Richard Strauss  
Richard Strauss
Richard Strauss, in full Richard Georg Strauss (born June 11, 1864, Munich, Germany—died September 8, 1949, Garmisch-Partenkirchen), an outstanding German Romantic composer of the late 19th and early 20th centuries. His symphonic poems of the 1890s and his operas of the following decade have remained an indispensable feature of the standard repertoire.

Strauss’s father, Franz, was the principal horn player of the Munich Court Orchestra and was recognized as Germany’s leading virtuoso of the instrument. His mother came from the prominent brewing family of Pschorr. During a conventional education, Strauss still devoted most of his time and energy to music. When he left school in 1882, he had already composed more than 140 works, including 59 lieder (art songs) and various chamber and orchestral works. These juvenilia reflect Strauss’s musical upbringing by his father, who revered the classics and detested Richard Wagner both as a man and as a composer, even though he was a notable performer of the horn passages in performances of Wagner’s operas.

Through his father’s connections, Strauss on leaving school met the leading musicians of the day, including the conductor Hans von Bülow, who commissioned Strauss’s Suite for 13 Winds for the Meiningen Orchestra and invited Strauss to conduct that work’s first performance in Munich in November 1884. Following this successful conducting debut, Bülow offered Strauss the post of assistant conductor at Meiningen. Thenceforward Strauss’s eminence as a conductor paralleled his rise as a composer. Among the conducting posts he went on to hold were those of third conductor of the Munich Opera (1886–89), director of the Weimar Court Orchestra (1889–94), second and then chief conductor at Munich (1894–98), conductor (and later director) of the Royal Court Opera in Berlin (1898–1919), and musical codirector of the Vienna State Opera (1919–24).

At Meiningen Strauss met the composer Alexander Ritter, who reinforced that admiration for Wagner’s music which Strauss had previously nurtured in secret so as not to upset his father. Ritter urged Strauss to abandon classical forms and to express his musical ideas in the medium of the symphonic, or tone, poem, as Franz Liszt had done. Strauss had to work his way to mastery of this form, a half-way stage being his Aus Italien (1886; From Italy), a “symphonic fantasy” based on his impressions during his first visit to Italy. In Weimar in November 1889, he conducted the first performance of his symphonic poem Don Juan. The triumphant reception of this piece led to Strauss’s acclamation as Wagner’s heir and marked the start of his successful composing career. At Weimar, too, in 1894 he conducted the premiere of his first opera, Guntram, with his fiancée Pauline de Ahna in the leading soprano role. She had become his singing pupil in 1887, and they were married in September 1894. Pauline’s tempestuous, tactless, and outspoken personality was the reverse of her husband’s aloof and detached nature, and her eccentric behaviour is the subject of countless anecdotes, most of them true. Nevertheless the marriage between them was strong and successful; they adored each other and ended their days together 55 years later.


The years 1898 and 1899 saw the respective premieres of Strauss’s two most ambitious tone poems, Don Quixote and Ein Heldenleben (A Hero’s Life). In 1904 he and Pauline, who was the foremost exponent of his songs, toured the United States, where in New York City he conducted the first performance of his Symphonia Domestica (Domestic Symphony). The following year, in Dresden, he enjoyed his first operatic success with Salome, based on Oscar Wilde’s play. Although Salome was regarded by some as blasphemous and obscene, it triumphed in all the major opera houses except Vienna, where the censor forbade Gustav Mahler to stage it.

In 1909 the opera Elektra marked Strauss’s first collaboration with the Austrian poet and dramatist Hugo von Hofmannsthal. Strauss wrote the music and Hofmannsthal the libretti for five more operas over the next 20 years. With the 1911 premiere of their second opera together, Der Rosenkavalier, they achieved a popular success of the first magnitude. Their subsequent operas together were Ariadne auf Naxos (1912; Ariadne on Naxos), Die Frau ohne Schatten (1919; The Woman Without a Shadow), and Die ägyptische Helena (1928; The Egyptian Helen). But in 1929 Hofmannsthal died while working on the opera Arabella, leaving Strauss bereft.

