C1205. OTTO KLEMPERER Cond. Köln Radio S.O., w.Elisabeth Grümmer & Hermann Prey: Ein Deutsches Requiem (Brahms). (Germany) Archipel 0356, recorded 20 Feb., 1956. Long out-of-print, final copies! - 4035122403565
“In comparison with her contemporaries, Grümmer was a greatly under-recorded soprano. Since she possessed an attractive, cream-toned voice, a splendid florid technique, and a smooth legato delivery allied to a pleasing stage presence, it is curious that she was so neglected by the major record companies.”
- Vivian A. Liff, AMERICAN RECORD GUIDE, May / June, 2011
"Elisabeth Grümmer was one of a wonderful constellation of German lyric sopranos who dominated the Central European opera houses and concert halls in the 1950s and '60s."
- Kurt Moses, AMERICAN RECORD GUIDE, March/April, 2010
"Elisabeth Grümmer was one of the best German lyric sopranos of the 1950s and 60s….the listener will be struck by [her voice’s] beauty, its evenness and smoothness over its entire range. Grümmer was a stylish singer who colored her voice well and gave convincing portrayals of her operatic heroines."
- Kurt Moses, AMERICAN RECORD GUIDE, Jan./Feb., 2005
“Though Mr. Prey's voice was a mellow, lyric baritone, he sang with such focused sound and robust projection that he enjoyed an active career in opera. He avoided the heavier Verdi roles, but excelled at Mozart, Gluck, Rossini, and lighter Strauss and Wagner roles. One of his great achievements was Beckmesser in Wagner's MEISTERSINGER, which he sang at the Met in 1993. To his characterization of a town clerk in medieval Nuremberg, typically portrayed as a scheming buffoon, Mr. Prey brought an emotional complexity and light-on-the-feet comic grace that made Beckmesser endearing.
Mr. Prey's voice was ideally suited to lieder, and he left a large and important discography, including songs by Schubert, Schumann, Strauss, Mahler, and Carl Loewe, a neglected 19th-century composer whom Mr. Prey championed. Commenting on Mr. Prey's 1985 recording of Schubert's WINTERREISE with the pianist Philippe Bianconi, The New York Times critic Bernard Holland wrote: ‘This is Schubert singing that does not twist sound for pictorial or dramatic effect but instead creates, with unusual musical clarity and purity of tone, a narrative voice which, though concerned and moved, tells the story first and lives it only indirectly’."
- Anthony Tommasini, THE NEW YORK TIMES, 24 July, 1998