Rating: 
Summary: "a Magical Moment to Cherish"
Review: (sung in German, with subtitles in German, English, French, and Chinese) Der Rosenkavalier (the Cavalier of the Rose) can entertain you on various levels. First, there is the heavenly, ethereal music which is almost too beautiful. Second, there is a delightful sense of humor--a bag of tricks with surprises for nearly all of the main characters. Third, there is romance. Although several of the characters are "in love," on different levels, the musical capture of the exquisite moment of "love at first sight" between Sophie and Octavian is one of those magical moments to cherish. Fourth, the camera-work is the best ever recorded. You can see & feel Sophie's and Octavian's moment of falliing in love. Fifth, as if all the great entertainment were not enough, Richard Strauss has given us a moral lesson: While the Field Marshall's wife has contempt for her cousin, the lecherous Baron, she realizes that she has been little better, as she has used her imperial position to take advantage of more than one young officer. She sees herself in the mirror, and decides to start doing the right (truly loving) thing--she gives up her current lover so that he can be happy (an almost motherly love?). She has finally learned to love him enough to let go of him. If you're an old friend of Der Rosenkavalier, you'll enjoy Carlos Kleiber's loving touch. Barbara Bonney is a perfect, naive, sweet Sophie. Kurt Moll is the quintessential Baron Ochs auf Lerchenau. If you're new to Rosenkavalier, prepare yourself for a sumptuous feast of musical and theatrical delights!
Rating:
Summary: A triumph for all concerned!
Review: Although just appearing in a DG dvd, this is the taping of a 7-year old performance(a composite of several ones? the booklet just says "taped in Vienna, 3/94") that must have sent home the fortunate ones present with a smile broad as their faces. And what a performance it is! I wonder if there's a conductor better equiped to tackle this complex score than Carlos Kleiber, who must have the score embedded in his genes (his father Erich, one of the foremost conductors of the first half of the 20th century, was also an outstanding exponent of the piece, his version preserved by Decca). There's an earlier taping of the original Otto Schenk production from which this one derives that has been severally available in vhs and laserdisc and which I haven't seen, but I could catch an actual performance in Munich many years ago and if my memory doesn't betray me, this one is superior if only by notches (the actual singers may have been different in that 1974 evening from the ones featured in the video, though, so please bear with me). Lott (Dame Gwyneth Jones in the Munich performance, with a few vocal problems but with an equally grand presence) is an ideal Marschallin, never losing her poise without appearing icy or aloof (as Schwarzkopf sometimes might), her exit in Act III an example of true aristocratic flair and grace under the inevitable. Von Otter is too beatiful a woman to play a truly credible boy of 17 and her stage manners are way too feminine, but her singing is so ravishing one quickly forgets about it. Brigitte Fassbaender took care of this role in the Munich performance and I recall her portrayal as truly superior, her looks and ways more "masculine" and thus more up to the role (but I'll keep Von Otter's voice for pure pleasure!). The Ochs I saw in the Munich rendition under Kleiber I mentioned was Karl Ridderbusch, an outstanding Ochs if there ever was one, equally matched in this new video by the similar-voiced Kurt Moll, who perhaps might have shown more restraint in his stage ways (after all, Ochs is also of the aristocracy, not a rogue). And the Sophie of your dreams is undoubtedly Barbara Bonney, here resplendent in voice and looks. The camera takes are thoughtful and made with good taste, never obtrusive or "imaginative" as in other videos. Mind you, look no further: even if this were an audio-only release, it will be worth avery penny invested on it. And with the Vienna Philharmonic (well, with their "Orchester der Wiener Staatsoper" hats) in top-notch form under a most inspired conductor, this will surely stand the test of time as well as those other classic non-video accounts of the score, the 1956 Karajan (the Czinner film notwithstanding) and the even earlier from the hands of Kleiber père. DG have opted to edit out end-of-act curtain calls, bows and cheers, save for Act 1, a decision I don't understand for I'm sure the house must have come down with cheering and applause after such a delightful evening.
