OP0882. I VESPRI SICILIANI (in German), Broadcast Performance, 1955, w.Rossi Cond. Kölner Rundfunk Ensemble;
Hilde Zadek, Hans Hopf, Dietrich Fischer-Dieskau, Gottlob Frick, etc. (Italy) 2-Myto 053.H105. Long out-of-print, final copies! - 8014399501057
“Mario Rossi was an Italian conductor, noted for his solid and meticulous readings of a repertory ranging from Italian classics to Russian moderns such as Prokoffiev, to the German operatic classicist Christoph Willibald Gluck. He studied composition in Rome with Respighi and conducting with Giacomo Setaccioli, graduating in 1925, and soon after graduation he took up the post of assistant conductor to Bernardino Molinari. Appointed resident conductor of the Maggio Musicale Fiorentino in Florence (1937–46), he made his début on the podium there in 1937 with Mascagni's IRIS. The following year he led the premiere of Gian Francesco Malipiero's opera ANTONIO E CLEOPATRA.
He conducted in all the major opera houses of Italy. As well as establishing himself in the standard Italian repertory, he took part in many revivals of ancient works such as Galuppi's IL FILOSOFO DI CAMPAGNA, Monteverdi's IL RITORNO D'ULISSE IN PATRIA, and Piccinni's LA BUONA FIGLIUOLA.
From 1946 till 1969 he served as chief conductor of the orchestra of the RAI in Turin. He elevated this group to an international level, making guest appearances in Brussels (1950), Vienna, (1951), and Salzburg (1952). Amongst his best performances on record were IL MATRIMONIO SEGRETO, IL BARBIERE DI SIVIGLIA, DON PASQUALE, UN BALLO IN MASCHERA, OTELLO and FALSTAFF.
His recordings of Gluck's PARIDE ED ELENA (1968) and of Prokoffiev's ALEXANDER NEVSKY (1954) display Rossi as an unquestionably great conductor whose styles in a 1770 German masterpiece as well as in a 20th-Century Russian masterpiece are remarkable for avoiding any distinctively ‘Italianate’ or otherwise inauthentic stylistic tendencies. In other words, the range of Rossi's musical sympathies was extraordinary. He was certainly one of the least-known of the great orchestral conductors of the 20th Century, one of the very few conductors who sounded authentically Gluckian when performing Gluck, just as much as he sounded authentically Verdian when performing Verdi. Achieving excellence across such a disparate repertory is rare even for great conductors, most of whom are stylistically authentic only in the music of a few periods, or a few nationalities (usually their own). For sheer universality, Rossi had few if any equals.”
- Zillah D. Akron
“Formerly Hans Hopf had sung primarily the Italian repertoire, but was now beginning to concentrate on Wagner roles, which suited his robust voice very well. Hopf was an incomparable raconteur, and one was never bored in his company.”
- Birgit Nilsson, LA NILSSON, p.160
“For many of the record-buying public, their impression of German dramatic tenor Hans Hopf was formed upon viewing the wretched photograph that was displayed on the cover of his 1960 EMI recording of TANNHÄUSER. Appearing bloated and dim-witted, the tenor was sorely misrepresented by a portrait that should never have been released. While his voice had by that time grown beefier and less pliant, Hopf was too serious an artist to have been exposed to such a public relations disaster. For a truer picture, physically and aurally, turn to his Walter in EMI's live recording of Bayreuth's 1951 DIE MEISTERSINGER with Schwarzkopf, Edelmann, and Karajan. Here, before the strain of too many heroic roles took their toll, his singing was strong and highly agreeable, accomplished if somewhat short of poetic. Hopf studied with bass Paul Bender in Munich before making his début in 1936 singing Pinkerton with the Bavarian Regional Opera. Affiliations with Augsburg, Dresden, Oslo, and Berlin preceded his extended membership at the Bavarian Staatsoper beginning in 1949. In addition to his Bayreuth début, the 1950 -- 1951 season held a first appearance at Covent Garden, where Hopf sang his German-language Radames in an otherwise English-language AÏDA. He was also heard as Walter, pleasing the critics and audiences more for his sturdy singing than for his subtlety. Hopf remained with the Royal Opera through the 1952 -- 1953 season, offering his Walter all three years. At Bayreuth, Hopf worked his way to Parsifal, Tannhäuser, and Siegfried by the 1960s. In 1952, he made his Metropolitan Opera début as Walter. He continued to appear for five more years, eventually amassing a total of 34 performances in the Wagnerian repertory. At Salzburg in 1954, Hopf made his début as Max in Weber's DER FREISCHÜTZ. Although most of his career was spent in Europe, Hopf made two further appearances in American opera houses singing Herodes in both Chicago (1968) and San Francisco (1974), both times with Astrid Varnay as his consort. Although the latter production caught him rather late in the day, he was still an arresting Herod, dissolute and clearly not quite stable. In Germany, Hopf had achieved a considerable reputation as Verdi's Otello.”
