There are only two complete Die Frau ohne Schatten on the market. The Solti and the Sawallisch. It is fashionable to say that the Solti is the best. No, that is not true. Pascalnewman, a costumer from Amazon.com.
As Strauss' largest and most ambitious work, "Die Frau ohne Schatten" demands attention, even though it is one of his most problematic operas. It contains some of the composer's most stirring and sumptuous music, and its story is full of drama and roiling human passions – in fact, perhaps it is its surfeit of ideas and emotion and symbolism and intensity that makes it difficult to approach. Hugo von Hofmannsthal's heavily allegorical libretto was cobbled together from a variety of mythologies, yet he manages to humanize the characters so that they are not merely archetypes. Strauss' music is nearly relentlessly tumultuous, what some might call overwrought, yet he too makes us empathize with the characters. The key to making the gigantic, unwieldy opera into a cogent and balanced musical drama falls largely to the conductor, and Karl Böhm, leading the Vienna Philharmonic, is able give it the shape it needs to succeed in making believers of the audience. He is assisted by a first-rate cast, which more than rises to the composer's extravagant vocal and dramatic demands – the opera requires large voices able to convey larger-than-life personalities