Benvenuto Cellini    (Fritz Uhl, Otto Wiener;   Eleanor Steber, Mitropoulos)  (2-Walhall 0137)
Item# OP0977
Regular price: $19.90
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Product Description

Benvenuto Cellini    (Fritz Uhl, Otto Wiener;   Eleanor Steber, Mitropoulos)  (2-Walhall 0137)
OP0977. BENVENUTO CELLINI (Berlioz) (in German), Broadcast Performance, 1952, w.Tenner Cond. Wiener Rundfunk Ensemble; Fritz Uhl, Otto Wiener, Edith Kermer, Leo Heppe, Barbara With, etc.; MITROPOULOS Cond. NYPO, w.ELEANOR STEBER: Les Nuits d’Été – Live Performance, 5 April, 1953 (both Berlioz). (E.U.) 2-Walhall 0137. - 4035122651379

CRITIC REVIEWS:

“Fritz Uhl was an Austrian operatic tenor, particularly associated with Wagner roles. Born in Matzleinsdorf, near Vienna, he studied in Vienna with Elisabeth Radó, and while still a student toured Holland with an operetta troup. He made his operatic début in Vienna, as Gounod's Faust in 1952, and then sang in Graz (1952-53), in Luzern (1953-54), in Oberhausen (1954-56), in Wuppertal (1956-58). In 1957, he began making guest appearances at the Munich State Opera, the Vienna State Opera, also appearing at the Salzburg Festival and the Bayreuth Festival.

Uhl began his career by singing lyric roles and lighter Wagner roles such as Erik in DER FLIEGENDE HOLLÄNDER, and gradually moved into heldentenor roles such as Tristan, Siegmund, Stolzing, Florestan, Herod, etc. He sang widely in Europe, appearing at the Paris Opéra, La Monnaie in Brussels, the Liceo in Barcelona, the Maggio Musicale Fiorentino, the Royal Opera House in London, etc. He was also invited at the San Francisco Opera and the Teatro Colón in Buenos Aires.

A forthright singer with a fine voice, he is best known for his recording of TRISTAN UND ISOLDE, opposite Birgit Nilsson, under Georg Solti.”



“Otto Wiener was an Austrian baritone, notable for his performances in the operas of Richard Wagner. He was born in Vienna, joined the Vienna Boys' Choir at the age of six, and started his adult career as a concert singer before making his stage début in 1953 at Graz in the title-role of SIMON BOCCANEGRA. He subsequently sang with the opera companies at Düsseldorf, Frankfurt and Berlin and performed at the Vienna State Opera from 1957 onwards and at the Bavarian State Opera from 1960. He appeared at the Salzburg Festival in 1955 and sang there in the stage première of Frank Martin's LE MYSTÈRE DE LA NATIVITÉ.

Wiener first appeared at the Bayreuth Festival in 1957, and sang there until 1963 as Hans Sachs in DIE MEISTERSINGER VON NÜRNBERG, Gunther in GÖTTERDÄMMERUNG, Wotan in DAS RHEINGOLD and in the title-role of DER FLIEGENDE HOLLÄNDER. In 1962 he performed the role of Sachs at both the Royal Opera House, Covent Garden, and the Metropolitan Opera. In 1964, he appeared at the Glyndebourne Festival Opera in the role of La Roche in CAPRICCIO.

Wiener was one of the highest and brightest of the successful heldenbaritones of the 1950s and 60s. He was cast in roles usually reserved for deeper, darker voices because his technique was so relaxed, well-projected, and free. Wiener retired in 1976 and died in Vienna.”



Fritz Uhl was an Austrian operatic tenor, particularly associated with Wagner roles. Born in Matzleinsdorf, near Vienna, he studied in Vienna with Elisabeth Radó, and while still a student toured Holland with an operetta troup. He made his operatic début in Vienna, as Gounod's Faust in 1952, and then sang in Graz (1952-53), in Luzern (1953-54), in Oberhausen (1954-56), in Wuppertal (1956-58). In 1957, he began making guest appearances at the Munich State Opera, the Vienna State Opera, also appearing at the Salzburg Festival and the Bayreuth Festival.

