1	Act 1: Behutsam! Hier Ist Alles Alt
2	Act 1: Frank! Freund!
3	Act 1: Nur Deiner Harr Ich, Niemals Verlorne!
4	Act 1: Rosen- So Ists Recht
5	Act 1: Wunderbar!- Ja, Wunderbar!
6	Act 1: Gluck, Das Mir Verblieb (Marietta's Lied)
7	Act 1: Marietta!- Paul...Paul...
8	Act 2: Prelude
9	Act 2: Was Ward Aus Mir?
10	Act 2: Wohin? Frank- Du?
11	Act 2: Schaume, Schaume

ディスク： 2

1	Act 2: Da Ihr Befehlet, Konigin (Pierrot Lied)
2	Act 2: Du Machst Mir Eine Szene
3	Act 3: Prelude
4	Act 3: Dich Such Ich, Bild!
5	Act 3: Du Hier?- Als Ich Erwahchte
6	Act 3: Die Tote- Wo- Lag Sie Nicht Hier

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メーカーにより製造中止になりました ‏ : ‎ いいえ
製品サイズ ‏ : ‎ 14.22 x 12.7 x 2.79 cm; 158.76 g
メーカー ‏ : ‎ Bmg/RCA Victor
EAN ‏ : ‎ 0078635776720
製造元リファレンス ‏ : ‎ 078635776720
レーベル ‏ : ‎ Bmg/RCA Victor
ASIN ‏ : ‎ B000003ER4
ディスク枚数 ‏ : ‎ 2

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2014年3月9日に日本でレビュー済み

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ニューヨークでこの見捨てられたオペラが復活した途端に、アメリカの代表的なレーベルRCAが逸早く録音した名盤は、確かLPでは国内発売されなかったと記憶します。CDになって、やっと国内盤が出て、私たちも知ることが出来ました。それも早く廃盤となったために、買い漏らした人たちにはこの廉価盤は嬉しいものでした。実は今年2014年3月、期せずして西のびわ湖ホールと東の新国立劇場でこの隠れたる名作の、オペラとしての日本初演（音楽だけはコンサート形式で演奏済み）が実現、今年はいわばコルンゴールト元年となりました。これを期に、この録音が再発売されましたから、尚のこと喜ばしいことです。また、この廉価盤を求めた人には、新国立劇場が対訳台本を頒布（￥500、通販可、送料別）していますからありがたいことです。指揮したラインスドルフは、作曲家と同じく、ユダヤ人のためにドイツ圏での活動が出来ず、アメリカへ――しかしそのせいで偏狭な日本の評論家に軽んじられ、この貴重な録音も含めて、RCAに多様な名録音を残しながら、ほとんど無視されて来ました。近年、廉価盤などの再発をきっかけに、私たち一般の人たちに評価の機運が高まって来ました。《ローエングリーン》はカットされた部分をも復活させた録音ですし、《ワルキューレ》《トゥーランドット》は共にニルソンの名唱によるすばらしい録音です。

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Fabio Caravel Rizzo

Una delle opere più belle del Novecento

2022年7月6日にイタリアでレビュー済み

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Korngold meraviglioso compositore
La sua musica tutta, dalle opere liriche, alla musica sinfonica e da camera, ai cicli liederistici, alle colonne sonore (la sua Kings Row chiara fonte di ispirazione per l'autore della colonna sonora di Guerre Stellari John Williams), Incanta... rapisce...
In questo doppio CD si può ascoltare magnificamente la terza opera lirica del grande maestro austriaco: Die Tote Stadt, composta nel 1920 all'età di ventitre anni; musica strepitosa, orchestrazione sfolgorante.
L’esecuzione è eccellente, la qualità della registrazione ottima.
Consigliatissimo.

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Dr. Keith Jones

Opera on Contemporary Theme

2020年4月18日にカナダでレビュー済み

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Erich Wolfgang Korngold 1897-1957 Die Tote Stadt. Playing time 2h.10.

The circumstances that we find ourselves in during the current pandemic inexorably drew my attention to this somewhat claustrophobic opera. Its libretto was freely adapted from George Rodenbach’s novel 'Bruges la Morte' (1892) by the composer and his father, under the collective pseudonym ‘Paul Schott’. Composition of the opera, begun in 1916, was interrupted by a year of military service and completed in 1917. Its setting is the Belgian city of Bruges in 1892, when it was ravaged by a cholera epidemic. The main protagonist, Paul, lives alone, following the death of his wife, Marie. He has turned their home into a shrine for her. By chance, he meets Marietta, a beautiful young dancer, who bears a striking resemblance to his dead wife; he invites her to his house, where she dances, and sings the lovely ‘Marietta’s Lied’, accompanying herself on Marie’s lute. She then leaves to go to a rehearsal. She returns; they make love; then they quarrel and Paul kills her. He awakes; this episode was a bad dream. Marietta now returns in person; she forgot her umbrella. As she is leaving, she meets Paul’s friend Frank at the door. He has come to persuade Paul to leave ‘the city of death’, and together they will depart, Paul taking with him a lock of his dead wife’s hair.

