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Weber: Der Freischütz
 
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Weber: Der Freischütz

29 April 2013 | Format: MP3

£15.98 (VAT included if applicable)
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Song Title Artist
Time
Popularity  
1
10:37
2
5:45
3
6:59
4
9:26
5
2:36
6
3:44
7
5:01
8
4:07
9
8:55
10
7:06
Disc 2
1
18:08
2
2:03
3
5:30
4
6:50
5
4:10
6
2:52
7
18:47


Product details

  • Original Release Date: 29 April 2013
  • Number of Discs: 2
  • Label: LSO Live
  • Copyright: (c) 2013 London Symphony Orchestra
  • Total Length: 2:02:36
  • Genres:
  • ASIN: B00CF74XJU
  • Average Customer Review: 2.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 181,260 in MP3 Albums (See Top 100 in MP3 Albums)

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7 of 8 people found the following review helpful By O. G. M. Morgan on 20 May 2013
Format: Audio CD
Perhaps appropriately for an opera which concerns itself with the occult, "Der Freischuetz" does seem somewhat accursed in its recorded versions, all of which are flawed, one way or another. It's high time that that spell was broken, but, sadly, this recording isn't the one to achieve that breakthrough.

It's conducted by the late Sir Colin Davis, with Simon O'Neill as Max, Christine Brewer as Agathe and Sally Matthews as Aennchen. Brewer sings well, in general, although she does have a rather matronly tone. Sally Matthews, too, sounds a bit Wagnerian for her role; Edith Mathis (DG, Kleiber) sounded much more appropriately girlish, without losing any musical qualities. As the protagonist, O'Neill is tuneful, but not entirely ingratiating. Schreier (for Kleiber) is far better, as is Seiffert (Janowski). No-one on the present recording remotely matches Gundula Janowitz, who sings Kleiber's Agathe.

While I don't think that there is any problem with the orchestra here, I do feel that the conducting plods pretty dreadfully. Just about every other conductor of this music seems to have detected more subtlety than Davis. I wish I could be more positive about it, but I really can't. The recording doesn't even have an impressive range, so it compares unfavourably, not just with its digital rivals, but even with the 1970s Deutsche Grammophon recording. The Wolfsschlucht scene isn't very atmospheric, which is a bit fatal, since, despite its being central to the drama, this is possibly Weber's weakest music in the whole opera; it needs to have a bigger impact than it has here. The finale is largely well sung, allowing for some squawks by Brewer, reminding us, superfluously, that she isn't Janowitz, but the recording here, as elsewhere, is hopelessly devoid of depth.
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3 of 4 people found the following review helpful By Luukas on 11 Jun 2013
Format: Audio CD
Weber's "Der Freischutz" is composer's most popular and opera. The opera included many popular themes: Max's aria (Durch die Wälder), lively ländler, Kaspar's song (Hier im ird'schen Jammerthal) and aria (Scweigh'!), Agathe's aria (Leise, leise, fromme Weise), the Wolf Glen's scene (second act's finale), folk song (Wir winder dir den Jungfernkranz) and huntsmen's chorus. I bought this record because it is Sir Colin Davis' last recording. This recording is made at the Barbican, London in April 2012. There are many good things:

1. Davis shows that he can dance; the first act's ländler is quite slow, but still brilliant.
2. The Wolf Glen's scene is brilliant: it begins with distant lightning and German dialogue is excellent (Samiel's voice is very frightening). Sadly, Kaspar's famous echo seem artificial (for example, when he shout "Eins!" (First), the "echo's voice" is different than Kaspar's voice (This is my opinion)).
3. Orchestra's balance is brilliant.

Christiane Brewer's Agathe is just OK but Gundula Janowitz sings much better. Simon O'Neill's Max is excellent; he sings strongly and passionality. London Symphony Orchestra plays very well and Sir Colin leads these forces like happy grandfather. But still, I recommend Carlos Kleiber MARVELLOUS recording (DG). It is much better than this, notwithstanding this is SACD. Kleiber's version included brilliant dialogue, many sound effects and fast and attractive tempi. So, buy this, if you like Sir Colin Davis' performances and slow tempi.
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