Conc. Di Capodanno 1987

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I love this CD! I use it to improve my mood. It’s hard to be sad listening to Straus superbly conducted by Karajan.

Bellissima la scelta del programma, impareggiabile l'esecuzione, una summa dello spirito viennese degli Strauss. Il vecchio Karajan ha centrato l'obiettivo.

Come me lo aspettavo😀

Repertorio de los Strauss excepcionalmente bien seleccionado. La Wiener Philarmoniker dirigida por Von Karajan (dos elementos que no necesitan comentario) ofrece un concierto insuperable. Escuchar este CD es darse un festín musical. Destaco que el sonido es espléndido y que el "bonus" del Kaiser-Walzer remata con gran acierto el menú.

Jedes Jahr findet im Großen Saal des Wiener Musikvereins das inzwischen schon traditionelle Neujahrskonzert der Wiener Philharmoniker am 1. Januar des neuen Jahres statt und wird feierlich in alle Welt live übertragen. Seit 1987 gerechnet gibt es bis heute 35 CD-Veröffentlichungen dieser Eröffnungskonzerte mit jeweils einem besonders ausgewählten Gastdirigenten, nicht selten als Wiederholungstäter. Das für meine Begriffe legendärste aller bisherigen Neujahrskonzerte ist der Auftritt mit Herbert von Karajan als Dirigent, der es nur einmal in 1987 - und zwar ca. 2 Jahre vor seinem Tod - möglich gemacht hat, dort aufzutreten. Das reine Strauß-Programm wurde in absoluter Perfektion dargeboten, was die Tempi, die Dynamik, die instrumentale und vokale Darbietung betrifft. Da stimmt einfach jede Note. Dieses immer noch lebhafte, auf CD verewigte Ereignis ist einmalig und verdient, in den Rang einer Referenzaufnahme gehoben zu werden. Diese Aufnahme bereichert jede klassische CD-Sammlung und ist für einen Kauf immer noch äußerst empfehlenswert.

Il piu' bel Concerto di Capodanno che sia mai stato eseguito. Un Direttore insuperabile, da ascoltare cento volte di fila. Meraviglioso !!!!

Sono soddisfattissimo dell'acquisto di questo CD(Concerto di Capodanno 1987-Deutsche Grammophon)che a mio giudizio si rivela irrinunciabile da parte dei collezionisti.Diretto dal grande maestro H.Karajan penso personalmente che rimanga un concerto irripetibile in armoniosità e dinamica.Ringrazio e cordialmente saluto.

Un vero piacere ascoltare "Il Concerto" diretto dal mitico Karajan, una delizia, a partire dalla meravogliosa e insuperabile interpretazione dell'Overture "Il Pipistrello" per passare al "Bel Danubio Blu", "La Marcia di Radetzky", il "Valzer dell'imperatore", la chicca del soprano Kathleen Battle con il valzer "Voci di Primavera" e tanto altro.

Sous la direction de Willi Boskovsky (1909-1991), le traditionnel concert du Nouvel An devient une manifestation télévisée et acquiert une renommée internationale. Violon à la main, cet authentique Viennois conduit à cette occasion l'Orchestre de Vienne de 1955 à 1979. Lorin Maazel perpétue la tradition (1980-1986) jusqu'à l'adoption du principe du changement annuel de chef d'orchestre et, en 1987, c'est Herbert von Karajan qui ouvre le bal.La complicité du légendaire chef d'orchestre avec les Philharmonistes de Vienne n'est pas nouvelle mais on n'attendait pas forcément ce grand interprète de musique symphonique dans ce répertoire «léger». Et pourtant, à l'écoute de ce mémorable concert, on a l'impression qu'au contact des Strauss, le vieux maestro, fatigué et malade, a retrouvé ses vingt ans ; d'ailleurs la sublime soprano américaine Kathleen Battle n'a-t-elle pas été conviée pour interpréter «Frühlingsstimmen» («Voix de printemps») ?Une prestation absolument inégalable servie par une excellente prise de son, également disponible en DVD.

ottima registrazione a meta' degli anni ottanta del concerto di capodanno registrato a vienna e diretto dal mitico von karajan !

