Track Listing

Disc 1:

1. Die Fledermaus: Overture
2. Die Fledermaus: Act 1 - No. 1 Introduction: 'Taubchen, Das Entflattert Ist'
3. Die Fledermaus: Act 1 - Dialog: 'Taubchen, Das Entflattert Ist'
4. Die Fledermaus: Act 1 - No. 1a (Duettino): 'Ach, Ich Darf Nicht Hin Zu Dir!'
5. Die Fledermaus: Act 1 - Dialog: 'Die Arme Tante'
6. Die Fledermaus: Act 1 - No. 2 Terzett: 'Nein, Mit Solchen Advocaten'
7. Die Fledermaus: Act 1 - Dialog: 'Sal Mal, Also Statt Funf Musst Du Acht Tage Sitzen?'
8. Die Fledermaus: Act 1 - No. 3 Duett: 'Komm Mit Mir Zum Souper'
9. Die Fledermaus: Act 1 - Dialog: 'Seid Ihr Verruckt Geworden?'
10. Die Fledermaus: Act 1 - No. 4 Terzett: 'So Muss Allein Ich Bleiben'
11. Die Fledermaus: Act 1 - Dialog: 'Ach...Diese Manner'
12. Die Fledermaus: Act 1 - No. 5 Finale: 'Trinke, Liebchen, Trinke Schnell...Mit Mir So Spat Im Tete-a-tete...Mein Schones, Grosses Vogelhaus'

Disc 2:

1. Die Fledermaus: Act 2 - No. 6 Introduktion: 'Ein Souper Heut Uns Winkt'
2. Die Fledermaus: Act 2 - Dialog: 'Adele, Wer Hat Denn Dich Hierher Eingeladen?'
3. Die Fledermaus: Act 2 - No. 7 Couplets: 'Ich Lade Gern Mir Gaste Ein'
4. Die Fledermaus: Act 2 - Dialog: Durchlaucht, Hier Ist Ihre Brieftasche Wieder'
5. Die Fledermaus: Act 2 - No. 8 Ensemble Und Couplets 'Ach, Meine Herr'n Und Damen'
6. Die Fledermaus: Act 2 - 'Mein Herr Marquis'
7. Die Fledermaus: Act 2 - Dialog: 'Hoheit, Ein Chevalier Chagrin Ist Da'
8. Die Fledermaus: Act 2 - No. 9 Duett: 'Dieser Anstand, So Manierlich'
9. Die Fledermaus: Act 2 - Dialog: 'Ah, Da Ist Ja Die Schone Unbekannte!'
10. Die Fledermaus: Act 2 - No. 10 Csardas: 'Klange Der Heimat'
11. Die Fledermaus: Act 2 - Dialog: 'Bravo! Bravissimo!'
12. Die Fledermaus: Act 2 - No. 11 Finale: 'Im Feuerstrom Der Reben'
13. Die Fledermaus: Act 2 - 'Herr Chevalier, Ich Grusse Sie! ... Merci, Merci, Merci!... Bruderlein Und Schwesterlein'
14. Die Fledermaus: Act 2 - Dialog: 'Wir Werden Jetzt Schen Das Ballet'
15. Die Fledermaus: Act 2 - Polka: Unter Donner Und Blitz
16. Die Fledermaus: Act 2 - 'Genug Damit, Genug!'
17. Die Fledermaus: Act 3 - No. 12 Entr'acte
18. Die Fledermaus: Act 3 - Dialog: 'Taubchenm das entflattert ist'
19. Die Fledermaus: Act 3 - No. 13 Melodram: 'So, D War'n Wir Ja Zu Hause Im Vogelhaus'
20. Die Fledermaus: Act 3 - Dialog: 'Ah, Der Herr Direktor Ist Entschlafen'
21. Die Fledermaus: Act 3 - No. 14 Couplets: 'Speil' ich Die Unschuld Vom Lande'
22. Die Fledermaus: Act 3 - Dialog: 'Herr Direktor!'
23. Die Fledermaus: Act 3 - No. 15 Terzett: 'Ich Stehe Voll Zagen'
24. Die Fledermaus: Act 3 - Dialog: 'Also, Du Willst Mir Vorwufe Machen?'
25. Die Fledermaus: Act 3 - No. 16 Finale: 'O Fledermaus, O Fledermaus'

