Although it might seem reasonable to prefer Carlos Kleiber's later 1994 recording of Der Rosenkavalier for Deutsche Grammophon -- after all, it has the Felicity Lott, Anne Sofie von Otter, Barbara Bonney, and Kurt Moll, plus the Weiner Philharmoniker and first-class DG sound -- there are still compelling reasons to hear his earlier 1974 recording. For one thing, Kleiber seems much more relaxed but not one wit less intense, much more funny but not one tittle less dramatic, much more human but not one jot less sublimely lyrical. For another thing, Karl Ridderbusch is a fabulous Baron Ochs. Hilarious but not a caricature, Ridderbusch's Ochs may be a jerk but he's no fool. For another thing, Claire Watson is a superlative Marshallin. Sexy but womanly wise, Watson's Marshallin may not be as young as she used to be but she's more attractive than she's ever been. For another thing, Brigitte Fassbaender is a fabulous Octavian. Utterly natural and supremely artful, Fassbaender may be a woman in a man's role but she's all man in her opening scene with Watson. While one might plausibly prefer the lushness of the Weiner Philharmoniker to the robustness of Bavarian State Opera Orchestra, and while one might certainly prefer the magnificent DG sound to this dim live Opera d'Oro sound, one might wish to hear both recordings before making a decision about which to keep on the shelf. (Hint: the answer is both.)
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