Dopo la fine del "regno" di Williy Boscovsky e di quello (più breve e tumultuoso) di Lorin Maazel, Herbert Von Karajan inaugurò, per il Concerto di Capodanno con i Wiener Philarmoniker, il periodo dei direttori ospiti a rotazione. Così, nel 1987, diede vita a un'evento mediatico irripetibile (chi l’ha vissuto, anche solo in diretta TV, ne conserva ancora un ricordo stupendo).Malfermo sulle gambe, egli si presentò sul podio con passo sorprendentemente rapido e, poggiatosi sulla provvidenziale balaustra, sorrise al pubblico, si girò e, indirizzando pochi rapidi cenni all’orchestra, iniziò ammiccante e divertito.Riservò agli spettatori alcune raffinate sorprese, tra le quali il soprano statunitense Kathleen Battle che, cantando Frühlingsstimmen (Voci di Primavera, op. 410), riuscì ad imprimere all'occasione un marchio gradevolmente distintivo.Qualcuno osservò che, quel giorno, il Direttore austriaco, diresse con singolare lentezza (probabilmente riferendosi al brano Beliebte Annen-Polka, op.137). In realtà si era trattato di una necessità poiché, oltre ai balletti, per la prima volta si trasmettevano le evoluzioni dei cavalli lipizzani della scuola imperiale di equitazione e dato che non c’era stato modo di farli procedere a tempo durante le prove egli, prodigiosamente, rallentò l’orchestra sincronizzandola in diretta al video registrato mandato in onda.Naturalmente, con una posa fintamente seriosa alternata a momenti di libero sfogo, diresse gli applausi ritmati del pubblico durante la tradizionale Marcia di Radetzky e le risate con il boato di applausi che ne consegue rendono bene il clima della giornata.La presa del suono live è ottima e ascoltando la riedizione (molto conveniente) di questo CD si coglie lo spirito festoso che, ancor oggi a Vienna si ricorda con nostalgia.

Karajan had a long standing affinity with the music of the Strauss family, recording it frequently throughout his long career. His first stereo recordings with Decca in the late 1950's were Also Sprach Zarathustra, Die Fledermaus and a Strauss Collection including Tales of the Vienna Woods with the zither played by Anton Karas, composer of the music for The Third Man, all Strauss though from different families!He had never before conducted the New Year's Concert, as although there was no such concert in Berlin, there was a New Year's Eve Gala Concert which he conducted every year, thus preventing him from conducting in Vienna.In any event, the Vienna concerts were lead by Concert Master Willi Boskovsky right up until the late 70's. These concerts were not recorded and released because Decca had exclusive recording rights over the Vienna Philharmonic and refused to record in the Musikverein on the grounds that it was a "difficult acoustic". This was disingenuous, as it really meant that Decca would not alter their microphone placements to accommodate the acoustic!Boskovsky's last concert was recorded live by Decca, and a very poor show they made of it. All their vast Strauss output was recorded in "studio conditions" in the Sofiensaal- bar the last concert.Boskovsky was succeeded by Maazel, primarily for the reason that he was a violinist and could conduct and play in true Strauss/Boskovsky fashion-and with that the recordings of the live concerts began to appear, recorded and released by DG.In 1987, Karajan had parted acrimoniously from the Berlin Philharmonic, and his Vienna orchestra lost no time in engaging him for what they rightly surmised might be the only time. Karajan took it very seriously, and researched the scores as if from new, seeking out the best editions. It was to be a "Strauss Family Only" concert-no Lanner or other interlopers.Karajan's approach to this music was the opposite to that of Boskovsky, who conducted it very much from a dance point of view, sprightly and brisk.Karajan by contrast took almost a Brucknerian approach, with long phrases conjoined by the subtlest of rubato, each note lovingly "played through" to extract maximum sonority.For this concert, all 3 Concert Masters of the great orchestra played in the first violins-Gerhart Hetzel, Rainer Kuchl and Werner Hink are clearly visible in the cover artwork, and the orchestra has never sounded so beautiful in this music.Karajan broke tradition by including a vocal number-"Voices of Spring"-sung with almost unbelievable beauty and style by Kathleen Battle in her prime.Piece after piece has never sounded so magical, the two Josef Srauss waltz sequences are just breathtaking for example. The lively pieces go just as well, and for this reissue, the Emperor Waltz has been restored and I can recall none finer.Happily, the DG Engineers caught the performance in radiant sound, with both luxuriant warmth and ample bite when required.The mishaps are omitted-Karajan forgot about "Ohne Sorgen" and had commenced what he thought was The Blue Danube-he stopped, and started again correctly, and then the microphone cut off and on intermittently in his address and New Year Greeting. We are happily spared these upsets.There have been great concerts since-this year's recording is superb, not least technically, but none has been able to elevate this music to the heights reached by Karajan and The Vienna Philharmonic in this incomparable recording.The price is now paltry, and though it has always been a "must have " recording, it is even more so now. Unlimited Stars. Stewart Crowe.