, despite Varady’s gorgeous, creamy Arabella. I remember that  my first encounter with the opera was the film with Janowitz as Arabella, and my sympathies were all with Matteo! The Fiakermilli music always seems pointless and empty to me too, and there are quite a few places where my attention wanders. Maybe Schwarzkopf was right just to record excerpts.

Still, if you enjoy the opera, this is a very fine recording.

Böhm’s classic Così fan tutte

118990066

Così fan tutte is a difficult opera for me these days. The music is sublime, but I find it hard to take the evident misogyny. Consequently I find the best way to listen to it is to ignore as much as possible the plot and listen instead to the emotions the plot provokes, and this is where Mozart’s genius lifts the opera above his subject matter, especially in a great performance such as this one.

Schwarzkopf and Ludwig are a wonderfully contrasted pair of sisters, the latter capturing Dorabella’s more flighty, open hearted nature to perfection. Schwarzkopf is superb as her more haughty, serious sister, imperious in Come scoglio, truly troubled and emotionally shattered in Per pieta, a performance both beautiful and heart-breaking.  Between them, she and Alfredo Kraus make their duet Fra gli’amplessi into a thing of quivering sighs and eroticism. In no other version does that moment of capitulation make quite the effect it does here. Hanny Steffek is just right as Depina, not too sparkily soubrettish, and enjoys herself enormously with Walter Berry’s genially scheming Don Alfonso.

The male lovers are also wonderfully cast, Kraus ardent and poised as the more romantic Ferrando and Taddei a mercurial and vibrant Guglielmo.

Böhm’s experience shines through in every bar and the Philharmonia play sublimely.

I’ve had this recording (originally on LP) in my collection now for almost 50 years now and, though I’ve acquired and heard others since, as a total performance, this one remains my first choice.