Strauss: Arabella - Della Casa, Uhde, Pröbstl, Malaniuk, Fehenberger; Kempe. London, 1953
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It is a shame that Arabella has earned the reputation as the ugly stepsister of Der Rosenkavalier. It may lack the seriousness or Rosenkavalier but it is overflowing in exuberance and wonderfully colorful characters as well as giving a glimpse into a wonderful era. At any rate this recording should win over any of the doubters out there. Lisa Della Casa is the epitome of grace and poise as the title character and she achieves that which is so often elusive to this character by conveying a bright-eyed girl and not an aloof debutante. The rest of the cast is very good. Hermann Uhde conveys a gruff elegance as Mandryka and Max Proebstl stands out as Waldner. The sound is good.
OD 10465-3
Superb Performance in Very Good Sound!
This classic performance is just as good as it is reputed to be. Della Casa, heard here in her absolute prime, is an enchanting heroine, the lovely spin on her high notes worth the price of admission alone. Trötschel was not as well known in North America as she was in Europe; her Zdenka is a worthy partner to Della Casa's Arabella. I listened to their duet in the first act several times before moving on. Uhde is a sexy, virile Mandryka - one understands why Arabella falls for him so quickly. Malaniuk and Probst are terrific as the parents and Fehenberger justifies his high reputation as the neurotic Matteo. Nentwig's Fiakermilli may not be as accurate vocally as some others, but she knows how to "sell" the role. The rest of the cast is superb. Kempe had a knack for how Strauss operas were supposed to go and he paces this wonderful, if uneven, score with flair and style. There is some very brief garbled tape in the first act as well as some occasional static, but for the most part the sound is clear. The Testament label has this performance available in better sound, but this edition has the advantage of being spread over three discs (one act per disc) thus avoiding a disc break during the crucial first scene between Arabella and Mandryka. If you love Arabella, you need this.
Arabellissima!
Of Lisa della Casa's several recordings of the title role in Richard Strauss's magnificent opera 'Arabella' this is unquestionably the one to go for. Everything is just right: della Casa herself is in perfect vocal condition for the role, the supporitng cast is extremely well prepared and highly idiomatic, not least Hermann Uhde as a virile Mandryka, and above all there is Rudolf Kempe, whose command of this luscious score is unparalleled. Good as Bohm and Keilberth are in this opera, they really cannot hold a candle to Kempe. And strangely, although this recording is older, the sound is better than in Kempe's later account for the Met, with Eleanor Steber, where the sound is quite boxy. And that version is also sung in English - an understandable decision for the time but regrettably one which has not worn well. Munich in London in 1953 is certainly the one!
DELLA CASA WILL ALWAYS BE ARABELLA!
For this final collaboration with Strauss, Hugo von Hofmannstahl must have been paid by the word! Only Della Casa can sound conversational and ethereal. From her first entrance, she captures the ear, alternating between Viennese cream and white satin. Uhde is vocally handsome, tender between fits of bombast. Trotschel compares and contrasts well with her sister. Fehenberger is ardent. Proebstl and Malaniuk are richly drawn characters, avoiding caricature. Nentwig tosses off Fiakermilli with ease and poise. Kempe, exalted among conductors of Strauss, propels a score in perpetual motion. Sound very good.