OP0874. RIGOLETTO (in German), Broadcast Performance, 1950, w.Fricsay Cond. RIAS Ensemble; Josef Metternich, Rudolf Schock, Rita Streich, Margarete Klose, etc. (E.U.) 2-Walhall 0121. Long out-of-print, Final Sealed Copy! - 4035122651218
“Ferenc Fricsay's career lasted barely 20 years, but during that time, he became one of the most acclaimed conductors of his generation and left behind a body of recordings that are still admired. Fricsay studied at the Budapest Academy of Music under both Zoltán Kodály and Béla Bartók, whose music he later championed. His first conducting appointment came in 1936, in Szeged, where he remained until 1944. His début, conducting the Budapest Opera, was in 1939 and in 1945 he was appointed the company's music director, taking the parallel appointment with the Budapest Philharmonic. At the 1947 Salzburg Festival, when conductor Otto Klemperer was forced to withdraw from conducting the premiere of Gottfried Von Einem's opera DANTONS TOD, Fricsay stepped in, receiving international accolades for a sterling performance. The next year he conducted the world premiere of Frank Martin's ZAUBERTRANK, and the year after that Carl Orff's ANTIGONE. In 1948, Fricsay made his Berlin début with Verdi's DON CARLOS in a production that also featured the début of baritone Dietrich Fischer-Dieskau. Thereafter he served as a guest conductor throughout Europe, based in Berlin, where he served as music director of the Stadtische Oper and the American Sector Symphony Orchestra (RIAS), later renamed the Berlin Radio Symphony Orchestra. Fricsay was best known in Europe as an operatic conductor, acclaimed for his Mozart and Verdi, among other composers, but in America he made his début with the Boston Symphony Orchestra in 1953. He was conductor of the Houston Symphony Orchestra in 1954, but resigned after one season due to policy disagreements with the board of directors. In 1956, Fricsay became music director of the Bavarian State Opera and after two seasons, returned to Berlin to resume the music directorship of the Berlin Radio Symphony Orchestra. In 1961, Fricsay conducted a performance of Mozart's DON GIOVANNI to commemorate the re-opening of the Deutsche Oper.
Fricsay's approach to conducting was influenced heavily by Toscanini, whose relationship with the NBC Symphony he used as a model for his own work with the Berlin Radio Symphony. He emphasized strict tempos and precise playing, with a close adherence to the score. As an operatic conductor, however, he was not afraid to challenge customs and conventions, both in his conception of a work and his way of realizing performances of striking vitality.
Fricsay began developing serious health problems in the 1950s. The vivaciousness of his earlier performances was replaced by a more measured, reflective approach to music as his physical condition deteriorated, and by the end of the 1950s, when he would normally have been expected to be in his prime as a conductor and recording artist, his strength was beginning to fail him. When he died, Fricsay left behind a small, precious body of recordings.
Fricsay had signed an exclusive contract with Deutsche Grammophon in 1948 and during the next decade or so, delivered a body of work heavy with award-winning recordings. Fricsay's remarkable textural clarity was captured on record with the help of his close understanding of recording techniques. Perhaps his most-acclaimed record was Mozart's THE MAGIC FLUTE, made in 1955 with Rita Streich, Maria Stader, Ernst Haefliger, and Dietrich Fischer-Dieskau, which remains a highly recommended performance. His recording of DON GIOVANNI from 1958 is also considered a definitive performance. He was also one of the most-acclaimed interpreters of Bartók, his reputation (and those of his recordings) rivalling that of Fritz Reiner, whose work with the composer is often cited as definitive.”
- Bruce Eder, allmusic.com
“From 1940 until his retirement in 1971, [Metternich] was one of the leading German baritones, singing in most of the major opera houses around the world….His was a massive voice of dark power, not rich and smooth, but with an intensity and grittiness that added much to his characterizations.”
- Charles H. Parsons, AMERICAN RECORD GUIDE, Nov./Dec., 2008
"Metternich’s rich, dark voice, extraordinary breath control, and fine musicianship was coupled with an incisiveness of text projection and a sensitivity of characterization in an outpouring of luxurious sound….In an era when German baritones were expected to sing only German opera, Joseph Metternich made an international career…specializing in the dramatic baritone roles of Italian opera."
- Charles H. Parsons, AMERICAN RECORD GUIDE, May/June, 2006
“Russian-born soprano Rita Streich, also known as the ‘Viennese Nightingale’, was a much-admired singer of the post World War Two era, who made many popular recordings. Her bright pearly voice was a light coloratura, and her repertoire included much lieder, as well as operas by Mozart, and also classical Viennese operetta. Rita Streich’s naturally vivacious and charming personality comes across in this delightful collection of various light musical ‘bon-bons’ which is drawn from her immensely popular recordings of the 1950’s. She was adept in several languages and so very well equipped to sing this eclectic mixture of vocal waltzes, songs and arias from operas, opéras comique and operettas, which show off her range of vocal abilities, from her effortless coloratura to her sweet, melting way with a melody. The collection includes some old favourites, less familiar pieces and some rarities. There are pretty vocal waltzes such as Johann Strauss’ Voices of Spring, the Shadow Song from Meyerbeer’s DINORAh and Luigi Arditi’s ‘Parla’ Waltz, lilting melodies such as Delibes’ ‘Les filles de Cadix’, Saint-Saëns’ beautiful ‘Le rossignol et la rose' and Verdi’s delightful ‘Lo spazzocamino’, arias from Suppé’s operetta BOCCACCIO (or The Prince of Palermo) and Dvorák’s gorgeous ‘Song of the Moon’ from RUSALKA. There are also rarer pieces by less well-known composers, such as a Dell’Acqua’s song ‘Villanelle’, Czernik’s tarantella ‘Chi sa?’, and an aria from Benjamin Godard’s opera JOCELYN.
