La Boheme   (Anders, Cebotari, Eipperle, Guden)    (Gebhardt 0027)
Item# OP0046
Regular price: $7.90
Sale price: $3.95
Availability: Usually ships the same business day

Product Description

La Boheme   (Anders, Cebotari, Eipperle, Guden)    (Gebhardt 0027)
OP0046. LA BOHEME - Excerpts (in German), recorded 1942-44, w.Steinkopf & Rother Cond. Berlin Rundfunks Ensemble; Anders, Eipperle, Güden, Cebotari, Domgraf-Fassbänder, etc. (Germany) Gebhardt 0027. Long out-of-print, final copies! - 4035122000276

CRITIC REVIEWS:

“Peter Anders was a German operatic tenor who sang a wide range of parts in the German, Italian, and French repertories. He began by singing lyric roles and later undertook dramatic roles with equal success.

Anders was born in Essen and studied at the Berlin Music Academy with Ernst Grenzebach, and later privately with Lula Mysz-Gmeiner, whose daughter Susanne he married. In 1931, he appeared in Berlin in LA BELLE HÉLÈNE, and made his operatic début the following year in Heidelberg, as Jacquino in FIDELIO. Anders sang in Darmstadt (1933–35), Cologne (1935–36), Hannover (1937–38), and then at the Munich State Opera (1938–40), where he took part in the creation of Richard Strauss' FRIEDENSTAG. He returned next to Berlin and sang at the Berlin State Opera from 1940 until 1948. His repertory at that time included lyric roles such as Belmonte, Tamino, Lyonel, Hans, Hoffmann, Leukippos, Alfredo and Rodolfo. Beginning in 1949, Anders undertook such heavier roles as Florestan, Max, Tannhäuser, Lohengrin, Walther, Siegmund, Radames, Otello, with equal success.

Anders made a few guest appearances at the Royal Opera House in London, the La Monnaie in Brussels and the San Carlo in Naples, as well as appearing at the Glyndebourne Festival. Anders sang not only an impressive range of operatic roles but also appeared in several operetta parts. He performed regularly on German radio and in concert and was also active in oratorio and lieder recitals.

He became a favorite of Adolf Hitler's regime and was not required to serve in the armed forces during the Second World War - instead he entertained German troops and participated in propaganda events. These activities tainted his reputation in the post-war world. While at the height of his career, Anders died in a car accident in Hamburg at the age of 46.”



“Trude Eipperle was a German operatic soprano who studied at the Musikhochschule in her native Stuttgart, and made her stage début in Wiesbaden, in 1930. She sang in Nuremberg (1930-34), Brunswick (1934-37), Munich (1938-44), Cologne (1945-51), and Stuttgart from 1951 onwards. She also appeared at the Salzburg Festival in 1942. She made guest appearances in Vienna, Milan, Barcelona, Lisbon, Brussels, Monte Carlo, Paris and London.

Her repertory included Countess Almaviva, Pamina, Agathe, Elisabeth, Elsa, Eva, the Marschallin, Arabella, Empress/Kaiserin (DIE FRAU OHNE SCHATTEN) but was also admired as Desdemona in Verdi's OTELLO, Mimi in LA BOHEME, and as Cio-Cio-San in MADAMA BUTTERFLY.”



"Maria Cebotari (1910-49) was widely admired for the freshness and charm of her singing and her stage presence. She created the role of Aminta in Strauss' DIE SCHWEIGSAME FRAU. Karajan made some 78rpm recordings with her, including an aria from Johann Strauss' DER ZIGEUNERBARON and Ariadne's 'Es gibt ein Reich'."

- Richard Osborne, CONVERSATIONS WITH VON KARAJAN, p.114



“As we can learn from her repertory, Maria Cebotari was an extraordinarily versatile singer. She was often considered a ‘predecessor’ to Maria Callas. Indeed, the two sopranos had a great deal in common. Both were true artists of great musicality and totally committed to their art. Both were utterly ‘reliable’, never missing an entry or a rehearsal. They would never come along half-knowing the music, and they could be entrusted with something new and it would be learnt quickly and intelligently. No wonder that the two Marias were loved by all great conductors. With the underlying darkness of her soprano, a pronounced vibrato and brilliance at the top of her range - but above all with the intelligence, intensitiy and sheer energy, she did justice to every rôle. She was one of the very few singers who succeeded in lyrical, dramatic and coloratura parts….Four composers were essential for her short career: Mozart, Strauss, Verdi and Puccini. In 1935, she sang the part of Aminta in the world première of Richard Strauss' Die Schweigsame Frau under Karl Böhm at Dresden Semper Opera House. Strauss advised her to move to Berlin, and in 1936 she joined the Berlin State Opera, where she was a prima donna until 1946. That year, she sang Susanna in Le Nozze di Figaro, Zerlina in Don Giovanni, and Sophie in Der Rosenkavalier for Dresden Semper Opera Company's performances at the Royal Opera House, Covent Garden. From then on, she appeared at many great opera houses including Vienna Staatsoper and at La Scala.

Richard Strauss described her as ‘the best all-rounder on the European stage; never late and never cancels’. Herbert von Karajan, during a BBC interview decades after her death, said she was the greatest Madama Butterfly he had ever conducted.”

- Andrea Shum-Binder, subito-cantabile