Most helpful customer reviews
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4.0 out of 5 stars
A very good, but flawed recording, Nov 27 2001
John Eliot Gardiner has always been billed as an "authentic" conductor. Unfortunately, Gardiner apparently believes that "authentic" means conducting everything very fast. Lehar was known for his SLOW waltzes. Therefore, Gardiner's breakneak speeds can hardly be regarded as "authentic" Lehar. This would not matter if fast speeds added to the music. Sadly, they only detract from it. With so little breathing space, the magic of the score rarely, if ever, comes out. The Vienna Philharmonic play with spirit, though, and though their efforts do not make this recording fly, at least they save it from falling flat.The leads are competent. Bo Skovhus may be slightly out of his range as Danilo, but his acting is fine, and he is certainly no worse than Eberhardt Waechter on the classic 1962 recording (when oh when will the studios realize that Danilo is a tenor's part!?). Cheryl Studer's German is abysmal, and vocally she is no Elisabeth Schwarzkopf, but she acquits herself well. The same reservations cannot be expressed over the supporting cast, which is PERFECT. Rainer Trost is the most ardent Rossillon on disc, and Barbara Bonney is excellent as Valencienne. These two have no equals on disc, and probably not on stage. The same goes for Bryn Terfel as Baron Zeta. For once, the role is actually sung instead of caricatured, and sung quite well at that. Kudos to Heinz Zednik too, who manages to make an impression as the Baron's valet Njegus without even singing a single note. Really, it's a shame that the supporting cast didn't get a better couple of leads or a more sensitive conductor (or both). As it is, this is a quite good, but not flawless recording of Lehar's most charming operetta.
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3.0 out of 5 stars
A Viennese Merry Widow without Viennese tradition, Sep 30 2000
I have heard this and a comtemporary production by the Vienna Volksoper (same season). While I think the Staatsoper is the greatest opera house in the world, they have abandonned the tradition of operetta style, so wonderfully present in the Volksoper production. This is a performance that is well nigh perfect with a totally miscast Skovhus, possibly the greatest Don Giovanni of our time, but at a loss of what to do with the music of Danilo. While the orchestral style is there it is not because of the conductor. Tempos are too fast, too strict, and inflection is typical of British recordings of this wonderful opera/operetta. Remember Lehar is credited as the inventor of the "slow waltz! I hope the Staasoper will let a conductor who understands the tradition lead perfomances in this and future seasons. It finally has found a home at the Staatsoper, but seems more at home at the Volksoper. The production at the Volksoper was better sung in all parts, especially the magnicant singing and characterization of Adolf Dallapozza (a tenor) and the traditional voice for this part. Remember most of the subsequent roles by Lehar were written for Tauber.I purchased this recording, but listen to an old Volksoper excerpts reissue with joy and this one with respect. I prefer joy.
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4.0 out of 5 stars
A lovely set, Dec 11 1998
By A Customer
This recording stands out for its lush background and dramatic detail. Evey moment is filled with revelers, picknickers, Grisettes etc. Gardiner is in excellent form in this recording, with the orchestra kept in fresh and exciting tone. The soloists are very well-coached in German, and the spoken passages are filled with great emotion. Cheryl Studer is in fine voice, and manages to shade with pianissimo well, even though she is a little breathy, and raw at times. Her vocal acting is superb, and this recording should go down as one of the best performances of this (and maybe any) soprano in terms of characterization. Bo Skovhus is ok in the role of Danilo, but his high notes wobble too much. His saving grace is his acting as well, especially in Act III when he and Hannah declare their love for each other. The rest of the cast is top notch, with wonderful tenderness given to the vocal line when it is called for.
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