To be quite honest: When I hear the word "operetta", is with me a a strong flight instinct. Operetta I associate with the highest level of kitsch, senseless act, trivial music, and a abgesungenen Rudolf Schock and Erika Köth cackling. Entertainment for the masses of times when there was no Internet and no private television. One notable exception is "Die Fledermaus". This operetta everything is just right: The text book is witty and energetic, moves at the level of a very good comedy (from which the libretto is created). While the figures all have no particular depth, but are lovingly drawn and realistic and not sink too much in the cliché and Johann Strauss' music elevates the work also has all the other operettas (except for a few other works), which in the 19th early 20th century almost caused in mass production. Each musical number from "Die Fledermaus" is a hit, for the singer a grateful and not to be underestimated task, and has an irresistible ear candy quality. Although it was also the "Fledermaus", like so many other masterpieces, at the premiere no triumphant success granted (the stock market crash of 1873 had triggered an economic crisis and the Viennese the celebratory mood spoiled), but the work captured in the course of time its place in the repertoire, even the elite Vienna Court Opera took it to the repertoire and declaimed it to "comic opera" to lose no reputation. Whenever the audience to be exhilarated, a "bat" - staging is a safe bet. A challenging task is to find a really good shot. Either rises to a recording with true good singers, but weak baton (a Placido Domingo, for example should be in my opinion Keep away from the desk), or you get a grandiose orchestral version (as in the DG under Carlos Kleiber) with very debatable singer selection (unwienerischer as Hermann Prey and Julia Varady it is hardly over Ivan Rebroff the benevolent cloak of silence is spread). These problems are not with this recording truly. Herbert von Karajan conducting the Vienna Philharmonic as always excellent (which could probably play the work in sleep yet, but that does not laudably do) peppy and with great wit. The singer ensemble consists mostly of attuned members of the Vienna State Opera, for yet one has found the ideal person, the smallest role. Waldemar Kmentt, for many years the lyric tenor par excellence and can be used anywhere from character roles to operetta, is an excellent Eisenstein which completely fills the not very undemanding game. Vocally he was in full possession of his powers (he was only 31), giving the Eisenstein both the necessary arrogance, and the innuendo, without, however, seem unappealing. The two major female roles can hardly occupy better. Hilde Güden was a longtime member of the Vienna State Opera, was considered ideal Mozart - and Strauss (Richard) - interpreter and was for Rosalind almost an ideal candidate. Although it always seems classy and solves the major claims of the lot with flying colors, but never lose traction, which is very important for the role. A large Rosalinde with a lot of Viennese earthiness. The previously maligned me Erika Köth was at the time of the recording is also still at the peak of their performance, the coloratura-heavy game of office girls with higher ambitions she performs strongly, without falling into the dreaded cackle that crept in in later years. Walter Berry and Eberhard Waechter fill the roles vengeful notary Dr. Falke and the fidelen warden Frank from both theatrically and musically fully. Beautifully especially Berrys' little brother and sister. " As there is no Orlofsky abgesungenen heroic tenor or wannabe Russians how to listen in some other shots, but the great mezzo-soprano Resgina Resnik who interprets not just challenging but important role of bored to death young billionaire excellent. The ensemble is completed by Giuseppe Zampieri as fiery Alfred (a small swipe at Karajan's occupation policy, as it enhances resorted as artistic director of the Vienna State Opera on a singer from the motherland of the Opera and the old regulars more and more pushed into the background). This explains also the Abkanzelungen, the Italian singer in Gefängnisakt of "frog" Erich Kunz, a member of the State Opera zero hour after the 2nd World War, has to put up again and again. Kunz convinced here as a pure speaker, only with a short singing performance. As a special treat, the DECCA drives during the feast of Prince Orlofsky on a number of stars that you had then under contract. So you get to benefit from short performances of some of the greatest singers of the time, among others Ljuba Welitsch, Renata Tebaldi, Leontyne Price, Birgit Nilsson, Joan Sutherland, Jussi Björling, Mario Del Monaco and Ettore Bastianini. It is almost impossible. A small downer there, however: In the digital revision something seems to have gone wrong, since there is still a fairly significant background noise and for the singers voices sound quite softly and reverberant, what you have to get used again. Despite this flaw: In my opinion, still the roundest and most lively bat - from the public.
