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Ariadne auf Naxos
This transcendent performance of Ariadne auf Naxos is a testament to the extraordinary depth of talent at the Hamburg State Opera during the 1960s. Arlene Saunders, who made Hamburg her artistic home, may have eschewed international stardom for stability, but her performance here is anything but provincial. She sings with a radiant blend of strength and sweetness, navigating Strauss's soaring vocal lines with astonishing ease and expressive poise.
Ernst Kozub offers one of the most lyrical portrayals of Bacchus—refreshingly free of the forced bluster that often dominates this role. A young Tatiana Troyanos brings warmth, sincerity, and vocal ardor to the role of the Composer, capturing the character's passionate idealism with a richly shaded tone. Sylvia Geszty takes a more lyric approach to Zerbinetta than is typical, but she still handles the high-flying coloratura and florid runs with agility and control, offering a vocal richness not often heard in the part.
There are also notable cameos from Franz Grundheber as the Lackey and Hans Sotin as the Wig Master—both early in their careers and already showing the polish that would define their long association with Hamburg.
Track List
Prologue
1. Mein Herr Haushofmeister!
2. Hier finden Euer Gnaden die Mamsell Zerbinetta
3. Erst nach der Oper kommen wir daran
4. Meine Partner! Meine erprobten Freunde!
5. Ihnen allen habe ich eine plötzliche Anordnung
6. Ich weiss nicht, wo mir der Kopf steht
7. Sie gibt sich dem Tod hin
8. Ein Augenblick ist wenig - ein Blick ist viel
9. An Ihre Plätze, meine Damen und Herren!
10. Seien wir wieder gut!
2. Hier finden Euer Gnaden die Mamsell Zerbinetta
3. Erst nach der Oper kommen wir daran
4. Meine Partner! Meine erprobten Freunde!
5. Ihnen allen habe ich eine plötzliche Anordnung
6. Ich weiss nicht, wo mir der Kopf steht
7. Sie gibt sich dem Tod hin
8. Ein Augenblick ist wenig - ein Blick ist viel
9. An Ihre Plätze, meine Damen und Herren!
10. Seien wir wieder gut!
Opera
11. Schläft sie?
12. Ach, wir sind es eingewöhnet
13. Wo war ich? tot?
14. Ein Schönes war
15. Lieben, Hassen, Hoffen, Zagen
16. Es gibt ein Reich
17. Die Dame gibt mit trübem Sinn
18. Grossmächtige Prinzessin
19. So war es mit Pagliacci
12. Ach, wir sind es eingewöhnet
13. Wo war ich? tot?
14. Ein Schönes war
15. Lieben, Hassen, Hoffen, Zagen
16. Es gibt ein Reich
17. Die Dame gibt mit trübem Sinn
18. Grossmächtige Prinzessin
19. So war es mit Pagliacci
Opera (continued)
20. Hübsch gepredigt! Aber tauben Ohren!
21. Ein schönes Wunder!
22. Circe, kannst du mich hören?
23. Du schönes Wesen?
24. Bin ich ein Gott, schuf mich ein Gott
25. Gibt es kein Hinüber?
26. Kommt der neue Gott gegangen
21. Ein schönes Wunder!
22. Circe, kannst du mich hören?
23. Du schönes Wesen?
24. Bin ich ein Gott, schuf mich ein Gott
25. Gibt es kein Hinüber?
26. Kommt der neue Gott gegangen
Customer Reviews
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4.3
Based on 4 reviews
✓ Top Reviewer
France
Usual high standards in Liebermann's Hamburg
I totally agree with other comments . The Tanzmeister seems to my ears to be Gerhard Unger .
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✓ Top Reviewer
France
Usual high standards in Liebermann's Hamburg (suite)
The Majordomo is Toni Blankenheim, Gerhard Unger is also Brighella, Scaramuccio Willi Brokmeier, Truffaldini Noel Mangin, Offizier Rudolf Mandak .
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✓ Top Reviewer
RICHARD STRAUSS'S "ARIADNE AUF NAXOS" IN ROLF LIEBERMANN'S HAMBURG (1960S)... WHAT COULD BE BETTER?!...
First of all, HAPPY BIRTHDAY, dear ANDY! You are a special and wonderful person and you and your wonderful colleagues are opera addicted. I would like to thank you all for these great and fine opera(tic) gifts! What could be better than Richard Strauss's "Ariadne auf Naxos" in Rolf Liebermann's Hamburg (1960s)?!...
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✓ Top Reviewer
United States
Let's Have More Arlene Saunders!
Arlene Saunders made the majority of her career in Europe - to our loss over here in the States. She is a marvelous Ariadne, spinning out beautiful tone even from top to bottom. Her Bacchus is Ernst Kozub, a tenor who also made a big career in Europe, especially in the German speaking countries. He was supposed to be the Siegfried in Solti's famous studio recording of the Ring, but (for whatever reason) couldn't or wouldn't learn the role to producer John Culshaw's satisfaction. He sings well here with ringing high notes though he seems to tire in the final moments.Sylvia Geszty (who just recently passed away) is a great Zerbinetta. Others may be stronger on the minute details, but Geszty makes a real person of her and soars easily to exciting high D's and E's. She tosses the coloratura off with almost casual ease. Troyanos made something of a specialty of the Composer (recording it twice in the studio) and one can hear why she was so admired in the part. The supporting cast is up to the high standards of the Hamburg Opera; I just wish we knew who all of them were. Janowski was a fine opera conductor and proves it with his passionate leadership here.The sound is from an in-house tape, the voices though slightly recessed very audible over the orchestra. Whoever recorded this started the tape a little late, missing the first bar or two, but otherwise the performance is complete.I hope Andy can find and release more of Saunders' performances!
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