Weber: Der Freisch?tz
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Brand: WeberComposer: Carl Maria von Weber
Conductor: Carlos Kleiber
Orchestra: Dresden Staatskapelle
Performer: Bernd Weikl
Performer: Brigitte Pfretzschner
Performer: Edith Mathis
Performer: Franz Crass
Performer: Gundula Janowitz
Performer: Gunther Leib
Performer: Ingeborg Springer
Performer: Peter Schreier
Performer: Renate Hoff
Performer: Renate Krahmer
Performer: Siegfried Vogel
Performer: Theo Adam
Edition: Music CD
CD Release Date: 1998-04-14
Music Label: Deutsche Grammophon
Soundtracks:
Music CD 1
- Der Freisch?tz, opera, J. 277 (Op. 77): Ouvert?re
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 1. Scene 1. Introduktion. Viktoria! Viktoria! der Meister soll leben. Peasant March. Scha
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 1. Scene 2. Was git's hier?
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 1. Scene 2. No. 2. Terzett mit Chor. Oh, diese Sonne, furchtbar steigt sie mir empor!
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 1. Scene 3. Ein braver Mann
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 1. Scene 3. No. 3. Walzer
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 1. Scene 4. Rezitativ und Arie. Nein, l?nger trag' ich nicht die Qualen ... Durch die W?l
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 1. Scene 5. Kamerad!
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 1. Scene 5. No. 4. Lied. Hier im ird'schen Jammertal!
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 1. Scene 5. Bruderherz!
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 1. Scene 6. No. 5. Arie. Schwieg, schweig, damit dich niemand warnt!
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 2. Scene 1. No. 6. Duett. Schelm, halt fest! Ich will dich's lehren!
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 2. Scene 1. So! Da oben mag ich den Herrn Ur?ltervater
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 2. Scene 1. No. 7. Aritte. Kommt ein schlanker Bursch gegangen
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 2. Scene 1. Und der Bursch nicht minder sch?n!
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 2. Scene 2. No. 8. Szene und Arie. Wie nahte mir der Schlummer...Leise, leise, fromme Wei
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 2. Scene 3. Meine Agathe!
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 2. Scene 3. No. 9. Terzett. Wie? Was? Entsetzen! Dort in der Schreckensschlucht?
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 2. Scene 4. Wolf's Glen Scene. No. 10. Finale. Milch des Mondes fiel aufs Kraut! Scene 5.
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 3. No. 11. Entr'acte
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 3. Scene 1. Herrliches Jagdwetter!
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 3. Scene 2. No. 12. Kavatine. Und ob die Wolke sie verh?lle
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 3. Scene 3. Du hast dich dazugehalten!
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 3. Scene 3. No. 13. Romanze, Rezitativ und Arie. Einst tr?umte meiner sel'gen Base...Du z
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 3. Scene 3. Nun mu? ich aber den Kranz holen!
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 3. Scene 4. No. 14. Volkslied. Wir winden dir den Jungfernkranz. Scene 5. Da bin ich wied
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 3. Scene 6. No. 15. J?gerchor: Was gleicht wohl auf Erden
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 3. Scene 6. Genug der Freuden des Mahles
- Der Freisch?tz, opera, J. 277 (Op. 77): Act 3. Scene 6. Wer legt auf ihn so strengen Bann?
Music reviews of Weber: Der Freisch?tz
Music Review: Not, in fact, the best. However, it is good.
Rating: 4 Stars
Despite many of the other reviews saying that this is the one you MUST purchase, it doesn't really live up to the hype. First of all, Gundula Janowitz didn't do the part of Agathe justice in my opinion. Her voice is thin, has virtually no tonal depth and she sounds shrill on her high notes (and the sped up, forced vibrato on said high notes makes it painful). And in the very few moving, coloratura-ish parts she can't handle it. It all becomes one blob of sound.
Second, I strongly dislike Peter Schreier as Max. Someone else said that he's an acquired taste, and I most certainly agree. His vibrato is wide, often wobbly and his voice is tragically thin. I'm not just exaggerating when I say that when I first heard his voice in this opera I cringed a little. It's certainly not for everyone.
The recording's saving grace, for me, is Edith Mathis' ?nnchen and Theo Adam's Kaspar. Mathis' voice is beautiful and has just the right amount of weight for the part (for my taste) and she handles the moving passages effortlessly--far better than Janowitz. Adam's Kaspar is menacing and dark, and he handles the moving, coloratura-ish parts possibly even better than a soprano could (particularly in the aria where Kaspar sings 'Triumph' a whole bunch of times).
Buy it if you want to hear a perfect ?nnchen and Kaspar, but otherwise, go with Gr?mmer's "Freisch?tz".
Description of Weber: Der Freisch?tz
Der Freisch?tz is one of the great milestones in the history of opera. The resounding success of its premiere in 1821 practically made it a manifesto for German Romantic opera, one that would become a significant formative influence on Wagner. Although it has its roots in the Singspiel tradition exemplified by Mozart's Die Zauberfl?te, Der Freisch?tz cut new ground with its potent mixture of supernatural elements, dreams, folk melodies, evocations of nature, and symphonic tone painting. Here, von Weber exploited his brilliant orchestral imagination--using, for example, carefully divided string tremolos and a gleaming choir of four horns--to maximum effect. This legendary recording from 1973 was Carlos Kleiber's first studio project, and the scrupulous attention he lavished on the score resulted in an interpretation that continues to sound bold, fresh, and authoritative. The Dresden Staatskapelle plays in top form, whether in tenderly sprung wind solos or in the truly spooky atmospherics of the famous Wolf's Glen scene. Peter Schreier's dark, pungent tenor is something of an acquired taste, but he gives fervent voice to the despair of hunter/protagonist Max. Gundula Janowitz sings with stirring beauty and enriches the two-dimensional character of Max's beloved Agathe with remarkable depth, revealing both her innocence and her agonized foreboding. And Theo Adam delivers a thoroughly spiteful, loathesome vocal portrait of the nefarious Kaspar, whose pact with the devil Samiel goes awry. For a work that is not performed nearly as often as it deserves to be, this recording is essential. --Thomas MayGeneral CDs
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