# Spectacular Richard Strauss masterpiece



## Almaviva (Aug 13, 2010)

I'm so highly impressed with R. Strauss' opera _Die Frau ohne Schatten_ that I experience the need to gush about it some more. It deserves its own thread! Pardon me for using up the bandwidth to write a silly comment about just one opera. But I can't help. I'm speechless! Well, not really since typing is a form of speech, but you get what I mean.:lol:

After watching it for the second time in as many days, I continue to be completely in awe of it. It inspires me the sort of stunned admiration that only my very favorite operas such as the _Ring_, _Tristan und Isolde_, _Les Troyens _and the such are capable of producing. You know, the kind that makes you sit silently for several minutes after the last curtain falls, with your jaw dropped.

This opera belongs from now on to the select group of my top 10 favorites. Don't ask me what they are, they keep changing, but there is always a core that stays up there, and _Die Frau ohne Schatten _will be one of these, and will most likely never leave its spot.

I regret so much that we didn't include it in our top 100 recommended operas, that it almost hurts when I think of it. I'll be eagerly waiting for the first annual revision to try and correct this oversight.

Merits:

The most incredible, lush orchestration I've listened to in years, written for 164 instruments! It's shock full of dramatic tone painting, emotionally rich segments, and intensely beautiful sounds. And they keep coming and coming, in a never-ending sequence of written-through spectacular music. This is of Wagnerian level of quality.

A very effective libretto with a compelling and interesting story that interfaces the human and the supernatural skilfully like only the best operatic works can do. It's based on a fairy tale but oh boy, this stuff is not for children... What makes us humans gets a profound treatment here. The pains and joys of the human condition are formidably depicted, from the lowliest lust and selfishness to the most elevated feelings of love, forgiveness, and altruism. The poetry is good too.

The vocal score has moments of pure ecstasy. R. Strauss as usual writes the most sublime soprano music, but here the male voices are just as well treated.

The theatricality of this work is flawless. It has such a dynamic pace that its 3 hours and 30 minutes of running time seem to pass by in a flash. R. Strauss and Hofmannsthal are at the peak of their talents here. The latter provides to the stage director numerous opportunities to put together striking scenes, and the former illustrates them with perfectly fitting music.

Oh boy. This is opera at its best.

I know seven other operas by R. Strauss (and some of his songs, tone poems, and other orchestral works). _Salome, Daphne, Der Rosenkavalier, Ariadne auf Naxos, Elektra, Arabella, _and _Capriccio_. I love many of them.

With the exception of _Daphne _(also a very fine opera) we have managed to include the other six in our top 100. How come we've left out _Die Frau ohne Schatten_??? I know how *I* did: I didn't know it by the time we were voting. But now that I do, I'd say it is in my opinion the best opera R. Strauss has ever composed.

Some may take exception regarding _Salome, Elektra, _and_ Der Rosenkavalier_. Sure, there is something to be said about picking any of these three as his best over _Die Frau ohne Schatten, _even though I wouldn't - but it's a question of taste and those three are formidable operas, so, I'd respect the taste of anybody picking them over this one. But on the other hand, it would be a lot more difficult to convince me that _Die Frau ohne Schatten _is inferior to _Ariadne auf Naxos, Arabella, _and _Capriccio_, and these three made the list while _Die Frau _didn't. Don't read me wrong, these three are fine operas as well, it's just that _Die Frau ohne Schatten _in my opinion is even better.

Oh well, maybe I'm just taking our list too seriously. But rest assured that in our first revision, I'll be fighting for _Die Frau _just as much as I fought for _Les Troyens. _

Just like _Les Troyens, _the only possible explanation for this opera's lack of popularity is that it is too expensive to stage, and falls beyond the means of most opera companies, with its 164 instruments, chorus, six demanding leading roles in all fachs, and 24 other roles with vocal lines. One needs no less than a chorus, 30 singers, a conductor, and 164 musicians. Wheew! Throw in some supernatural scenes that need special effects, and you end up with a multimillion dollar bill for the opera company, for a work that is too complex to attract the general semi-lay public therefore those seats will be only partially filled by the cognoscenti. Result, major deficit for the opera company. Prohibitive, except for the most vigorous opera houses.

The Met has given it 59 times, yay! (first in 1966, last in 2003). I'd love to know its performance history in European opera houses.