Rating:
Summary: A must for Straussians
Review: Carlos Kleiber has already given us what is probably the best performance of this opera in his outstanding Munich performance. One could be skeptical about a second attempt, but this performance in Vienna proved that it was really worth the try. No need to tell that the Vienna State Opera orchestra is the most natural orchestra for Strauss and they produce the most heavenly transparent sound throughout. Kleiber's conducting is quite consistent with the earlier performance, though the Vienna acoustics are drier and more analitic than the richer and warmer sound from Munich. When it comes to the cast, this one is short of ideal. Felicity Lott is elegant, charming and pleasant to look at. Her Marschallin is closer to Hofmannsthal's instruction than most - she doesn't transform it in THE TRAGIC PERFORMANCE, but has a subtle and sophistication bittersweet approach that is essentially Viennese. The voice could be more substantial, but she subtitute it for accurate verbal pointing and no other Marschalline launches so beautifully the final trio, where her poise and control of pianissimi are simply marvellous. Barbara Bonney is THE Sophie - her voice is simply made to this part and she looks the role, with her blond ingénue looks. Kurt Moll, alas, is not as young as Hofmannsthal's character, but nobody sings the role of Ochs as he does and here is far more spontaneous here than in the Karajan video and the voice remains as good as it was. My only doubt is about Anne Sofie von Otter. Of course, she's one of the most lovely singer of our days, but I think that the part doesn't suit her as a whole. Vocally, it is a bit outside her powers and only in the delivery of the silver rose, she is on her element (and she is amazing then). And she definitely doesn't look boyish, even if she is quite tall. She is too feminine for the role and is altogether unconvincing. The production is quite elegant and beautiful, but I wonder WHY the instruction of instructions in this opera wasn't followed - WHY Octavian is not wearing silver in the delivery of the silver rose? It simply spoiled the magic of the scene, he looks like everyone else on stage, while he should seem to be simply otherworldly. I also found that the Faninal house was decorated with too much good taste for an obvious nouveau riche. Although the image (and sound) are crystal-clear, I found that the camera guy could be a bit less animated. Sometimes, while someone was singing a main line, we were looking at something else. This can be confusing as it was in the final trio, when the three female voices are so intertwining that sometimes it is hard for the listener to get who is doing what. If you want my opinion about which is the difference between Kleiber I and Kleiber II - Kleiber II has a superior level of finish, while Kleiber I is 100% spontaneous emotion. Gwyneth Jones IS the Marschallin, even if she's too much of a dramatic soprano, Brigitte Fassbaender IS Octavian and looks and sings boyish all the time and Lucia Popp brings an extra-intensity for the role. Only Jungwirth is below standard. Also, the older production is so rich to the eyes that it seems you are watching a Visconti film. Especially because all the singers there are wonderful actors.
Rating:
Summary: Un clásico del mundo de la ópera.
Review: Esta representación recogida años atrás en formato VHS, llega ahora al dvd y no me queda más que reiterar nuevamente mis elogios hacia ella.
El reparto lo encabeza una espléndida ANNE SOFIE VON OTTER, que hace un delicioso Octavian, tanto en lo musical como en lo escénico. KURT MOLL es, sin duda alguna, el mejor Barón Ochs de los últimos años y asà lo impone aquÃ, con su voz uniforme y bien timbrada en todo el registro y su soberbia caracterización del personaje.
FELICITTY LOTT interpreta a la Mariscala, con porte de gran señora de la escena, y una bellÃsima voz, como bellÃsima y delicadÃsima es la Sophie de BARBARA BONNEY.
Todo el amplio elenco de personajes secundarios cumple de manera sobresaliente, con especial mención al Faninal y a la pareja de intrigantes, aunque quizá el Cantante Italiano no esté a la altura de la función.
CARLOS KLEIBER dirige a la Filarmónica de Viena con absoluta perfección, extrayendo los toques más vieneses de la magnÃfica partitura de Strauss.
La producción, de 1984, sigue presentandose en Viena 19 años después, y esto indica que es la mejor producción de Rosenkavalier que hay en la actualidad: decorados, vestuario, iluminación, movimiento escénico, todo lujosÃsimo.
Definitivamente, este es un producto que deben tener todos los amantes de la buena música, para disfrutarlo una y otra vez.
Rating:
Summary: Un clásico del mundo de la ópera.
Review: Esta representación recogida años atrás en formato VHS, llega ahora al dvd y no me queda más que reiterar nuevamente mis elogios hacia ella.
El reparto lo encabeza una espléndida ANNE SOFIE VON OTTER, que hace un delicioso Octavian, tanto en lo musical como en lo escénico. KURT MOLL es, sin duda alguna, el mejor Barón Ochs de los últimos años y así lo impone aquí, con su voz uniforme y bien timbrada en todo el registro y su soberbia caracterización del personaje.
FELICITTY LOTT interpreta a la Mariscala, con porte de gran señora de la escena, y una bellísima voz, como bellísima y delicadísima es la Sophie de BARBARA BONNEY.
Todo el amplio elenco de personajes secundarios cumple de manera sobresaliente, con especial mención al Faninal y a la pareja de intrigantes, aunque quizá el Cantante Italiano no esté a la altura de la función.
CARLOS KLEIBER dirige a la Filarmónica de Viena con absoluta perfección, extrayendo los toques más vieneses de la magnífica partitura de Strauss.
La producción, de 1984, sigue presentandose en Viena 19 años después, y esto indica que es la mejor producción de Rosenkavalier que hay en la actualidad: decorados, vestuario, iluminación, movimiento escénico, todo lujosísimo.
Definitivamente, este es un producto que deben tener todos los amantes de la buena música, para disfrutarlo una y otra vez.
