Richard Strauss: Arabella

Arabella -- the last but by no means least of Richard Strauss' operas setting librettos by Hugo von Hofmannstahl -- doesn't have the exquisite virtuosity of Ariadne auf Naxos or the sumptuous sensuality of Rosenkavalier, but neither does it have the sterile fantasy of Die Frau ohne Schatten or the hysterical tragedy of Elektra. What it has is great characterization with plenty of period atmosphere, a creditable love story with no heavy symbolism, and, in Arabella, one of the most loving, most knowing, and, above all, least ... Read More

Arabella -- the last but by no means least of Richard Strauss' operas setting librettos by Hugo von Hofmannstahl -- doesn't have the exquisite virtuosity of Ariadne auf Naxos or the sumptuous sensuality of Rosenkavalier, but neither does it have the sterile fantasy of Die Frau ohne Schatten or the hysterical tragedy of Elektra. What it has is great characterization with plenty of period atmosphere, a creditable love story with no heavy symbolism, and, in Arabella, one of the most loving, most knowing, and, above all, least idealized of Strauss' soprano roles. Arabella has some of the most silken legato lines Strauss ever wrote for his favorite voice and it requires more of a singer than strength, sensitivity, and stamina: it requires musical intelligence and emotional maturity. The character in the title role is a real woman and it takes a real woman to portray her. Portrayed by the sublime Lisa della Casa in this superlative 1963 recording on Deutsche Grammophon, Arabella is a in every way a real... Read Less