OP0279. DIE WALKÜRE, Live Performance, 2 Feb., 1957, w.Mitropoulos Cond. Met Opera Ensemble; Otto Edelmann, Margaret Harshaw, Ramón Vinay, Marianne Schech, Blanche Thebom, Kurt Böhme, etc. (Italy) 3-Nuova Era 2211/13, w.libretto. Very long out of-print, Final Rare Sealed Copy!
"Otto Edelmann, a leading Austrian bass-baritone of the postwar period particularly known for his interpretations of Wagner and Strauss roles, had a long association with the Vienna State Opera, where he sang for 30 years, and also had a close relationship with the Metropolitan Opera, where he made his début in 1954 as Hans Sachs in Wagner's DIE MEISTERSINGER and sang until April 1976. His final Met role was Baron Ochs in Strauss' DER ROSENKAVALIER, one of his signature roles, which he first performed in 1952 at La Scala with Elisabeth Schwarzkopf and Herbert von Karajan. That performance is still available as an audio recording; there is also a video of a Salzburg production with the same principals.
Born in Brunn am Gebirge, Austria, in 1917, Mr. Edelmann studied in Vienna with Theodor Lierhammer and Gunnar Graarud and had his first engagement in Mozart's LE NOZZE DI FIGARO in Gera, Germany, at the age of 20. He was subsequently engaged as a company bass in Nuremberg, where he sang his first Waldner in ARABELLA under the baton of the opera's composer, Richard Strauss. In World War II he was conscripted into the German army and spent two years as a Soviet prisoner of war before returning to the stage in 1947, first in Graz, Austria, and soon thereafter with the company of the Vienna State Opera, with whom he made his début as the Hermit in Weber's DER FREISCHÜTZ. A FALSTAFF in 1950 under Clemens Krauss, followed by appearances in the first postwar Bayreuth festival as Hans Sachs and in the Beethoven Ninth under Wilhelm Furtwängler, sealed Mr. Edelmann's status as a leading bass-baritone of his day. While his European career included Italian roles like Verdi's Falstaff and King Philip in DON CARLOS, and French ones like Méphistophèles in Gounod's FAUST, the Met kept him to the German repertory, presenting him as Sachs, Wotan, King Marke and, of course, Baron Ochs. As Ochs, he also opened the rebuilt Festspielhaus in Salzburg in 1960. In December 1976 Mr. Edelmann sang his last performance, a final Waldner in Vienna, and turned to teaching at the Vienna Music Academy.”
- Anne Midgette, THE NEW YORK TIMES, 16 May, 2003
“Margaret Harshaw (made her professional début in the dramatic mezzo-soprano rôle of Azucena in IL TROVATORE with The Philadelphia Operatic Society in 1934. She entered the graduate program at The Juilliard School in 1936, where she studied with Anna E. Schoen-René, who had been a student of Pauline Viardot-García and her brother Manuel García. It was at Juilliard where Harshaw, after singing the rôle of Dido in Purcell’s DIDO AND AEANEAS, met Walter Damrosch who prophesied: ‘My child, one day you will be Brünnhilde!’. She won the Metropolitan Opera’s ‘Auditions on the Air’ in 1942, and made her Met début as the second Norn in Wagner’s GÖTTERDÄMMERUNG. Gifted with an extended range, Harshaw sang many mezzo-soprano rôles for the next nine seasons before she entered soprano territory in 1951 when she sang the rôle of Senta in THE FLYING DUTCHMAN. By 1954 she had inherited the mantel of Kirsten Flagstad and Helen Traubel, and sang all the leading Wagnerian soprano rôles, including Isolde, Brünnhilde, Elisabeth, Kundry and Sieglinde. Harshaw retired in 1964 from the Metropolitan Opera after having sung 375 performances of 38 rôles in 25 works over 22 consecutive seasons. She then became a professor of voice at Indiana University in 1962, where she taught until 1993. She also taught at the Curtis Institute of Music and Westminster Choir College. Among her many students are Benita Valente, Vinson Cole, Matthew Polenzani, etc."
- Daniel James Shigo
"Marianne Schech débuted at Coblenz 1937 (Marta in TIEFLAND). From 1937 to 1945 she sang in Münster, Munich, Düsseldorf and Dresden. Schech was a member of Bavarian State Opera, Munich, 1945–70, specializing in Wagner and Strauss roles. Her Covent Garden début was in 1956, followed by her Met Opera début 1957. Schech débuted in San Francisco in 1959. She was one of singers of trio from DER ROSENKAVALIER at Richard Strauss' funeral, 1949.
Chilean-born Ramón Vinay began his operatic career as a baritone (Mexico City, 1938), singing many of the major baritone roles…, but after study with tenor René Maison, he began a second career as a tenor (Mexico City, 1943), and after a long, distinguished career as a tenor, returned to the baritone repertoire in the 1960's, retiring in 1969 with a final Iago. He was most noted for tenor roles requiring great heft and power….His services were in demand everywhere."
- Charles H. Parsons, AMERICAN RECORD GUIDE, May/June, 2006