Luisa Miller  (Giaiotti, Bonisolli, Sukis, Ludwig)    (2-Ponto 1009)
Item# OP0266
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Luisa Miller  (Giaiotti, Bonisolli, Sukis, Ludwig)    (2-Ponto 1009)
OP0266. LUISA MILLER, Live Performance, 23 Jan., 1974, w.Erede Cond. Vienna Staatsoper Ensemble; Lilian Sukis, Bonaldo Giaiotti, Christa Ludwig, Franco Bonisolli, Giuseppe Taddei, etc. (Czech Republic) 2-Ponto 1009. Outstanding sound quality! - 8717202250097


“Franco Bonisolli had the most thrilling tenor voice in the theatre despite his often over singing in IL TROVATORE. I heard him as Manrico twice in Salzburg, under Karajan, and what a ‘Di quella pira’! His L'AFRICAINE at Covent Garden showed a more subtle side to his singing. How sad that he had the misfortune to die on the same day as Corelli.”

- Leslie Austin, New Zealand

“Christa Ludwig was one of the most admired mezzo-sopranos of her generation, with a wide repertoire of both lieder and opera. She brought a fine sense of musicianship as well as drama to her performances. Her rôles ranged from Dorabella in COSÌ FAN TUTTE to Brangane in TRISTAN UND ISOLDE and Clytemnestra in ELEKTRA, and she was the creator of the role of Claire in Gottfried von Einem's BESUCH DER ALTEN DAME. Her technique and upper register were solid enough to let her sing the Marschallin in DER ROSENKAVALIER and the Dyer's Wife in DIE FRAU OHNE SCHATTEN, parts almost exclusively sung by sopranos -- though she did retreat from plans to sing Isolde and Brünnhilde. She was also a noted lieder performer, especially of Mahler.

She made her operatic début as Prince Orlofsky in Strauss' DIE FLEDERMAUS in 1946, at the Frankfurt State Opera, where she was a member of the company until 1952. She then moved to Darmstadt to study acting with the director Gustav Sellner. After two years, she and her mother (who was still teaching her) moved to Hanover, where she began to sing leading rôles such as Carmen, Ortrud, and Kundry. Her Salzburg début was in 1954 as Cherubino, and followed by her 1955 début in the same rôle at the Vienna State Opera, at the invitation of Karl Böhm, where she sang for more than 30 years. In 1957, she sang with Elisabeth Schwarzkopf, who encouraged her husband Walter Legge, the famous producer, to sign Ludwig with EMI records. Ludwig's United States operatic début was in 1959 in Chicago, as Dorabella. In the 1970s, she went through a vocal crisis due to menopause, and she took some of the most demanding rôles out of her repertoire and began to give more attention to songs. Again she challenged the typical views of repertoire, and sang material, such as WINTERREISE, that is most often associated with male voices, especially baritones. Working with Leonard Bernstein, she developed a special affection for Mahler (whose music Bernstein championed when Mahler was relatively obscure.)”

- Anne Feeney,

“Christa Ludwig is the Lotte Lehmann of her generation.”

- Donal Henahan, THE NEW YORK TIMES, 22 March, 1990