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Thielemann, Strauss, Fleming: The Inevitable Trio

Robert Levine

Artistic Quality:

Sound Quality:

This concert, recorded at the Salzburg Festival on August 7-8, 2011, is a feast for Straussians. Since critics are supposed to be objective, or at least honest about their subjectivity, allow me to say that I have always found Strauss’ Alpine Symphony to be bloated and, after a half hour, almost impossible to listen to. Its program is an 11-hour climb of a mountain in the Alps, from dawn to nightfall. There are 22 sections depicting such things as a glacier, a flowery meadow, the obligatory storm, sunrise and sunset, etc. I can see its appeal: the orchestration is staggering—more than 100 players (including wind and thunder machines) with prodigious moments for each section of the orchestra, and of course Strauss’ phenomenal ability to combine colors. But for me, listening to it is only slightly easier than actually climbing an Alp.

That having been said, Thielemann obviously does not agree with me and neither does the Vienna Philharmonic (or the audience at this concert), who play like the stars they are. And indeed, it is more fun to actually see the players (kudos to video director Michael Beyer) than merely to listen. Watching the gruff trombones and the virtuoso wind players, not to mention the army of double basses, is both fun and educational. Only Thielemann’s haircut—did someone place a bowl over his head and slice?—is distracting.

The only other version of this work I know well is Karajan’s, and it is a far smoother reading; sections melt into one another without “announcing” their new “picture”, and the flow seems more natural. But others may like the clear, almost operatic delineation of scenes Thielemann seems to be going for, albeit with occasionally slowish tempos. And no one will accuse the reading of not being exciting and the playing superb. I just never want to hear the piece again.

And where there’s Strauss and Thielemann, there’s Renée Fleming. The soprano sings the final moments of the first act of Arabella, in which the girl ponders marriage, and she enters the mood nicely and sings with lovely tone and a welcome inward gaze. The four early-ish songs (all composed before Salome) elicit different reactions. The gorgeous Gesang der Apollopriesterin, with its mellow trumpets and dark double bass beginning, is a sort of training school for one of those slow-build, arching-melody Strauss songs we all love, and Fleming sings it well but somewhat tentatively at the bottom of her range. Traum durch die Dämmerung, on the other hand, has just the sincere simplicity the song needs, and it sits beautifully in Fleming’s mid-voice; it seems like a sensual lullaby. The even briefer, thrilling Winterliebe carries the voice higher; the tone is stunning but it’s a hammy, affected reading.

Befreit, a study in mixed emotions and chiaroscuro, is the masterwork in this collection of four songs, and aside from some crooning midway through that Fleming seems unable to control, she exhibits why she is considered a great Straussian. Fans of Donizetti will be surprised by the introduction to the song: it echoes the start of “Regnava del silenzio” from Lucia.

In all, this is clearly a treat for Straussians and Fleming fans; she has been both better and worse, but overall she’s lovely here. If you need a video of the Alpine Symphony—a mind-boggling possibility—this is a must. Otherwise, well, here it is, in stunning sound and with spotless picture.


Recording Details:

  • STRAUSS, RICHARD:
    Eine Alpensinfonie Op. 64; Befreit; Winterliebe; Traum durch die Dämmerung; Gesang der Apollopriesterin; Arabella (excerpt)
  • Record Label: Opus Arte - OA1069D
  • Medium: DVD

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