Word: krausse
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Strauss died in 1949, five years after the war's end. Perhaps last week's performance came too soon: the audience seemed only mildly impressed, the applause was almost perfunctory. True, the music had its passages of Strauss lyricism, and Conductor Clemens Krauss made the most of them. But the score bore little resemblance to the lilting Rosenkavalier or the passionate Salome: it was closer to the allegorical Frau ohne Schatten or Die Aegyptische Helena of the composer's later years, and it sometimes made unreasonable vocal and emotional demands on the singers. Its story, a retelling...
Haydn: The Seasons (Trude Eipper-le, soprano; Julius Patzak, tenor; Georg Hann, bass; the Vienna State Opera Chorus, the Vienna Philharmonic Orchestra, Clemens Krauss conducting; Haydn Society, 6 sides LP). Haydn's last oratorio, given a dramatic performance. Recording: good...
Richard Strauss had finished his Capriccio in 1942. In his 70s, the once-lurid old composer had turned headily intellectual. The basis of his last operatic plot was an argument that had long fascinated him: Which should come first, words or music? With Friend Clemens Krauss, conductor of the Munich Opera, writing the libretto, Strauss had set about transferring the argument to the stage...
Wagner: The Flying Dutchman (Hans Hotter, baritone; Viorica Ursuleac, soprano; George Hann, bass; Karl Ostertag, tenor; Franz Klarwein, tenor; Luise Wilier, contralto; Chorus and Orchestra of the Bavarian State Opera, Clemens Krauss conducting; Mercury, 8 sides LP). First complete recording of Wagner's early opera. Performance and recording: good...
Haydn: The Creation (Trude Eipperle, soprano; Georg Hann, bass; Julius Patzak, tenor; Isolde Ahlgrimm, cembalo; Vienna State Opera Chorus, Vienna Philharmonic Orchestra, Clemens Krauss conducting; Haydn Society, 6 sides LP). This is one of Haydn's finest works, but paradoxically, one that sounds least like Haydn. Already in his late 50s, Haydn went to London, heard the choral singing in the huge Handel Festival of 1791, and returned to Vienna feeling liberated from the classical form he himself had done so much to develop. When he got around to composing this work, seven years later, he followed his predecessor...