Richard Strauss: Der Rosenkavalier

Underneath the veneer of this matinee idol of a Rosenkavalier is a deeper river that flows through Viennese history along with conductor Karajan’s own life story. Glamorous and debonair, Karajan seemingly glosses over the bittersweet end to Strauss’s opera, though knowing his history (along with the sharp decline of the Austro-Hungarian Empire mere years after Rosenkavalier’s premiere), there is a poignant despondence that adds gravitas to Strauss’s masterwork. Of course, Karajan is not the only high point to this recording. Otto Edelmann is a bellowing, blustering Baron von Ochs, living up to the translation of his name. In the small role of the Italian tenor, Nicolai Gedda pulls out all the stops. Christa Ludwig is a lusty, lyrical Octavian whose strengths are brought out both by Teresa Stitch-Randall (who takes some time to warm up as Sophie but ultimately delivers) and Elisabeth Schwarzkopf’s Marschallin. Schwarzkofp owns this role with glamour and gravitas to the hilt. While the thrilling, delicate Presentation of the Rose scene sublimely captures love at first sight, the final trio is what makes this recording definitive thanks to Schwarzkopf's polished yet plaintive presence.

Der Rosenkavalier concerns the transferring of love of the young headstrong aristocrat Octavian from the older Marschallin (with whom he's having an affair) to the young Sophie, a girl of nouveau riche origins who's of his generation. The portrayal of the different levels of passion is masterly and the Marschallin's resigned surrender of her young lover gives opera one of its most cherishable scenes. The comic side of the plot concerns the vulgar machinations of the rustic Baron Ochs and his attempts to seduce the disguised Octavian (girl playing boy playing girl!). The musical richness of the score is almost indescribable, with streams of endless melody, and the final trio which brings the three soprano roles together is the crowning glory of a masterpiece of the 20th century.

This magnificent recording, conducted with genius by Karajan, and with a dream cast, is unlikely to be challenged for many a year. The Philharmonia play like angels, and Schwarzkopf as the Marschallin gives one of her greatest performances.

The recording, lovingly remastered, is outstanding.

Though there are good reasons for hearing other recordings of Der Rosenkavalier -- the endlessly attractive 1954 Decca recording with Reining, Jurinac, Gueden, and Weber with Erich Kleiber leading the Vienna Philharmonic or the luminously appealing 1994 DG recording with Lott, von Otter, Bonney, and Moll with Carlos Kleiber, Erich's son, leading the Wiener Philharmoniker -- when you come right down to it, the one Rosenkavalier to have is this 1957 EMI recording with Schwarzkopf, Ludwig, Stich-Randall, and Edelmann with Herbert von Karajan leading the Philharmonia Orchestra. Why? Because as Ochs, Edelmann is funny without being a buffoon; as Sophie, Stich-Randall is scrumptious without being silly; as Octavian, Ludwig is impetuous without being ridiculous; and as the Feldmarchallin, Schwarzkopf is simply unmatched for tonal beauty and depth of understanding. Plus, they and the rest of the first-class staff sing not as a individuals in a constellation of stars but together as parts of a single ensemble wholly dedicated to the music and the drama of the work. On top of that, Karajan supports the singers and the drama with consummate style and class without once grandstanding, and the Philharmonia plays like what it was -- the finest classical studio orchestra of all time with a refinement and opulence matched only by the VPO or the BPO at their best. Captured in superlative stereo sound by Walter Legge -- it's the ideal combination of too live for a studio recording and too studio for a live recording sound -- this Rosenkavalier should be heard by anyone who loves the work, loves Strauss, loves fin de siècle music, loves life, and loves love.