Richard Strauss (1864-1949)
Der Rosenkavalier (1910)
Maria Reining (soprano): Feldmarschallin; Ludwig Weber (bass): Baron Ochs; Sena Jurinac (soprano): Octavian; Alfred Poell (baritone): Faninal; Hilde Güden (soprano): Sophie
Vienna Philharmonic Chorus & Orchestra/Erich Kleiber
rec. 29 May-28 June 1954, Grosser Saal, Musikverein, Vienna
mono remastered in XR Ambient Stereo
Pristine Audio PACO 228 [3 CDs: 197]

My initial reaction to this is that it leaves the listener with a warm glow of optimism that yes, it is possible to get virtually everything right in the enterprise of making a studio recording of an opera.  I have come to this release hard on the heels of experiencing a rather dismal new recording of Lucia di Lammermoor.  I can only add that hearing this again after a gap of nearly ten years has restored my faith in the power that an opera recording has to touch one’s heart.

Erich Kleiber’s 1954 recording is perhaps the most glamorous complete recording ever made of this opera.  It tends to be a little overlooked these days because of its being available only in mono sound. Happily, with this splendid refurbishment by Pristine Audio, that limitation has finally been overcome.

Pristine has used a very clean sounding LP copy as the foundation for this release. Their XM process has given the sound a wonderful fresh appeal that at times convinces one that it is in true stereo. The voices now have a bit of extra resonant bloom but not so much as to call attention to the process. Unfortunately even the magicians at Pristine have been unable to overcome the aggressively edgy string tone that begins the opening prelude; however, one’s ear adjusts to this very quickly and, within a minute or two, one is blissfully unaware of any harsh sounds.

The central performance on these CDs is that of Maria Reining’s exquisitely detailed portrait of the Marschallin. She, like Elisabeth Schwarzkopf after her, presents a characterization of this mature woman filled with word pointing and tonal shading to illustrate the reflective depth of the Princess, in contrast to the less insightful behavior of the other three main characters.  The difference is that here, unlike Schwarzkopf for Von Karajan, Reining’s portrayal never ventures into fussiness. Sadly, there is no disguising the fact that at the age of 51, when she made this recording, she had acquired a fairly matronly sound; however, it is not out of place dramatically. The Marschallin’s ageing process is a constant driving force in the plot; in addition, matronliness was something which audiences of that time had grown accustomed to in other great singers of the part, including the much loved Lotte Lehmann. In all other regards Reining has retained great sweetness of timbre. One of my litmus tests for any Marschallin is how each singer manages the phrase when she makes the excuse of having a migraine to the Baron Ochs in Act One. Many singers underline the word “migraine” too heavily. That may work perfectly fine onstage but Strauss’ orchestration characterizes the moment so perfectly that it just won’t do on a recording. I am charmed by how Reining doesn’t overpoint this brief moment. Schwarzkopf, too, captures it perfectly. Strauss would use this same instance of the soprano comically singing the word “migraine” to delightful effect in his semi-autobiographical opera Intermezzo (Review).

Sena Jurinac’s Octavian is sung with boyish, meltingly lovely tone. She is arguably the finest Octavian on any recording. Jurinac’s boyishness is a far cry from Brigitte Fassbaender’s even more mannish sound on the DG DVD for Carlos Kleiber, but Jurinac’s more silvery sound has definite compensations. She also refrains from vocally overacting when she is disguised as “Mariandl’.

Hilde Güden’s Sophie is sweet and light. When she made this recording in the early 1950’s, her vocal timbre was still as pure and fresh as an alpine breeze. In general, she is preferable to the similar, but annoyingly whipped-froth-sounding Teresa Stich Randall, who recorded the role for Herbert von Karajan.

Ludwig Weber’s Baron Ochs is a far cry from the usual country boor he is shown as on stage. Weber’s characterization is downright loveable as he presents an Ochs providing glimpses of nobility alongside the overbearing masculinity that is such an essential part of Och’s character. Vocally, he is as smooth as silk, with a fabulous lower range that easily encompasses the low E that closes the Second Act. One can easily picture numerous village girls lining up to be seduced by this patrician charmer with a taste for the pleasures of the rustic boudoir.

The smaller roles are ably delivered with full marks for character by the ensemble cast which was a hallmark of that wonderful period at the Vienna State Opera. There is even an appearance by the very young Walter Berry in the tiny role of the Police Commissar.

Erich Kleiber’s direction of the Vienna Philharmonic is simply mesmerizing, even in the more bombastic sections of Strauss’ score. The ebb and flow he achieves never sags for a moment, showing his love of and care for this music. He also directs with intelligence, clearly having thought through every expression in the orchestration. One example of this is the tiny ritard he places just before Octavian’s “Ich bin dein bub” in the first scene. The effect it achieves is utterly captivating. One fascinating difference between Kleiber and von Karajan’s approach to the music is that Kleiber takes a brisk walk through the scene of the presentation of the rose; indeed, it is one of the fleetest on record. Karajan takes a more leisurely stroll through this music, relishing the orchestration rather more. I find both approaches engaging, although for many listeners, the superb stereo sound of the Karajan version on EMI probably tips the balance in its favour (review).

In summation all hail to Pristine Audio for returning this wonderful recording to the catalogue again in splendidly refurbished sound.  I have long been convinced that my favorite Marschallin of all time was the wonderfully understated, yet practical portrayal by Christa Ludwig in Bernstein’s 1971 recording, or Böhm’s live Salzburg version from 1969 (review). My allegiance to Ludwig has not changed; however, when I want to hear  a supremely convincing alternate version, I think one could no better than this gem of a recording from Erich Kleiber, which actually surpasses the achievement his beloved early stereo recording of Le nozze di Figaro (review). Don’t be put off by the unflattering photo of Kleiber that Pristine chose to use for the cover art. While listening to this, the impression one receives of being immersed in a living, breathing, theatrical performance is truly intoxicating.

Mike Parr

Previous review: Ralph Moore (October 2025)

Availability: Pristine Audio

Other Cast
Judith Hellwig (soprano): Leitmetzerin
Peter Klein (tenor): Valzacchi
Hilde Rössl-Majdan (mezzo-soprano): Annina
Walter Berry (bass-baritone): Police Commissioner
Harald Pröglhöf (bass): Major Domo
August Jaresch (tenor): Faninal’s Major Domo
Franz Bierbach (bass): Notary
Anton Dermota (tenor): Italian Singer
Berta Seidl (soprano): Milliner
Erich Majkut (tenor): Landlord & Animal Seller