Opinions?

P.S. - This is not a DVD review kind of thread - moderators, please don't move it to the subforum, it's about the opera, not the DVD - but for those of you who don't know this work, I enthusiastically recommend the Decca DVD from the Salzburg Festival in 1992, with a dream cast of singers (Studer, Moser, Marton, Hale, Lipovsek, Terfel), exquisite conducting by Sir Georg Solti, tasteful and visually striking stage direction by Götz Friedrich, and impressive full sound by the gorgeous Wiener Philharmoniker, with pretty good film direction by Brian Large. To make of this one of the most rewarding opera DVD products I've ever seen, it is also technically good with 16:9 format, LPCM, and DTS 5.1 sound. There is only one major blunder: there are subtitles in five languages but not in German! I don't understand why such a carefully crafted product doesn't have subtitles in the opera's original language (not that I speak German but I like to follow the words in subsequent viewings). There is a good text presenting the opera, synopsis, and track list, but no bonus features (I guess they couldn't fit them since this is a long work and I'd rather have the LPCM and DTS tracks than bonus features).


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## jflatter (Mar 31, 2010)

I am not sure it has ever been staged at Covent Garden. However word on the grapevine suggests that the exceptionally talented Semyon Bychkov will be conducting it in 2014. Might be worth you flying over for!


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## Almaviva (Aug 13, 2010)

jflatter said:


> I am not sure it has ever been staged at Covent Garden. However word on the grapevine suggests that the exceptionally talented Semyon Bychkov will be conducting it in 2014. Might be worth you flying over for!


I wouldn't discard the possibility, especially because one of the few international flights that depart from my small regional airport is a non-stop to London. Keep me posted!


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## StlukesguildOhio (Dec 25, 2006)

OK, Almaviva... You have more than piqued my interest. I'm a sworn Strauss lover... having repeatedly nominated him as the greatest composer of the 20th century. I almost have more recordings of the Last Four Songs than I do of any other piece of music. I know Salome, Daphne, Elektra, Der Rosenkavalier... but have admittedly not yet listened to Die Frau ohne Schatten. Over the holidays, however, I did treat myself to a number of opera purchases including two complete Ring cycles. Among these was Karajan's Die Frau ohne Schatten with Ludwig, Berry, Popp, and Wunderlich. It has been sitting in a stack of some 20 operas awaiting a listen... but your enthusiasm surely has me promoting it to the head of the class. Perhaps I'll have time to give it a listen tomorrow. I'll let you know what I think.

:tiphat:


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## Almaviva (Aug 13, 2010)

StlukesguildOhio said:


> OK, Almaviva... You have more than piqued my interest. I'm a sworn Strauss lover... having repeatedly nominated him as the greatest composer of the 20th century. I almost have more recordings of the Last Four Songs than I do of any other piece of music. I know Salome, Daphne, Elektra, Der Rosenkavalier... but have admittedly not yet listened to Die Frau ohne Schatten. Over the holidays, however, I did treat myself to a number of opera purchases including two complete Ring cycles. Among these was Karajan's Die Frau ohne Schatten with Ludwig, Berry, Popp, and Wunderlich. It has been sitting in a stack of some 20 operas awaiting a listen... but your enthusiasm surely has me promoting it to the head of the class. Perhaps I'll have time to give it a listen tomorrow. I'll let you know what I think.
> 
> :tiphat:


Enjoy, buddy! You're in for a treat! I just hope my enthusiasm doesn't cause the well known effect of disappointment once you expect too much. I always do a little bit of homework when I watch/listen to an opera for the first time, and I had high expectations once I read that many consider this opera to be R. Strauss' best one (given that I love his music, I knew I was about to see something grand). But the sources I read weren't as eloquent as I am, LOL! So, beware; but if you approach it in a neutral state I'm sure you'll love it.


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## jhar26 (Jul 6, 2008)

Almaviva said:


> I regret so much that we didn't include it in our top 100 recommended operas, that it almost hurts when I think of it. I'll be eagerly waiting for the first annual revision to try and correct this oversight.


I nominated it several times, but I gave up because I was always the only one.


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## Almaviva (Aug 13, 2010)

jhar26 said:


> I nominated it several times, but I gave up because I was always the only one.


