Der Wildschutz  (Leitner;  Schmitt-Walter, Wunderlich, Plumacher, Wissmann)  (2-Walhall 0290)
Item# OP0211
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Der Wildschutz  (Leitner;  Schmitt-Walter, Wunderlich, Plumacher, Wissmann)  (2-Walhall 0290)
OP0211. DER WILDSCHÜTZ (Lortzing), Live Performance, 9 March, 1958, Edinburgh Festival, w.Leitner Cond. Stuttgart Ensemble; Karl Schmitt-Walter, Fritz Wunderlich, Hetty Plümacher, Lore Wissmann, etc. (E.U.) 2-Walhall 0290. Final Sealed Copy! - 4035122652901


“Lortzing was born in Berlin to a family of itinerant actors, founding the Berlin theatre company Urania, and turning their amateur passion into a profession. The young Lortzing's first stage appearance was at the age of 12, entertaining the audience with comic poems during the interval in the Kornhaus at the Freiburg Münster. From 1817, the Lortzing family were part of Josef Derossi ensemble in the Rhineland, treading the boards at Bonn, Düsseldorf, Barmen and Aachen. Albert Lortzing became an audience favourite, playing the roles of a youthful lover, a country boy and bon vivant, sometimes also singing in small tenor or baritone parts.

He married an actress, Rosina Regine Ahles with whom he subsequently had 11 children. The couple belonged to the Hoftheater in Detmold from late 1826, which toured to Münster and Osnabrück. Lortzing joined the Freemasons, a popular refuge for artists in Metternich's police state. Lortzing composed an oratorio in Detmold, DIE HIMMELFAHRT CHRISTI (Christ's Ascension), which premiered in Münster. Lortzing composed the music for Christian Dietrich Grabbe's DON JUAN UND FAUST, playing the role of Don Juan himself, with his wife as Donna Anna. Lortzing received a glowing report from an anonymous reviewer in a Frankfurt paper. On 3 November, 1833, the young Lortzings gave their début at the Leipziger Stadttheater. Lortzing's parents had been members of this ensemble since 1832, under Friedrich Sebald Ringelhardt. Lortzing was much loved in the Leipzig ensemble, particularly when acting in Johann Nestroy's comedies. His first comic opera, ZAR UND ZIMMERMANN, had a tough time with the Leipzig censors.

In 1844, Lortzing became Kapellmeister of the Leipzig Stadttheater. After a quarrel with management, he was dismissed in April 1845 due to his ‘rheumatic troubles’. The repeated protests of the public got him reinstated, but he was soon dismissed again after another argument. In an open letter, signed by almost everyone in the ensemble, he made a plea against the measures taken by the city government.

Between 1846 and 1848, Lortzing worked as Kapellmeister at the Theater an der Wien in Vienna. At the behest of the Freedom Movement, he wrote text and music in 1848 for his political opera REGINA, named after his wife. This work concerned both labour struggles and fear of suicide. His last full-length opera was an 1849 fairy-tale satire of the Prussian military state called ROLANDS KNAPPEN (Roland's Squire). In 1848 he lost his appointment and had to return to work as a touring actor to support his large family. He worked at Gera and Lüneburg, among other cities. Finally in 1850, he became the Kapellmeister in Berlin at the newly opened Friedrich-Wilhelmstädtisches Theater. On 20 Jan., 1851, the night he was to attend the premiere of his musical comedy DIE OPERNPROBE, Lortzing suffered a stroke and died without medical treatment on the morning of the following day, under huge stress and deeply in debt. A number of luminaries from the musical world were present at his funeral, including Giacomo Meyerbeer, Heinrich Dorn, Wilhelm Taubert and Carl Friedrich Rungenhagen. Lortzing's theatrical colleagues decorated his coffin with black, red and gold, a combination forbidden after 1848. A public benefit was then later held for his already impoverished family.”

- Loyal Bluto

“Schmitt-Walter made his key début at the Berlin State Opera in 1935, as Luna in IL TROVATORE, which led to a long association with this important theatre, where he would sing wide repertory of lyric parts for the baritone voice. He also performed often at the Hamburg State Opera, the Vienna State Opera, the Salzburg Festival, the Bayreuth Festival, and, from 1950, the Munich State Opera. Outside the Austro-German operatic heartland, he made guest appearances at the Paris Opéra, the Royal Opera House, Covent Garden, the Liceo in Barcelona, La Monnaie in Brussels and the Holland Festival, among other major European venues.

Schmitt-Walter possessed a comparatively light, high-baritone voice of great beauty and was equipped with an exceptionally good singing technique. He was particularly admired in Mozart and Wagner roles, notably Papageno, Wolfram von Eschenbach, and Beckmesser, which role he often sang at Bayreuth. Schmitt-Walter also performed in Verdi operas such as ERNANI, LA TRAVIATA and UN BALLO IN MASCHERA, mostly in German translation. He enjoyed considerable success in light German operas by Lortzing and also in operetta. He was an excellent lieder interpreter, too. From 1962, he taught in Munich and Copenhagen and died in Bavaria at the age of 84.”

- Ned Ludd