In general, this is an exceptional bargain offering, uniting several benchmark interpretations with a number of more puzzling inclusions that could have been bettered, at least in sonic terms. Chiefly, though, it will be Herbert von Karajan’s 1959 Heldenleben–his first stereo recording of three, and to my mind the finest–that focuses attention on Panorama’s two-CD reissue. The violin solos are played by Michel Schwalbé, easily the most beguiling and engrossing of Karajan’s concertmasters to have tackled the role under his leadership. Digital remastering has imbued his solo lines with added warmth and naturalness, and the flair and insight for minute pictorialist detailing in his portrayal of Strauss’ wife Pauline never has been bettered, though Joseph Silverstein’s Boston Symphony (Philips) recording with Ozawa runs it close. Karajan, of course, brought a wealth of experience (and perhaps even a degree of self-identification?) to Strauss’ exuberant account of this hero’s life. The characterization of the critics is as pointed as ever you’ll hear it done, and the battlefield scene is stunning. If you want an older man’s view, there are plenty of choices, but this was Karajan at his matchless best.
The other highlight here is Gundula Janowitz in the Four Last Songs, possibly the best version ever set down, and this transfer brings additional depth and clarity to an already impressive analog master. The performances of Don Juan and Till Eulenspiegel were taped by Karl Böhm and the Berliners in 1974 and 1958 respectively; neither seems ideal, particularly Böhm’s rather straight-laced and formalized manner in Till, and Panorama could have included his heaven-storming Berlin recording of Strauss’ Festival Praeludium to better advantage. Lastly, there’s Karajan’s magnificent 1974 Zarathustra, as powerful and mesmeric as you’ll hear anywhere, and a worthy inclusion on this useful, if uneven Strauss compilation.