Wise man! OK, we have two committed fans of _Die Frau ohne Schatten_, and if StlukesguildOhio comes on board, three voters should make more noise the next time we do the list.

By the way, off-topic, but just to remind you, have you seen the picture of Renée I've posted in the Loveliest Soprano Builder thread?


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## jhar26 (Jul 6, 2008)

Almaviva said:


> By the way, off-topic, but just to remind you, have you seen the picture of Renée I've posted in the Loveliest Soprano Builder thread?


Yes - I've been looking at it for the last 15 minutes! :lol:


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## Almaviva (Aug 13, 2010)

jhar26 said:


> Yes - I've been looking at it for the last 15 minutes! :lol:


Hehehe, glad that you've enjoyed it. I confess that even this Anna guy here goes back to that thread from time to time for another peak. If not for my being afraid of upsetting Anna, I'd set that one as my desktop background...


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## Almaviva (Aug 13, 2010)

StlukesguildOhio said:


> OK, Almaviva... You have more than piqued my interest. I'm a sworn Strauss lover... having repeatedly nominated him as the greatest composer of the 20th century. I almost have more recordings of the Last Four Songs than I do of any other piece of music. I know Salome, Daphne, Elektra, Der Rosenkavalier... but have admittedly not yet listened to Die Frau ohne Schatten. Over the holidays, however, I did treat myself to a number of opera purchases including two complete Ring cycles. Among these was Karajan's Die Frau ohne Schatten with Ludwig, Berry, Popp, and Wunderlich. It has been sitting in a stack of some 20 operas awaiting a listen... but your enthusiasm surely has me promoting it to the head of the class. Perhaps I'll have time to give it a listen tomorrow. I'll let you know what I think.
> 
> :tiphat:


I must tell you, this Karajan recording has several cuts to the music; some of them are considered to be quite damaging, and by being a radio recording, there are comments saying that we can't hear the violins properly. So if you don't like it, make sure you try another version later.


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## superhorn (Mar 23, 2010)

I fully agree with Almaviva on this opera. I couldn't have put it better myself.
Not every one likes FROSCH as it is sometimes called. Some consider it pretentious,overblown,obscure, muddled,
full of musical padding and over-the-top. But I love every minute of it.
I too have the Solti/Salzburg DVD and recommend it highly to any one who loves the opera or would like to get to know it,as well as the DECCA CD studio recording with a different cast
including Domingo as the emperor,who sings it beautifully.
This is not an easy opera to get to know for the uninitiated.But those who take the time and effort to get to know it will be amply rewarded.
Yes,FROSCH has been done at Covent Garden a number of times in the past, and Solti conducted most of them.
Another plus of the Solti DVD and CDs is that they are both uncut. Most performaces and the other recordings are pruned somewhat. The Sawallsich CD on EMI is also excellent,but may be hard to find. The DVD performance led by Sawallisch live from Japan with the Bavarian State opera has some cuts, but I have not seen it.


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## Gualtier Malde (Nov 14, 2010)

I haven't seen _Die Frau ohne Schatten_ yet, but have always been planning to, and you've certainly rekindled my interest. (I'm not sure if the Solti is traditional enough for me, I'll probably have to go with the Sawallisch from Japan.)

I think you're in full agreement with the composer here (or is it the other way around), Strauss himself supposedly regarded the Frau as his best effort. But he soon wrote it off as not performable, due to the huge orchestra and elaborate stagecraft (we must remember that those days, operas were not performed by naked people on an empty stage). There is a quote by Strauss to the effect that the _Frau_ was more often canceled than performed.


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## Sid James (Feb 7, 2009)

I've only got the orchestral suite, which I'll try to listen to this week. I have never been a huge Strauss fan, but I have heard _Metamorphosen_ live three times. That piece moves me quite a bit, even though it has it's fair share of sentimentality. Funnily enough, I have begun to appreciate Strauss' contemporary Zemlinsky more in the past two months, I definitely want to get one of his operas on disc. Maybe not being a huge opera fan militates against me appreciating Strauss quite a bit, because his greatest works were in that genre (scholars say this, as do many of the members of this forum)...


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## Gualtier Malde (Nov 14, 2010)

Andre said:


> Maybe not being a huge opera fan militates against me appreciating Strauss quite a bit, because his greatest works were in that genre (scholars say this, as do many of the members of this forum)...


