OP0116. TANNHÄUSER, Live Performance, 1961, w.Sawallisch Cond. Bayreuth Festival Ensemble; Wolfgang Windgassen, Josef Greindl, Victoria de los Angeles, Grace Bumbry, Fischer-Dieskau, etc.; TANNHÄUSER - Excerpts, w.Rodzinski Cond. Brouwenstijn, Liebl & Wächter - recorded 1957. (Italy) 3-Myto 932.77, w.libretto. Very long out-of-print, Final Copy! - 8014399000772
“Wolfgang Sawallisch, one of the last of the old-school German conductors, who led the Philadelphia Orchestra for nearly a decade and the Bavarian State Opera in Munich for two decades before that, embodied the German type of the ‘Kapellmeister’ in the best sense: a man steeped in music, who knew every note of every score he conducted (often from memory), who was a supportive accompanist as well as an informed interpreter and who understood how to train, develop and lead an orchestra. Never flashy, even somewhat understated, he was, at his best, insightful and illuminating.
While Mr. Sawallisch was renowned throughout Europe, he might have remained little known to American audiences had the Philadelphia Orchestra not tapped him to take over as music director in 1993. When he arrived at age 70, he underwent a veritable renaissance, evidently enjoying a new freedom, both artistic and political — far from the political squabbling that had increasingly overshadowed his last years in Munich. ‘The last 10 years, with the Philadelphia Orchestra’, he said in 2006, ‘were really the top years of my symphonic life’. His time in Philadelphia was therefore a particularly happy ending to his career. Against some expectations, the reserved, intensely private German thrived in America, and the orchestra responded warmly to him.”
- Anne Midgette, THE NEW YORK TIMES, 24 Feb., 2013
“The most important singer of the German Heldentenor repertory in the 1950s and 1960s, Wolfgang Windgassen employed his not-quite-heroic instrument, believable physique, and considerable musical intelligence to forge memorable performances on-stage and in the recording studio. Although his voice lacked the sensuous appeal of Melchior's or Völker's, it was never unattractive and never employed to obvious effect. Indeed, it conveyed a youthfulness that suited the young Siegfried especially well."
- Erik Eriksson, allmusic.com
“Josef Greindl was considered as one of the greatest Wagner singers of his time. He had a powerfully expressive bass voice, whose clarity of declamation exhibited his stylistic projecting ability. Josef Greindl was equally convincing in dramatic and Buffo rôles. He also excelled in concert singing.”
- Aryeh Oron
"Born Victória Gómez Cima into a humble Catalan family in Barcelona, she studied at the Barcelona Conservatory, graduating in just three years in 1941 at age 18. That year, she made her operatic debut as Mimì at the Liceu, but then resumed her musical studies. In 1945, she returned to the Liceu to make her professional debut as the Countess in The Marriage of Figaro. After winning first prize in the Geneva International Competition in 1947, she sang Salud in Falla's LA VIDA BREVE with the BBC in London in 1948. In 1949 she made her first appearance in the Paris Opéra as Marguerite. The following year, she debuted in Salzburg and Royal Opera House, Covent Garden as Mimi, and the United States with a recital at Carnegie Hall. In March, 1951, she made her Metropolitan Opera debut in New York as Marguerite, singing with the company for ten years. She made noted recordings of LA VIDA BREVE, LA BOHEME, PAGLIACCI, and MADAMA BUTTERFLY. The last three paired her with renowned tenor Jussi Björling. She also sang at La Scala in Milan from 1950 to 1956. In 1957 she sang at the Vienna State Opera. After making her debut at the Bayreuth Festival as Elisabeth in 1961, she devoted herself principally to a concert career. However, for the next twenty years, she continued to make occasional appearances in one of her favourite operatic roles, Carmen. She was among the first Spanish-born operatic singers to record the complete opera in 1958, a recording conducted by Sir Thomas Beecham using the recitatives added by Ernest Guiraud after Bizet's death. Though Carmen lay comfortably in her range, she nevertheless sang major soprano roles, best known of which were Donna Anna, Manon, Nedda, Desdemona, Cio-Cio-San, Mimi, Violetta and Mélisande. Like Montserrat Caballé, she was a true exponent of bel canto singing. De los Ángeles performed regularly in song recitals with pianists Gerald Moore and Geoffrey Parsons, occasionally appearing with other eminent singers, such as Dame Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau."
- Z. D. Akron