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  • Johann Strauss II (1825-1899): Die Fledermaus
  • 1Overture07:38
  • Act 1:
  • 2Nr. 1 Introduktion: "Täubchen, das entflattert ist"03:15
  • 3Dialog: Täubchen, das entflattert ist01:42
  • 4Nr.1a (Duettino): "Ach, ich darf nicht hin zu dir!"00:56
  • 5Dialog: Die arme Tante01:14
  • 6Nr.2 Terzett: "Nein, mit solchen Advokaten"03:40
  • 7Dialog: Sag mal, also statt fünf musst du acht Tage01:49
  • 8Nr.3 Duett: "Komm mit mir zum Souper"03:14
  • 9Dialog: Seid ihr verrückt geworden?01:18
  • 10Nr.4 Terzett: "So muss allein ich bleiben"03:47
  • 11Dialog: Ach...diese Männer01:00
  • 12Nr.5 Finale: "Trinke, Liebchen, trinke schnell"10:38
  • Act 2:
  • 13Nr.6 Introduktion: "Ein Souper heut uns winkt"01:23
  • 14Dialog: Adele, wer hat denn dich hierher eingeladen?01:51
  • 15Nr.7 Couplet: "Ich lade gern mir Gäste ein"02:54
  • 16Dialog: Durchlaucht, hier ist Ihre Brieftasche wieder00:46
  • 17Nr.8 Ensemble und Couplet: "Ach, meine Herr'n und Damen"01:03
  • 18"Mein Herr Marquis"03:25
  • 19Dialog: Hoheit, ein Chevalier Chagrin ist da03:02
  • 20Nr.9 Duett: "Dieser Anstand, so manierlich"04:45
  • 21Dialog: Ah, da ist ja die schöne Unbekannte00:36
  • 22Nr.10 Csárdás: "Klänge der Heimat"04:08
  • 23Dialog: Bravo! Bravissimo!02:05
  • 24Nr.11 Finale: "Im Feuerstrom der Reben"02:14
  • 25"Herr, Chevalier, ich grüsse Sie!"05:23
  • 26Dialog: Wir werden jetzt sehen das Ballett00:09
  • 27Polka "Unter Donner und Blitz", op.32403:00
  • 28"Genug damit, genug"04:03
  • Act 3:
  • 29Nr.12 Entr'acte00:54
  • 30Dialog: Täubchen, das entflattert ist01:07
  • 31Nr.13 Melodram03:46
  • 32Dialog: Ah, der Herr Direktor ist entschlafen01:33
  • 33Nr.14 Couplets: "Spiel' ich die Unschuld vom Lande"04:13
  • 34Dialog: Herr Direktor!03:26
  • 35Nr.15 Terzett: "Ich stehe voll Zagen"07:00
  • 36Dialog: Also, du willst mir Vorwürfe machen?00:40
  • 37Nr.16 Finale: "O Fledermaus, o Fledermaus"02:41
  • Total Runtime01:46:18

Info zu J. Strauss II: Die Fledermaus (Remastered)

Vintage symphony “Die Fledermaus” (The Bat), conducted by the charismatic conductor Carlos Kleiber, who continues to fascinate audiences even today.

The popularity of conductor Carlos Kleiber (July 3, 1930–July 13, 2004) shows no signs of slowing down six years after his death. Kleiber was a charismatic conductor who held his many audiences spellbound with overwhelming and inspired performances–regardless of whether it was an opera or symphony–as well as his graceful and dazzling approach to conducting, despite the extremely small number of concert appearances and repertoire and frequent cancellations of his performances. Kleiber’s studio recordings started with “Der Freischütz” in 1973 and ended with “Tristan und Isolde” in 1982. Only eight recordings by Deutsche Grammophon (DG) and one recording by EMI have been released. Other than those, all recordings were made from live performances, both official and unofficial. Following his first complete opera album “Der Freischutz” from DG, Kleiber recorded the complete “Die Fledermaus” between 1975 and 1976. “Die Fledermaus” was the first recording Kleiber made with the Orchestra of the Bavarian State Opera with whom he had a close relationship during the later 30 years of his career. “Die Fledermaus” directed by Otto Schenk was performed for the very first time at the Bavarian State Opera on New Year’s Eve, 1974. After its premiere night, this operetta became the specialty of this opera house along with “Der Rosenkavalier” (The Knight of the Rose). Kleiber conducted almost all the performances of “Die Fledermaus” at this opera house until 1988 (the live performance in 1984 is recorded on DVD). “Die Fledermaus” album is an endeavor by DG to preserve these performances in recording sessions at the Herkulessaal concert hall.

The cast of “Die Fledermaus” was put together with some of the best operatic vocalists at the time of the recording, including Julia Varady, Lucia Popp, Hermann Prey, René Kollo, and Bernd Weikl, in order to delight the audience with an assemblage of brilliant singing voices. Ivan Rebroff, who was famous for singing Russian folk songs, was appointed to the role of Prince Orlofsky, and Rebroff’s original approach to playing this character with his falsetto singing stands out in the recording. One of the biggest appeals of this album that you cannot perceive in other performances is the masculine sound of the orchestra that quickly responds to Kleiber’s flexible style of conducting. This quality can be heard throughout the tracks on this album, most notably in the overture, which was often conducted by Kleiber for the encore at concerts, as well as the awe-inspiring “Unter Donner und Blitz” (Thunder and Lightning), which is played in Act 2 and considered to be the climax among all the tracks. For this recording, the dialog of the performers was supervised by Otto Schenk, who was director for the opera performance. You can capture the feel of a lively stage from this recording session that is almost like a live opera performance, in the same way as Karajan’s recording session album “Die Lustige Witwe” (The Merry Widow).

"Twenty-five years after its original release there's still no recording of Die Fledermaus that, for many collectors, matches this one for the compelling freshness of its conductor's interpretation – the attention to every nuance of the score and the ability to bring out some new detail, all allied to extreme precision of vocal and instrumental ensemble. The ladies, too, as so often seems to be the case in recordings of DieFledermaus, are quite superlatively good, with ideally characterised and projected singing. If the men are generally less outstandingly good, one can have no more than minor quibbles with the Eisenstein of Hermann Prey or the Alfred of René Kollo. But it's less easy to accept Ivan Rebroff singing the role of Orlofsky falsetto. Some collectors find that his contribution quite ruins the whole set, but most will find it tolerable enough for the glories to be found elsewhere on the recording. DG remastered the set to make it sound as though it were recorded only yesterday; but it continues to provoke puzzlement by the break between discs, which occurs during the Act 2 finale. If a split into such uneven lengths is to be made, why not have it between Acts 1 and 2? Enough of minor quibbles – this set is a 'must buy'." (Gramophone)

Hermann Prey, baritone
Julia Varady, soprano
Lucia Popp, soprano
René Kollo, tenor
Ivan Rebroff, bass
Bernd Weikl, baritone
Bayerischer Staatsopernchor
Bayerisches Staatsorchester
Carlos Kleiber, conductor

Digitally remastered

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