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Friedenstag
The opera’s finale is a stirring ensemble for double-chorus that can only be described as Beethoven’s Ninth on steroids. This performance, recorded just fifteen years after the war’s end, must have carried an emotional weight that was still raw for many. Joseph Metternich takes on the role of the Kommandant, a part that, despite the opera’s relatively short length, demands long and taxing singing. He handles it admirably. While Hildegard Hillebrecht’s tone has always struck me as a bit too limpid, she proves herself a capable Strauss soprano, navigating the role with skill.
Track List
1. Hast du was geseh'n
2. La rosa, che un bel fiore
3. Hunger! .. Ich höre was.
4. Hunger – Brot! Hunger – Brot!
5. Es sei! Doch hört…
6. Zu Magdeburg in der Reiterschlacht
7. Nie war ich Kämpfer, nie ein Held
2. La rosa, che un bel fiore
3. Hunger! .. Ich höre was.
4. Hunger – Brot! Hunger – Brot!
5. Es sei! Doch hört…
6. Zu Magdeburg in der Reiterschlacht
7. Nie war ich Kämpfer, nie ein Held
8. Wie niemand hier – herabgebrannt das Feuer
9. Maria, du … Verbieten musste ich
10. Ersehntes Zeichen!
11. Nein, nicht Todesnebel
12. Hör, Kommandant, gewaltiger Held
13. Sei uns gegrüßt, du neuer Herrscher
9. Maria, du … Verbieten musste ich
10. Ersehntes Zeichen!
11. Nein, nicht Todesnebel
12. Hör, Kommandant, gewaltiger Held
13. Sei uns gegrüßt, du neuer Herrscher
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4.5
Based on 2 reviews
✓ Top Reviewer
France
Discovering in the best conditions
I did not know this opera and it has been a real pleasure to listen it in this very good version.Thank you
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✓ Top Reviewer
United States
Great Performance, Good Sound!
It's amazing Friedenstag was allowed to be performed at all during the reign of the Third Reich. Its message of peace and love ran directly contrary to the views espoused by the Nazis. As Andy states above not much happens in the plot. While there are some glorious moments, Strauss' inspiration seems a little lacking here and there. Let's put it this way: if you like the end of Frau ohne Schatten you'll enjoy the end of Friedenstag (a snatch of "Ein feste Burg ist unsre Gott" is used several times).I have to hand it to Hillebrecht: she manages the extremely high tessitura of Maria's music extremely well. Her role is liberally peppered with high Bs and Cs, even a D-flat at the close of her big duet with the Kommandant. If she begins to sound a little tired at the end, I don't blame her. Strauss gets a carried away with the ecstasy of freedom and liberation!Metternich's splendid baritone shines through as the Kommandant and singers of the caliber of Böhme, Pröbstl, Kusche, Holm, and Fehenberger are heard in smaller roles. Keilberth was a master of Strauss and brings everything together for a very satisfying performance. The sound is very good (probably from a broadcast), but be advised this was transferred from a rather scratchy record that had some skips in it.Recommended to all Strauss aficionados!
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