Fedora  (Maud Cunitz,  Karl Friedrich, van Mill, Christa Ludwig)  (2-Walhall 0041)
Item# OP0200
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Product Description

Fedora  (Maud Cunitz,  Karl Friedrich, van Mill, Christa Ludwig)  (2-Walhall 0041)
OP0200. FEDORA (in German), Broadcast Performance, 1953, Frankfurt, w.Schröder Cond. Hessischen Rundfunks; Maud Cunitz, Karl Friedrich, Maria Madlen Madsen, Kurt Gester, Arnold van Mill & Christa Ludwig. (E.U.) 2-Walhall 0041. Long out-of-print, Final Sealed Copy! - 4035122650419

CRITIC REVIEWS:

“Soprano Maud Cunitz recorded in the 1950s for Decca, Telefunken, and HMV, plus numerous German radio broadcasts. She is heard here at her considerable best, a slender, penetrating tone, quite reed-like. Three excerpts from a complete 1953 HMV LOHENGRIN are heard to advantage with rest of the estimable cast: Rudolf Schock, Margarete Klose, Josef Metternich, and Gottlob Frick at the Hamburg Radio. She is joined by Frick and Karl Terkel in two excerpts from DIE HUGUENOTTEN. ‘Senta’s Ballad’ gets a stout traversal full of sturm und drang. Two excerpts from DER FREISCHÜTZ are lovingly vocalized, bursting with excitement.”

- Charles H. Parsons, AMERICAN RECORD GUIDE, May/June, 2012





“The German soprano Maud Cunitz was a legendary leading singer, who was completely dedicated to the ensemble of her opera house. She was self-critical and self-confident enough to never attempt a role to which she was unsuited.”

-Zillah Dorset Akron





“There are great singers, and there are great artists. A great singer needs an exceptional voice, a masterful technique and the musicianship to conquer the most challenging repertoire. A true artist, of course, possesses these attributes, but there is something more - a soul-deep connection to the expressive content of the music; a sort of telepathic sympathy with the composer and a yearning to communicate that fire of inspiration to anyone who will listen. Christa Ludwig was blessed with all these things, and the opera world has been blessed in turn by her unerring ability to understand the characters she played, and to carry their joys and sorrows to the audience with such humanity and tenderness that we could not help taking her into our hearts. The beauty, warmth and radiance of her instrument seem inseparable from the beauty, warmth and radiance of the human spirit that breathes forth that wondrous sound. She made thrilling forays into dramatic-soprano territory, singing the Marschallin as well as Octavian in DER ROSENKAVALIER and giving performances of Leonore in FIDELIO that are now the stuff of legend. Perhaps most famously, she partnered her then-husband Walter Berry as the Dyer's Wife in DIE FRAU OHNE SCHATTEN.

Her Met début in 1959, as Cherubino, was not a great triumph, but by the time she bade farewell to the house, as Fricka in 1993 - her 119 performances of fifteen roles had made her one of the most beloved artists in the company's history.”

- Louise T. Guinther, OPERA NEWS, April 2014