Heather Harper was an exceptional musician who could sing just about anything and be convincing. She must've been a favorite at the Teatro Colon because they hired her to perform an unusual variety of roles. There are broadcasts of her Marguerite in Faust and Antonia in Les Contes d'Hoffmann (both available from Opera Depot) as well as this Arabella. She is a lovely, spirited heroine with a beautiful top register (so important in Strauss). Her shock at Mandryka's lack of trust in her is amply conveyed at her spoken "Ich habe nichts zu sagen" in the third act. The supporting cast is equally good. Canadian baritone Norman Mittelmann is a sturdy, sexy Mandryka: one understands why Arabella falls in love with him so quickly. Miljakovic contrasts well with Harper and Dallapozza makes a convincing Matteo. Sotin is an unusually dour Waldner while Litz is a gracious Adelaide, touching in her desperate attempts to keep her family from falling apart. Marta Carrizo brings flair and excellent high Ds to the Fiakermilli. Stein leads a strong performance with a few cuts to help tighten things up (there are talky sections, especially in Act 3, that run on a bit).The sound is very good. I'm going to assume this was taken from a broadcast tape, but sometimes the voices sound a little smothered behind the orchestra.

Arabella has suffered unduly from the inaccurate "second Rosenkavalier" label. Many performances seem to linger on the obvious highlights and either race or lumber embarrassedly through the rest. This delectably light-footed performance under the expert baton of Horst Stein does neither: the dialogue flows naturally, propelling the narrative as it should, while duets and monologues emerge naturally without distorting the flow. Here, the opera is a comedy of manners that only narrowly avoids tragedy.The performance has fewer cuts than usual, so we are allowed to hear the Act 2 exchanges between Mandryka and the Fiakermilli that cynically distort the music and sentiment of the betrothal duet, crucial in establishing the extent of his rage and disillusion.I bought this mainly for Heather Harper in the title role. She is even better than expected, singing beautifully across all registers to portray a youthful, graceful, heroine who emerges as the only character who in the course of the opera never lies or acts dishonourably, hence the only one able to effect reconciliation when things fall apart. This is the most human Arabella I have ever heard, with no hint of coolness - just listen to her emotional (spoken) refusal to answer Mandryka's questions. The flawed personalities around her are very well sung and portrayed by an excellent cast. This is a performance I would like to have attended. Strongly recommended, for first-timers, long-term lovers or Arabella cynics.

Not a favourite of mine I admit, but I bought this to hear Heather Harper. Such a lovely sound and a great musician too. It’s unusual to hear every note of a Strauss score sung bang in tune and musically so accurately. Norman Mittelmann is also very good. Their scenes together are the highlights of the performance for me. The rest of the cast is pretty standard and don’t let the side down, with Dallapozza handling Matteo’s high-flying tesitura well. The sound is very good.