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Die Entführung aus dem Serail
Fritz Wunderlich is caught in his prime in this lively performance of Die Entführung aus dem Serail from Vienna. The Mozartium Orchestra sounds, on occasion, uncharacteristically ragged as István Kertész races through the opera as if he is trying to catch a train, but there is an energy and vitality to the proceedings usually absent from this opera. Wunderlich sounds like a hero, firm and in 100% control of his supple voice in Belmont's challenging music. Ruth-Margret Pütz is an attractive Konstanze, though it takes her most of "Ach, ich liebte" to connect with the role vocally. Renata Holm is a bit too cutesy for my tastes, but that works for Blonde, and Erwin Wohlfahrt's Pedrillo is delivered with a wry sense of humor and a bright, attractive tone. George Littasy's Osmin is big and blustery and not particularly accurate, but he is clearly having fun.
Track List
Act I
1. Ouvertüre
2. Hier soll ich dich denn sehen
3. Wer ein Liebchen hat gefunden
4. Solche hergelaufne Laffen
5. Konstanze, dich wiederzusehen, dich!
6. Singt dem großen Bassa Lieder
7. Ach ich liebte
8. Marsch! Trollt euch fort!
2. Hier soll ich dich denn sehen
3. Wer ein Liebchen hat gefunden
4. Solche hergelaufne Laffen
5. Konstanze, dich wiederzusehen, dich!
6. Singt dem großen Bassa Lieder
7. Ach ich liebte
8. Marsch! Trollt euch fort!
Act II
9. Durch Zärtlichkeit und Schmeicheln
10. Ich gehe, doch rate ich dir
11. Welcher Wechsel herrscht in meiner Seele... Traurigkeit ward mir zum Lose
12. Martern aller Arten
13. Welche Wonne, welche Lust
14. Frisch zum Kampfe, frisch zum Streite!
15. Vivat Bacchus! Bacchus lebe!
16. Wenn der Freude Tränen fliessen
17. Ach, Belmonte! Ach, mein Leben!
10. Ich gehe, doch rate ich dir
11. Welcher Wechsel herrscht in meiner Seele... Traurigkeit ward mir zum Lose
12. Martern aller Arten
13. Welche Wonne, welche Lust
14. Frisch zum Kampfe, frisch zum Streite!
15. Vivat Bacchus! Bacchus lebe!
16. Wenn der Freude Tränen fliessen
17. Ach, Belmonte! Ach, mein Leben!
Act III
18. Ich baue ganz auf deine Stärke
19. In Mohrenland gefangen war
20. Ha, wie will ich triumphieren
21. Welch ein Geschick!
22. Nie werd' ich deine Huld verkennen
23. Wenn ich dein Vater wäre
24. Welch ein Geschick! (Continued)
25. Die Zärtlichkeit und Schmeichelei
26. Ich bin deine Huld dankbar
27. Weich den Wechsel des Geschicks
28. Neue wird mir zum Lose
19. In Mohrenland gefangen war
20. Ha, wie will ich triumphieren
21. Welch ein Geschick!
22. Nie werd' ich deine Huld verkennen
23. Wenn ich dein Vater wäre
24. Welch ein Geschick! (Continued)
25. Die Zärtlichkeit und Schmeichelei
26. Ich bin deine Huld dankbar
27. Weich den Wechsel des Geschicks
28. Neue wird mir zum Lose
Customer Reviews
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4.8
Based on 6 reviews
✓ Verified Buyer
United Kingdom
Super!
Loved this performance which fairly zips along. Wunderlich is, well, wunderlich and the rest of the cast keep up. Some listeners have been critical of the band, but they seem fine to me!
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✓ Verified Buyer
United States
Excellent Performance
This is surprisingly one of the best recordings of this opera. Each soloist is nearly perfect, and Wunderlich, is undoubtedly the best ever to sing this role, even though he only receives modest applause. All the other cast members are ideal, and Kertesz makes this a fast and exciting performance. Highly recommended.
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✓ Top Reviewer
United States
Superb Performance in Excellent Sound!
This is a terrific recording of Entfuhrung by any standards. Fritz Wunderlich sings Belmonte with his usual glowing tone and flexibility (there's even a trill or at least a suggestion of one where he needs it). He gets to sing all three of his arias here. Ruth-Margret Putz was a big star in Germany. She certainly can move her attractive, high soprano around very quickly. Her trill is stingy (or unattempted), but she has the needed panache for all the display bits. She also has the requisite legato for "Traurigkeit". Holm is a delightful Blondchen with a good high E and Wohlfahrt sings a mellifluous Pedrillo with a good high B. Littasy's rich, growling bass is a great fit for Osmin. He sings the triplets in "Ha! Wie will ich triumphieren" more accurately than other basses of the period and he has a solid low D. The audience loves him. Andreas Wolf speaks the Bassa's lines very eloquently. I like Kertesz's tempi; he keeps the piece moving and is very supportive of his singers.The Pirate Gods smiled happily on this venture and the sound is excellent.
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Michelle
Wunderlich was great in this role, but here he spreads out all of his beautiful sounds, and it seems that the other singers, at his example, deploys new talents. And where can we find such an intelligent mozartian as Kertész ?
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✓ Top Reviewer
United States
Theodore Shulman
An excellent, uplifting performance of ENTFUHRUNG. The Divine Fritz is in particularly good voice, and sounds more present and in-the-role than in either of his other three recordings of this work (which are conducted by Zubin Mehta, Eugen Jochum, and H. Wallburg). The other singers are fine, and they perform well together in ensemble.
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✓ Verified Buyer
Austria