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Die Fledermaus
The sound quality of this performance of Die Fledermaus may not be ideal, but the performers more than compensate with their dazzling vocalism. In his operatic farewell, Rudolf Schock takes on the role of Gabriele von Eisenstein. True to the philosophy of leaving while still at the top, Schock’s singing remains effortless and robust, a testament to his enduring talent.
Rosalinde is notoriously challenging to cast, requiring a soprano with excellent coloratura, a secure upper register, and vocal heft. Edda Moser embodies all these qualities, delivering a dazzling and thrilling performance. Hans Beirer impressively scales down his heldentenor for the lyric role of Alfred, showcasing deft comedic timing. His oversized voice hilariously captures the overwrought outbursts of a temperamental tenor. Christa Ludwig is equally captivating as Orlofsky, adding further depth to the stellar cast.
Originating from the Wiener Staatsoper on New Year’s Day, this performance brims with vitality and Viennese charm.
Track List
Act I
1. Overture
2. Täubchen, das entflattert ist
3. Ach, ich darf nicht hin zu dir!
4. Nein, mit solchen Advokaten
5. Kommt mit mir zum Souper
6. So muss allein ich bleiben
7. Trinke, Liebchen, trinke schnell
8. Mein Herr, was dächten Sie von mir
9. Mein grosses, schönes Vogelhaus
2. Täubchen, das entflattert ist
3. Ach, ich darf nicht hin zu dir!
4. Nein, mit solchen Advokaten
5. Kommt mit mir zum Souper
6. So muss allein ich bleiben
7. Trinke, Liebchen, trinke schnell
8. Mein Herr, was dächten Sie von mir
9. Mein grosses, schönes Vogelhaus
Act II
10. Ich lade gern mir Gäste ein
11. Ach, meine Herr'n und Damen
12. Mein Herr Marquis
13. Wie fliehen schnell die Stunden fort
14. Dieser Anstand, so manierlich
15. Klänge der Heimat
16. Im Feuerstrom der Reben
17. Herr Chevalier, ich grüsse sie!
18. Brüderlein, Brüderlein und Schwesterlein
19. Genug, damit genug
11. Ach, meine Herr'n und Damen
12. Mein Herr Marquis
13. Wie fliehen schnell die Stunden fort
14. Dieser Anstand, so manierlich
15. Klänge der Heimat
16. Im Feuerstrom der Reben
17. Herr Chevalier, ich grüsse sie!
18. Brüderlein, Brüderlein und Schwesterlein
19. Genug, damit genug
Act III
20. Entr'acte
21. Lalalala, mein schönes grosses Vogelhaus....
22. Spiel' ich die Unschuld vom Lande
23. Ich stehe voll Zagen
24. Ja ich bin's, der ihr betrogen
25. O Fledermaus, o Fledermaus
26. Champagner hat verschuldet
21. Lalalala, mein schönes grosses Vogelhaus....
22. Spiel' ich die Unschuld vom Lande
23. Ich stehe voll Zagen
24. Ja ich bin's, der ihr betrogen
25. O Fledermaus, o Fledermaus
26. Champagner hat verschuldet
BONUS
27. Caro nome
Rigoletto. Wien, 1973
Edda Moser, Gilda
Rigoletto. Wien, 1973
Edda Moser, Gilda
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4.3
Based on 3 reviews
✓ Top Reviewer
United States
Enjoyable Fledermaus with Some Missing Music!
Rudolf Schock went out on a high note (literally) with his final operatic performance as Eisenstein. He was still singing very well and from what I can hear was as charming as ever. The dialogue is extensive and there are all kinds of added in-jokes and puns to mark the occasion. When Eisenstein recognizes Adele at Orlofsky's party, she responds with "O welch ein Schock!" The audience loves it. In fact, they love just about everything at this performance. Who can blame them? Moser sings the hell out of Rosalinda, adding many exciting high D's. Holm is her usual charming self as Adele. One oddity: she knocks out a thrilling and long-held top D at the end of the Laughing Song, but ducks the written D at the end of the Talent Aria - go figure. She certainly doesn't sound indisposed. Ludwig rewrites some of Orlofsky's music too, yet she has the authority for the party scenes. Beirer's Alfred displays a genial sense of humor, but a voice so riddled with vibrato it's hard to tell which pitches he's singing sometimes. The other singers all join in the fun and they all sound like they're having a good time. Paulik manages to keep everyone together - no easy task at this performance!The sound is from an in-house source, but listenable. Be aware that some music is missing. In addition to the overture, all of Act Two up to Orlofsky's song is missing as well as the last couple minutes of the act. Frustrating, but there we are.Worth it for Fledermaus fanciers!
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Austria
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