After 1908 Strauss lived in Garmisch, in Bavaria, in a villa that he built with the royalties from Salome. He conducted in Berlin until 1919, when he agreed to become joint director, with Franz Schalk, of the Vienna State Opera. His appointment proved unfortunate, since it coincided with a postwar mood that relegated Strauss and similar late Romantic composers to the category of “old-fashioned.” Strauss was neither interested nor skilled in politics, national or musical, and he resigned from his post in Vienna in 1924. This political naïveté tainted Strauss’s reputation when the National Socialists came to power in Germany in 1933. Though able to manipulate grand dukes and kaisers, he proved to be no match for the ruthless totalitarians of the Third Reich and unwittingly allowed himself to be used by them for a time. Thus from 1933 to 1935 he served as president of Germany’s Reichsmusikkammer (Chamber of State Music), which was the state music bureau. But in the latter year he fell foul of the Nazi regime. After Hofmannsthal’s death in 1929 he had collaborated with the Jewish dramatist Stefan Zweig on a comic opera, Die schweigsame Frau (1935; The Silent Woman). This collaboration was unacceptable to the Nazis. The opera was banned after four performances, and Strauss was compelled to work with a non-Jewish librettist, Joseph Gregor. The fact that his son’s wife was Jewish was also held against him. Above all else a family man, Strauss used every shred of his influence as Germany’s greatest living composer to protect his daughter-in-law and her two sons. He spent part of World War II in Vienna, where he was out of the limelight, and in 1945 he went to Switzerland. Allied denazification tribunals eventually cleared his name, and he returned to Garmisch in 1949, where he died three months after his 85th birthday celebrations.

Richard Strauss, by Max Liebermann, 1918


Strauss’s first major achievement was to harness the expressive power of the huge Wagnerian opera orchestra for the concert hall. Although some of his early Mendelssohnian works, such as the violin concerto (composed 1882) and the first horn concerto (1882–83), are still played, the real Strauss emerged with the symphonic poem Don Juan (composed 1889), in which his ardent melodic gifts, descriptive powers, and mastery of instrumentation first became fully evident. Harmonically even richer is the climax of the symphonic poem Tod und Verklärung (1888–89; Death and Transfiguration), in which a dying man surveys his life and ideals. The rondo form is used in the tone poem Till Eulenspiegels lustige Streiche (1894–95; Till Eulenspiegel’s Merry Pranks), wherein Strauss found the exact instrumental sounds and colours to depict the 14th-century rogue Till’s adventures, from his scattering pots and pans in a market and mocking the clergy to his death-squawk on a D clarinet on the gallows. Also sprach Zarathustra (1896; Thus Spoke Zarathustra) is ostensibly a homage to the philosopher Friedrich Nietzsche but is actually a concerto for orchestra in which the entities of man and nature are illustrated and contrasted by opposing tonalities.

To illustrate the exploits of Don Quixote (1897), Strauss employed the variation form in this tone poem. Sheep, windmills, and flying horses are magically described in music that is suffused with poetry. Don Quixote was followed by the quasi-autobiographical tone poem Ein Heldenleben (1898), in which Strauss’s adversaries are the music critics (characterized by petulant woodwinds) whom he defeats in a battle scene of astonishing power and virtuosity before retiring to the countryside to contemplate his “works of peace” (a string of musical self-quotations) with his wife.

Two other tone poems followed that were dignified by the title symphony. In Symphonia Domestica (1903), a huge orchestra describes 24 hours in the life of the Strauss family household, including bathing the baby, quarrels, and love making. In Eine Alpensinfonie (1911–15; An Alpine Symphony) an even larger orchestra (more than 150 players) describes a day in the Bavarian Alps, with a thunderstorm, a waterfall, and the view from a mountain summit as highlights.

