Johann Strauss II, Franz LehA¡r, Philharmonia Orchestra, Carl Zeller, Carl MillA¶cker, Franz von SuppA©, Rudolf Sieczynski, Otto Ackermann, Elisabeth Schwarzkopf, Richard Heuberger - Great Recordings Of The Century - Elisabeth Schwarzkopf Sings Operetta / Ackermann

This most serious and studious of German sopranos has a grand time--with no hint of condescension--in this collection of Viennese operetta arias, treating them with a meticulous musicality they rarely receive. In fact, lots of this music written by now-obscure names such as Heuberger, Zeller and Millocker isn't heard at all. But these isolated arias are marvelously lyrical and ingratiating with some deliciously comic counterpoint. One highpoint is the Nuns Chorus from Casanova, in which Elisabeth Schwarzkopf's voice soars above her fellow nuns, longing for her lover to rescue her from the cloister. It's some of the most unbuttoned singing of her career. --David Patrick Stearns Amazon.com

Perhaps the most magical of Schwarzkopf's many recordings

Every reviewer has sung the glories of this one-off operetta recital that Schwarzkopf executed to perfection in the summer of 1957. She was to have triumphs just as great in Rosenkavalier, Falstaff, Don Giovanni, Cosi fan tutte, and Nozze di Figaro around the same time, but this recording holds a special place for its enduring smile. It hasn't been out of print -- or reduced in price -- for 52 years. I think only Callas's solo recitals can boast the same. All the more miraculous is that Schwarzkopf didn't sing this repertoire except for the microphone. Her legendary Merry Widow, for example, both the mono and stereo versions, are immensely theatrical even though Hanna was never a role she undertook on stage, either. (Callas can claim the same in Carmen.)

I must confess that I have never been able to listen to this CD without tears in my eyes and a shiver up my spine. I wonder at the transformative power of music, since Schwarzkopf emrged from the war as an iron-willed, totally disciplined artist with dubious political standing, yet within the span of a few years she became the lustrous, knowing, vivacious singer we hear on countless recordings. Enough. To hear this CD for the first time is an experiene I wish I could repeat again, forty years later.

P.S. - If you own an earlier CD incarnation and wonder if EMI's latest remastering has removed all the obvious microphone distortions from the original, the answer, sadly, is no. But things are improved, certainly. December 26, 2008

Operettas for every taste

A selection of operetta excerpts, some of them relatively unknown. Elisabeth Schwarzkopf and Otto Ackerman give an excellent performance, which will make you want to listen to the full records.
Very good technical recording. July 15, 2008

Schwarzkopf sings operetta

Schwarzkopf has a voice that I love in anything but it excels in German Operetta where the resonances of her voice seem to suit the subject matter perfectly - nostalgic, bitter-sweet, etc. The recording quality (or presumably transcription to CD) seems very good with no obvious loss of quality or intrusion of extraneous noise. The tracks are clearly separated by several seconds of silence. The only criticism I would have is that 44 minutes is pretty miserly - how much would it have cost to give us a full hour, or indeed more? July 15, 2007

glittering Schwarzkopf

Elisabeth Schwarzkopf, the most talented and accomplished soprano of her generation, delivers a rich feast of operetta treats on this wonderful album. This recording features arias from seldom-heard or recorded composers (namely Heuberger, Zeller and Millocker), as well as pieces from Lehar and Strauss II. Schwarzkopf was in the prime of her vocal condition here, and easily commands the material.

Schwarzkopf made her name in the Lieder and dramatic operas, but it's marvelous to hear how she sparkles and glitters on this album. Highlights include "Einer wird kommen" (from "Der Zarewitsch"); and "Heut' noch werd' ich Ehefrau" (from "Der Graf von Luxemburg"). There's also a lovely rendering of "Meine Lippen..." (from Lehar's oft-forgotten "Giuditta" score).

This album has been newly-remastered using Abbey Road's Prism SNS Noise-Shaping System, which blends the vocals of Schwarzkopf and the orchestra to create a crisp, clear soundscape, free from analogue distortion and other inherent recording problems. This album was originally recorded at the Kingsway Hall in 1957, but sounds as fresh as a daisy here.

As my fellow reviewer - Rudy Avila - has keenly noted, this album has a perfect companion in Schwarzkopf's disc Strauss: Four Last Songs/12 Orchestral Songs.

[EMI Classics 7243 5 67004 2 0] March 6, 2007

The Charm Of Schwarzkopf: Vienna Opera

Elisabeth Schwarzkopf was the leading German lyric soprano of her time directly after World War II- the 50's and 60's. Her Marschallin from Strauss' Der Rosenkavalier is unbeaten and the definative best interpretation. This recording features her singing comfortably in the language she knew best, German, in arias from Vienna light operas. There is so much class and elegance, combined with charming warmth and beauty to the singing voice of Schwarzkopff. Another treasure to hear and a great complimentary addition to this album is Schwarzkopf singing German Lieder. Her diction was perfect, her melodic lines bubbly with sincere human warmth. In this album, I think you'll like the opening aria "Im Chambre Separee" from Der Opernball. There is a uniquely French sound to the aria and to Schwarzkopf's rendition, that has sophistication and European aestheticism written all over it. The other arias are beautiful to listen to as well, including the arias from Der Zarewitsch, Grafin Dubarry, Graf Von Luxemburg, Boccacio and Giuditta.

Naturally, since this is taken from the original Long Playing album record, it sounds very old fashioned and dated. I did'nt hear any scratches or disruptions, so for the most part it's highly enjoyable and lovingly remastered for a cd. Schwarzkopf classic voice does seem to fit more suitably on the LP of a phonograph in a stylish salon in Paris or Vienna. I can imagine when she was singing in person and recording these albums, people were goo-ga ga over her. But even if you don't own a record player and you are up to date with the latest sound system technology, this will bring you back to the days when people crowded around parlors,either to their radios or phonographs and had conversations and drank champagne in genuine taste and good cheer. This will definately want to make you drink some fine champagne. April 19, 2004

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