Weber - Der Freischutz | Gottlob Frick, Arlene Saunders

Weber - Der Freischutz | Gottlob Frick, Arlene Saunders | Wow!--finally a Freischutz as it was meant to be

DVDs:

Weber - Der Freisc...

	Weber - Der Freischutz Gottlob Frick, Arlene Saunders Arthaus Musik, 2007 average customer review:based on 7 reviews view larger image
	for more information click here

Finally, a Fabulous Freischutz!

Here is another marvelous Rolf Liebermann production. It is one of a newly available stream of performances by the Hamburg State Opera, featuring the beyond-competent American soprano, Arlene Saunders, who outdoes herself here in the role of Agathe. What makes this DVD of Der Freischutz stand out is the presence of several of the more illustrious artists of a previous era, including the delicious Edith Mathis and the great bass Gottlob Frick, making a rare - and lively - appearance as the corrupted Kaspar. Hans Sotin as the Hermit and Tom Krause's Ottokar round out a cast of superb artists in this warm and delightful Freischutz.

The filmed production is excellent. It's wonderful to finally have a beautifully sung and staged version of this important opera. Now we can clearly see what inspired Wagner to produce the greatest German music dramas of the 19th century. The chorus sings and acts admirably - everyone is spot on dramatically; costumes are good, the directing is effective, and most of all, the singing is glorious, especially (and surprisingly) Arlene Saunders, and not surprisingly, the spectacular Edith Mathis. The mournful tenor, Ernst Kozub, the delightfully demonic Frick and the rest of the cast are all moved along at a brisk and lively pace by the conductor Leopold Ludwig in this quintessentially Teutonic, mythological romance.

It's an interesting point that Ernst Kozub, whose voice is really gorgeous and powerful, is rumoured to be "Our Siegfried", the first choice for the Solti Ring. Unnamed in Culshaw's account of the monumental production of the first studio Ring in his "Ring Resounding", Kozub is described as the next great heldentenor - an impossibly difficult position to fill in the shadow of such legends as Melchior and Windgassen. Apparently he was gifted with a beautiful voice, but suffered from an inability to learn the notoriously challenging part of Siegfried, and in the end, had to be replaced by Windgassen. Here you can experience the beauty and power of Kozub's ravishing voice, and grieve that we have no other documents of his wonderful talent other than a live Zauberflote with Solti and Grummer. Mozart: Die Zauberflöte

Weber was Mozart's cousin by marriage, and one might say their relationship goes beyond the familial. Der Freischutz has many moments that sound a lot like the Magic Flute, which is a kind of musical older cousin to Freischutz. Edith Mathis, the flexible, luxurious voiced Aennchen in this production, sang the greatest version of Mozart's most beautiful and nearly impossible concert aria, "Ch'io mi scordi di te?", KV 505. This masterpiece of Mozart's vocal art can be heard on the Complete Phillips Edition of Mozart Arias, Vocal Ensembles, Canons.

for more information click here

Wow!--finally a Freischutz as it was meant to be

I had already purchased two other performances of Der Freischutz (The Marksman), by the Zurich and the Hamburg State Opera. Both were well-done musically, but the stage sets and costumes were minimalist--like something the singers might have worn if they had just gotten together for a rehearal. Stages were stark and also could have been used for almost any other opera: "one size fits all."

I feared that perhaps this opera, (with guns, shooting contests, satanic rituals, dances, and dozens of hunters running around on stage) was just too difficult to stage.

This production demonstrates that it CAN be done, and WELL-DONE! I was afraid that, as it was filmed years ago, the picture quality might be lacking, but it was excellent.

The costumes take you back to a Germany of a couple of centuries ago, and the staging and scenery are far better that I could have imagined. The Wolf's Lair is truly a dark and scary place--you almost think you're going to see blood on the cobwebs, as the libretto tells of. The bridal procession for Agathe even wends its way through the dark forest. The bullet-casting of the "magic bullets" is authentic and spooky. A wild boar and wind with cracking branches and trees falling adds to the realism of the macabre scene.

I can't say enough in praise of this production. Edith Mathis is sweet, beautiful, and fantastic in her singing and acting as Annchen. Arlene Saunders is now my favorite Agathe. Gottlob Frick is the definitive Kaspar: evil and a bit demonic. The others sing and act equally brilliantly in this production. By the way, this opera is not just about a shooting contest and a bunch of hunters. It's about a guy about to get married, who has self-doubts about whether he can be everything that his bride-to-be, and the community expect of him. He's bordering on losing his grip, and willing to "make a deal with the Devil" to win everyone's respect.

If you've ever considered seeing Der Freischutz, I hope you'll make this your first choice. You will see why a young Richard Wagner, after seeing this opera, decided to become a musician and writer of operas. This production, though filmed decades ago is stunning!

for more information click here

THIS ONE GOT IT RIGHT

After viewing two other DVDs of this wonderful opera, I wondered just how much insanity and EURO THRASH would the buyer have to put up with just to get a chance to see this great singspiel. How long would we have to wait for a truly adequate stage recording? Well, our waiting is over. In this DVD we have an exceptionally sung and staged performance. Gottlob Frick has always been an excellent dark bass - just perfect for this role and he was in his sixties when this was recorded. Arlene Saunders is vocally and physically a knock out. Her "Leise, Leise" is magnificently sung. This is a very difficult and long aria; she does it to a turn. The tenor, Ernst Kozub is vocally very fine if a little old for the part. Then we are treated to a young Edith Mathis, Tom Krause and Hans Sotin. WHAT A CAST! Conducting and orchestra playing are also on a high level. Now what really works are the sets, costumes, camera work and a stage director who doesn't impose a ludicrous vision on a German Romantic Masterpiece. This is where the most recent productions all fail. Liebermann and company get the atmosphere just right. This is one of those just perfect Wolf's Glenn settings; complete with a lunar eclipse. This is the FREISHUTZ of choice. Thank you to all involved for making this possible and available. This excellent singing cast is right up there with my favorite recording of this opera on EMI CDS with a radiant Elisabeth Grummer and Rudolf Schock conducted by the late great Wagnerian conductor Joseph Keilberth.

for more information click here

Weber: Der Freischutz