Richard Strauss - Der Rosenkavalier / Karajan, Schwarzkopf, Edelmann, Salzburg Festival Orchestra
by Paul Czinner
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Product details
Actor: Anneliese Rothenberger, Elisabeth Schwarzkopf, Erich Kunz, Otto Edelmann, Sena JurinacDirector: Paul Czinner
Edition: VHS Tape
Audio: German (Original Language), Analog
Format: Classical, NTSC
Release Date: 1991-08-15
Audience Rating: NR (Not Rated)
Publisher: Kultur Video
Studio: Kultur Video
VHS Movie Reviews of Richard Strauss - Der Rosenkavalier / Karajan, Schwarzkopf, Edelmann, Salzburg Festival Orchestra
Movie Review: Great version but poor DVD production
Summary: 2 Stars
It is a real shame to realize that there is no difference in quality between the VHS version and this new one on DVD. This is originally such an unbelievable and charming performance with Karajan at his best years and with the unbeatable Schwarzkopf in her most amazing opera role. After having seen this version in a theater, it is very difficult to watch this poor quality video at the time of high-resolution DVD. In addition, the English subtitles from the VHS version have disappeared - I could not believe it. If you really want to own this version, do not spend this money on the DVD version. If you still have a VHS player, go and get the VHS version at low price.Movie Review: biased evaluation
Summary: 4 Stars
from my limited experience i believe that elizabeth schwarzkopf is the finest soprano of the twentieth century. She is a fine actress and has incredible flexibility in her voice giving her the ability to give each phrase a unique expressivness. When one listens to her voice one knows instinctively whether she is asking a question, musing about some thought or making a declamatory statement. All of these atributes are all the more apealing because physically she a very beutiful woman. Thank you.Movie Review: a sad edition of a classic film
Summary: 1 Stars
I was lucky to have seen this magnificent film in the early 1970's. I and the entire audience were swept away by the beauty and elegance of this Salzburg stage production which was somehow transmuted into compelling cinema by the great Paul Czinner.Whether or not this is the greatest Rosenkavalier, Schwarzkopf, Edelmann, Karajan, et al. have the style of this music and drama in their blood. They perform it with an ease and authority that was their birthright.
Sadly, it is now only available in this wretched pan and scan video which looks as if it had been tranferred from a grainy 16mm print. Kultur video needs to pass the rights to this treasure on to a company who can give us the restored DVD edition that this classic document deserves.
Movie Review: Better late than never
Summary: 4 Stars
I have never been a Schwarzkopf fan and for the past 18 years preferred R?gine Crespin's Marschallin (on Decca), even in the complete Solti recording, where her voice allegedly was in decline (critics are always happy to point out these imperfections). I also never warmed up to Otto Edelmann's Baron Ochs, and felt his timbre gives the role a cunning/evil twist rather than a comic one (I prefer Manfred Jungwirth). My first reaction to this tape was that the production is conservative and unimaginative, compared for example with the newer Covent Garden production with Solti and Te Kanawa. However, on repeat viewing I finally gave in - I feel the critics were right all these years and Schwarzkopf IS the greatest Marschallin ever. I still am not a fan of hers as a voice - Crespin's voluptuous voice and seductive yet motherly characterization are a rare gem. Yet Schwarzkopf's interpretation is highly intelligent and very subtle (it took me 18 years to appreciate it). It is a very unusual role of a lover who displays rare wisdom and maturity in her love and understands when to let her lover go as an act of love. Schwarzkopf displays a deep understanding of the Marschallin's dilemma and choice with very fine nuances of singing and acting. I felt that watching her acting added depth to just listening to her on discs. In that sense the very restrained production serves to highlight Schwarzkopf's nuances. Even Otto Edelmann's Baron Ochs is more complete when viewed on stage. His baron Ochs is a stupid, crude and conniving character, rather than funny, and as a result it is more difficult to forgive him (he's never really silly). He represents the complete antithesis to the Marschallin's truly noble handling of her love object - he wants to grab, hold on to, use and thereby demean his chosen one. Their conception of these roles is highly idiomatic and no singer who wasn't raised on the German language can quite match that. They project a degree of self confidence in these roles that comes with the experience of many live performances together - they rarely look in the direction of the conductor to get their cues. This film is a classic.
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