Ariadne auf Naxos  (Solti;  Leontyne Price, Tatiana Troyanos, Edita Gruberova, Rene Kolo, Walter Berry)  (2-London 430 384)
Item# OP0296
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Ariadne auf Naxos  (Solti;  Leontyne Price, Tatiana Troyanos, Edita Gruberova, Rene Kolo, Walter Berry)  (2-London 430 384)
OP0296. ARIADNE AUF NAXOS, recorded 1977, w. Solti Cond. London Philharmonic; Leontyne Price, Tatiana Troyanos, Edita Gruberova, René Kolo, Walter Berry, Manfred Jungwirth, Gerhard Unger, etc. 2-London 430 384, w.Elaborate 75pp Libretto-Booklet. Very long out-of-print, Final Copy! - 028943038423


"ARIADNE was recorded in London and Solti is impressive. It is an affectionate, stylish interpretation, with the London Philharmonic playing the delicious score with every evidence of enjoyment....Edita Gruberova's Zerbinetta is in a class of her own, finding much in the role besides coloratura; there is a ripe Music Master from Walter Berry and an even riper Major-Domo from Erich Kunz. The young Rene Kollo sings Bacchus with much ardour and the three nymphs are a British trio, blending notably well."

- GRAMOPHONE, May, 1992

“Edita Gruberova, a Slovak soprano who enchanted audiences with gleaming, vibrant and technically dazzling singing over a 50-year career, becoming a leading exponent of the coloratura soprano repertory, was a true coloratura soprano. She had a high, light and agile voice that was easily capable of dispatching embellished runs, all manner of trills and leaps to shimmering top notes.

Reviewing her 1989 performance as Violetta in Verdi’s LA TRAVIATA at the Metropolitan Opera, the critic Martin Mayer wrote in OPERA magazine that Ms. Gruberova ‘trills without thinking about it’, could ‘sing very softly and still project into the house and soars over ensemble and orchestra in the great third-act finale’. Many opera devotees considered her a successor to the formidable Joan Sutherland.

Reviewing that 1986 LUCIA DI LAMMERMOOR in Chicago for The CHRISTIAN SCIENCE MONITOR, Thor Eckert Jr. wrote that Ms. Gruberova had given ‘an astonishing demonstration of her art’. ‘The level of poise, of sheer vocal mastery, of musical and dramatic insight’ were unmatched on the vocal scene of the time, he said. Her performance of the mad scene, he added, was ‘a study in the communicative power of histrionic simplicity’. She would go on to give more than 700 performances with the Vienna State Opera, the last a farewell gala concert in 2018. She also became a mainstay of the Bavarian State Opera in Munich. A breakthrough came in 1976 when Ms. Gruberova sang Zerbinetta in a new production of Strauss’ ARIADNE AUX NAXOS in Vienna, with Karl Böhm conducting. The reviews were sensational, especially for her brilliant rendering of Zerbinetta’s long showpiece aria, when the character, a coquettish member of a comedy troupe, tries to persuade the heartsick Ariadne to forget the godly lover who has abandoned her and look to other men. The eminent Böhm, who had worked closely with the composer, famously commented at the time, ‘My God, if only Strauss had heard your Zerbinetta!’

In 1979, while singing Zerbinetta at the Met, she was briefly interviewed for the afternoon radio broadcast and made comments about the role that seemed pertinent to her own character. ‘I don’t see her as a soubrette but as a young lady who has lived, you could say, with quite a past’, Ms. Gruberova said. ‘But she does not take anything too seriously, because she can laugh it off. She doesn’t know the meaning of the word melancholy’.”

- Anthony Tommasini, THE NEW YORK TIMES, 22 Oct., 2021