Tannhauser  (Leinsdorf; Melchior, Janssen, Flagstad, Thorborg, List, Harrell)  (3-Gebhardt 0006)
Item# OP0137
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Tannhauser  (Leinsdorf; Melchior, Janssen, Flagstad, Thorborg, List, Harrell)  (3-Gebhardt 0006)
OP0137. TANNH�USER, Live Performance, 4 Jan., 1941, w.Leinsdorf Cond. Met Opera Ensemble; Lauritz Melchior, Herbert Janssen, Kirsten Flagstad, Kerstin Thorborg, Emanuel List, Mack Harrell, etc. (Germany) 3-Gebhardt 0006. Long out-of-print, Final Sealed Copy! - 4035122000061

CRITIC REVIEWS:

�An aura of distinction envelopes the entire performance, and nowhere more so than in Flagstad�s portrayal. Her vocalism is incredibly fresh, and more surprisingly, so is her characterization of Elisabeth. For once she has shed even the suggestion of the heroic in both tone and manner�.Some alchemy has allowed silver to penetrate the characteristic bronze metal of her instrument, and even at the softest dynamic the voice is perfectly poised�.In top vocal form throughout the afternoon, [Melchior] never retreats before the notorious tessitura of the r�le; at the opera�s end, his Rome Narrative is a tour de force of technical mastery�.�

- Paul Jackson, SATURDAY AFTERNOONS AT THE OLD MET, p.258



“Herbert Janssen - with his plangent, fine-grained voice, keen intelligence, aristocratic musicianship, and (not incidentally) handsome appearance - was the leading German baritone in several major theatres during the 1920s and 1930s. After study with Oskar Daniel in Berlin he was immediately accepted by Max von Schillings for the Berlin State Opera, where he made his debut in 1922 as Herod in Schreker’s DER SCHATZGRÄBER . He remained at the Berlin State Opera until 1937 singing both lyric and dramatic roles, many of them in the Italian repertory. He later appeared in important productions of DER FLIEGENDE HOLLÄNDER and TRISTAN UND ISOLDE at Covent Garden conducted by Reiner and Beecham, also singing Orest / ELEKTRA and in 1935 taking the title role in Borodin’s PRINCE IGOR, for which he was highly praised.

Janssen was a fixture at the Bayreuth Festival from 1930 to 1937. His Wolfram in TANNHÄUSER set a standard not approached since, and, fortunately, it was recorded in a somewhat truncated 1930 production. During that decade, he established benchmarks for several Wagner roles, particularly Kurwenal, Telramund, Gunther, and - especially - Amfortas. His interpretation of the latter was an exquisitely sung realization of a soul in torment, achieving a remarkable unity of voice, movement, and makeup. His doggedly loyal Kurwenal is preserved on complete recordings of TRISTAN UND ISOLDE made live at Covent Garden in 1936 and 1937. His tortured Dutchman is also available in a live recording made at Covent Garden and featuring Kirsten Flagstad as Senta.

In addition to his stage work, Janssen acquired a reputation as a superior singer of Lieder. The exceptional beauty of his voice and his interpretive acuity made him a prime candidate for Walter Legge's Hugo Wolf Society venture of the 1930s. Among the finest singers Legge could pull together, Janssen was given the largest assignment and his subscription recordings made throughout the decade remain supreme, even in the face of the best achievements of post-war Lieder singers.

Janssen was very unpopular with the Nazi regime, having turned down a dinner invitation from Hitler at Bayreuth, Janssen left Germany in 1937 and with Toscanini’s assistance traveled immediately to Buenos Aires. After a season in Argentina, he came to the United States where he made his debut at the Metropolitan Opera in 1939, remaining at that theater until his stage retirement in 1952.

From 1940 onwards Janssen sang regularly at Buenos Aires and with the San Francisco Opera between 1945 and 1951. Following his retirement in 1952, he remained in New York as a respected teacher.

Janssen’s performances were notable for the warm and sympathetic timbre of his voice, his excellent command of legato and clear enunciation, as well as his convincing acting. Also a highly accomplished lieder singer, he had in addition starred in the musical DREI MUSKETIERE at the Metropol Theatre in Berlin during 1928 opposite Göta Ljungberg."

