Dalibor: Act One, Scene One: 'Heut' richtet man hier Dalibor!'
Dalibor: Act One, Scene Two: Arrival Of The King
Dalibor: Act One, Scene Two: 'Ihr wisst, wie lange dieses Konigreich schmachtete'
Dalibor: Act One, Scene Three: 'Erhebe nun die Klage'
Dalibor: Act One, Scene Four: 'Wie, das ist er?'
Dalibor: Act One, Scene Four: 'Hor, Dalibor, das Urteil des Gerichtes'
Dalibor: Act One, Scene Five: 'O Furst, ich flehe um sein Leben'
Dalibor: Act One, Scene Six: 'O Gott, welch Aufruhr in meiner Seele'
Dalibor: Act Two: Introduction And Chorus - 'Kein schon'res Leben'
Dalibor: Act Two, Scene One: 'An diesem Liede erkenn' ich sie'
Dalibor: Act Two, Scene Two: 'Kein schon'res Leben'
Dalibor: Transformation Scene, Scene One: 'Hor mich gut an'
Dalibor: Transformation Scene, Scene Two: 'Ach wie traurig ist mein Geschaft'
Dalibor: Transformation Scene, Scene Three: 'Alles ist fertig, geht nur hinein'
Dalibor: Transformation Scene, Scene Four: 'Ist es wahr? O wie plotzlich kam die grosse Stunde'
Track Listings (11) - Disc #2
Dalibor: Interlude
Dalibor: Transformation Scene, Scene One: 'War es ein Traumbild?'
Dalibor: Transformation Scene, Scene Two: 'Knarrt da nicht die ture?'
Dalibor: Transformation Scene, Scene Two: 'O ungeahntes Gluck der Liebe'
Dalibor: Act Three, Scene One: 'Mein Herr und Konig'
Dalibor: Act Three, Scene Two: 'In spater Stunde'
Dalibor: Act Three, Scene Two: Seid Irh zu Ende?'
Dalibor: Transformation Scene: Interlude
Dalibor: Transformation Scene, Scene One: 'Hort noch niemand die Zeichen der Geige?'
Dalibor: Transformation Scene, Scene Two: 'Milada! - Wo bin ich?'
Dalibor: Transformation Scene, Scene Three: 'Gefangen sind sie alle, bis auf ihn'
Smetana's Dalibor is his tragic masterpiece, a typically Romantic tale of chivalry, betrayal, and the power of music to calm the soul. This performance, taken from the archives of Austrian Radio, features the legendary Leo... more »nie Rysanek (as well as her sister Lotte, who sounds rather like her), along with an exciting heroic tenor, Ludovico Speiss, in the title role, all under the baton of Josef Krips. It's a compelling example of the type of "ensemble" casting typical of Vienna in the 1950s and '60s, before star singers took over the world's operatic stages to the great detriment of dramatic coherence and breadth of repertoire. It was Mahler who first brought this opera to Vienna, and for all we know, this may be his version of the work--German language, cuts, and all. Anyone seriously interested in Smetana's operas will, of course, want one of the Czech versions on Supraphon, both of which offer the work complete in superb performances. But this is much more than a curiosity--an exciting, indeed visceral performance in its own right, and one which opera lovers (to say nothing of Rysanek fans) will snap up as a matter of course. --David Hurwitz« less
Smetana's Dalibor is his tragic masterpiece, a typically Romantic tale of chivalry, betrayal, and the power of music to calm the soul. This performance, taken from the archives of Austrian Radio, features the legendary Leonie Rysanek (as well as her sister Lotte, who sounds rather like her), along with an exciting heroic tenor, Ludovico Speiss, in the title role, all under the baton of Josef Krips. It's a compelling example of the type of "ensemble" casting typical of Vienna in the 1950s and '60s, before star singers took over the world's operatic stages to the great detriment of dramatic coherence and breadth of repertoire. It was Mahler who first brought this opera to Vienna, and for all we know, this may be his version of the work--German language, cuts, and all. Anyone seriously interested in Smetana's operas will, of course, want one of the Czech versions on Supraphon, both of which offer the work complete in superb performances. But this is much more than a curiosity--an exciting, indeed visceral performance in its own right, and one which opera lovers (to say nothing of Rysanek fans) will snap up as a matter of course. --David Hurwitz