A year after his arrival at the Munich Opera (engaged by Bruno Walter as third head), Karl Böhm discovers the music of Richard Strauss; in 1923 he directed Ariadne, and two years later the Rosenkavalier. Böhm go through Darmstadt, followed by Hamburg, before taking over from Fritz Busch at the head of the Staatsoper Dresden, the stronghold of Richard Strauss (a position he held until 1943, before moving to Vienna). His friendship with the composer, which earned him besides the dedication of Daphne, Karl Böhm instead illustrates historical Straussian alongside Clemens Krauss. But it is of course his orchestral science (and scenic) that Böhm absolutely essential player in the Straussian discography.
== CD1-3 Der Rosenkavalier
This Chevalier studio was recorded for Deutsche Grammophon in 1958 (see in particular this edition, the availability problem, but also in the reissue Eloquence) in a fledgling stereo, which is not enough to eclipse his famous predecessors (the version Kleiber 1954 Decca, and EMI must Karajan 1956). We note in passing in this edition the recurring presence of a metallic echo betraying some conscientious report.
The particular difficulty of the Knight is to bring three female voices shock, which form a more perfect harmony between them. The trio here may not be unanimity (including the karajanesque light), but it remains nevertheless exceptional.
With a voice that tends to accuse the appearance of wrinkles and increased lightness, Marianne Schech finally embodies a larger than life Marschallin. She faced her voice Irmgard Seefried angel, even (relative) poor form, and clear treble Rita Streich (which for the record, was originally to be Sophie's Karajan, but was prevented for due to maternity). We can always criticize Kurt Böhme, but we will remember that in the Karajan version of the Ochs Edelman, with all its qualities, it is not vocally impeccable (and at least with Böhme is it has a "real" bass that does not require transposition). The almost ideal Baron competing versions of these probably being that of Erich Kleiber (the exceptional Ludwig Weber).
With luxurious roles as second (Fischer-Dieskau in Faninal, Gerhard Unger in Valzacchi, Sieglinde in Wagner Annina) and Karl Böhm that displays a complete mastery of the orchestra and the balance of votes, we have a Knight unmissable, great presence and a great natural, just beautiful, which ultimately would be the main failure especially direct magic bean. Later, Karl Böhm still deliver its Rosenkavalier on the loom, as shown in the Salzburg version 1969 (with the Vienna forces with DG, Christa Ludwig in Marschallin, Tatiana Troyanos, Edith Mathis, and Theo Adam).
== CD 4-5: Die Frau schweigsame
On 24 June 1935, at the Dresden Opera is Karl Böhm is the pulpit for creating The Silent Woman, before the work is obliterated in a Nazi cap. On 6 August 1959, again Böhm who is wand to the rediscovery of this opera buffa Festspielhaus in Salzburg; a leader in top form at the head of his Wiener, attentive to detail as well as the overall consistency, wonderful colorist providing its singers such a beautiful medium stimulant.
Mixture of natural nobility and bonhomie creaky and bouillonante, Hans Hotter morosus is a high stature, showing the way its ability to adapt to radically different roles of these great Wagnerian roles he still embodies Bayreuth in this late fifty. Barber confidant afable and cunning, the dashing Hermann Prey demonstrates the extent of his talent, while his friend and decidedly irreplaceable Fritz Wunderlich adds a lyrical and shiny side to the role of Henry nephew. As for Hilde Güden she plays a vocally and theatrically brilliant Aminta; a woman "silent" full of art and vocal health, which is played with the great extent demanding role.
Also side with high caliber roles (Georgine von Milinkovic, Hetty Plümacher, etc.), and mono sound very acceptable for a live history, this first recording of The Silent Woman enrolled in absolute reference (in addition also available elsewhere, especially in Andromeda).
== CD 6-8: Arabella
With Arabella Böhm marks his return to Salzburg after the war. Captured for broadcast August 12, 1947, this representation shows the great maestro science, head of the Vienna Philharmonic which seems not yet to have yet integrated all parameters of the work. Especially the exceptional distribution which is quick to salivate Straussians.
Maria Reining is again at the top of his voice; notwithstanding some limits breath, the beautiful timbre and musical intelligence Arabella give his natural charm and great credibility. Lisa della Casa Zdenka is, irresistibly youthful freshness, bright tone, elegant phrasing and natural breath; a huge testimony announcing future Arabellissima. Mandryka is a perfect embodiment with Hans Hotter, impetuous and tender heart, full of dramatic essence and touching sincerity, also of exceptional musicality. With second overall excellent roles, so here is a Straussian Arabella for all, at least vocally critical (previously published in the collection Festspiel DG Dokumente, also with a full review).
== CD Capriccio 9-10
Böhm Capriccio puts on show at the Salzburg Festival in 1950 (Lisa della Casa with barely thirty). If one knows well the inevitable Bavarian capture Böhm in 1971, with a cast of choice (Janowitz, Dieskau, Schreier, Prey, Ridderbusch, Troyanos) generally knows less this live version, captured at the Vienna Staatsoper in 1960 (previously published in Melodram). It includes a cast equally famous, starting with the ineffable Elisabeth Schwarzkopf, three years after his legendary Countess EMI with Sawallisch, absolutely perfect. It is surrounded by great voice, as Flemish Anton Dermota or Hermann Uhde account, but also Olivier Walter Berry, the La Roche de Paul Schöffler or Bugle Christel Goltz (not forgetting the Italian couple Erika Köth / Giuseppe Zampieri). A version of first choice, supplanted by the other two studio recordings mainly by a much lower technical quality, with its rather stuffy. But the Countess Elisabeth Schwarzkopf Live is sufficiently exceptional to entice lovers of Straussian archives ...
