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Penguin Guide, January 2009

Die Fledermaus was one of the first Decca mono sets to shows us what operatic treats the LP was to bring, and signaled a breakthrough in the recording of both opera and operetta, feed from the tyranny of the short-playing 78-r.p.m. side. It also demonstrate the extraordinary quality of the Vienna State Opera company in that post-war period, and many would claim that this version of Fledermaus has never been matched, let alone bettered. Clemens Krauss conducts an irresistibly sparkling account of the score with the starry cast forming a wonderfully coordinated ensemble. Hilde Gueden with her golden tones makes a deliciously minxish Rosalinde, with a naughty, provocative smile implied, and Julius Patzak as a tenor Eisenstein has never been surpassed, totally idiomatic, well contrasted with the equally fine Alfred of Anton Dermota. Add to that Wima Lipp’s bright, agile Adèle and the firm, clear if very feminine Orlofsky of Sieglinde Wagner. The original snag was the thin violin-timbre which became even more ‘whistly’ in the old Ace of Clubs reissue. In the latest Naxos transfer the voices are very well caught, set very much in front of the orchestra, and Davis Lennick’s remastering tames the sound, even if the violins remain a little fizzy. This is a gramophone classic by any standards.



Robert Levine
ClassicsToday.com, April 2002

"In Naxos' new transfer this 1950 recording sounds as if it were recorded 10 years later; of course it's mono, but it's clean and clear and it's most welcome. The cast's pedigree is undeniable, with Strauss expert Clemens Krauss in the pit, bringing out the composer's rhythms--both obvious and hidden--and leading the wonderful VPO with a lilt that's absolutely right."






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11:06:14 AM, 27 December 2014
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