I think the jury is still out on this one. Obviously, his output in other genres (tone poems, Lieder) is quite substantial, too.


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## superhorn (Mar 23, 2010)

There's nothing really amiss in the Salzburg Frau Ohne Schatten.In fact,it's pretty cool at times. There is a curious Star Wars influence in it; Bryn Terfel as the Spirit Messenger has a costume right out of Star Wars and there are even light sabres !


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## StlukesguildOhio (Dec 25, 2006)

I think the jury is still out on this one. Obviously, his output in other genres (tone poems, Lieder) is quite substantial, too.

I think the only jury still out on this one are those who aren't opera fans. I love the tone poems... and perhaps the Four Last Songs more than almost anything... but my God! _Elektra! Salome! Der Rosenkavalier!_ These alone are three of the greatest operas of the 20th century. _Elektra_ and _Salome_ are surely as daring and shocking as any work of early Modernism.


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## Almaviva (Aug 13, 2010)

superhorn said:


> There's nothing really amiss in the Salzburg Frau Ohne Schatten.In fact,it's pretty cool at times. There is a curious Star Wars influence in it; Bryn Terfel as the Spirit Messenger has a costume right out of Star Wars and there are even light sabres !


You're right! Usually I don't like this kind of stuff, but I was so fascinated that I didn't even notice it.


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## StlukesguildOhio (Dec 25, 2006)

I must tell you, this Karajan recording has several cuts to the music; some of them are considered to be quite damaging, and by being a radio recording, there are comments saying that we can't hear the violins properly. So if you don't like it, make sure you try another version later.

I've read several reviews and the harshest agrees about the cuts and the muted strings at times. Others rave about the playing of the orchestra as a whole and all agree as to the brilliance of the singers. There are several other recordings worthy of consideration as a "first choice" including that of Solti, Sinopoli, Boehm, and Sawallisch. Any thoughts/experience with these. I know Gaston has more than the average share of Strauss opera recordings.

I might note in terms of approach to this sort of music I am a huge Karajan fan. I absolute revere his _Tristan und Isolde_ and _Parsifa_l. I picked up his Entire Ring... although I also got Krauss' and will most certainly pick up Keilberth's and Solti's _Siegfried_ and _Gotterdammerung_. I also have Karajan for _Der Rosenkavalier_ (who else?) and _Capriccio_ as well as a good many of the tone poems. Admittedly, however, I prefer Solti's _Elektra_ and _Salome_ to all others. So I'm wondering who might be the best for _Die Frau Ohne Schatten_.


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## Almaviva (Aug 13, 2010)

StlukesguildOhio said:


> I must tell you, this Karajan recording has several cuts to the music; some of them are considered to be quite damaging, and by being a radio recording, there are comments saying that we can't hear the violins properly. So if you don't like it, make sure you try another version later.
> 
> I've read several reviews and the harshest agrees about the cuts and the muted strings at times. Others rave about the playing of the orchestra as a whole and all agree as to the brilliance of the singers. There are several other recordings worthy of consideration as a "first choice" including that of Solti, Sinopoli, Boehm, and Sawallisch. Any thoughts/experience with these. I know Gaston has more than the average share of Strauss opera recordings.
> 
> I might note in terms of approach to this sort of music I am a huge Karajan fan. I absolute revere his _Tristan und Isolde_ and _Parsifa_l. I picked up his Entire Ring... although I also got Krauss' and will most certainly pick up Keilberth's and Solti's _Siegfried_ and _Gotterdammerung_. I also have Karajan for _Der Rosenkavalier_ (who else?) and _Capriccio_ as well as a good many of the tone poems. Admittedly, however, I prefer Solti's _Elektra_ and _Salome_ to all others. So I'm wondering who might be the best for _Die Frau Ohne Schatten_.


I can't help you there. Like I said, this Solti DVD was my first and only encounter with this opera, and what I told you about the Karajan recording, I got from a book, not from first hand experience. So, I don't know what other choice recordings are, but once someone with more expertise tips in, I'll be eager to listen to it again in a different version, since I loved it so much.