Like his great contemporary Gustav Mahler, Strauss wrote magniloquently for a large orchestra but was also able to achieve textures of chamber-music delicacy. But whereas Mahler’s music explores his own spiritual and psychological obsessions, Strauss’s music is more objective and is concerned with sensuous emotions and everyday life, rather than with spiritual torment and death. The opulence of Strauss’s orchestrations is tempered by harmonic acerbity.

Strauss had an unrivaled descriptive power and a remarkable ability to convey psychological detail. This last quality was particularly evident in his operas. His first opera was the Wagnerian-influenced Guntram (1892–94, rev. 1940). His next stage work, the satirical comic opera Feuersnot (1900–01; Fire-Famine), employs impish humour to mock small-town prudery and hypocrisy. With Salome (1903–05), Strauss transferred his mastery of the orchestral tone-poem to an opera that is outstanding for the intensity with which it conveys Salome’s naive lust for John the Baptist and the depravity of her stepfather Herod’s court. His next opera, Elektra (1906–08), is a second blockbusting one-act study of female obsession, in this case revenge. In this score Strauss went as far toward atonality as he ever desired. Elektra was followed by Der Rosenkavalier (1909–10), a “comedy in music” that is set in 18th-century Vienna and features an anachronistic string of waltzes and characters like the Marschallin, Baron Ochs, Octavian, and Sophie, whom audiences at once took to their hearts. This opera remains Strauss’s most popular stage work, despite its occasional dull passages.

Richard Strauss engraved by Ferdinand Schmutzer (1922)

Strauss had two musical gods, Wolfgang Amadeus Mozart and Richard Wagner, and in his work they struggle for possession of his artistic soul. The battle is fought most persuasively and equally in the opera Ariadne auf Naxos (1912, rev. 1916), in which Strauss’s light, parodistic vein and his heroic style are blended and reconciled. At the opposite extreme is Die Frau ohne Schatten, a Wagnerian version of Mozart’s The Magic Flute that requires singing on a scale to match its grandiose conception and staging. Its portraiture of the lowly dyer Barak and his shrewish wife is a foretaste of Intermezzo (1918–23), where the protagonists are Strauss and Pauline, thinly disguised. Arnold Schoenberg was among the first to recognize the mastery and seriousness of this opera, which was at first lightly regarded but in which Strauss perfected his conversational melodic recitative.

With their last opera together, Arabella (1929–32), Strauss and his librettist Hofmannsthal returned to Vienna and amorous intrigue in their most romantic and lyrical work. Strauss’s opera with Zweig, Die schweigsame Frau (1933–34; The Silent Woman), has finally come into its own as a delightful comedy. Of Strauss’s three operatic collaborations with Gregor, the best is Daphne (1936–37). For his final opera, Capriccio (1940–41), Strauss and the conductor Clemens Krauss wrote an inspired “conversation piece” on the relative importance of words and music in opera. These two media are personified by a poet and a composer who are rivals for the love of a widowed countess, who is herself given the last of Strauss’s marvelously rewarding roles for the female voice.

This last opera initiated the composer’s “Indian summer,” when he recaptured the freshness of his youth in a second horn concerto (1942), an oboe concerto (1945), two wind sonatinas (1943–45), and a concertino for clarinet and bassoon (1947). He also composed, in Metamorphosen (1945–46), a study for 23 solo strings that is an elegy for the German musical life that the Nazis had destroyed. Strauss’s richly scored, poignantly retrospective Vier letzte Lieder (1948; Four Last Songs) for soprano and orchestra crowned a career of which his 200 songs comprise an important part.