The opera is wonderfully well-written for the singers and for the richly scored orchestra. The recording was made in Munich in 1975. Cast and orchestra sing and play beautifully. The signature ‘Marietta’s Lied’ is beautifully sung by Carol Neblett, who died in 2017. Libretto/translation is not included, but they are now public domain in Canada, and can be found on the internet and downloaded to a laptop.

Keith Davies Jones

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Carpe Diem

Versión de referencia de esta ópera poco frecuente en los programas operísticos.

2014年11月30日にスペインでレビュー済み

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Grabada en 1.975, con la orquesta de la Radio de Munich y el coro de la Radio Bávara, constituye un referente en cuanto a esta maravillosa ópera , rica en cualidades y que por desgracia , muy poco frecuente en los repertorios operísticos.

Soberbia ópera de este compositor nacido en BRNO ,en 1.897 (actualmente República Checa), en esta época perteneciente al antiguo Imperio Austro-Húngaro. Niño prodigio que estudió en Viena, donde asombró a músicos de la talla de: Gustav Mahler, Richard Strauss y Bruno Walter, discípulo de Alexander von Zemlinsky(cuñado de Schoenberg), al cual dejaría boquiabierto al componer él solo la Obertura Schauspiel,obra compleja con solo 14 años. Con 11 años estrenaría en el Teatro Imperial su primera obra. Posteriormente tras el advenimiento del Nacional Socialismo Alemán, su música fue tildada de "Entartete Musik" o "Música Degenrada", por lo que, tuvo que emigrar a los E.E.U.U de América, donde continuaría allí su labor compositiva, destacando también en la composición de bandas sonoras de películas, recibiendo el Oscar en 1.936 y 1.945 y siendo nominado 2 veces más.

Puccini se emocionó al escuchar esta ópera durante su estancia en Viena. En esta hay claras influencias estilísticas de: Wagner,Strauss y el lirismo de Puccini.Ambientada en la Ciudad de Brujas a finales del siglo XIX, su libreto seguía las tendencias modernas del Psicoanálisis (tan de moda), e intentaba representar en el escenario, el desenlace de una obsesión patológica, la del personaje Paul por su mujer muerta Marie (situación que no acepta),cuya imagen cree recuperar en el personaje de una vulgar bailarina (Marietta), la cual terminará abriéndole los ojos a la cruel realidad. Visión y realidad se entremezclan y se elevan contrapuestos, alcanzando la obra cierta duplicidad, gracias al artificio del postludio,todo ello basándose en un escena de una ópera de Giacomo Meyerbeer, titulada Roberto el Diablo.

El estilo de Korngold revela el talento, que posteriormente le convertiría en un exitoso compositor de B.S.O, con un innato sentido de la teatralidad, gran lirismo, seductora melodía y un dominio absoluto de la orquestación.La Música pasa por 2 niveles, uno dominado por la orquesta, proporcionando los auténticos valores emocionales y otro dramático-musical que agiliza la acción, pero a pesar, de la cuidadosa elaboración, de sus cualidades y de su gran belleza no han sido valores suficientes, para impedir que esta ópera se relegara al olvido, quizá también por el ambiente tenebroso y sórdido, creado a lo Edgar Allan Poe ,a pesar de todos los elementos maravillosos que posee, para seducir al gran público.Aún así, creo que es injusto que esta "SOBERBIA"ópera permanezca en el olvido.

En esta grabación está todo en su justa medida y en perfecto equilibrio, con unas sonoridades esplendentes y unas voces naturales, expresivas y cargadas de emociones. Leinsdorf rompe la etiqueta que se le adjudicó como director "FRIO", consiguiendo alternar el dramatismo con el lirismo con una perfección inmejorable. Los cantantes soberbios René Kollo, transmite el morbo y la nostalgia de su personaje Paul,que vive en un mundo de sueños, Carol Neblett representa un rol perfecto de una Marietta dulce,emotiva,expresiva pero realista, con un aria Glück, das mir verlieb (Marietta's Lied), que ha quedado en la Historía de la Música,como una de las mejores interpretaciones de este Aria, el Fritz de Hermann Prey con expresividad, emotivo, sensible con la gama de los agudos claros y destaca en la interpretación del "Mein Sehnen, mein wähnen" al comienzo del 2 Cd, también es destacable la actuación de la criada Brigitta, desempeñado por la Mezzo Rose Wagemann, con un canto capaz de expresar las partes suyas de gran dulzura y sentimientos. Sonido soberbio.

