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Don Quixote Op. 50 (Kuhn, Rundfunkchor Berlin, Mohr) Box set

5.0 out of 5 stars 1 customer review

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Product details

  • Audio CD (3 Feb. 2003)
  • SPARS Code: DDD
  • Number of Discs: 3
  • Format: Box set
  • Label: Cpo
  • ASIN: B00007J4VD
  • Other Editions: MP3 Download
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 601,002 in Music (See Top 100 in Music)
  • Sample this album Artist (Sample)
1
30
7:00
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2
30
7:14
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3
30
13:34
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4
30
5:18
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5
30
4:03
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6
30
4:46
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7
30
7:06
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8
30
1:46
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9
30
10:05
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10
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2:33
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11
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3:54
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Disc 2
1
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5:54
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2
30
4:52
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3
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14:37
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4
30
11:18
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5
30
9:33
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6
30
6:23
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7
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8:34
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Disc 3
1
30
12:01
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2
30
3:32
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3
30
10:39
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4
30
7:53
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5
30
5:12
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6
30
19:04
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7
30
10:22
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8
30
4:02
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Format: Audio CD
Wilhelm Kienzl has long been labelled as a so-called `one-of-composer' because his (financial) success solely depended on his opera Der Evangelimann but here's a recording of its follow up and it's a very worthwhile listening experience.
As a romantic Wagner-follower (like Siegfried Wagner and Engelbert Humperdinck - no not the one who sang `There's A Kind Of Hush (All Over The World)' - but the classical composer of the fairy tale opera Hänsel und Gretel) Kienzl once was the most important of that group. His opera Der Evangelimann was such a huge success that every other opera he composed afterwards was measured by that one (like Mascagni happened after Cavalleria and Leoncavallo after I Pagliacci) and the aria `Selig sind, die Verfolgung leiden' (from that opera) was sung by every important tenor since (the interpretations of Richard Tauber and Fritz Wunderlich are superb).

This opera was intended as a continuation of the success of Der Evangelimann and it failed. The booklet says that was because of the libretto and probably the very high expectations but I really only heard a very beautiful piece of music. It's long and fills the night. Surely mine because I played the whole opera again after hearing it for the first time. Expect some Wagnerism, but also much music loosely connected to Brahms. The orchestral forces can be very full, but there're many intimate moments with some bloody well played harp music. There's no Spanish cliché music like Bizet does in Carmen, only a few tics from the castagnettes but that's all. The whole third act, I found it a revelation, a beautiful duet between Sanch Pancha and his mistress and a great, long dying aria of the Don, reading his last will, GREAT!
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