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| | | Location: Home » DVD » Strauss - Der Rosenkavalier / Gwyneth Jones, Brigitte Fassbaender, Lucia Popp, Manfred Jungwirth, Benno Kusche, Carlos Kleiber, Munich Opera | |
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| Strauss - Der Rosenkavalier / Gwyneth Jones, Brigitte Fassbaender, Lucia Popp, Manfred Jungwirth, Benno Kusche, Carlos Kleiber, Munich Opera |  | Artists: Gwyneth Jones, Brigitte Fassbaender, Manfred Jungwirth, Lucia Popp, Carlos Kleiber
Label: Philips
List Price: $39.98
Buy New: $27.89
as of 9/4/2010 14:53 MST details
You Save: $12.09 (30%)
New (14) Used (6) from $19.99
Seller: -importcds
Rating:  8 reviews
Sales Rank: 49,033
Format: Classical, Closed-captioned, Color, Dolby, DVD, NTSC
Language: English (Original Language)
Rating: NR (Not Rated)
Region: 1
Discs: 1
Aspect Ratio: 1.33:1
Running Time: 186 Minutes
Shipping Weight (lbs): 0.3
Dimensions (in): 7.1 x 5.4 x 0.6
MPN: 044007340721
UPC: 044007340721
EAN: 0044007340721
ASIN: B0009I8PHI
Theatrical Release Date: 2005
Release Date: September 13, 2005
Availability: Usually ships in 1-2 business days
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Product Description
STRAUSS:ROSENKAVALIER - DVD Movie
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Showing reviews 1-5 of 8
Splendid! March 6, 2010
Rex B. Faubion (Mountain View, CA United States)
2 out of 2 found this review helpful
A richly satisfying production, visually and vocally. Fassbaender, Jones, and Popp make a wonderful combination; the men perhaps a little less so, but never less than satisfactory. Kleiber's reading really top drawer. If you're looking for a traditional, conventional standard production, this will fulfill that role.
A "Rosenkavalier" for the ages July 10, 2008
J. Carter Joseph (ATLANTA, GA)
11 out of 11 found this review helpful
Prepare to be blown away. Carlos Kleiber strides triumphantly into the pit, gleaming with self-confidence and ability. He is a man on a mission, namely to do full justice to a towering masterwork. The atmosphere is electric. Without so much as waiting for the thundering applause to die down, he launches full-force into the overture, taking it at breakneck speed.
To my mind, this overture is about great sex, climaxing together, then afterglow and intimacy. The music describes all this; First the horns thrusting, their theme received by the string section, then the two blend together and fall mutually to earth, melting with knowledge of each other. As the curtain rises, Strauss even paints the sun coming up, with birds twittering in the background, as the couple, in bed, flush with love, talk sweet nothings.
The cast simply could not be better, with Gwynneth Jones every inch the noble and melancholy Marschallin, Brigitte Faessbender the embodiment of burgeoning male sexuality, and the late, great Lucia Popp ideal with her silver voice as Sophie. Ochs retains his humanity despite being the pompous fool that he is. Top notch on every level.
Terrific trio May 29, 2007
Teacup (Assam, India)
8 out of 8 found this review helpful
Not just THE trio, the one in the finale, but the trio of singers as well. Ms. Jones' Marschellin leaves you wondering what kind of an idiot her husband must be to leave this lovely, elegant and impressive woman on her own, compelling her to seek satisfaction elsewhere. When Ms. Popp appeared on my screen for the first time in the opera, I thought she looked too old for the part. That was only for a second. Her singing and acting made Sophie, whom I normally dismiss as a "doll soprano" into a real girl on the edge of womanhood. Bless you, Ms. Popp, rest in peace. Ms. Fassbaender, as always, excels in trouser roles.
Yes, the trio singing the trio will leave you with tears in your eyes and happiness in your heart.
Bravi, bravissimi!
