Karl Bohm;  Hans Hermann Nissen, Josef Herrmann (Hanssler PH07058)
Item# C0833
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Product Description

Karl Bohm;  Hans Hermann Nissen, Josef Herrmann (Hanssler PH07058)
C0833. KARL BÖHM Cond. Dresden Staatsoper Ensemble: Tannhäuser - Overture; Der Fliegende Holländer - Overture; Lohengrin - Prelude, Act III; Bridal chorus; Die Meistersinger - Preludes, Acts I & III; w.Hans Hermann Nissen: Die Meistersinger - Verachtet mir die Meister nicht; w.Josef Herrmann: Die Meistersinger - Was duftet doch der Flieder (all Wagner). (Germany) Hänssler Profil PH07058, recorded 1938-40, Electrola. Final copy! - 881488705850

CRITIC REVIEWS:

“Karl Böhm was one of the greatest conductors of the twentieth century in the German tradition. He studied music as a child and continued to work and study in music while serving in the Austrian Army during World War I - and while completing a doctorate in law. He never had conducting lessons, but made close studies of the work of both Bruno Walter and Karl Muck.

In 1921 he was hired by the Bavarian State Opera in Munich, and then he became Generalmusikdirektor in both Darmstadt (1927) and Hamburg (1931-1933). He gained a reputation for his fine performances of Mozart, Wagner and Richard Strauss, as well as his championing of modern German music, including operas by Krenek and Berg. Böhm débuted in Vienna in 1933, leading Wagner's TRISTAN UND ISOLDE. In 1934 he became director of the Dresden State Opera, Richard Strauss's favorite theater. There, Böhm conducted premieres of Strauss's Die schweigsame Frau (1935) and Dafne (1938). He remained at the helm in Dresden through 1943, at which point he became director of the Vienna State Opera (1943-1945). Richard Strauss was not in official favor, and Joseph Goebbels banned any recognition of the great composer's 80th birthday in 1944. However, Böhm participated in a de facto observance, as a large number of Strauss' orchestral and operatic works ‘just happened’ to be played about the time of the birthday.

After the war, Böhm was forbidden to perform until he underwent ‘de-Nazificatio’, a procedure whereby prominent Austro-Germans were investigated for complicity in Nazi crimes. He was eventually cleared of any suspicion, and was permitted to resume work in 1947.

Böhm oversaw the German repertory at the Teatro Colón in Buenos Aires (1950-1953), and again served as director of the Vienna State Opera (1954-1956). He débuted in the USA at the Metropolitan Opera with Mozart's DON GIOVANNI in 1957, and took prominent German orchestras and opera companies on tour. The Vienna Philharmonic bestowed on him the title ‘Ehrendirigent’, and he was proclaimed Generalmusikdirector of Austria. He left a legacy of many great recordings, including a complete Wagner RING cycle considered by many critics to be the best. While his Wagner and Strauss were sumptuously Romantic, his Mozart was scrupulously Classical in approach.”

- Joseph Stevenson, almusic.com



“Hans-Hermann Nissen is the only bass-baritone comparable to Friedrich Schorr. Why did the recording companies almost neglect him? There might be two reasons - the first being that the singer himself valued a stage career more than a reputation as a recording artist, and secondly the important fact that at the time there were a lot of German baritones and the recording companies had already engaged their popular favorites. Contemporaries were Wilhelm Rode, Rudolf Bockelmann, Josef Herrmann, Hans Hotter, Paul Schöffler and Ferdinand Frantz! This is a proud gallery, but Nissen and Schorr outshined them all.

His is a warm voice of great beauty, superb musical phrasing and he sings with a perfect legato. His recordings are irreplaceable documents of an exemplary refined style in Wagner’s music. In my opinion, he is unsurpassed in Amfortas’ lament. He is a superb but underrated singer.

He studied in Berlin with Julius Raatz-Brockmann, and made his début at the Volksoper Berlin, as Kalif in DER BARBIER VON BAGDAD, in 1924. In 1925 he was engaged at the Bavarian State Opera in Munich where he remained a member of the ensemble for four decades! Especially during the Clemens Krauss era he was acclaimed in performances that have become part of operatic legend. Nissen’s most famous role was Hans Sachs, a role he sang in 1936 in Salzburg under Toscanini and in 1943 at the Bayreuth Festival. After World War II he continued to appear in various German cities. Nissen was an acclaimed lieder and oratorio singer. He was a favorite singer with the Munich Opera until his retirement in 1967.”

- Andrea Shum-Binder, subito-cantabile