Ferenc Fricsay Edition, Vol. 2 (opera & Choral)
Bartók: Cantata Profana 'The Nine Enchanted Stags', BB 100, Sz. 94 Duke Bluebeard's Castle, Sz. 48, Op. 11 (sung in German) Beethoven: Fidelio, Op. 72 Bizet: Carmen (highlights) Brahms: Alto Rhapsody, Op. 53 Gluck: Orfeo ed Euridice Haydn: The Seasons 1952 The Seasons 1961 Te Deum, Hob. XXIIIc:1 Kodály: Psalmus hungaricus, Op. 13 Mahler: Rückert-Lieder (5 songs, complete) Mozart: Mass in C minor, K427 'Great' Requiem in D minor, K626 Die Entführung aus dem Serail, K384 Die Zauberflöte, K620 Don Giovanni, K527 Idomeneo, K366 Le nozze di Figaro, K492 Rossini: Stabat Mater Strauss, J, II: Die Fledermaus Stravinsky: Oedipus Rex Symphony of Psalms Verdi: Requiem 1953 Requiem 1960 Quattro Pezzi Sacri Wagner: Der fliegende Holländer
Even though Fricsay’s career as a recording artist barely lasted 12 years, almost every connoisseur of Classical music considers him a legend, the epitome of the enlightened master conductor, who was good at everything he touched, a role model for figures like Abbado or Harnoncourt. The sleek and slender aspects of Ferenc Fricsay’s conductorial style paved the way for many facets of what we consider informed conducting today, especially in Mozart, and he still (almost) equalled Furtwängler in transcendental romanticism – when it suited the music. During the short timespan that he had as a recording artist, between 1949 and 1961, Fricsay, besides his many other obligations, managed to make an abundance of records for Deutsche Grammophon, now amounting to an incredible number of 82 fully packed CDs. And, as critics then and now have pointed out, he made every single record count, especially when he knew that he had little time. The Fricsay recording that wasn’t great still has to be pointed out. One can only wonder what this genius would have achieved had he lived longer.