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## Almaviva (Aug 13, 2010)

Gualtier Malde said:


> I haven't seen _Die Frau ohne Schatten_ yet, but have always been planning to, and you've certainly rekindled my interest. (I'm not sure if the Solti is traditional enough for me, I'll probably have to go with the Sawallisch from Japan.)
> 
> I think you're in full agreement with the composer here (or is it the other way around), Strauss himself supposedly regarded the Frau as his best effort. But he soon wrote it off as not performable, due to the huge orchestra and elaborate stagecraft (we must remember that those days, operas were not performed by naked people on an empty stage). There is a quote by Strauss to the effect that the _Frau_ was more often canceled than performed.


Gualtier, I don't think you need to fear the modernism of the Solti version. It's not Eurotrashy, it's just that the scenario is beautiful and visually compelling. The singers are dressed in appropriate clothes. These few elements - like Bryn Terfel's weird costume and light sabers - are small touches that are not intrusive and have to do with the fact that this opera deals with the supernatural, it's a fairy tale. I think everything is done in good taste, and I found this performance to be very good in all aspects - singing, acting, conducting, orchestra, scenarios. I'd give it a try if I were you. Then, of course, I'm not you, and you know that I'm more tolerant of these things. By the way, they're not really light sabers. They are swords with neon effects.


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## Gualtier Malde (Nov 14, 2010)

Almaviva said:


> Gualtier, I don't think you need to fear the modernism of the Solti version. It's not Eurotrashy, it's just that the scenario is beautiful and visually compelling. The singers are dressed in appropriate clothes. These few elements - like Bryn Terfel's weird costume and light sabers - are small touches that are not intrusive and have to do with the fact that this opera deals with the supernatural, it's a fairy tale. I think everything is done in good taste, and I found this performance to be very good in all aspects - singing, acting, conducting, orchestra, scenarios. I'd give it a try if I were you. Then, of course, I'm not you, and you know that I'm more tolerant of these things. By the way, they're not really light sabers. They are swords with neon effects.


Thanks for the clarification. It seems I could give this a try, especially since the only competing product (Sawallisch) isn't really traditional either, but done in Kabuki style (which might be acceptable, given that it's an exotic fairy tale) with minimalistic (or, to say it less euphemistically, no) sets.


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## myaskovsky2002 (Oct 3, 2010)

*The two frau...s*



> I'm so highly impressed with R. Strauss' opera Die Frau ohne Schatten that I experience the need to gush about it some more. It deserves its own thread! Pardon me for using up the bandwidth to write a silly comment about just one opera. But I can't help. I'm speechless! Well, not really since typing is a form of speech, but you get what I mean.


The woman without a shadow is my favorite opera! But the silent woman is ppuah.....
Have you seen a silent woman before? I have not! LOL they speak before boys and they never stop.

Martin, meditative


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## BalloinMaschera (Apr 4, 2011)

The Wolfgang Sawallisch w/ Luana DeVol, Peter Seiffert, Janis Martin, Marjana Lipovsek, Alan Titus - DVD is (in my humble view) the best version

and yes, Frau is a phenomenal opera...

btw: Guntram is also a terrific opera... well worth examining!


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## jflatter (Mar 31, 2010)

Just to let you know, there is an interesting article in Opera magazine in the UK about the relationship between this opera and the Salzburg Festival. Salzburg have a production directed by Christof Loy which I suspect will be very minimal. La Scala are also putting it on next season as a co production with the Royal Opera House. Covent Garden gets it the following season. Claus Guth directs and Semyon Bychkov conducts. Of course Johan Botha is in it, great voice but.....


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## Almaviva (Aug 13, 2010)

jflatter said:


> Just to let you know, there is an interesting article in Opera magazine in the UK about the relationship between this opera and the Salzburg Festival. Salzburg have a production directed by Christof Loy which I suspect will be very minimal. La Scala are also putting it on next season as a co production with the Royal Opera House. Covent Garden gets it the following season. Claus Guth directs and Semyon Bychkov conducts. Of course Johan Botha is in it, great voice but.....


 Wow, I'm glad that this sublime opera is getting more attention and more performances!
Is there a link to read the Opera magazine article on line, or is it just for subscribers?


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## jflatter (Mar 31, 2010)

No I obtained one of those old fashioned things called magazines yesterday whilst at Covent Garden for the Madama Butterfly rehearsal.


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## Almaviva (Aug 13, 2010)

jflatter said:


> No I obtained one of those old fashioned things called magazines yesterday whilst at Covent Garden for the Madama Butterfly rehearsal.


