OP0077. RIGOLETTO, Live Performance, 29 Dec., 1935, w.Panizza Cond. Met Opera Ensemble; Lawrence Tibbett, Lily Pons, Frederick Jagel / Jan Kiepura, Virgilio Lazzari, etc. (Germany) 2-Naxos 8.110020/21. Transfers by Richard Caniell. Very long out-of-print, Final Copy! - 636943102022
“Lawrence Tibbett, to my taste the greatest operatic baritone America has ever produced. His enormous charm is complemented by fabulous diction - he's one of the very few ‘classical’ singers whose every word is clearly understandable.”
- Jeffrey Lipscomb
“It is astonishing to think that a tenor — even one as prodigiously gifted as Kiepura — could create such a sensation, but a careful assessment of some of the best of Kiepura's recorded work gives you some clues about the kind of effect he had on his listeners. Few tenors of the time matched Kiepura for charisma and dramatic imagination. A performance of ‘La donna è mobile’ from the Metropolitan Opera in the late 1930s remains a marvel of how to spin out messa di voce and play with the musical line, the note values and the inflection of the words. A recording of him singing ‘En fermant les yeux’, from MANON, at the Met in 1939, bores quietly into you in the most visceral way; you feel that you are physically suspended in the dream along with des Grieux. When Kiepura sings ‘Nessun dorma’, he spins out the opening lines not in thundering forte but in the most exquisite pianissimo. Kiepura also recorded a great deal of lighter music, including Bronislaw Kaper's ‘Ninon’ and Robert Stolz's ‘Mein Herz ruft immer nur nach dir, oh Marita!’ In these selections, his voice sounds amazingly free and vigorous, as if he could fully relax only in this kind of music.
Kiepura was a singer whose natural vocal gifts were matched with a keen sensibility and intelligence. Listening to him in a cluster of different roles, one is struck by how completely his approach to them makes dramatic sense. There's a sound logic to just about everything he does that makes him one of the most intensely communicative of twentieth-century tenors. His Don José in a 1940 CARMEN from St. Louis is heartbreaking in its open-hearted innocence.
Kiepura was born in Sosnowiec, Poland, in 1902. He studied law and singing at the University of Warsaw and made his opera début in Lvov in FAUST in 1924. Stardom arrived two years later, when he sang Calàf in the second performance of the Vienna premiere run of TURANDOT. Leo Slezak had sung the opening night, but at fifty-three, he was considered too old and paunchy for a role that calls for youthful dynamism. As Calàf, Kiepura had an unqualified triumph, and he moved on to star roles at La Scala, Paris Opéra, Teatro Colón and other major international theaters. In 1927 and 1929, respectively, he sang in the world premieres of Erich Wolfgang Korngold's WUNDER DER HELIANE and Felice Lattuada's PREZIOSE RIDICOLE; Korngold also wanted Kiepura for the premiere of DIE KATHRIN but, by this time, the tenor was busy at the Met. His screen début came in DIE SING¬ENDE STADT (1930), and he became a popular leading man in the movies, while carrying on a busy concert career.
In 1934, Kiepura made his first film opposite his wife-to-be, Marta Eggerth, also a popular screen personality in Europe. MEIN HERZ RUFT NACH DIR was filmed — as was often the case with the movies. Eggerth and Kiepura made in the 1930s — in several languages. A scene would be shot in German, then the German director and members of the German supporting cast would depart to make way for the French director and actors, and sometimes again for the English version. Eggerth and the exquisite, effortlessly charming Danielle Darrieux were splitting the leading-lady role in MEIN HERZ RUFT NACH DIR in the German- and French-language versions, respectively. Kiepura gave a heated performance of a love scene with Darrieux, and when he did the repeat with Eggerth, his attitude was a bit E-flat. The soprano was annoyed, but not enough to decline a series of dates with the tenor when he eventually came around to noticing her. On 31 October, 1936, Kiepura and Eggerth were married at City Hall in Katowice.
Kiepura's technical command was so immense that practically nothing posed a problem for him vocally. Eggerth remembers him showing her how to perfect her decrescendo. ‘If you release the breath too ‘quickly’, she explains, "it becomes unwieldy. My husband showed me how to take my time and release the air slowly, slowly’. He was also generous with colleagues, spending hours talking with the likes of Richard Tauber and Lawrence Tibbett about their vocal and personal problems. He had a particularly close connection with Bruno Walter. ‘When Walter wanted to tell him something’, Eggerth recalls, ‘then he went into the dressing room after the performance and talked to Jan alone. I always said, 'What did he say?', and Jan always said, 'Nothing. It does not concern you’. He would not talk of Walter. He loved him very much. And Walter had a miserable life, you know? But this was it. They lived only for perfection’.
After a hugely successful run as a film star, Kiepura could see that his days in Europe were limited. Both his mother and Eggerth's mother were Jewish, and he knew it was crucial to get to America as soon as possible. Fortunately, he had received an offer from Met general manager Edward Johnson to join the roster in the 1937–38 season at $500 per performance, for a minimum of ten performances. The contract stipulated that Kiepura be ready with Rodolfo in BOHÈME, the Duke, Cavaradossi, Manrico in TROVATORE, Calàf, Don José in CARMEN and des Grieux in MANON.
Kiepura made his début as Rodolfo on 10 February, 1938. His performance of ‘Che gelida manina’ elicited an ovation so thunderous that he had to get up from the kneeling position to acknowledge the applause. In THE NEW YORK POST the next day, Samuel Chotzinoff wrote that Kiepura ‘injected high spirits into the role of Rodolfo and turned that ordinarily pompous and bombastic poet into a musical comedy hero’. Chotzinoff quibbled about some of the tenor's acting choices: when Rodolfo heard Mimì's voice for the first time, Kiepura rubbed his hands gleefully and cried ‘Una donna!’ There were others over the years who agreed with Chotzinoff on this point; Julius Rudel once described Kiepura to me as ‘highly enthusiastic onstage … to the point of hubris’.
For the most part, however, his reviews were glowing, and audiences — particularly in New York and Chicago, cities where so many European refugees lived — flocked to hear him sing. In Poland, he remained a national hero, despite the fact that his flight to America had cost him much of the property he had purchased, including the Hotel Patria in Krynica. At the Met, Kiepura's fee ascended to $800 a performance in 1938–39, when his roles included des Grieux and Cavaradossi. But his appearances with the Met were sporadic, adding up to only thirty-three performances encompassing five roles and four concerts over three seasons. His final Met role was Rodolfo, opposite Licia Albanese, four years to the day after he had made his company début.”
- Brian Kellow, OPERA NEWS, July, 2013
“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 début in 1924 at the Teatro in Livorno under the name Federico Jeghelli as Rodolfo in LA BOHÈME. 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 début 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, Tannhäuser, Tristan) and in 1930 the role of Gritzko in the Met première 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 première of PETER GRIMES. From 1930 he guested regularly at the San Francisco Opera, in 1928 and in the 1939-1941 seasons at the Teatro Colón in Buenos Aires. In 1943 he appeared at the Chicago Opera‘ as Lohengrin, in 1942 at the City Center Opera as Herod.”
- Ashot Arkelyan