As a young composer, Strauss came under the influence of Wagner, Hector Berlioz, and Liszt just when his technique and imagination were sharpened to make the most of their impact. From the tone poem Aus Italien onward, his style became recognizable as the big, bravura, flexible, post-Romantic panoply that dominated audiences in the late 19th and early 20th centuries. But, having achieved fame as an avant-garde composer, Strauss after Der Rosenkavalier became a conservative whose musical evolution was pursued in isolation, unaffected by the advances and experiments going on around him. He spent the last 38 years of his life refining and polishing his style, writing often for smaller orchestras, partly out of practical considerations (to ensure the audibility of sung words in the theatre) and partly because large-scale Romantic musical textures were becoming less and less significant. In later years Strauss’s style became more classical in the Mozartean sense. Indeed, the opera Capriccio and other late works may be said to have achieved a perfect fusion of the late German Romantic and the Neoclassical manner.

Michael Kennedy

Encyclopædia Britannica


The son of a brilliant horn player, Strauss came to music early in life. His first piano lessons began at the age of four, and by six he was composing. In 1881, his first symphony and string quartet, both written when Strauss was 16, were performed in Munich. He entered the University of Munich in 1882, studying philosophy, aesthetics and the history of art while continuing his music studies privately. He also benefited immensely from being able to attend the rehearsals of the Munich Court Orchestra where his father worked. By 1884 he had found his vocation and left university in order to concentrate on music. Composition came easily to him, and even at this early stage he wrote many fine works, including the vivacious Horn concerto No.1.

In 1885 he was appointed assistant conductor at Meiningen, rising to principal conductor a few months later. However, he had his sights set firmly on greater things and moved on quickly to the Munich Court Opera, gathering valuable experience of the operatic repertoire. Like Mahler, throughout his life he earned a living by conducting, using his free time to compose. He later met Mahler and, though wan' of one another, they became friends. In 1889 Strauss began work at the Weimar Opera House and gained his first compositional success with the symphonic poem Don Juan, rapidly establishing a reputation as the most significant German composer since Wagner. The period from 1894 to 1902 was one of intense activity, during which Strauss continued his series of symphonic tone poems (works that refer to an external "programme" — often a book — and use instruments to tell a story or illustrate a theme). Among these, Also sprach Zarathustra (Thus Spake Zarathustra; 1896) is one of the grandest in design: based on the text by Nietzsche, it uses huge orchestral forces to depict the evolution of the human race. Don Quixote (1897—8) is a portrayal of scenes from the classic novel by Cervantes, in which the cello represents the knight and the viola his servant Sancho Panza. Symphonia domestica (1902-3) describes in music a day in the life of Strauss's own household.

Strauss accepted the post of chief conductor at the Royal Court Opera at Berlin in 1 898 and during his first season conducted 71 performances of 25 different operas. The next decade was also one of frenetic compositional activity. His third opera, Salome, from Oscar Wilde's play, caused massive controversy when performed in 1905. This sensual and erotic work was received with such enthusiasm at the first performance that Strauss had to make 38 curtain calls. Despite dealing with a biblical subject, the music is dramatic and sexual in a manner that had never before been heard, and the scandal it provoked led to huge attendances across Germany.

In 1909 Strauss produced Elektra, his first opera to a libretto by German poet Hugo von Hofmannsthal. The emotionally charged music and the story of vengeance and burning resentment again attracted media attention: opera houses were packed with audiences wanting to hear the "decadent" and "immoral" music. Hofmannsthal would be Strauss's regular collaborator until his death in 1929.

Strauss's next opera, Der Rosekavalier, was a shock of a different nature. Without warning Strauss renounced his reputation as a "progressive"' composer, and produced a Mozartian opera full of memorable tunes and Viennese waltzes. It is a warm, human work, received with an almost universal acclaim that has never abated. It is a measure of Strauss's prominence that special Rosenkavalier trains ran from Berlin to Dresden for the first performance. He followed the work with the delightful Ariadne auf Naxos, a subtle combination of the comic and the romantic.