 Problemmatic choice among the two Kleiber Rosenkavaliers. September 24, 2006
Plaza Marcelino (Caracas Venezuela)
18 out of 21 found this review helpful
With this release, the second Kleiber-conducted Rosenkavalier they make available on dvd, DG has opted for making life hard for the collector. This is the original version of the rightly legendary Schenk production devised for, and staged at, Munich's National Theatre in the early seventies; the other dvd shows it as transferred to the Vienna State Opera some twenty years later, after the producer's death. The Munich version I was able to catch live in the summer of 1974, as I mentioned when commenting the DG dvd of the viennese adaptation, with most of these principals save for Jungwirth, who at my particular evening was (furtunately) replaced by Karl Ridderbusch; the viennese one I only know from DG's dvd.
This Munich version has of course much to commend: first of all, in this 1979 Munich evening Kleiber was a dozen years younger and it shows, his conducting mostly livelier and with more abandon than in the later viennese evening ... which in turn is enriched by more insights into the score and treatment of its sentimental facets. Second, Brigitte Fassbaender makes a far more credible young boy than the exquisite Anne Sofie von Otter, the latter's outstanding singing notwithtanding. Choosing between the two is practically impossible, and perhaps only when one comes to include into the equation what the french call "le physique du role" the scales slightly turn in favour of the german mezzo. If you want to make your impossible choice even more exasperating, try "Wo war ich schoen einmal ..." in the second act, the moment when Octavian, after delivering the silver rose, is smitten by Sophie's looks and is the work's turning point (as will be remembered by the orchestra, well into the third act, when it uses that same melody to introduce the glorious trio of female voices). Both Fassbaender and von Otter make this a passage to remember for the ages, but to me the latter's voice shines perhaps like in no other Octavian, her facial expression of bewilderment and utter confusion a lesson for all Octavians to come.
I was never able to take a liking to Jungwirth's handling of the Ochs character. He became quite famous for his portrayal and is featured in the famous Solti-conducted set, studio-recorded by Decca almost 4 decades ago, but I always found his voice too light for the role, unsteady to an unbearable extent and he shows here a severe deficiency in his low notes (they're inaudible!), something frankly unforgivable and for which certainly you cannot fault Moll in the Viennese remake, who is in far better shape and stage-wise, a superior impersonator of the character.
And what of the two english Marschallins? To me, both quite below Fassbaender and von Otter in their respective sets, a notch above average in both cases, Jones perhaps preferable to Lott stage-wise but the latter in better shape, vocally. Dame Gwyneth plays the warmer Marschallin, Lott cooler and distant.
Sets and decors are a definite plus for the Munich staging, especially in the second act, as Faninal's mirrored, magnificent palais Schenk devised inexplicably turned for Vienna into an indifferent hall. The sound produced by both the Bavarian State Orchestra and the Vienna Philharmonic is outstanding, the latter's benefitting no doubt from progress in sound recording techniques.
So what will the tormented collector do when faced with choosing between the two sets? If your budget allows, buy both as a Rosenkavalier with Carlos Kleiber in the pit is a must; if not, frankly, toss a coin ...
They Got It Right! August 20, 2006
Mr John Haueisen (WORTHINGTON, OHIO United States)
12 out of 13 found this review helpful
This delightful performance of Strauss' magnificent opera is conducted by Carlos Kleiber, who obviously delights in the music.
Otto Schenk demonstrates the value that an excellent director brings to the staging of a grand opera. It's a window back into 19th century Vienna.
The performers, too, are top caliber. Gwyneth Jones has both the youthful playfulness needed in the first act, and the thoughtful reserve and majesty required of an empress, in the final act.
Our "young couple" are Brigitte Fassbaender and Lucia Popp, who join the Marschallin in gorgeous singing and equally excellent acting.
Manfred Jungwirth is as good (or bad and boorish) as Baron Ochs can be. You'll justifiably anticipate that wonderful sustained bass note at the end of Act 2, where he sanctimoniously laments how drab the world must seem to everyone, whenever he's not around.
If you've never seen Rosenkavalier, this would be a fine first experience. If you've seen several versions already, I think you'll agree that "they got it right!"
Showing reviews 1-5 of 8
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