Product Details

• Amazon Sales Rank: #117583 in Music
• Released on: 1999-10-04
• Number of discs: 2
• Format: Import

Customer Reviews

Not a safe choice, but a must for Kleiber admirers
The most important aspect of this recording is Kleiber's conducting. His records are so few (three other operas and about a half-dozen symphonic recordings) that even if this set was seriously flawed, it could not be ignored. Fortunately, his conducting mostly captures the spirit of the score, even if there is an emphasis on discipline here that is not apparent in other, Vienna-based recordings of this opera (this set was recorded in Munich, in the legendary Herkules-Saal of the Residenz palace). With one major exception, the cast could hardly be bettered. In particular, the scandalously underrated Julia Varady is outstanding as Rosalinde - and how nice to have a native Hungarian singing the czardas solo in Act II! Similarly, the late Lucia Popp is an inspired choice as Adele. The male lineup (Rene Kollo, Hermann Prey, and Bernd Weikl) is also quite good. The big shortcoming is the casting of the falsetto Iwan Rebroff as Prince Orlofsky. Those coming to this opera anew will probably find his performance amusing, but those who have heard Brigitte Fassbaender on either the Previn or the Boskovsky sets can attest to how much better it is to have a firm mezzo-soprano in this role. The remastered recording is full and well-balanced. Unlike many Deutsche Grammophon recordings of German opera from the 1970s, the star singers, and not actors, are used to speak the dialogue. The set includes two booklets fit into a standard double jewel box. The summary and libretto (with translation) are beyond reproach; unfortunately, as with many reissues in the DG Originals series, the essay concentrates on the performer at the expense of a discussion of the work itself. The mid-price is a big advantage of this set. Choice here lies largely between this recording, Previn, and Boskovsky.

No, there is no better Fledermaus around
Carlos Kleiber can be a very difficult man on the podium, but here he is in high spirits and conducts a masterful performance. It's both fiery and fun, but never hard driven. He is lucky to have 2 glorious sopranos in Julia Varady and Lucia Popp who are peerless as Rosalinde and Adele. Varady in particular gives a ravishing performance with commanding vocal security, no other soprano even comes close, not Schwarzkopf, not Gueden and certainly not Te Kanawa. I guess Iwan Rebroff is an acquired taste, personally, I think he is fun and does a very good job. The Munich orchestra is excellent and so is the sound. The Karajan/Decca set with the famous gala is pleasing too, but after listening to this set for 20 years, it is my favourite.

A top notch Fledermaus from Kleiber's golden years as a conductor
Recorded in 1975, this recording of Johann Strauss's most famous comic opera, "Die Fledermaus", is top notch, from Carlos Kleiber's golden years as a conductor. Carlos Kleiber (1930-2004) made few studio recordings, so this is very important. But he did have favorite works he recorded in the studio: this "Die Fledermaus", Weber's "Die Freischutz" (1973), Verdi's "La Traviata" (1976), and Wagner's "Tristan und Isolde" (1981), all for Deutsche Grammophon. Kleiber has a superb cast, with Hermann Prey, Julia Varady, and Bernd Weikl in the leading roles. Kleiber favors fast tempos, keeping the flow and motion of the opera moving along, but he knows where to take time when there is a tempo change or for a slower tempo aria.

The sound is very clear, but the bass sounds a little weak, often typical with DG recordings, so a loudness boost may be necessary on some systems. There is spoken dialogue aplenty between numbers, but it is never too much, nor does the overall architecture of the opera sag under it's own weight, often a danger in singspiel operas, where there is alot of spoken dialogue.

I also reviewed Kleiber's DVD "Fledermaus", from 1987 (DG DVD) and this recording has much in common with the later live production with the same orchestra: Bavarian State Opera, but mostly different soloists. I personally prefer Hermann Prey as Eisenstein to Eberhard Waechter; Prey's voice seems more mellow, and he sounds more musical to me than Waechter. However, a direct comparison is hard because this is a STUDIO recording, and the DVD is LIVE.

Whichever Kleiber "Fledermaus" you purchase, you can't go wrong. It all boils down to personal preferences, and if you want an audio (this recording) or DVD format for Strauss's great comic opera.