OP0538. DIE WALKÜRE – Act III, Live Performance, 25 Nov., 1945, Carnegie Hall, w.Rodzinski Cond. NYPO; Helen Traubel, Doris Dorée, Herbert Janssen, Margaret Harshaw, Beal Hober, Thelma Votipka, Doris Doe, etc.; Rodzinski Cond.: Excerpts from Das Rheingold, Siegfried & Götterdämmerung. (Germany) Archipel 0210. Final copy! - 4035122402100
“Helen Traubel had a beautiful voice that soared easily over any kind of orchestral surge, yet could be full of sweetness and lyricism….She became the most important person to the Met management [after Flagstad’s departure] who hoped to keep the lucrative Wagner music dramas in the repertoire; that was possible only as long as somebody was at hand to do the great female roles….Of course Traubel secured and got the willing and able assistance of Melchior, whose meal ticket was again safe with an Isolde and Brünnhilde around….”
- Erich Leinsdorf, CADENZA, pp.105-06
“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
“Artur Rodzinski was born in Split, the capital of Dalmatia on 1 January, 1892. In Vienna, his teachers included Josef Marx and Franz Schreker (composition), Franz Schalk (conducting), and Emil von Sauer and Jerzy Lalewicz (piano). He returned to Lwów where he was engaged as chorus master at the Opera House, making his début as a conductor in 1920 with Verdi's ERNANI. The following year saw him conducting the Warsaw Philharmonic Orchestra and at the Warsaw Opera House. While visiting Poland, Leopold Stokowski heard Rodzinski leading a performance of Wagner's DIE MEISTERSINGER VON NÜRNBERG and exclaimed ‘I have found that rare thing, a born conductor!’ and invited him to conduct the Philadelphia Orchestra.
Between 1925 and 1929 he served as Stokowski's assistant, conducted for the Philadelphia Grand Opera and directed the opera and orchestral departments at the Curtis Institute of Music. From 1929 to 1933, Rodzinski became the music director of the Los Angeles Philharmonic, garnering praise not only for his interpretations but for his innovative programming. From 1933 to 1943, he was music director of the Cleveland Orchestra, developing it into one of the foremost orchestras in America. He engaged new musicians and raised the playing standards to a very high level. His programs were innovative, offering works such as the first performance in America of Shostakovich's opera LADY MACBETH OF THE MTSENSK DISTRICT, which gained the orchestra national attention. Between December 1939 and February 1942, Rodzinski and the Cleveland Orchestra made an extensive series of recordings for the Columbia Records label. During this time he appeared with the New York Philharmonic in 1934 and 1937, when his concert performance of Richard Strauss' ELEKTRA aroused great enthusiasm. Rodzinski was also active in Europe, becoming the first naturalized American citizen to conduct the Vienna Philharmonic at the Salzburg Festival in 1936 and 1937. At Arturo Toscanini's recommendation, Rodzinski was engaged by NBC to select the musicians for the new NBC Symphony Orchestra. He rigorously trained the orchestra and conducted its first concerts in 1937, before the arrival of Toscanini.
Rodzinski was appointed music director of the New York Philharmonic in 1943. Though his four-year tenure was marked by considerable acrimony with Arthur Judson, the powerful manager of the orchestra, Rodzinski achieved high standards of performance. The renowned music critic and composer Virgil Thomson wrote about Rodzinski's tenure at the Philharmonic: ‘We now have an orchestra that is a joy to hear...and we owe it all to Artur Rodzinski’." During Rodzinski's time on the podium the Philharmonic recorded extensively, again for Columbia, performed weekly live broadcasts on CBS Radio, and appeared in the feature film CARNEGIE HALL.
Despite, however, the quality of the orchestra's performances, numerous artistic matters such as the prerogative of the music director to dismiss musicians, select soloists and determine repertoire were persistent grounds of contention. Not willing to compromise on these matters, Rodzinski resigned in 1947. His reputation as a conductor was so prominent at this time that his resignation was the subject of a cover story in TIME MAGAZINE in February 1947. The Chicago Symphony Orchestra had been wooing Rodzinski for some time and now he decided to immediately accept the leadership of that orchestra starting with the 1947-1948 season. Here again, an inability to work with the board resulted in his swift departure after only one season. His short tenure still had a significant impact upon the orchestra and local audiences through performances such as a legendary account of Wagner's TRISTAN UND ISOLDE with Kirsten Flagstad.
After his departure from Chicago, Rodzinski's health began to deteriorate. There was little recording activity available to him in the U.S. and he settled in Europe once more. Here, his status as a major musician was recognized and he was invited to lead significant productions, such as the 1953 first performance of Prokofiev's WAR AND PEACE at the Maggio Musicale in Florence, as well as traditional repertoire works. He conducted at La Scala and also worked extensively for Italian radio, conducting well received readings of Wagner's TANNHÄUSER and TRISTAN, and Mussorgsky's BORIS GODUNOV and KHOVANSHCHINA. He re-established his presence as a recording artist through a contract with Westminster Records, for whom he recorded extensively with Royal Philharmonic Orchestra in London from 1955. His final recordings were for EMI in 1958. By this time Rodzinski's health was fragile. He was warned by his Italian doctor that further conducting activity would put his life at risk. However, he returned to Chicago in 1958 to conduct TRISTAN once again, this time with the Chicago Lyric Opera and soprano Birgit Nilsson. His return was a triumph, but these were his last performances and he died shortly afterwards.”
- Ned Ludd