¡Ópera que en su reciente reedición está muy bien de precio, cargada de expresividad, dramatismo y emotividad a raudales, que se ha condenado inmerecidamente al olvido!.

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STEWART CROWE

Four and a half-but could be 5-stars for this sumptuously recorded and played version which rivals the best.

2012年11月29日に英国でレビュー済み

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This is one of the works whose place in my affections is way above its intrinsic merits, and it is a guilty pleasure in the same way as a slice of Sacher Torte and whipped cream-over rich, over indulgent but so enjoyable! We all know the jibes about " More Korn than Gold" but this work contains a great weight of high carat gold, as does the performance and recording. The plot , such as it is, is steeped in Freudian psychobabble and portrays Bruges as a city obsessed with and permeated by thoughts of death. When I've been there I've found it obsessed more with chocolate and strong beer, but perhaps those don't make strong enough dramatic elements. The reviewer who styles himself "Entartete Musik" is in my view grossly unfair in his review, and ungenerous with his rating. There is an issue that may deter some potential buyers, but overall this is a very accomplished and beautifully presented set, the 4th of the stereo era on CD. The default recording is the 1975 Leinsdorf, now at bargain price and sounding splendid still. It is the only recording that does not apply cuts to the score, and is undoubtedly a firm recommendation, but Kollo is an uningratiating Paul, often resorting to near shouting and reaches his rather harsh top notes in a clumsy manner. The Segerstam is a bargain also, and Katarina Dalayman dazzles as the finest Marie/Marietta yet-however Sunnegardh struggles with Paul and the best that can be said is that he gets through the role. 2003-4 was the year of the Korngold revival, with Vienna staging this work in a new production which I saw at that time. In Vienna the cast was Simon Gould and Angela Denoke-she was superb, he was stentorian.
When Orfeo came to record the performances from its transfer to the Salzburg Festival, the situation was reversed-Denoke was in tired, somewhat ragged voice but her new Paul , Torsten Kerl was magnificent and with the Frank of Bo Skovhus, this set under Runnicles has the best male casting at least, plus the glory of the Vienna Philharmonic. Of the above sets, only the Segerstam on Naxos provides a libretto.
The new set is sumptuously recorded, and has less cuts that the Segerstam or Runnicles sets, which last cruelly excises all the tolling bells, such a crucial motiv, from the scene 2 prelude. The exotic percussion effects really do come to the fore, and complement the rich strings and gloriously burnished brass of the cumbersomely titled Frankfurt Opern-und Museumsorchester (this is one orchestra which has 2 guises-the "Museum" is not a building full of relics, but the title of an Arts Society which promotes performances inspired by the "Muses"-hence Museum-much in the way of the Gesellschaft der Musikfreunde in Vienna. It would be like saying the "Vienna State Opera and Philharmonic Orchestra"-but I digress!).
Sebastien Weigle conducts a leisurely, lilting but beautifully shaped performance which does NOT drag and which is in fact not slow at all after the first tableau, making me wonder if "Herr Entartete" listened all the way through. Certainly, the work's big number "Glück das mir verblieb..." is taken at a very drawn out pace, but this gives the number a Wagnerian intensity and I find it totally gripping.
I have nothing but praise for Tatiana Pavlovskaya's rich, impassioned and utterly secure Marie/Marietta which runs close to Dalayman in excellence and for me surpasses Neblett. I'm not in the least bothered by some occasional unidiomatic pronunciation-if I were, I'd never listen to Nilsson in Wagner!
She excels in both roles, and is a real find. Similarly Michael Nagy is a fine Frank and the remaining roles are all well taken, and the eerie chorus is superb.
The contentious casting is yet again Klaus Florian Vogt who is NO Heldentenor, but does posses a beautiful light and lyrical tenor voice especially when not cast in roles to which he is totally unsuited such as Siegmund, Lohengrin and Parsifal. There is no baritone quality to Vogt's voice whatsoever, and he invariably sounds either too young or too weedy in the aforementioned roles. I'm less concerned with this in this work, as he does sing well and there is nothing to say that this Romantic lyrical approach should not be tried-the part was written for Tauber, so Korngold undoubtedly intended it for a darker voice, but if you don't find Vogt's voice too light, he both sings and acts well. If only it had been Kaufmann.....!
The booklet has a full libretto, beautiful colour photographs and interesting notes, and is in every way exemplary. I like this set, and I think many others will too. It is different, but by and large in a good way!
The ideal would be a confection of all of the above-Leinsdorf conducting, the Vienna Phil, Kerl as Paul-but Pavlovskaya vies for first choice as Marie and Nagy is not inferior to his rivals. Sonically, this is the best recorded yet and if you are looking for a recording, don't dismiss this one-it's really very good indeed.
Stage and audience noise is minimal. Four and a half stars, five if you like Vogt in the role more than I do. Recommended. Stewart Crowe

