Теги: Мария Райнинг, Карл Бём, Штраус Рихард, Дафна

В копилку штрауссианы. Буколическая трагедия из совсем не буколического 1944 года. Небесная Мария Райнинг в роли, может быть, самой рафинированной штраус-героини. И, что важно, – в наилучшей вокальной форме. Запись Венской оперы. Исполнители:

Peneios Herbert Alsen
Gaea Melanie Frutschnigg
Daphne Maria Reining
Leukippos Anton Dermota
Apollo Karl Friedrich

Венский филармонический оркестр, хор Венской оперы, Карл Бём

Бонус №1: хоровая (изначально планировавшаяся у Штрауса) концовка в исполнении хора Венской оперы.
Бонус №2: фрагменты записи первой постановки (1938 год) с М. Тешемахер (Дафна) и Т. Ральфом (Аполлон)

Ниже - текст рецензии с http://www.gramophone.net/

Had Reining's best years not coincided with the war she would surely be rated even more highly than she is as a Straussian soprano. As it is, this previously unissued 1944 performance confirms her gifts, both vocal and interpretative, in this field. At the beginning she conveys all Daphne's nature-loving soul, then her interest in Apollo after his sudden arrival and kiss and, most convincing of all, pours out her remorse over the body of Leukippos, Daphne's childhood companion and thwarted lover. The radiant, supple voice, soars easily into the taxing role, at least until the high B flats in her final solo show her to be tiring. She recovers for the wordless solo right at the end of the opera.
In the even more demanding part of Apollo, Friedrich, an underrated tenor, then a valued member of the Vienna ensemble, sings unflinchingly and tirelessly, seemingly happier the higher his music goes. He also suggests all Apollo's fiery ardour and impulsive nature. Dermota's more plangent tone is ideal for Leukippos, while Alsen is a grave, sonorous Peneios. BOhm conducts a score dedicated to him with all the affection, understanding and conviction again shown in his later, 1964 live performance from the Vienna State Opera on DG (11/94). He also conducts the three extracts recorded in Dresden after the premiere in 1938. Here Teschemacher sings her solos gloriously, but shows little of Reining's realization of the role's inner meaning. Ralf is a heroic Apollo.
The two CDs also include the Epilogue to Daphne for unaccompanied chorus that Strauss originally intended as the opera's finale. It is a lovely piece in itself, although Strauss was right to discard it in Favour of the solo/orchestral passage that replaced it. This brings the work to a more succinct and poignant close. The 1976 account is splendidly sung. On this occasion Preiser, true to form, offer no information whatsoever about its history and wrongly suggest the 1938 excerpts were recorded live when they were, in fact, studio performances made by EMI Electrola and released at the time. AB

Это - лучшая запись Дафны, что я слышал. Конечно, здесь собран состав мечты (кроме Райнинг - Альзен, Дермота, Фрутшнигг (более известная, как Мелада Бугаринович...)), но есть еще один фактор. "Дафна" – вещь нарочито тонкая, ее даже называют эскапистской. В то грубое время в Вене, накануне бомбежек, она звучит почти вызывающе. Отчаянная и обреченная красота.

Дмитрий Смирнов (dmnsmr) обновил ссылку:

http://files.mail.ru/CBBE80C904B64414B0B3C88CA585A144