Item description for 1957 DER ROSENKAVALIER RICHARD STRAUSS RECORD ALBUM ELISABETH SCHWARZKOPF OPERA

Click image to enlarge

Description

GREETINGS, FEEL FREE
TO

"SHOP NAKED"©

We deal in items we believe others will enjoy and want to purchase.

We are not experts.

We welcome any comments, questions, or concerns.

WE ARE TARGETING A GLOBAL MARKET PLACE.

Thanks in advance for your patronage.

Please Be sure to add WDG to your favorites list!

NOW FOR YOUR VIEWING PLEASURE…

Elisabeth Schwarzkopf, Otto Edelmann, Christa Ludwig, Teresa Stich Randall, Eberhard Waechter • Philharmonia Orchestra, Herbert Von Karajan / Richard Strauss
Der Rosenkavalier

Label: Angel Records ‎– 35645

Format: LP, Album, Mono

Country: US

Released: 1957

Genre: Classical

Style: Opera, Modern

Tracklist

A Act I (Part 1)

B Act I (Part 2)

C Act I (Conclusion)

D Act II (Part 1)

E Act II (Part 2)

F1 Act II (Conclusion)

F2 Act III (Part 1)

G Act III (Part 2)

H Act III (Conclusion)

Credits

Baritone Vocals [Herr Von Faninal, A Wealthy Parvenu] – Eberhard Waechter*

Bass Vocals [An Attorney] – Harald Proglhof*

Bass Vocals [Baron Ochs Auf Lerchenau] – Otto Edelmann

Bass Vocals [Police Officer] – Franz Bierbach

Choir [Children's] – Chorus Of Children From Bancroft's School*, Chorus Of Children From Loughton High School For Girls*

Chorus – Philharmonia Chorus

Chorus Master – Wilhelm Pitz

Composed By – Richard Strauss

Conductor – Herbert Von Karajan

Contralto Vocals [Annina, Valzacchi's Accomplice] – Kerstin Meyer

Liner Notes [Essay/introduction] – William Mann

Mezzo-soprano Vocals [Octavian, A Young Nobleman] – Christa Ludwig

Orchestra – Philharmonia Orchestra

Photography By [Richard Strauss] – Hermann Weishaupt

Repetiteur – Heinrich Schmidt

Soprano Vocals [A Milliner] – Anny Felbermayer

Soprano Vocals [Marianne, Sophie's Duenna] – Ljuba Welitsch

Soprano Vocals [Princess Von Werdenberg The Feldmarschallin] – Elisabeth Schwarzkopf

Soprano Vocals [Sophie, Herr Von Faninal's Daughter] – Teresa Stich-Randall

Tenor Vocals [A Landlord] – Karl Friedrich (2)

Tenor Vocals [A Singer] – Nicolai Gedda

Tenor Vocals [Major-domo Of Faninal & An Animal-seller] – Gerhard Unger

Tenor Vocals [Major-domo Of The Marschallin] – Erich Majkut

Tenor Vocals [Valzacchi, An Italian Intriguer] – Paul Kuen

Text By – Hugo von Hofmannsthal

Translated By [English Translation Of Libretto] – Walter Legge

Vocals [Four Footmen Of The Princess & Four Waiters] – Messr. Waechter*, Messr. Makjut*, Messr. Unger*

Vocals [Four Footmen Of The Princess] – Messr. Proglhof*

Vocals [Four Waiters] – Messr. Bierbach*

Vocals [Three Noble Orphans] – Mme. Ludwig*, Mme. Schwarzkopf*, Mme. Meyer*

An Opera in Three Acts

Time: The reign of the Empress Maria Theresa

Place: Vienna

The opera is sung in German.

Richard Strauss: Der Rosenkavalier

This libretto is published by permission of Boosey and Hawkes Inc., New York, N. Y.

Inner-sleeves state "Made in England"

The booklet says "Printed in the U.S.A."

SOUND TESTED
BUYER APPROVED
RECORDS PLAY EX+ (SIDE 2 HAS SMALL BLEMISH BUT PLAYS EX STILL)
COVER EX
INCLUDES 4 PAGE BOOKLET WITH CREDITS AND LYRICS
https://www.youtube.com/watch?v=HAw4iDDWby8
(EXAMPLE NOT ACTUAL)

-----------------------

FYI

Opera (English plural: operas; Italian plural: opere) is an art form in which singers and musicians perform a dramatic work combining text (called a libretto) and musical score, usually in a theatrical setting. Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble.

Opera is part of the Western classical music tradition. It started in Italy at the end of the 16th century (with Jacopo Peri's lost Dafne, produced in Florence in 1598) and soon spread through the rest of Europe: Schütz in Germany, Lully in France, and Purcell in England all helped to establish their national traditions in the 17th century. In the 18th century, Italian opera continued to dominate most of Europe (except France), attracting foreign composers such as Handel. Opera seria was the most prestigious form of Italian opera, until Gluck reacted against its artificiality with his "reform" operas in the 1760s. Today the most renowned figure of late 18th century opera is Mozart, who began with opera seria but is most famous for his Italian comic operas, especially The Marriage of Figaro (Le Nozze Di Figaro), Don Giovanni, and Così fan tutte, as well as The Magic Flute (Die Zauberflote), a landmark in the German tradition.

