Strauss

Der Rosenkavalier

Schwarzkopf, Jurinac, Della Casa, Edelmann, Kunz, Cuenod; Karajan
Milan, 1952

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Der Rosenkavalier

This 1952 live recording of Der Rosenkavalier captures a pivotal moment in the career of Elisabeth Schwarzkopf, singing the Marschallin for the very first time. It would become her signature role—a part she refined and revisited throughout her career—but there is something uniquely captivating about this early interpretation. Still in her thirties, Schwarzkopf sings with a freshness and vocal bloom that she would never quite recapture. Her Marschallin is already poised, elegant, and deeply expressive, hinting at the interpretive command that would later define her portrayal.

Alongside her, Sena Jurinac brings warmth and impetuous charm to Octavian. The chemistry she shares with both Schwarzkopf and Lisa Della Casa, who sings a radiant and pure-toned Sophie, gives their scenes together an irresistible emotional clarity. It’s a fascinating cast in retrospect: both Jurinac and Della Casa would eventually take on the Marschallin themselves, adding a layer of historical resonance to this performance. Here, though, they embody their roles with youthful vitality, their voices blending seamlessly in Strauss's intricate ensembles.

The sound quality, while less than ideal by modern standards, does little to obscure the spirit of the performance. Beneath the surface noise lies a reading full of heart, insight, and character—an invaluable document of three great singers at defining points in their careers.

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Arnold E.✓ Verified Buyer

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Even though not perfect acoustically, this is, in my opinion, the definitive recording of Der Rosenkavalier. This is the early von Karajan when, especially in his live performances, but also in some of the studio recordings, everything he touches turns to gold. He talked Schwarzkopf into tackling the role, which, at that time, was usually taken by singers with larger voices. As in his Tristan und Isolde with Martha Modl from the same year, he has this extraordinary relationship with his soprano; they breath as one. The tempos are fluid, some of them quite slow. In the first act monolog, they linger over each lieder-like section in order to fuse music and text. The trio is slow by contemporary standards and takes on a whole different quality. You can hear in it traces of the melody line of Im Abenrot (the last of the Four Last Songs), where Schwarzkopf, in my opiniion, also gives the definitive interpretation in her recording with Szell. This is not a slow performance overall and parts move along quite briskly.Like Magda Olivero, Schwarzkopf is something of a cult singer. Those of us who love them can't listen too much. Those for whom their interpretations don't "click" dismiss both singers with explanations of their vocal limitations. All voices have limitations.So, especially for people who may not be familiar with von Karajan or Schwarzkopf, this recording will be a revelation.
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