Immediately after World War I, Strauss signed a five-year contract with the Vienna Opera House, then perhaps the most prestigious position in Europe. His magnificence as a conductor was incontrovertible, but he was forced to resign in 1924 due to antagonism with the management, who regarded his infamous financial extravagance as unacceptable. The rest of the interwar period was less happy. His compositions met with diminishing success and rumours of connections with the Nazis led to difficulties; the extent of his involvement with Hitler's government is still a shadowy and controversial subject.

Undoubtedly his true concern was music, but his conducting of Wagner's Parsifal in 1933, after the previous conductor had resigned in protest at the Nazi regime, lost him much respect outside Germany.

Among Strauss's late works is the conversation piece Capriccio, which discusses the relative importance in opera of words and music. He continued to compose thoughout World War II, and was stimulated by its horrors to a final outpouring of compositions. Metamorphosen (1945), for 23 strings, is an elegy for the pre-war German musical life shattered beyond recognition by the conflict. In 1945 he moved to Switzerland while being investigated by the denazification board; he returned to Berlin a free citizen three years later. He died in 1949, a year after completing the serenely beautiful Four last songs, settings of poems by Hesse and Eichendorff for soprano and orchestra.

Termed by many the last of the great Romantics, Strauss left an extraordinary catalogue of works, whose power and warmth have earned them an unassailable position in musical life today.



Violin sonata in E flat major
Jessica Hung
Finale. Andante -Allegro


Also Sprach Zarathustra 
Todd K. Frazier

Karel Bredenhorst

Willem Mengelberg
Don Juan


Janna Kysilko
Heimliche Aufforderung


The last four songs
Irina Vasilieva
The Spring

Before dream


Der Rosenkavalier
Krista Adams Santilli
Presentation of the Rose

Enoch Arden
Lohn Bell Young
Excerpt 1
Excerpt 2
Excerpt 3
The Best of Strauss
Royal Philharmonic Orchestra
1. Also Sprach Zarathustra Einleitung
2. Also Sprach Zarathustra Von Den Hinterweltern
3. Also Sprach Zarathustra Von Der Grossen Sehnsuch
4. Also Sprach Zarathustra Von Den Freuden und Leidenschaften
5. Also Sprach Zarathustra Das Grabilied
6. Also Sprach Zarathustra Von Der Wissenchaft
7. Also Sprach Zarathustra Der Genesende
8. Also Sprach Zarathustra Das Tanzlied
9. Also Sprach Zarathustra Nachtwanderland
10. Don Juan, op 20
11. Till Eulenspiegels Lustige Streiche Op 28

Slovak Philharmonic Orchestra
12. Daqueles mundos interiores
13. Da aspiracao suprema
14. Das alegrias e paixoes
15. O canto do funeral
16. Cancao da ciencia
17. O convalescente
18. O canto da danca

R. Strauss - Orchestral Works
Orchestra: Staatskapelle Dresden conducted by R. Kempe
0:00 Horn Concerto no. 1
17:14 Horn Concerto no. 2
36:52 Oboe Concerto
1:01:00 Duet-Concertino
1:19:15 Burleske for Piano & Orchestra
1:39:05 Parergon zur Sinfonia Domestica
2:00:40 Panathenäenzug (Symphonic Etudes in the form of a Passacaglia)
2:28:26 Till Eulenspiegels lustige Streiche
2:43:12 Don Juan
2:59:25 Ein Heldenleben
3:43:41 Violin Concerto op. 8
4:13:23 Sinfonia Domestica
4:57:23 Also Sprach Zarathustra
5:30:20 Tod und Verklärung
5:53:08 Der Rosenkavalier, Waltzes
6:10:53 Salomè (Dance of the Seven Veils)
6:19:20 Le Bourgeois Gentilhomme
6:53:01 Schlagobers op. 70
7:00:24 Josephs Legende op. 63
7:25:57 Metamorphosen
7:51:13 Eine Alpensinfonie
8:41:02 Aus Italien
9:24:11 Macbeth
9:43:47 Don Quixote
10:24:54 Dance Suite, for small orchestra (after F. Couperin's keyboard works)
Richard Strauss: Salome (magyar felirattal)
A címszerepben Teresa Stratas; rendező: Götz Friedrich; közreműködnek a Bécsi Filharmonikusok, vezényel Karl Böhm. (1974)
R. Strauss - Ariadne auf Naxos
Vocals: E. Schwarzkopf, I. Seefried, R. Streich, H. Prey, L. Otto
Orchestra: Philarmonia Orchestra conducted by H. von Karajan
Richard Strauss's Alpine Symphony PROMS 2012
Bernard Haitink conducts the Vienna Philharmonic in Strauss's An Alpine Symphony
Eine Alpensinfonie - Op. 64, is a tone poem by German composer Richard Strauss in 1915