- Erik Eriksson, allmusic.com
“Dietrich Fischer-Dieskau was by virtual acclamation one of the world’s great singers, from the 1940s to his official retirement in 1992, and an influential teacher and orchestra conductor for many years thereafter. He was also a formidable industry, making hundreds of recordings that pretty much set the modern standard for performances of lieder, the musical settings of poems first popular in the 18th and 19th centuries. But he was essentially a lyrical, introspective singer whose effect on listeners was not to nail them to their seat backs, but rather to draw them into the very heart of song.
The pianist Gerald Moore, who accompanied many great artists of the postwar decades, said Mr. Fischer-Dieskau had a flawless sense of rhythm and ‘one of the most remarkable voices in history — honeyed and suavely expressive’. Onstage he projected a masculine sensitivity informed by a cultivated upbringing and by dispiriting losses in World War II: the destruction of his family home, the death of his feeble brother in a Nazi institution, induction into the Wehrmacht when he had scarcely begun his voice studies at the Berlin Conservatory.
He had the good luck to age well, too. In 1988, at 62, he sang an all-Schumann program at Carnegie Hall, where people overflowed onto the stage to hear him. Donal Henahan, then the chief music critic of The New York Times, noted that Mr. Fischer-Dieskau’s voice had begun to harden in some difficult passages — but also that he was tall and lean and handsomer than ever, and had lost none of his commanding presence. Mr. Fischer-Dieskau described in his memoir REVERBERATIONS (1989) how his affinity for lieder had been formed in childhood. ‘I was won over to poetry at an early age’, he wrote. ‘I have been in its thrall all my life because I was made to read it, because it gave me pleasure, and because I eventually came to understand what I was reading’. He discerned, he said, that ‘music and poetry have a common domain, from which they draw inspiration and in which they operate: the landscape of the soul’.
Before adolescence Dietrich was inducted into a Hitler Youth group where, he recalled years later, he was appalled by the officiousness as well as by the brutality. His father died when he was 12. And he had just finished secondary school and one semester at the Berlin Conservatory when, in 1943, he was drafted into the Wehrmacht and assigned to care for army horses on the Russian front. He kept a diary there, calling it his ‘attempt at preserving an inner life in chaotic surroundings’.
Instead of returning to the disastrous campaign in Russia, he was diverted to Italy, along with thousands of other German soldiers. There, on 5 May, 1945, just three days before the Allies accepted the German surrender, he was captured and imprisoned. It turned out to be a musical opportunity: soon the Americans were sending him around to entertain other P.O.W.’s from the back of a truck. The problem was, they were so pleased with this arrangement that they kept him until June 1947. He was among the last Germans to be repatriated.
Because of his youth, Mr. Fischer-Dieskau had been in no position to make his own choices in the 1930s and ’40s, so he didn’t encounter the questions about Nazi ties that hung over many a prominent German artist after the war.
Mr. Fischer-Dieskau gave his first professional lieder recital in Leipzig in the fall of 1947. Success followed success, with lieder performances in Britain and other European countries, beginning in 1949. He first toured the United States in 1955, choosing for his New York début to sing Schubert’s demanding WINTERREISE cycle without intermission.
He had made his opera début in 1948, singing Posa in Verdi’s DON CARLOS at Berlin’s Städtische Oper (later renamed the Deutsche Oper), where he was hired as principal lyric baritone. He also sang regularly at the Bavarian State Opera in Munich and appeared frequently in the opera houses of Vienna, Covent Garden, Salzburg and Bayreuth.
Versatility was not the least of Mr. Fischer-Dieskau’s assets. He tackled everything from Papageno in THE MAGIC FLUTE to heavier parts like Wotan in DAS RHEINGOLD and Wolfram in TANNHÄUSER. He recorded more than three dozen operatic rôles, Italian as well as German, along with oratorios, Bach cantatas and works of many modern composers, including Benjamin Britten, whose WAR REQUIEM he sang at its premiere in 1962.
Mr. Fischer-Dieskau’s insistence on getting things right comes through vividly in scenes of him at rehearsal or conducting master class. In a widely circulated video at the time, showing him coaching a young Christine Schäfer, Ms. Schäfer is singing beautifully, or so it would seem to your average mortal, yet the smiling maestro interrupts time and again to suggest something better. And it isn’t merely that he is invariably correct; it’s also that when he rises to sing just a few illustrative notes, the studio is instantly a stage, and he illuminates it with what seems to be an inner light.
Of the many tributes he received over the decades, perhaps none was more heartfelt than that of the British music critic John Amis: ‘Providence gives to some singers a beautiful voice, to some musical artistry, to some (let us face it) neither, but to Fischer-Dieskau Providence has given both. The result is a miracle, and that is just about all there is to be said about it….Having used a few superlatives and described the program, there is nothing else to do but write ‘finis,’ go home, and thank one’s stars for having had the good luck to be present’.”
- Daniel Lewis, THE NEW YORK TIMES, 18 May, 2012