 You mean those thingies made of - what did they call it already - papy, poppy? oh yeah, paper - ewwww! I hear that you sneeze when you browse those thingies, and apparently they cut down trees to make them. Disgusting!:lol:


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## amfortas (Jun 15, 2011)

Almaviva said:


> You mean those thingies made of - what did they call it already - papy, poppy? oh yeah, paper - ewwww! I hear that you sneeze when you browse those thingies, and apparently they cut down trees to make them. Disgusting!:lol:


Wait till you hear about some of paper's *other* uses!


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## schigolch (Jun 26, 2011)

There are quite a few beautiful operas by Richard Strauss.

Personally, I have a weakness for _Die Ägyptische Helena_ (The Egyptian Helen), and this wonderful aria, "Zweite Brautnacht!", sung by Rose Pauly at her very best:


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## StlukesguildOhio (Dec 25, 2006)

schigolch said:


> There are quite a few beautiful operas by Richard Strauss.
> 
> Personally, I have a weakness for _Die Ägyptische Helena_ (The Egyptian Helen), and this wonderful aria, "Zweite Brautnacht!", sung by Rose Pauly at her very best:


Ooooh! I just ordered _Die Ägyptische Helena_.

To return to the OP... I'm in the process of deciding upon a second version of _Die Frau ohne Schatten_. Beside the Solti version with Sumi Jo, Placido, van Dam, and Varady there is the Bohm recording with Leonie Rysanek, Birgit Nilsson, Walter Berry, and James King. Any insight from those familiar with either/or/both would be of the most help.


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## HarpsichordConcerto (Jan 1, 2010)

I have this version of _Die Frau ohne Schatten_, but alas it is part of my shameful UWP (unwatched pile). Sorry, can't comment any further.

Peter Seiffert (Der Kaiser), Luana Devol (Die Kaiserin), Marjana Lipovšek (Die Amme), Jan-Hendrik Rootering (Der Geisterbote) Alan Titus (Barak, der Färber), Janis Martin (Färberin), Bayerische Staatsoper, Wolfgang Sawallisch (conductor) & Ennosuke Ichikawa (stage director); Japan, 1992.


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## StlukesguildOhio (Dec 25, 2006)

This arrived in the mail a few days ago and as it was used (that's all that was available) I decided to give it a listen ASAP.










I must say right from the start I have some mixed responses to this opera. I'll begin with the positive aspects. The recording at the Weiner Staatsoper in 1970 is quite good. There is a fine balance between the orchestra and the vocalists. Joseph Krips conducting is quite lush and the singers all perform admirably. The music includes some marvelous lush moments and moments of intense drama. The libretto tackles an interesting theme: that of Menelaus and Helen after they are reunited following the fall of Troy. Menelaus is tormented with thoughts of his wife's infidelity and the realization that she is responsible for the horror that was the 10 long years of war and the endless bodies now burning in Troy.

Unfortunately this material is presented in a convoluted... and even unintentionally comic manner at times. Hugo von Hofmannsthal was certainly not up to his usual level with this libretto. Who can take the all-seeing sea mussel seriously? And then there is the confusion of magic potions and extraneous characters. One can imagine a domestic drama with Menelaus suffering from post-traumatic stress syndrome of a sort... and attempting to come to terms with his feelings for Helena without all the other characters. Menelaus spends most of the opera trying to kill Helen and Paris (in reality or in his mind) and fails. But he does kill the innocent son of the mountain king, who initially doesn't seem all that concerned (he being more than infatuated with Helen). Still it all concludes with a happy ending?

Again... the recording is quite marvelous and there is some lush and even spectacular music involved. The failings of this opera cannot be laid upon Strauss. I would surely recommend it for the Strauss lover... who would probably do better to just enjoy the music without following the plot all to closely.


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## amfortas (Jun 15, 2011)

StlukesguildOhio said:


> The failings of this opera cannot be laid upon Strauss.


That may not be entirely true. Strauss took a great deal of interest in his librettos, often demanding multiple revisions and further changing them after the premiere (as he did five years later with Helena). I don't know the specifics of how this particular work came to be, but Strauss no doubt had at least a hand in its planning from early on, and considerable influence throughout the process.

Not that he should be castigated too much for the work's deficiencies. It happens: you win a few, you lose a few. And on balance, he won far more often than most other composers can claim.