"......Strauss's Alpine Symphony: a dawn to dusk Alpine ascent. From the spine-chilling opening evoking the hours before dawn and the richness of sunrise, through to the euphoria of the summit and the drama of the mountain tempest, this is Strauss at his most colourful" - Source Wales site (BBC)

Richard Strauss
An Alpine Symphony
Vienna Philharmonic Orchestra
Bernard Haitink conductor
London - Royal Albert Hall

Richard Strauss - Metamorphosen
Antoni Wit, Conductor.
Staatskapelle Weimar.
Richard Strauss - Aus Italien, Op. 16
Aus Italien, Op. 16 (From Italy) is a tone poem for full orchestra composed by Richard Strauss in 1886. It was inspired by the composer's visit to Italy in the summer of the same year, where he travelled to Rome, Bologna, Naples, Sorrento, Salerno, and Capri. He began to sketch the work while still on the journey.
The full score of the work, Strauss's first tone poem, was completed in Munich on September 12, 1886. The work is named by the composer as "Symphonic Fantasy", and is dedicated to his mentor Hans von Bülow. It is the only work by Richard Strauss for which he himself wrote a specific program.
The first performance of the work took place in Munich on March 2, 1887, by the Court Orchestra, which was conducted by the composer himself. As Richard Strauss's sister Johanna later recalled, the first three movements were received with applause, but the last movement was not well-approved and derisory whistles came from various quarters. Norman Del Mar's biography of the composer tells a different story: the first three movements were not well received, and the final was accorded booing and applause. Strauss himself found the work itself as new and revolutionary, and he was satisfied despite the critical responses for the première.
The works comprises four sections:
1. Auf dem Land
2. Ruinen von Rom
3. Am Strande von Sorrent
4. Neapolitanisches Volksleben
Richard Strauss - Symphonia Domestica, Op. 53
"Symphonia Domestica", Op. 53 (Domestic Symphony) is a tone poem for large orchestra by Richard Strauss. The work is a musical reflection of the secure domestic life so valued by the composer himself and, as such, harmoniously conveys daily events and family life.
In 1898, Strauss became the chief conductor of the Royal Court Opera in Berlin. It was at this point in his life that the composer took a keen interest in his own circumstances and turned his attention to his status and personal history. When he began composing the Symphonia Domestica, he intended it to be the sequel to Ein Heldenleben, the next instalment of the autobiography of the now-successful artist. Of it, Strauss said "My next tone poem will represent a day in my family life. It will be partly lyrical, partly humorous - a triple fugue will bring together Papa, Mama and Baby."
The program of the work reflects the simplicity of the subject-matter. After the whole extended family (including the aunts and uncles) has been introduced, the parents are heard alone with their child. The next section is a three-part adagio. which begins with the husband's activities. The clock striking 7am launches the finale.
Richard Strauss - Tod und Verklärung, Op.24
"Tod und Verklärung" (Death and Transfiguration), Op. 24, is a tone poem for large orchestra by Richard Strauss. Strauss began composition in the late summer of 1888 and completed the work on November 18, 1889. The work is dedicated to the composer's friend Friedrich Rosch.
Unusual for a composer of 25 years of age, the music depicts the death of an artist. At Strauss's request, this was described in a poem by the composer's friend Alexander Ritter as an interpretation of Death and Transfiguration, after it was composed. As the man lies dying, thoughts of his life pass through his head: his childhood innocence, the struggles of his manhood, the attainment of his worldly goals; and at the end, he receives the longed-for transfiguration "from the infinite reaches of heaven".
There are four parts (with Ritter's poetic thoughts condensed):
1. Largo (The sick man, near death)
2. Allegro molto agitato (The battle between life and death offers no respite to the man)
3. Meno mosso (The dying man's life passes before him)
4. Moderato (The sought-after transfiguration)