- Erik Eriksson, allmusic.com



�Pride of place in this column belongs to the greatest Wagnerian soprano of the 20th century (and probably the 19th as well), Kirsten Flagstad (1895-1962). Flagstad made her d�but at the age of 18 in her native Norway, but her voice developed slowly and she sang mostly light roles in operettas and musical comedies and only in Scandinavia until 1932. By then her voice had greatly deepened and her artistry matured, and her late entry onto the world's stages was spectacular. By the late 1930s, when I first heard her live at the Met, she was internationally famous, but her reputation suffered during WWII, when she was made suspect by her husband's association with the Norwegian Nazis, and it took some time before she was welcomed back to recital stages in the U.S. and elsewhere.

She was a shy, self-contained woman who looked and behaved like a simple hausfrau; she refused to be a prima donna and always insisted her greatest desire was to retire to Norway and spend her life with her husband and children. Watching her knitting placidly or playing solitaire in the wings before she went on stage, observers often wondered whether she really understood what she was doing out there as Br�nnhilde or Isolde. The answer was in her performances and is on these discs, in which astounding vocal beauty is combined with great passion and musical insight in deeply felt and deeply moving performances. Hearing her powerful, pure, golden tones ring out effortlessly above the loudest orchestral sound is one of the most electrifying vocal experiences you will encounter. If her characterizations often seemed more stately and restrained than vivid, she made up for it by her musical intelligence, her impeccable intonation and diction, her perfect breath control (which enabled her to produce flawless legato lines), and the radiance, brilliance, ease, and intoxicating beauty of her singing.�

- Alexander J. Morin, Classical.Net





"The voice of Kirsten Flagstad was a full dramatic soprano with great warmth. Unlike the voice of Birgit Nilsson, which was like a laser beam, Flagstad's voice enveloped the listener in a cushion of sound. She brought her characters to life primarily through vocal means; the overt theatricality of the later twentieth century was not part of her dramatic arsenal nor was it seen in any of her colleagues. Her many appearances with Lauritz Melchior at the Metropolitan Opera and at other houses in the 1930s made the music dramas of Wagner the core of the repertoire at these houses."

- Richard LeSueur, allmusic.com



�Lauritz Melchior trained with retired Danish tenor Vilhelm Herold. In 1918, now singing as a tenor, Melchior gave his first performance as Tannh�user. 1924 saw his first performances at Bayreuth (Siegmund, Parsifal), and at Covent Garden (Siegmund), two of the most important theaters of his career. Another crucial debut came in 1926: the Metropolitan Opera, portraying Tannh�user. The remainder of the 1920s passed by in a whirlwind of newness.

Although in the 1920s Melchior was planning to make Germany the center of his career, the unforeseen Nazification and Great Depression of the early 1930s in fact moved him away from that country's theaters, including �Hitler's Bayreuth�. After 1933, the majority of his opera season was spent at the Metropolitan. It was a Dionysiac time for Wagner performance. His only new operatic r�le in the 1930s was Florestan.

Melchior left the Met and the opera after a much publicized kafuffle with incoming General Manager Rudolf Bing, giving his last performance (Lohengrin) in February of 1950.

Kerstin Thorborg is a true contralto voice with a powerful top extension, making it eminently suitable for the special requirements of dramatic roles. Her top notes are prefectly placed and she sings with a rich and ample tone through the whole range. She is one of the great Wagnerin singers of the 20th century and all recordings in which she was involved are a �must�.

She gained great success, particularly as Brang�ne. Bruno Walter became one of her most important mentors. Under Bruno Walter she sang the title role in Gluck�s ORFEO, and in 1936 with Walter she made gramophone history in the first ever recording of Mahler�s DAS LIED VON DER ERDE. She was most highly estimated by many great conductors, such as Georg Szell, Sir Thomas Beecham, Fritz Busch, Felix Weingartner, Hans Knappertsbusch, Wilhelm Furtw�ngler, Arturo Toscanini and Victor de Sabata. In 1938, when the Nazis annexed Austria, she broke her contract and left for the USA. There she had made her d�but already in 1936 at the Met. She stayed with this company until 1950, where she became one of the most successful mezzos, performing some three hundred nights during twelve seasons.�

- Andrea Shum-Binder, subito-cantabile



�Swedish mezzo-soprano Kerstin Thorborg was one of the finest artists before the public during her prime years in the 1930s. Celebrated by critics in London and New York, she was admired for her completeness as an artist, excelling in both opera and concert work, and adept in many areas of the repertoire. Attractive and supple on stage, she was regarded as among the finest actresses in opera. In the company of such fellow singers as Leider, Flagstad, Lehmann, Melchior, and Schorr, she made her era an outstanding one for Wagnerian performance.