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## jflatter (Mar 31, 2010)

Below is the blogger Intermezzo's review of the Salzburg production of this opera.

http://intermezzo.typepad.com/intermezzo/2011/07/frau-ohne-schatten-salzburg-christof-loy-christian-thielemann.html


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## ooopera (Jul 27, 2011)

I agree totaly. Thielemann was superb!

Here's short Salzburg video:






And another clip from this season production of Graz Oper:


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## Siedler (Aug 3, 2011)

Almaviva said:


> The Met has given it 59 times, yay! (first in 1966, last in 2003). I'd love to know its performance history in European opera houses.


Yes, I love this opera as well, the orchestration is just magical. I saw it live here in Helsinki (Finnish National Opera) a couple of years ago and the production was impressive (unfortunately it wasn't filmed!).
This is what George Loomis (Financial Times) wrote about this production and the opera itself:


> The Woman Without a Shadow can stir an audience like no other Strauss opera, even Der Rosenkavalier. A mix of the grand and the grandiose, it attracts those who want to chew on something of Wagnerian proportions, and Hofmannstal's mysterious, symbol-laden libretto adds richness. In the end, Frau is surprisingly optimistic in celebrating humanity, which may be one reason Strauss lavished on it some of his most opulent and heartfelt music in late- romantic vein.
> 
> Given its musical and visual demands, Frau will never become commonplace; Finland is currently seeing it for the first time. And the opera's literary opacity stands as a barrier against the reinterpretive instincts of a producer. Presenting the action cogently is quite enough, and Michael Hampe's new production, shared with Athens's Megaron Concert Hall, does so with remarkable skill. In Hans Schavernoch's sets, with animations and projections by Harry Gladow and Timo Nyman and lit by Kimmö Ruskela, the world of the spirits finds representation in a desolate, cosmic landscape of dark blue, while an aerial photograph (of Morocco, by Yann Arthus- Bertrand) suggests the human realm. The latter gives way to chaos in act three, before all is resolved as the opera's two couples, formerly occupants of different worlds, join hands.
> 
> ...


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## Siedler (Aug 3, 2011)

I once borrowed Solti's recording from library (not the DVD, should buy that one) and it's very good one. Sinopoli's recording has been recommended as well and I just found it's also available on Spotify  nice! edit: it seems the Solti one is there as well!









Spotify: 












Spotify:


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## FragendeFrau (May 30, 2011)

"This album is not available in the United States" it says on Spotify. Sadly.

BTW, anyone else in the US using Spotify? I am trying out the free version. They don't say anything about limits, but when I tried to play Erwin Schrotts Rojotango (which I was thrilled to find on there), it wouldn't let me play it twice in a row. And the commercials are irritating. If they had the amount of classical music they have everywhere else in the world, I'd pay $4.99/month to get rid of the ads.


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## Siedler (Aug 3, 2011)

FragendeFrau said:


> "This album is not available in the United States" it says on Spotify. Sadly.
> 
> BTW, anyone else in the US using Spotify? I am trying out the free version. They don't say anything about limits, but when I tried to play Erwin Schrotts Rojotango (which I was thrilled to find on there), it wouldn't let me play it twice in a row. And the commercials are irritating. If they had the amount of classical music they have everywhere else in the world, I'd pay $4.99/month to get rid of the ads.


Oh that sucks FregendeFrau! Sorry, I cannot help you as I have the premium subscription. There are some albums on Spotify which are not available in Finland either, so I know how annoying those country-limitations can be. 

I am currently sampling Sinopoli's recording and marvelling the glorious sound of Dresden Staatskapelle again - it is definitely my favourite orchestra.


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## Almaviva (Aug 13, 2010)

Siedler said:


> Yes, I love this opera as well, the orchestration is just magical. I saw it live here in Helsinki (Finnish National Opera) a couple of years ago and the production was impressive (unfortunately it wasn't filmed!).
> This is what George Loomis (Financial Times) wrote about this production and the opera itself:


Glad to find another fan of this outstanding opera.
Have I said "welcome to the forum" to you already? If I haven't, consider it said, please.


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## myaskovsky2002 (Oct 3, 2010)

Indeed, the woman without a shadow is a wonderful opera, it is my Richard Strauss' preferred opera. I like the story too...It is "cute".

Martin


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