convincing. And:a's version enjoys the added should he sufficient to illustrate the point. Performance: First-rate advantage of being complete on one side. DGG's sound is excellent throughout both Recording: Stage realism without the annoying and unnecessary break sides of the disc. D. II. Munich is the Bayreuth of - imposed by Mercury between the slow move- it honors him lavishly and with a proud ment and finale. and the recorded sound is OO OO RICHARD STRAUSS: . sense of ownership year :titer year. The cast both richer and better balanced in orchestral Karl Christian Kohn (bass), Graf Waldner; of this Ar.rhedl.t. in a stage performance sonority. This is for me the Schumann Piano Ira Malaniuk (mezzo-soprano). Adelaide; captured during the 1963 operatic season, Concerto recording to have for the present- Lisa della Casa (soprano). Ar.thella: Anne- typifies the festive excellence that is Strauss' and perhaps for a long time to come. liese Rothenberger (soprano). Zdenka; due in his natise city. As for the recording If Anda and Kuhelik had done as well Dietrich Fischer-Dieskau (baritone), Man- itself, it will considerably ads ance the cause by the Grieg Concerto, this disc would be dryka; Georg P.askuda (tenor). Matted: of perpetuating live performances. It has magnificent, but unhappily, the refinements Fritz Uhl (tenor). Elemer: Carl Hoppe been accomplished with great skill, and the of phrasing. dynamics. and attacks that are (tenor), Dominik; Horst Günter (baritone), sense of an actual performance is vividly apt for Schumann do not necessarily befit Inmoral; Eva Maria Rogner (soprano), preserved. The stereo serves as a faithful Grieg's more rugged muse, despite the ob- Fiakermilli: Chorus mirror of staging elasticity, and the audible vious surface similarities between the two and Orchestra, Joseph Keilherth cond. DEUT- marks of the performance-background mur- scores. A single hearing of the Solomon SCHE GRAMMOI'HON SI.PM 138883/4/5 murs. rushing feet. clinking and breaking of reading on Capitol (which is coupled too three I2 -inch discs S17.98, LPM 18883/4/5 glasses-are presented in a realistic perspec- with the Schumann) or Rubinstein's on RCA S17.98. tive seldom equaled by studio simulation. With so much going for this project. I suppose it borders on ingratitude to point out that the end result falls short of an earlier C-11 studio recording (London OSA 1404). For- C FOR THE FIRST TIME IN RECORD HISTORY tunately. the two sets share the same Arahella `;\"1 NOW ONE PRICE- -I.isa della Casa-whose portrayal is again 1 FOR MONO AND STEREO! distinguished by elegance. poignancy, and 5198 innate nobility. Occasional traces of effort and a tendency to waver from tonal center EVERYMAN CLASSICS disclose that her command of vocal resources (0) is no longer what it was, but she can still and ,a11 Vanguard Demonstration Discs float tones of rare loveliness and limpidity. Distinguished recordings meeting .the highest standards of engineering excellence: Her cherishable interpretation is brilliantly Wide-ranging repertory of masterpieces from the Baroque to the 20th century. paired with the radiant Zdenka of Anneliese Rothenherger. who offers :as much character- ization as her absurd role permits and as "Everyman Classics... stereo recordings that are low-priced and superb." Cleveland Plain Dealer much tonal beauty as we have a right to Three of the first five Everyman Classics releases were cited as the best available -recordings of these works at any price, by Martin Bookspan in HiFi/Stereo, June, 1964. expect. "Looking for bargains, Vanguard's Demonstration Disc series has it all over everything else in the Dietrich Fischer-Dieskau attacks Man- book. The engineering is the highest of high fidelity...The performances and the sound make them worth even the most jaded listener's attention." San Francisco Chronicle dryka's frequently awkward and unyielding music with :all the enormous art at his com- EVERYMAN CLASSICS Vanguard mand. hut with only intermittent success. He New Demonstration Discs is too great :tn artist ever to he less than Releases adequate. but George London in the com- RIMSKY-KORSAKOV: Scheher- SIBELIUS: Symphony No. 5 & Pohjola's Daughter petitive set offers a weightier sound and Barbirolli cond.) SRV-137 & SRV-137 SD azade (Rossi cond.) BEETHOVEN: Piano Concerto No. 5, "Emperor" SRV-103 & SRV-103 SD darker tone quality that are more appropriate (Mindru Katz, piano; Barbirolli. cond.) LISZT: Hungarian Rhapsodies to the role, and London can deal more effec- SRV-128 & SRV-128 SD Nos. 1-4 (Fistoulari cond.) TCHAIKOWSKY: Symphony No. 5 & Marche Slave SRV-108 & SRV-108 SD tively with the part's unreasonable vocal (Barbirolli cond.) SRV-t39 & SRV-139 SD LISZT: Hungarian Rhapsodies demands. Similarly. DGG's Christian Kohn, MOZART: Piano Concertos No. 20 in D minor, K. 466 Nos. 5. 