A Merry Widow for all time

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Oh what bliss! From the first moment of the orchestral introduction, which captures brilliantly that sense of expectation when sitting in a darkened theatre before the curtain rises, this famous recording is pure joy. Brilliantly cast and produced, it has a real whiff of the theatre, and yet you would be hard pressed to ever hear a performance of such class there. Principal among its delights is Schwarzkopf’s gloriously sung Hanna Glawari, singing with the same sort of care she lavishes on Mozart and Strauss. Indeed the moment she realises that Danilo is still in love with her (Allein liebt er mich, nur allein! ) in the finale of the second act is sung with such gloriously refulgent tone that it would hardly sound out of place in Strauss’s Der Rosenkavalier.

This was Schwarzkopf’s second recording of the opera, and, as in the first, Legge chooses a baritone for Danilo, rather than the usual tenor. However W├Ąchter’s high baritone has no problems with the higher lying passages that Kunz (on the first recording) had to transpose down. Furthermore he sounds younger and more dashing. Gedda and Steffek make an excellent pair of lovers, the Pavillion duet in the second act a properly erotic affair, and the rest of the cast could hardly be bettererd with excellent contributions from Josef Knapp and Kurt Equiluz. Fabulous playing from the Philharmonia Orchestra under Lovro von Matacic.

Yes, there are fuller versions of the score around, but, frankly I couldn’t care less. I doubt this wonderfully stylish, fun packed recording will ever be bettered.