People may argue over what is the greatest symphony (Beethoven’s Eroica or the Ninth) or the most perfect opera (Don Giovanni or Carmen), but it is universally agreed that Johann Strauss’ Die Fledermaus is the finest operetta ever written. The daring and even insanity of its plot, the party to end all parties given by Prince Orlovsky—the most blase of all teenagers, the denoument at the city jail where husband and wife discover that they have nearly been unfaithful but with each other, and the three-four time glory of the music can never be matched.

The same can be said of the performance by Clemens Krauss, the Vienna Philharmonic and Vienna State Opera Chorus and a stellar, to-the-manner-born set of soloists who simply have the technique and the style in their genes. In spite of many cuts, it is the ur-performance of Die Fledermaus. The later London Karajan Gala stereo with all its special artists does not touch it. Although every moment could be cited, certain parts just stand out. The Gueden/Lipp duet in the first act is such a perfect match of sopranos. Poell’s invitation to Patzak to come off to jail to serve his eight days is so lilting and inviting and their duet is so joyously accomodating that jail seems like such a wonderful place. Who would dare in the 21st century to use a waltz to arrest a man? The trio of leavetaking by Patzak, Gueden and Lipp where all are lying to each other by expressing sadness but actually contemplating amorous adventures is so joyously ironic that one is forced to laugh out loud. In Act II, the chorus at the Orlovsky party is as tipsy but nonetheless as precise as the soloists. In her aria “Mein Herr Marquis”, Lipp by the most brilliant coloratura convinces us that she couldn’t be a ladies’ maid, but, of course, she is. Und so weiter.

The remastering by Peter Harrison for Pristine Audio is at the same technical level as the performance. Sitting down with my pre-amp set to a reasonable volume level, I was stunned by the power, the richness and the clarity of the first three chords of the Die Fledermaus Overture. I could not believe I was listening to the thin, old Richmond recording. There was utter silence—no surface noise. The strings were silky, even transparent. The woodwinds were round. The brass cut, but they also glowed. But it’s the voices that told the tale. There was never a moment in about 70 minutes when there was any shrillness in either the soloists or the chorus. Even in the complex end to the Orlovsky party I could hear no distortion. There is some kind of a lambent glow over the proceedings that I didn’t know was in the original recording. Pristine Audio has done more than just clarify the champagne bubbles; they have drawn out for us the spirit of comedy and life that was heretofore hidden in this great recording.

Reviewer: Bill Rosen

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