6 & ENESCO: Rumanian & No. 24 in C minor, K. 491 (Denis Matthews, piano: Rhapsodies Nos. 1, 2 (Fistoulari certainly competent as Graf Waldner, cannot Swarowsky, cond.) SRV-142 & SRV-142 SD & Golschmann cond.) match Otto Edelm:ann's inventive and flavor- VIVALDI: L'Estro Armonico, Op. 3-Complete (To- SRV-119 & SRV-I 19 SD masow & Boskowsky, violins; Rossi, cond.) 3 discs HAYDN: Symphony No: 100. ful characterization, which is one of the boxed. SRV-143/5 & SRV-143/5 SD "Military" & No. 101, "Clock" London set's most impressive assets. Ira (Wdldike cond.) Recent Releases SRV-109 & SRV-109 SD NLtlaniuk appears as the Countess in both -IAYDN: Symphony No. 103, performances, hut the signs of vocal deterior- Symphonies Nos. 102 "Drum Roll" & No. 104, "Lon- HAYDN: 99 in E fiat & No. in in the set. B fiat (Wbldikc cond.) SRV-129 & SRV-129 SD don" (Wiildike cond.) ation are clearly evident newer HAYDN: The Creation (WSldike cond.) 2 discs SRV-126 & SRV-126 SD DGG's supporting singers are acceptable. KHACHATURIAN: Gayne Suite SRV-130/1 though the Matte() (another vocally ungrate- SIBELIUS: Symphony No. I (Barbirolli cond.) & KABALEVSKY: The Comedi- SRV-132 & SRV-132 SD ans (Golschmann cond.) ful role) is disappointing. Symphony No. 4 SRV-113 & SRV-113 SD DVORAK: & Scherzo Capriccioso There are several in the Munich per- (Barbirolli cond.) SRV-133 & SRV-133 SD MUSSORGSKY: Pictures at an cuts VAUGHAN WILLIAMS: London Symphony (Barbi- Exhibition (Ravel orchestration) formance. and the Prelude to Act Ill is given rolli cond.) SRV-134 & SD and A Night On Bald Mountain SRV-l34 as an interlude between acts. I do not find TCHAIKOWSKY: Symphony No. 4 (Barbirolli cond.) (Golschmann cond.) SRV-135 & "SRV-135 SD SRV-117 & SRV-117 SD these cuts particularly damaging in this gen- BRAHMS: Double Concerto & Academic Festival Over- BERLIOZ: Symphonic Fantas- padded opera, and I even welcome ture (Campoli, violin; Navarra, cello: Barbirolli, cond.) tique, Golschmann cond.) erously SRV-136 & SRV-136 SD SRV-I20 & SRV-120 SD the ahhres i:()ion of Fiakermilli's silly music. MENDELSSOHN: Italian Sym- particularly since what has not been left out phony & Midsummer Nights Forthcoming soon Dream Music (Golschmann cond.) is sung so unattractively by Miss Rogner. On BACH: Cantata No. 4. "Christ lag in Todesbanden" & SRV-122 & SRV-122 SD the other hand. Arahel l:t's tender "Zde nkevl. No. 140, "Wachet auf" (Prohaska cond.) SRV-152 DVORAK: Slavonic. Dances Op, HAYDN: Mass In Time of War (WSldike cond.) 46 & 72 (Rossi cond.) du birt die Berr're z on liar _wet, n" toward SRV-153 & SRV-153 SD SRV-121 & SRV-12I SD the end of the opera should have been re- BACH Easter Oratorio (Prohaska cond.) SRV-156 TCHAIKOWSKY: Nutcracker Ballet tained. The London set is uncut- but it A BOUQUET OF TARTINI ' ND NARDINI CON- - Complete (Abravanel CERTOS (Tomasow, violin) SRV-154 & SRV-154 SD cond.) 2 discs. requires four discs against DGG's three. PURCELL: Four Suites-Abdelazer, The Gordian Knot SRV-123/4 & SRV-123/4 SD Untied, The Married Beau, The Virtuous Wife (Mahler THE SOUNJ3 OF FOLK MUSIC London also offers sharper and more bril- cond.) SRV-155 & SRV-i55 SD SRV-125 liant sound, :and 's conducting VIVALDI: Four Violin Concertos from "La Cetra" BEETHOVEN Symphony No. 3, (Makanowitzky, violin; Golschmann, cond.) "Eroica" (Boult cond.) is distinctly more incisive and illuminating. SRV-159 & SRV-159 SD SRV-127 & SRV-127 SD ioseph Keilberth demonstrates a relaxed MADRIGALS MORLEY BACH: Great Choruses and Ar- OF AND WILBYE (Dealer mastery the score. hut lacks Solti's propul- Consort) SRV-t57 & SRV-157 SD ias from the "St. Matthew Pas- of ALBUM OF BELOVED SONGS (Oehler Consort) sion" (Wbldike cond.) sive energy and keen ear for telling orchestral SRV-l41 & SRV-128 & SRV-128 SD Stereo SRV-141 SD detail. The DGG album is elegantly pack- includes libretto EVERYMAN CLASSICS A Division of Vanguard Recording Society, Inc.. New York aged, and it the complete (Coununed on p.i e 135)

132 CIRCLE NO. 73 ON READER SERVICE CARD I-III'I/STEREO REVIEW CIRCLE NO. 79 ON READER SERVICE CARD-.