Uhl began his career by singing lyric roles and lighter Wagner roles such as Erik in DER FLIEGENDE HOLLÄNDER, and gradually moved into heldentenor roles such as Tristan, Siegmund, Stolzing, Florestan, Herod, etc. He sang widely in Europe, appearing at the Paris Opéra, La Monnaie in Brussels, the Liceo in Barcelona, the Maggio Musicale Fiorentino, the Royal Opera House in London, etc. He was also invited at the San Francisco Opera and the Teatro Colón in Buenos Aires.

A forthright singer with a fine voice, he is best known for his recording of TRISTAN UND ISOLDE, opposite Birgit Nilsson, under Georg Solti.”

- Ned Ludd





“…Dimitri Mitropoulos again urged me to sing with him and the New York Philharmonic….Once again, we began to hunt for something special we could do together. We settled on a [then] little-known cycle of songs, 'Les Nuits d’Été' by Hector Berlioz…. 'Les Nuits d’Été' proved a miraculous welding of music and artists, music and text…I cherish the memory of this and all the music we made together. Within the year we recorded the six songs which comprise the cycle, plus three additional Berlioz songs, and it’s comforting to know that after all these years, ours remains the definitive performance of this luscious music….Is it any wonder that my memories of this fantastic man and the music we made together are still so vivid?”

- Eleanor Steber, ELEANOR STEBER, AN AUTOBIOGRAPHY, pp.128-129





“Conductor Dimitri Mitropoulos stood apart from the European traditions that dominated first-rank American orchestras for much of the twentieth century. After attending the Athens Conservatory, where he studied piano and composition, his opera BÉATRICE was presented there. The French composer Saint-Saëns was in the audience, and was so impressed that he arranged a scholarship that enabled the 24-year-old to study composition with the Belgian composer Paul Gilson and piano with Busoni in Berlin. Busoni persuaded him to abandon composition and concentrate on becoming a conductor.

From 1921 to 1925, Mitropoulos assisted Erich Kleiber at the Berlin State Opera and on Kleiber's recommendation, was appointed conductor of the Hellenic Conservatory Symphony Orchestra in Athens. In 1927, he became conductor of the Greek State Symphony Orchestra and in 1930 was engaged to conduct the Berlin Philharmonic Orchestra, where he instituted the practice of conducting from the piano.

In 1937 Mitropoulos succeeded Eugene Ormandy as musical director of the Minneapolis Symphony Orchestra. He became a U.S. citizen in 1946, and remained in America until 1959. After 12 years in Minneapolis, he was invited to share the conductorship of the New York Philharmonic Orchestra with Stokowski, becoming its conductor when Stokowski resigned in 1950. Mitropoulos resigned the post after sharing the podium with Leonard Bernstein, his co-principal conductor, in the Orchestra's 1958 tour of Latin America. From 1954, he was a dynamic force as Bruno Walter's successor at the Metropolitan Opera, where he introduced many new operas, including ones by Richard Strauss and Samuel Barber.

Mitropoulos never conducted his own works, but considered his best composition to be a Concerto Grosso written in 1929. He lived simply and took little part in social activities. His conducting style was passionate, highly-charged and demonstrative; he had a phenomenal memory and rarely used a baton. He programmed much modern music and particularly admired Schönberg and the Second Viennese School, such as Webern and Berg, as well as twentieth century American and British composers. His recording of Mahler's First Symphony made with the Minneapolis Symphony Orchestra in 1941 was the first ever made in the U.S. of that work, and Mitropoulos was awarded the American Mahler Medal of Honor in 1950 for his work in promoting the composer's music. He died while rehearsing Mahler's Third Symphony with Toscanini's famous La Scala Orchestra.”

- Roy Brewer, allmusic.com