These performances come from the first ever complete set of the Mozart symphonies, dating from the 1960s, and they still represent 'big orchestra' Mozart at its most congenial. The contrast here between Bohm's sparkling Mozart, both elegant and vigorous, and the much smoother view taken by Karajan with the same orchestra, works almost entirely in Bohm's favour. Interpretatively, these are performances very much of their time, with exposition repeats the exception (as in the first movement of No. 40) and with Minuets taken at what now seem lumbering speeds. Yet slow movements flow easily, and finales bounce along infectiously. Consistently they convey the happy ease of Bohm in Mozart, even if the recording is beefy by today's standards, not as transparent as one now expects in this repertory, whether on modern or period instruments.
This DVD of Ariadne is a 1978 film based on Filippo Sanjust’s Vienna State Opera production. The bustling Prologue is set in the backstage area of the mogul’s palace and the 18th century costumes fit neatly. In the opera proper, the stage is transformed into a very stagey desert island with an improbable set of stairs leading to the heroine’s cave, the action spilling over into the theatre’s side boxes at times. While there’s nothing particularly imaginative about the production, it never distracts from the main event–the music. Strauss was profligate in his melodic gifts, his ability to make a reduced orchestra sound big, and his wonderful obsession with the female voice, which yields many glorious moments in the opera. Lavish casting helps.
These remarkable films reflect the naturalness and clarity of Böhm's conducting, as he and the Vienna Philharmonic bring unique warmth, wit and wisdom to every bar. "Böhm always goes unerringly to the heart of the matter. His natural, unforced approach are the hallmarks of a Mozart style which was unaffected by fashion or by compromise, and earned the epithet 'timeless' even in the conductor's lifetime." - Peter Cossé
Böhm's Mozart as experienced in these precious films is marked by youthful vigour and directness, as well as a lack of pathos and sentimentality. Every reading glows with profound love and understanding. "Thanks to Bruno Walter's exemplary performances, I grabbed on to Mozart and fell in love with him so much that I had only one wish: to conduct Mozart, Mozart, Mozart." - Karl Böhm
"Musikalisch dichte, klanglich prächtig ausbalancierte und das Primat der Sänger wahrende Aufnahme, deren Schönheit aus der Gesamtwirkung resultiert…Im Gesamteindruck setzt diese Aufnahme große Wagner-Tradition mit großer Bestimmtheit und Überzeugungskraft fort." ~Hermes Opernlexikon
Karl Böhm was one of the greatest conductors of the twentieth century in the German tradition. He studied music as a child and continued to work and study in music while serving in the Austrian Army during World War I – and while completing a doctorate in law. He coached singers at the Graz Opera and was permitted to conduct a performance of Nessler's Der Trompeter von Sackingen. He never had conducting lessons, but made close studies of the work of both Bruno Walter and Carl Muck…
Elektra, Op. 58, is a one-act opera by Richard Strauss, to a German-language libretto by Hugo von Hofmannsthal, which he adapted from his 1903 drama Elektra. The opera was the first of many collaborations between Strauss and Hofmannsthal. It was first performed at the Dresden State Opera on January 25, 1909. Elektra is a difficult work and is musically complex. A performance requires musicians with great stamina. The role of Elektra in particular is one of the most demanding in the dramatic soprano repertoire. The result is a very modern, expressionistic retelling of the ancient Greek myth. Compared to Sophocles's Electra, the opera presents raw, brutal, violent, and bloodthirsty horror.