Conductor: David Zinman & Zurich Tonhalle Orchestra

Strauss - Also sprach Zarathustra
Vienna Philharmonic Orchestra
Gustavo Dudamel
R. Strauss: Don Quijote - Don Quixote op.35 - Pablo Ferrández - Russell Davies - OSG
Orquesta Sinfónica de Galicia
Dennis Russell Davies, director
Pablo Ferrández, violonchelo
Francisco Regozo, viola

Grabación realizada el 7 de noviembre de 2014 en el Palacio de la Ópera de A Coruña.

Realización: Antonio Cid/RDC Producciones

Richard Strauss: Sinfonia in re minore op.4 (1880)
Sinfonia in re minore op.4 (1880) -- Nürnberger Symphoniker diretti da Klauspeter Seibel --

I. Andante maestoso - Allegro
II. Andante
III. Scherzo. Molto Allegro, leggiero
IV. Finale. Allegro maestoso

Richard Strauss Complete Piano Solo Works Tibor Szasz Op 3, 9, 5
Richard Strauss "Friedenstag" Opera in 1 act
Kommandant..............Bernd Weikl
Marie,his wife..........Sabine Hass
Wachtmeister............Jaako Ryhänen
Schütze.................Jan Vacik
Konstabel...............Jan Hendrik Rootering
Musketier...............Alfred Kuhn
Hornist.................Gerhard Auer
Offizier................Florian Cerny
Frontoffizier...........Thomas Woodman
Piemonteser.............Edouardo Villa
Holsteiner..............Kurt Moll
Bürgermeister...........Robert Schunk
Prälat..................Karl Helm
Frau aus dem Volk.......Cornelia Wulkopf
8 solostimmen...........Dorothea Geipel,Annegret Stumphius, Cornelia Helfricht,Marlene Paul,Gerhard Brückel, Kevin Conners,Andreas Kohn,Andrew Murphy
Chor der Bayerischen Staatsoper
Chorus Master: Udo Mehrpohl
Chor & Symphonieorchester des Bayerischen Rundfunks
Chorus Master: Hans-Peter Rauscher
Live recording: Staatsoper München
R. Strauss - Capriccio
Capriccio op. 85
Richard Strauss (1864 - 1949)
Cast: E. Schwarzkopf, N. Gedda, D. Fischer-Dieskau, H. Hotter, C. Ludwig
Orchestra: Philarmonia Orchestra conducted by W. Sawallisch
R. Strauss - Elektra
Elektra op. 58
Richard Strauss (1864 - 1949)
Cast: A. Varnay, H. Hillebrecht, M. Mödl, E. Waechter
Orchestra: Vienna Philarmonic Orchestra conducted by H. von Karajan, 1964 (live)
Strauss: Der Rosenkavalier - The Royal Opera, Covent Garden
This production of Richard Strauss' "Der Rosenkavalier" by Oscar-winning film director John Schlesinger, marked the 25th anniversary of Sir Georg Solti's spectacular debut at Covent Garden. Featuring Kiri Te Kanawa's first performance in London in the role of Marschallin.

Recorded 14th February 1985.

Richard Strauss - Don Juan op. 20 (Karajan - Osaka 1984)
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