Rita Streich, a light lyric coloratura, was the child of a Russian mother and a German prisoner-of-war father. Circuitously, the family made its way to Berlin where Streich grew up, and studied with Maria Ivogün, Erna Berger, and Willi Domgraf-Fassbänder (the father of Brigitte, and Germany's leading Papageno between wars). She made her début in 1943 at Aussig (today Ústí nad Labem on the northern border of the Czech Republic), singing Zerbinetta in Strauss' ARIADNE AUF NAXOS. In 1946, she became a member of the Berlin Staatsoper in the Unter den Linden, featured as Blonde in Mozart's THE ABDUCTION FROM THE SERAGLIO and Olympia in Offenbach's THE TALES OF HOFFMANN. There, until 1951, she also sang Zerlina in DON GIOVANNI, Gilda in RIGOLETTO, and Sophie in DER ROSENKAVALIER. During two subsequent seasons at the Städtische Oper, temporarily relocated in the Theater des Westens, she sang Zerbinetta, Konstanze this time in THE SERAGLIO, and the Queen of the Night in Mozart's THE MAGIC FLUTE. In 1952 - 1953 she was the Woodbird in Wagner's SIEGFRIED at the reopened Bayreuth Festival, then joined the Vienna State Opera, where she remained a member until her retirement from the stage in 1972. Streich made frequent guest appearances at Munich, however, and in 1954 débuted at London (Zerlina and Susanna, in Mozart's DON GIOVANNI and THE MARRIAGE OF FIGARO, respectively), the Salzburg Festival (as Aennchen in DER FREISCHÜTZ under Furtwängler), and Rome (Sophie again). La Scala came later on.
The soprano made her U.S. début in 1957 at San Francisco, singing two performances each as Despina in Mozart's COSĚ FAN TUTTE, Zerbinetta in ARIADNE, and Sophie in DER ROSENKAVALIER. She returned in 1959 for two more Zerbinettas, but in 1960 switched to the Chicago Lyric Opera - a house too capacious for her voice. She appeared three times as Susanna in FIGARO, and repeated the role in 1962, adding three more performances as Amor in Gluck's ORFEO ED EURIDICE. These were her last American opera appearances. Her voice was a small instrument for all the purity and technical control, better suited to a small theater such as Glyndebourne, where she appeared for the first time in 1958 as Zerbinetta. During the 1950s, Streich became a best-selling name on recordings as Zerbinetta, Sophie, Susanna, Aennchen, Adele in DIE FLEDERMAUS, and Blonde, but especially on recital discs that included coloratura light material as well as music by Mozart, Schubert, Wolf, Richard Strauss, even Milhaud -- most carefully chosen for the fach and size of her voice.
In the 1960s ,she appeared in Viennese operettas as well as operatic repertory, generously documented on German broadcast tapes of live performances. Streich retired from the stage in 1972 to teach at Essen, but returned four years later to Vienna, where she continued to teach, and where she died at the age of sixty-six. In the 1950s, and for some years after, she was considered the foremost German coloratura of her generation, often likened to her ageless teacher Erna Berger.”
- Roger Dettmer, allmusic.com
“Rudolf Johann Schock was a German tenor who sang a wide repertoire from operetta to LOHENGRIN, recording among others opera and lieder, doing television, radio and film work. Slim and handsome, he made many films. His voice fell almost into the heldentenor fach but was smaller and more ‘ingratiating’ than many voices in that category.[ Colored distinctly with a rich baritonal quality, Schock is described by Grove as a ‘lyric tenor’ with a warm flexible voice, and a ‘strong top voice’ which suited him to ‘heroic rôles’.
When he was 18 and still continuing his musical studies that took him to Cologne, Hanover and Berlin, Schock joined the opera chorus at Theater Duisburg in the city of his birth. The Staatstheater Braunschweig cast Schock in solo roles in 1937, but his career was interrupted by his being enlisted into the army in 1940. It resumed after the war in 1945 in Hanover. In 1946, he appeared with two of the Berlin-based opera companies and in 1947 he joined the Hamburg State Opera where he was a member until 1956.
Schock was one of the first Germans to sing at Covent Garden in 1949, appearing as Rodolfo, Alfredo, Pinkerton and Tamino in his first season. He sang the title role at IDOMENEO at the Salzburg Festival and took part in the premiere there of Rolf Liebermann's, PENELOPE and the Vienna State Opera's first staging of LULU. Schock made repeat visits to the Edinburgh International Festival and sang Walther at Bayreuth in 1959.
In 1953 he played and sang the role of Richard Tauber in the film DU BIST DIE WELT FÜR MICH (released in English-speaking countries as either YOU ARE THE WORLD FOR ME or THE RICHARD TAUBER STORY). He was often compared to the older tenor and was spoken of as his successor. He was also considered the most successful German film singer of his generation. He sold over 3 million records and his German films made him almost a superstar of his day. Schock's most impressive performances include the roles of Paul in DIE TOTE STADT (Korngold), and multiple Puccini principals.
Schock also interested himself in the development of younger singers by judging vocal competitions. After discovering Karl Ridderbusch at one of these, Schock part-funded the bass's musical training. Rudolf Schock continued making concert appearances into his sixties.”
- Z. D. Akron