The first third of the 19th century saw the high point of the bel canto style, with Rossini, Donizetti and Bellini all creating works that are still performed today. It also saw the advent of Grand Opera typified by the works of Auber and Meyerbeer. The mid-to-late 19th century was a "golden age" of opera, led and dominated by Wagner in Germany and Verdi in Italy. The popularity of opera continued through the verismo era in Italy and contemporary French opera through to Puccini and Strauss in the early 20th century. During the 19th century, parallel operatic traditions emerged in central and eastern Europe, particularly in Russia and Bohemia. The 20th century saw many experiments with modern styles, such as atonality and serialism (Schoenberg and Berg), Neoclassicism (Stravinsky), and Minimalism (Philip Glass and John Adams). With the rise of recording technology, singers such as Enrico Caruso became known to audiences beyond the circle of opera fans. Operas were also performed on (and written for) radio and television.

Operatic terminology

The words of an opera are known as the libretto (literally "little book"). Some composers, notably Richard Wagner, have written their own libretti; others have worked in close collaboration with their librettists, e.g. Mozart with Lorenzo Da Ponte. Traditional opera, often referred to as "number opera", consists of two modes of singing: recitative, the plot-driving passages sung in a style designed to imitate and emphasize the inflections of speech, and aria (an "air" or formal song) in which the characters express their emotions in a more structured melodic style. Duets, trios and other ensembles often occur, and choruses are used to comment on the action. In some forms of opera, such as Singspiel, opera comique, operetta, and semi-opera, the recitative is mostly replaced by spoken dialogue. Melodic or semi-melodic passages occurring in the midst of, or instead of, recitative, are also referred to as arioso. During the Baroque and Classical periods, recitative could appear in two basic forms: secco (dry) recitative, sung with a free rhythm dictated by the accent of the words, accompanied only by continuo, which was usually a harpsichord and a cello; or accompagnato (also known as strumentato) in which the orchestra provided accompaniment. By the 19th century, accompagnato had gained the upper hand, the orchestra played a much bigger role, and Richard Wagner revolutionised opera by abolishing almost all distinction between aria and recitative in his quest for what he termed "endless melody". Subsequent composers have tended to follow Wagner's example, though some, such as Stravinsky in his The Rake's Progress have bucked the trend. The terminology of the various kinds of operatic voices is described in detail below.

History

The Italian word opera means "work", both in the sense of the labour done and the result produced. The Italian word derives from the Latin opera, a singular noun meaning "work" and also the plural of the noun opus. According to the Oxford English Dictionary, the Italian word was first used in the sense "composition in which poetry, dance, and music are combined" in 1639; the first recorded English usage in this sense dates to 1648.

Dafne by Jacopo Peri was the earliest composition considered opera, as understood today. It was written around 1597, largely under the inspiration of an elite circle of literate Florentine humanists who gathered as the "Camerata de' Bardi". Significantly, Dafne was an attempt to revive the classical Greek drama, part of the wider revival of antiquity characteristic of the Renaissance. The members of the Camerata considered that the "chorus" parts of Greek dramas were originally sung, and possibly even the entire text of all roles; opera was thus conceived as a way of "restoring" this situation. Dafne is unfortunately lost. A later work by Peri, Euridice, dating from 1600, is the first opera score to have survived to the present day. The honour of being the first opera still to be regularly performed, however, goes to Claudio Monteverdi's L'Orfeo, composed for the court of Mantua in 1607. The Mantua court of the Gonzagas, employers of Monteverdi, played a significant role in the origin of opera employing not only court singers of the concerto delle donne (till 1598), but also one of the first actual "opera singers"; Madama Europa.

-------------------------

Der Rosenkavalier (The Knight of the Rose or The Rose-Bearer), Op. 59, is a comic opera in three acts by Richard Strauss to an original German libretto by Hugo von Hofmannsthal. It is loosely adapted from the novel Les amours du chevalier de Faublas by Louvet de Couvrai and Moliere's comedy Monsieur de Pourceaugnac. It was first performed at the Konigliches Opernhaus in Dresden on 26 January 1911 under the direction of Max Reinhardt, Ernst von Schuch conducting. Until the premiere the working title was Ochs auf Lerchenau. (The choice of the name Ochs is not accidental, for in German "Ochs" means "ox," which describes the character of the Baron throughout the opera.)

The opera has four main characters: the aristocratic Marschallin; her very young lover, Count Octavian Rofrano; her brutish cousin Baron Ochs; and Ochs' prospective fiancee, Sophie von Faninal, the daughter of a rich bourgeois. At the Marschallin's suggestion, Octavian acts as Ochs' Rosenkavalier by presenting a ceremonial silver rose to Sophie. However, the young people fall in love on the spot, and soon devise a comic intrigue to extricate Sophie from her engagement. They accomplish this with help from the Marschallin, who then yields Octavian to the younger woman. Though a comic opera, the work incorporates some weighty themes (particularly through the Marschallin's character arc), including infidelity, aging, sexual predation, and selflessness (or the lack of it) in love.

There are many recordings of the opera and it is regularly performed.

(THIS PICTURE FOR DISPLAY ONLY)

-----------------------------

Thanks for choosing this sale. You may email for alternate payment arrangements. We combine shipping. Please pay promptly after the auction. The item will be shipped upon receipt of funds. WE ARE GOING GREEN, SO WE DO SOMETIMES USE CLEAN RECYCLED MATERIALS TO SHIP.

Please leave feedback when you have received the item and are satisfied. Please respond when you have received the item.

*****

5*'s

*****

If you were pleased with this transaction, please respond with all 5 stars! If you are not pleased, let us know via e-mail. Our goal is for 5-star service. We want you to be a satisfied, return customer.

Please express any concerns or questions. More pictures are available upon request. The winning bid will incur the cost of S/H INSURED FEDEX OR USPS. See rate calculator or email FOR ESTIMATE. International Bidders are Welcome but be mindful if your country is excluded from safe shipping.

Thanks for perusing THIS and ALL our auctions.

Please Check out our other items!

WE like the curious and odd.

BUY, BYE!!