OP0027. ELEKTRA (Concert Version), Live Performance, 21 March, 1937, Carnegie Hall, w.Artur Rodzinski Cond. NYPO: Rose Pauly, Charlotte Boerner, Enid Szantho, Frederick Jagel, Julius Huehn, etc.. (England) Eklipse EKR 17. Very long out-of-print, Final Copy! - 5019148602323
"Everyone on stage was excellent, but Pauly was nothing less than phenomenal. For that matter, Artur, whose ELEKTRA in Cleveland I had thought impossible to top, completely transcended himself. The public went wild with enthusuiasm. To a man, from parterre to galleries, the audience in Carnegie Hall stood and shouted and applauded for a full twenty-five minutes. I had not seen an ovation like this before, neither for Artur nor anyone else. My husband was sublimely happy as, time after time, he led Mme Pauly and other members of the cast back on stage with him for bow after bow. Raising the orchestra to share the applause with him drove the audience to noisier, prolonged acclamations. It seemed as though they would never stop."
- Halina Rodzinski, OUR TWO LIVES, p.157
"[Pauly] is completely the dramatic interpreter. It is in this cause that the tone assumes a thousand colors, according to the stress of the moment, which sometimes the voice is as jagged as Strauss' terrific text....Few voices have at once the power and the color that the music asks. Here is a singer born for the part."
- Olin Downes, THE NEW YORK TIMES, 8 Jan., 1938
"Considering the range of her roles, the length of her career, the number of creations, the major opera houses where she sang, and the stature of the musicians with whom she worked, Pauly enjoys nothing like the posthumous fame that time has granted to so many of her contemporaries' concert recordings taken from a 1937 ELEKTRA performance serve as a fine testimony to her excellence in this role. Pauly sings it to perfection."
- Vivian A. Liff, AMERICAN RECORD GUIDE, Nov./Dec., 2009
"Truly one of the finest dramatic sopranos of the 20th Century, yet today known only by the true connoisseurs of vocal music. Pauly was considered to be the greatest of all 20th Century Elektras, a role she made her own throughout the World, including 8 performances over 3 seasons at the Metropolitan Opera. A refugee from the Holocaust, her disappearance from people's lips perhaps was by her own design, as she left her meteoric career in 1946 and settled in Tel Aviv as a pedagogue. Pauly made her first American appearance in a March 18, 1937, New York Philharmonic concert performance of ELEKTRA. After a prolonged ovation, a host of the musical elite streamed backstage to offer their congratulations. Olin Downes proclaimed her 'the greatest and most dramatic singer in this part to have been heard in this country'."
- Erik Eriksson, allmusic.com
"Frederick Jagel began his education with William Brady and Vincenzo Portanova in New York and concluded with Corace Cataldi-Tassoni in Milan. He made his debut in 1924 at the Teatro in Livorno under the name Federico Jeghelli as Rodolfo in LA BOHEME. He guested at different Italian operatic stages and sang during a season at the Italian Opera in Holland. In 1927 he was engaged by the Metropolitan Opera in New York where he appeared longer than twenty years (under his own name Frederick Jagel). He made his debut as Radames. At the Metropolitan Opera he was highly acclaimed especially as an interpreter of the Italian repertoire, however, he also sang Wagner roles (Lohengrin, Tannhauser, Tristan) and in 1930 the role of Gritzko in the Met premiere of Mussorgsky's THE FAIR AT SOROCHYNTSI. His special star role was Herod in SALOME. In 1948 he sang the title role in the Met premiere of PETER GRIMES. From 1930 he guested regularly at the San Francisco Opera, in 1928 and in the 1939-1941 seasons at the Teatro Colon in Buenos Aires. In 1943 he appeared at the Chicago Opera as Lohengrin, in 1942 at the City Center Opera as Herod."
- Ashot Arkelyan