Rating: 
Summary: My Second Favorite "Der Rosenakavlier"
Review: First of all, any discussion of this DVD must begin (and probably end) with the superb conducting of Carlos Kleiber. From the first bar of music, you know you're in for an altogether different "Der Rosenkavalier." His is an extraordinary approach: spirited, agressive even -- and it is wholly successful. The production itself is lovely (although I would not have set Act III in what looks like a warehouse basement; when the innkeeper asks Ochs if he'd like a larger room, you can't help thinking "Larger than THIS?!") and the singers are quite wonderful. I have minor reservations, mainly because I absolutely adore the Covent Garden DVD with Kiri Te Kanawa (who is unparalleled perfection) and can't help making comparisons. Felicity Lott, Vienna's Feldmarschallin, is a supremely intelligent singer/actress, but I think she's a shade long-in-the-tooth for the role (the character is written as being 32); that said, the performance is dignified and in every way valid. It took me a while to warm up to von Otter's Octavian, but she really bloomed in Act 2, and the confusion, heartbreak and joy of Act 3 were convincing and right. Bonney is, if possible, better here than on the Covent Garden DVD; she is the ultimate Sophie. I was looking forward to Kurt Moll's Baron, but felt it was a rather subdued portrayal. He isn't as buffoonish as other Ochs I've seen; he's wilier, a bit more malevolent -- and it doesn't really come off. That said, his interactions with von Otter in Act 3 are quite amusing. All in all, this is a good companion piece to the Covent Garden DVD, which is sublime, and on the whole, more satisfying. True, Solti's more traditional conducting is not as exciting as Kleiber's and it's Ann Howells' Octavian that is too old, but that's the DVD I will probably find myself going back to more often.
Rating:
Summary: Splendid, traditional, exceptionally well sung
Review: I own four versions of Rosenkavalier, including the Paul Czinner film (1961) that I saw with thousands of other Chicago kids at Arie Crown Theatre (I still have the playbill). This is, without a doubt, the best sung of all of them. As a DVD, unlike the Italian version I also own, the subtitles are available in German, which makes this a spectacular tool for opera students. Barbara Bonney (Sophie) also appeared in another version in my collection, the 1985 Covent Garden production with Kiri Te Kanawa, available only on VHS. Even nine years later in this version, her Sophie is a hoot. I realize that von Otter is almost too beautiful to be Octavian, but suspend your disbelief. Vocally, she's the best Octavian I have on any kind of recording. Lott treats the Marchalin role with more tragedy than Te Kanawa or even Schwartzkopf, but she's splendid. Kurt Moll (Ochs) appeared on the PBS "Great Performances" version from the Metropolitan in the mid-1980s and seemed to me then the most menacing Ochs I'd ever seen, but in this DVD, he's quite mellow and has that trademark voice for which he's known. Even if this is not my favorite version (I prefer the directing and acting in the 1984 Covent Garden production), its subtitles, sound, and cast ability in general are the BEST.
Rating:
Summary: The ultimate Rosenkavalier
Review: I purchased this Video at a slight risk as I'd never seen the opera before but am a great fan of Von Otter. This performance only helps to emphasise why she is such a magnificent travesti actress and gifted mezzo. She shows great talent as a comic actress and her singing is flawless and ravishing, her opening duet with Lott and the closing trio are two of the most beautiful scenes I have heard. She is an striking Octavian and handsome yet her feminine beauty is very apparent as "Mariandel". Felicity Lott gives a beautiful elegant performance as the Feldmarschallin. Her voice is in amazing form and her the dignity portrayed in the last act will move even the hardest soul. Bonney is the ultimate Sophie. I doubt you find another soprano who could play the young girl with such charm, grace and innocence. Her voice is delicate yet the character is full of determination, she is perfect. Kurt Moll is fantastic as the lascivious Baron, his voice is fascinating and his acting sublime. The presentation of the Rose is so overwhelming that one would pay for the whole opera just to see that moment. If it's amazing singers and actors you want, this is the Video/DVD you should buy.
Rating:
Summary: A magnificent performance
Review: The sheer nobility of the 'Presentation of the Rose' scene and the trio of the three excellent sopranos toward the end of the opera brought tears to my eyes. Those two scenes alone are worth the DVD price, but equally good are the Baron's voice and his appearance. In fact, there's not a mediocre voice in the opera that I can put a finger on. The orchestra performs quite well; it's a pleasure to watch the conductor's virtuosic movements. All in all, a great team work. A winner CD even for a non-opera fan.
Rating:
Summary: A magnificent performance
Review: The sheer nobility of the 'Presentation of the Rose' scene and the trio of the three excellent sopranos toward the end of the opera brought tears to my eyes. Those two scenes alone are worth the DVD price, but equally good are the Baron's voice and his appearance. In fact, there's not a mediocre voice in the opera that I can put a finger on. The orchestra performs quite well; it's a pleasure to watch the conductor's virtuosic movements. All in all, a great team work. A winner CD even for a non-opera fan.
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