Thorborg made her d�but at the Stockholm Opera in A�DA, achieving a substantial success with her first Ortrud in 1924. The mezzo remained with the company until 1930 (also fulfilling numerous concert engagements) before accepting an offer from the Prague National Theatre and, subsequently, Nuremberg. After a successful series of performances in both houses, she was summoned to Berlin, where she was engaged by the St�dtische Oper, singing there from 1932 to 1935. In 1935, she began appearing at Vienna Staatsoper and remained there until 1938. Her Salzburg roles between 1935 and 1937 included Orfeo, Magdalene, Brang�ne, Donna Mercedes in Hugo Wolf's rarely performed DER CORREGIDOR, and Eglantine in Weber's EURYANTHE. In the midst of her European engagements, she managed to fit in a season at Buenos Aires as well.

In 1936, Thorborg made d�buts at both Covent Garden and the Metropolitan Opera, receiving praise for her consummate artistry. Her May appearance in DIE WALK�RE prompted London's very particular Ernest Newman to describe her as �the finest Fricka I have ever seen or hope to see�. Later, Newman greeted her Kundry with these words: �She walks like a goddess, sits like a statue; and not a single gesture is wasted throughout the whole evening. All in all, I would rank her as the greatest Wagnerian actress of the present day�.

In New York, Thorborg's December d�but was again as Fricka, a performance also celebrated as that of a great actress. While critics deemed her somewhat too bright in tone, they greeted her portrayal as altogether exceptional. Thorborg was described as �a woman of regal and distinguished beauty, stately in bearing, slender, tall and straight�. The reviewer hailed her as �an actress of intelligence and skill and power�. Thorborg's appearances at Covent Garden ended before the outbreak of World War II, but her Metropolitan engagement extended over fifteen seasons, during which she proved herself a mainstay of the Wagnerian wing. In 243 performances, she ranged over nearly the entire range of Wagner roles for mezzo and contralto, also performing such parts as Amneris, Azucena, Ulrica, Orfeo, Octavian, Herodias, and Marina in BORIS GODUNOV. Thorborg sang two seasons at San Francisco (1938 and 1943) and in Chicago between 1942 and 1945.�

- Erik Eriksson, allmusic.com



"Erich Leinsdorf, a conductor whose abrasive intelligence and deep musical learning served as a conscience for two generations of conductors, had a utilitarian stage manner and his disdain of dramatic effects for their own sake stood out as a not-so-silent rebuke to his colleagues in this most glamorous of all musical jobs. In addition, Mr. Leinsdorf - in rehearsal, in the press and in his valuable book on conducting, THE COMPOSER'S ADVOCATE - never tired of pointing out gaps in culture among musicians, faulty editing among music publishers and errors in judgment or acts of ignorance among his fellow conductors. He rarely named his victims, but his messages and their targets were often clear. Moreover, he usually had the solid grasp of facts to support his contentions.

Mr. Leinsdorf moved to this country from Vienna in 1937. Helped by the recommendation of Arturo Toscanini, whom he had been assisting at the Salzburg Festival, Mr. Leinsdorf made his conducting d�but at the Metropolitan Opera a year later with DIE WALK�RE. He was 25 years old at the time . A year later he was made overseer of the Met's German repertory, and his contentious style - in particular an insistence on textual accuracy and more rehearsal - won him no friends among singers like Lauritz Melchior and Kirsten Flagstad. Backed by management, he remained at the Met until 1943. At the New York City Opera, where he became music director in 1956, Mr. Leinsdorf's demanding policies in matters of repertory and preparation made him further enemies, and he left a year later. His searches for permanent employment turned mostly to orchestras. After the briefest of tenures at the Cleveland Orchestra during World War II, Mr. Leinsdorf took over the Rochester Philharmonic and stayed for nine years.

Mr. Leinsdorf's last and most prestigious music directorship was at the Boston Symphony, where he replaced Charles M�nch in 1962. No contrast in style could have been sharper: M�nch had viewed conducting mystically, as a kind of priesthood; Mr. Leinsdorf's policy was to make performances work in the clearest and most rational way. Observers both in and out of the orchestra could not deny the benefits of Mr. Leinsdorf's discipline, but there were some who were hostile to what they perceived as an objectivity that could hardly be called heartwarming.

One American orchestra manager a few years ago responded to musicians' grumblings over Mr. Leinsdorf's rehearsal manner by saying that he was �good for my orchestra�. And so he probably was.�

- Bernard Holland, THE NEW YORK TIMES, 12 Sept., 1993