Beethoven's 'Eroica' & Fifth Symphonies 'Don Giovanni'
Decca Legends is a series of CDs that applies the latest digital editing techniques to classic recordings. The English label was called London in the United States during the LP era, but since the unrelated American Decca company is out of business, the European name now applies worldwide.
Decca's 1954 recording of Richard Strauss' 'Der Rosenkavalier' is a true classic. Strauss was a lifelong Mozart enthusiast, and adored the comedies he wrote with Lorenzo da Ponte. Nevertheless, 'Der Rosenkavalier' is a lush, late-Romantic score.
The opera is set in Vienna in the mid-18th century, and is suffused with waltz music that defined that city a century later. No recording of this opera more successfully captures Viennese style than the Decca Legends reissue. The recordings
Conductor Erich Kleiber used to say, 'Wherever I am is Vienna.' Film from the early 1930s survives of Kleiber nursing a Berlin orchestra into Viennese style during a waltz by Johann Strauss Jr. (no relation to the composer of 'Der Rosenkavalier').
He had the perfect orchestra before him for this recording. The Vienna Philharmonic really is in a class by itself in this repertoire for rhythmic, melodic and tonal nuance. Fortunately, the sound on the latest reissue, with slight tone control modifications, is as realistic as the company's famous recording of Richard Wagner's 'The Ring of the Niebelungen' under Georg Solti.
And the cast embodies the Viennese repertory approach to operatic performance. Soprano Maria Reining was a fine artist but is rather dry as the Marschallin, the older woman who gives up a younger lover to a girl his own age. But this older woman is 35, and Reining sounds too old for the part, despite many admirable qualities.
The other principals are all treasurable. Sena Jurinac's Octavian, the Marschallin's lover, is a vibrant figure, with a fine spun vocal line. The warmth and purity of Hilde Gueden's Sophie, Octavian's true mate, represents a style almost lost today. And bass Ludwig Weber is wonderful as Baron Ochs, whose delusional reverie at the end of Act II includes some of the opera's most beautiful moments.
Decca Legends has also reissued Kleiber's recordings of Ludwig van Beethoven's 'Eroica' and Fifth Symphonies with the Concertgebouw Orchestra of Amsterdam. Both performances are powerfully shaped interpretations, fierce in power but possessing a remarkable warmth that is infrequently encountered today.
Kleiber's Fifth was famous in the 1950s and remains unsurpassable. The conductor's son, Carlos, made the finest modern recording of this piece with the Vienna Philharmonic for Deutsche Grammophon.
Unfortunately, the sound is unbearably shrill, as if those supervising the reissue had no idea of the sound of this orchestra in the miraculous acoustics of its home. This label more often has problems of timbre in instrumental reissues than vocal ones.
The 1955 'Don Giovanni' combines a strong cast with insightful conducting by Josef Krips. Although the opera was premiered in Prague, it is usually performed in the version Mozart created for its first Viennese performance.
Krips is a forgotten conductor today, and although he didn't have much technique he was a wise and affectionate interpreter, especially of Viennese music. He was originally a singer, and the cantabile he achieved was special. It makes both his recordings of Franz Schubert's Ninth Symphony, with the Concertgebouw and London Symphony, classic versions.
His 'Don Giovanni' is admirably paced and full of knowing details. Of course the Vienna Philharmonic knows this music particularly well, since its members all play in the Vienna State Opera Orchestra. But Krips must be given credit for insightful voicing - for example, bringing out a middle voice in the orchestra that nearly every other conductor ignores. This isn't a mere technicality. In Mozart's mature operas, no detail is irrelevant.
Krips' cast is stronger than Kleiber's. The title role is superbly sung by Cesare Siepi, successor to Ezio Pinza as the Don of his time. His servant Leporello is delightfully pointed by Fernando Corena, who specialized in comic roles.
The women, targets of Don Giovanni's lust - but then, who isn't - are appealing in different ways. Lisa Della Casa is typically poised as Donna Elvira, her silvery tone beautifully captured by the microphone. Suzanne Danco is impressive in handling Donna Anna's florid passages, and although not especially appealing in tone, is sensitive to the words she sings.
The youngest lovers, Zerlina and Masetto, are winningly performed by Hilde Gueden and the young Walter Berry.
Even if worthy new recordings were being made today, reissued performances from a half century ago such as these would continue to command respect and affection. Both opera recordings are recommended.
Mark Kanny can be reached at (412) 320-7877 or mkanny@tribweb.com .
Archive
Saturday, April 25, 2026
Saturday, April 25, 2026
