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Symphonic Music - Released November 21, 2006 | Naxos

Booklet Distinctions 10 de Classica-Répertoire - The Qobuz Ideal Discography

Full Operas - Released June 22, 2018 | Warner Classics

Distinctions 5 de Diapason
If you can have only one recording of Mozart's Don Giovanni, should this be the one? Yes. Taped at the Salzburg Festival on August 3, 1954, it features a tremendous cast from top to bottom, plus the best possible orchestral playing, and, beyond all argument, the greatest Mozart conductor in a performance of tremendous effectiveness and overwhelming spiritual impact. Why? Start with the cast. Cesare Siepi is a sexy and dangerous Don Giovanni. Elisabeth Schwarzkopf is a strong and self-willed Donna Elvira. Elisabeth Grümmer is a heartrendingly affecting Donna Anna. Otto Edelmann is a robust and hilarious Leporello. Anton Dermota is so good he almost makes Don Ottavio appealing. Erna Berger is a saucy and seductive Zerlino. The young Walter Berry is so good he almost makes Masetto register as a character. Deszö Ernster is scary enough as the Commendatore when he's alive in Act I; when he returns from the dead at the end of Act II, he's flat-out terrifying. But, superlative as the singing is, it's the conductor who makes the performance and Wilhelm Furtwängler brings more to the work and gets more out of the work than any other recorded conductor. He brings to the work his uniquely luminous sound world, his intensely dramatic interpretations, his pronounced preoccupation with the metaphysical, and his irresistible inclination toward the transcendental. He gets out of the work its almost-but-not-quite post-Enlightenment mind, its almost-but-not-quite pre-Romantic heart, its nearly but-not-entirely Austrian-Catholic soul and its nearly but-not-completely rebellious spirit. The amazing thing is that, whether beforehand you agree that they're there, he gets these things out of the work. The more amazing thing is that afterwards you agree without reservations that they've always been there. This is the only recording of Don Giovanni to have if you're having only one. EMI's sound is distant but honest.

Classical - Released February 28, 2003 | Warner Classics

Distinctions The Qobuz Ideal Discography

Opera Extracts - Released February 1, 2015 | Myto Historical

Distinctions 4 étoiles de Classica

Symphonic Music - Released September 26, 2006 | Naxos

Booklet Distinctions 9 de Classica-Répertoire

Symphonic Music - Released January 1, 1955 | BnF Collection

Hi-Res Booklet Distinctions The Qobuz Ideal Discography

Classical - Released April 29, 2008 | Naxos

Booklet Distinctions 9 de Classica-Répertoire

Classical - Released November 9, 2018 | Warner Classics


Full Operas - Released May 27, 1991 | Warner Classics


Symphonic Music - Released November 24, 2017 | audite Musikproduktion

Hi-Res Booklet
Volume 12 of the LUCERNE FESTIVAL editionpresents a sensational archive discovery: a live recording of the Manfred Overture from the 1953 festival, until recently presumed lost, and now released for the very first time. In 1953, Furtwängler also conducted two of his all-time favourites, Beethoven's Eroica and Schumann's Fourth Symphonies. Until now, these exciting interpretations were only available in technically flawed recordings made by enthusiasts. For this edition, the newly rediscovered original tapes from the archives of the SRF Swiss Radio and Television were made available. Wilhelm Furtwängler, invited to Lucerne for the first time in 1944, was one of the defining artists of the LUCERNE FESTIVAL's first decades. From 1947, he performed in Lucerne each summer (with the exception of 1952, when he had to cancel due to illness) until his final concert in August 1954, a few months before his death (recording also available in the "Historic Performances" series: audite 95.641). In total, Furtwängler conducted eighteen of the festival's concerts, sixteen of which with the Swiss Festival Orchestra who also played on 26 August 1953. Furtwängler's motto was to be "faithful to the spirit" rather than "faithful to each note". This Lucerne recording demonstrates his methodical approach, especially by means of a precisely calculated tempo architecture: Furtwängler's seemingly arbitrary tempo modifications hold structural significance, dynamising the musical form. Illustrated with numerous photos from the festival's archive, the 32-page booklet in three languages discusses this approach, whilst also referring to other famous recordings, such as Furtwängler's studio recording of Schumann's Fourth Symphony with the Berlin Philharmonic, made only a few months earlier. © Audite

Classical - Released October 8, 2014 | BnF Collection


Classical - Released August 24, 2018 | Warner Classics


Classical - Released November 24, 2016 | The Golden Legacy of Music


Classical - Released January 1, 2000 | Naxos


Classical - Released March 27, 2014 | Masterpieces


Classical - Released November 21, 2014 | audite Musikproduktion

Hi-Res Booklet

Symphonic Music - Released January 1, 1954 | BnF Collection

Hi-Res Booklet

Full Operas - Released March 19, 2009 | Archipel - Walhall


Classical - Released May 31, 2000 | Urania


Symphonic Music - Released December 2, 2013 | Tahra