OP0900. DON GIOVANNI (in German), Broadcast Performance, 1948, w.Schröder Cond. Frankfurt Radio Ensemble; Karl Schmitt-Walter, Otto von Rohr, Franz Fehringer, Clara Ebers, Felicie Hüni-Mihacsek, etc. (E.U.) 3-Walhall 0120. - 4035122651201
“Schmitt-Walter made his key début at the Berlin State Opera in 1935, as Luna in IL TROVATORE, which led to a long association with this important theatre, where he would sing wide repertory of lyric parts for the baritone voice. He also performed often at the Hamburg State Opera, the Vienna State Opera, the Salzburg Festival, the Bayreuth Festival, and, from 1950, the Munich State Opera. Outside the Austro-German operatic heartland, he made guest appearances at the Paris Opéra, the Royal Opera House, Covent Garden, the Liceo in Barcelona, La Monnaie in Brussels and the Holland Festival, among other major European venues.
Schmitt-Walter possessed a comparatively light, high-baritone voice of great beauty and was equipped with an exceptionally good singing technique. He was particularly admired in Mozart and Wagner roles, notably Papageno, Wolfram von Eschenbach, and Beckmesser, which role he often sang at Bayreuth. Schmitt-Walter also performed in Verdi operas such as ERNANI, LA TRAVIATA and UN BALLO IN MASCHERA, mostly in German translation. He enjoyed considerable success in light German operas by Lortzing and also in operetta. He was an excellent lieder interpreter, too. From 1962, he taught in Munich and Copenhagen and died in Bavaria at the age of 84.”
"Trained by Eduard Erhard in Karlsruhe, Clara Ebers began her career 1924 as a volunteer at the National Theatre of Karlsruhe. In 1925-26 she sang at the City Theatre of Mönchengladbach, 1926-28 at the Düsseldorf Opera, 1928-44 at the Frankfurt Opera, after she had guested there successfully as Olympia in LES CONTES D’HOFFMANN. In addition, she sang as a successor to Adele Kern in rôles like Susanna in NOZZE, Despina and Fiordiligi in COSÌ FAN TUTTE, Gilda in RIGOLETTO, Zerbinetta in ARIADNE AUF NAXOS and Daphne in the Strauss operas.
With the Frankfurt Ensemble she guested in 1934 in Amsterdam as Sophie in DER ROSENKAVALIER. Further appearances in 1934 at the City Theatre of Zürich,
1935 at the Staatsoper Dresden, 1937-38 at the opera of Antwerp, 1938 with the Maggio Musical Fiorentino (as Helmwige in the WALKÜRE). On 6 Aug., 1937 she sang
in a soprano solo in the première of Orff’s CARMINA BURANA. On 13 Jan., 1942 she created the rôle of Isabella in the première Egk’s opera COLUMBUS. In 1938-41 Ebers made appearances Frankfurt, Bucharest, Sofia, Athens, Belgrade, Zagreb and Barcelona.
After the Second World War she resumed her career first at the Theatre of Kiel. In 1946 she was appointed as the first Soprano to the State Opera of Hamburg, where she remained until 1965. Here she moved into rôles like Leonora in TROVATORE and LA FORZA DEL DESTIN, Desdemona in OTELLO, Pamina in DIE ZAUBERFLÖTE, Agathe in DER FREISCHÜTZ, Eurydice in Gluck’S ORFEO, the four female rôles in LES CONTES D’HOFFMANN, Konstanze in ENTFÜHRUNG, Maddalena in ANDREA CHÉNIER, Arabella, the Countess in CAPRICCIO and the Empress in DIE FRAU OHNE SCHATTEN; above all, however, she was loved as the Marschallin in DER ROSENKAVALIER. She made appearances at the state operas of Berlin and Munich, at La Scala, in Amsterdam and Brussels, at the Teatro San Carlos Lisbon, at the opera of Nice and at the theatre of Berne (Switzerland), with great success. At Covent Garden, in 1950, she was heard in LA TRAVIATA. At the Vienna Staatsoper, in 1963, as the Marschallin. She guested with the festivals of Aix in Provence (1949), Edinburgh and Glyndebourne (1950 as the Countess in NOZZE, and was also a respected concert Soprano. At her song recitals she was accompanied several times by Hans Pfitzner at the piano. From 1964-71 she was Professor at the College of Music Hamburg.”
- Loyal Bluto