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Peter Andres

Make that SIX stars out of five! This opera is a work of genius!

2009年11月25日にアメリカ合衆国でレビュー済み

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Being a fan of Austrian composer Erich Wolfgang Korngold (1897-1957), I've waited for years to experience a performance of his 1920 three-act opera DIE TOTE STADT (German for "The Dead City"). Apart from collecting numerous recordings of the brilliant film scores he composed at the Warner Bros. studio in Hollywood in the 1930s and 1940s (from CAPTAIN BLOOD to DECEPTION), I've only obtained various recordings of the arias "Glück, das mir verblieb" and "Pierrot's Tanzlied" from DIE TOTE STADT, which are certainly two of the most beautiful compositions to ever come out of Korngold's head. I finally gave in to my spending urges and bought this two-disc set, which was recorded in 1975 and is considered to be the best available recording of this forgotten opera.

Freely adapted from Georges Rodenbach's 1892 novel "Bruges-la-Morte" by Erich and his father Julius (under the pen name "Paul Schott"), the story is simple: Paul (played by tenor René Kollo), mourning over the loss of his beautiful blonde wife Marie in the Belgian city of Bruges, is ecstatic to encounter her exact double one day, the flirtatious opera dancer Marietta (played by soprano Carol Neblett). After he invites Marietta to his home to sing and dance for him, she is surprised to find an elaborate "Temple of Memories" shrine to Marie there, containing a braid of her golden hair and a life-sized portrait of her. After Marietta leaves to attend her rehearsal, Paul, torn by his loyalty to the deceased Marie and his longing for the living Marietta, imagines his brief, doomed romance with Marietta that will bloom and wither in the weeks to come. Most of the opera takes place as a fantasy in Paul's troubled mind, from the ghost of Marie (also played by Neblett) appearing to Paul to encourage him to go out into life to a ghostly church procession approaching Paul's home the morning after Marietta has seduced Paul.

The casting of the two leads is nothing short of perfect, with Kollo displaying the right balance of romantic longing and obsessive, delusional mental instability in his powerful voice and Neblett providing a lovely soprano voice with appropriate touches of playfulness and mischief as Marietta. The Munich Radio Orchestra, conducted by Erich Leinsdorf, does complete justice to Korngold's extraordinary orchestrations and lovely melodies composed in the late Romantic style, which are as rich and filling as a slice of chocolate Sachertorte with fresh whipped cream from Korngold's Vienna. Almost everything musical is in here, ranging from a wind machine to a children's choir to a pipe organ to an army of church and clock bells! Incidentally, astute listeners of Korngold's film scores may easily spot brief orchestral passages that were later used in ANTHONY ADVERSE (1936), THE SEA HAWK (1940), KINGS ROW (1942), and DEVOTION (1946).

Although the CD comes with a libretto translated in English, I'd love to experience a live performance of DIE TOTE STADT in person someday. Although not for all tastes, this lushly romantic and heartbreaking opera stands as a milestone in the career of a musical genius. And Korngold was only 23 years old when this magnificent opera premiered simultaneously in Hamburg and Cologne on December 4, 1920! DIE TOTE STADT resonated with 1920s German audiences recovering from the traumatic events of World War I and soon went on to become one of the greatest hits of the decade.

My only complaints for this CD are its long tracks, which make it difficult to locate a certain section of the opera, and its somewhat high price. Despite these minor quibbles, this CD is a must-listen for any fan of Erich Wolfgang Korngold's film scores and/or classical music compositions. The intriguing story, gorgeous and haunting arias, and theme of love and loss are enough to make a statue weep.

For this Korngold fan, DIE TOTE STADT is well worth the price of admission and is something to cherish forever.

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Korngold: Die tote Stadt / Leinsdorf, Munich Radio Orchestra

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