Arabella  (Kempe;  Della Casa, Uhde, Fehenberger, Proebstl, Malaniuk)   (2-Testament SBT2 1367)
Item# OP1130
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Product Description

Arabella  (Kempe;  Della Casa, Uhde, Fehenberger, Proebstl, Malaniuk)   (2-Testament SBT2 1367)
OP1130. ARABELLA, Live Performance, 21 Sept., 1953, Covent Garden, w.Kempe Cond. Bayerischen Staatsoper Ensemble; Lisa Della Casa, Elfride Trötschel, Hermann Uhde, Lorenz Fehenberger, Max Proebstl, Ira Malaniuk, etc. (England) 2-Testament SBT2 1367. Final Sealed Copy! - 749677136727

CRITIC REVIEWS:

"Della Casa, in one of the earliest of her many assumptions of the title-part, is in ravishing voice and wholly spontaneous in her immaculately phrased and sung performance. She catches every aspect of the heroine's character, at once firm, warm and positive, and she treats the text with loving care."

- Alan Blyth, GRAMOPHONE, June, 2006





“By common assent, the great postwar Arabella was Swiss soprano Lisa Della Casa. She was everything an Arabella should be: steely willed but also lyrical, golden-toned but also dramatic, passionate but also compassionate. Although she went on to record the role twice for major labels, first with Georg Solti on Decca in 1957 and then with Karl Böhm on DG in 1963, there are many alternative Della Casa Arabellas available. Only her third appearance in the role, this 1953 performance is not quite as refined her 1957 recording nor as comfortable as her 1963 recording, but it is as passionate and more polished than her first 1947 recording. Of course, as in all Della Casa's Arabellas, her voice is endlessly lovely and her interpretation is infinitely moving. If you're going to hear only one Della Casa, it should probably be the 1963 recording. It has the unsurpassed Dietrich Fischer-Dieskau playing opposite her and the masterful Strauss conductor Böhm directing the Bavarian State Opera Orchestra. If, however, you do have time for more than one Della Casa Arabella, there are good reasons for trying this one. Not only is Della Casa nearly as good as she would become, but Hermann Uhde is an affecting Mandryka and Rudolf Kempe is nearly as masterful a Strauss conductor as Böhm, and surely a more lyrical Strauss conductor than Solti. Plus, the sense of occasion -- the Bavarian State Opera's first appearance in England since the war -- is evocatively captured in this BBC recording reissued here on Testament.”

- James Leonard, All Music Guide





“Elfriede Trötschel began her career as a member of the Dresden Opera choir and became a soloist in 1933 after being selected by the Opera’s director, Karl Böhm. Her many rôles on the operatic stage included Lola, Gretel, Esmeralda, Zerlina, Blondchen, Marie, Susanna, Nannetta, Zdenka, Jenufa, Donna Elvira, Bastienne, Oskar, Papagena, Marzelline, Sophie, Mimi and Madama Butterfly. She sang at the Salzburg Festival in 1941 and at the Berlin State Opera in 1950. In 1950 she sang Susanna at the Edinburgh and Glyndebourne Festivals, sang at the Vienna State Opera in 1952 and appeared at Covent Garden in 1953 in Strauss’ ARABELLA. Trötschel performed with some of the great conductors of the 20th century, such as Fritz Stiedry, Wilhelm Furtwängler, Krauss, Keilbert, Eugen Jochum, Kempe, Otto Klemperer, Karl Böhm and Fricsay.”

- Z. D. Akron





“Hermann Uhde’s American mother was a student of the famous baritone Karl Scheidemantel. He was trained as a bass, by Philipp Kraus at the Opera School in Bremen, where he made his début as Titurel (1936). After engagements in Freiburg and Munich he appeared for the first time in baritone rôles at the Deutsches Theater im Haag in 1942. A prisoner-of-war from April 1945 to February 1946, he did not return to the stage until 1947. He subsequently appeared at the opera houses of Hamburg, Vienna and Munich where he became a member of the ensemble. He gained great success in rôles such as Mandryka, Gunther and Telramund, in which he was particularly admired. The artist was regularly invited to the Bayreuth Festival from 1951 to 1960 where he became one of its most important members, appearing as Holländer, Klingsor, Gunther, Donner, Wotan in RHEINGOLD, Telramund and Melot. He was also a guest at the Salzburg Festival and performed a superb Wozzeck at the Met (sung in English!) where he regularly appeared from 1955 to 1961 and again in 1964. He sang at the Grand Opéra Paris as well as at other European opera houses. He created several rôles, including Creon in Orff’s ANTIGONAE, the baritone rôles in Britten’s THE RAPE OF LUCRETIA and Wagner-Régeny’s DAS BERGWERK ZU FALUN. He died of a heart attack during a performance of Niels Viggo Bentzon’s FAUST III, at Copenhagen in 1965.”

- Andrea Shum-Binder, subito-cantabile





“One of the great unsung conductors of the middle twentieth century, Rudolf Kempe enjoyed a strong reputation in England but never quite achieved the international acclaim that he might have had with more aggressive management, promotion, and recording. Not well enough known to be a celebrity but too widely respected to count as a cult figure, Kempe is perhaps best remembered as a connoisseur's conductor, one valued for his strong creative temperament rather than for any personal mystique. He studied oboe as a child, performed with the Dortmund Opera, and, in 1929, barely out of his teens, he became first oboist of the Leipzig Gewandhaus Orchestra. His conducting début came in 1936, at the Leipzig Opera; this performance of Lortzing's DER WILDSCHÜTZ was so successful that the Leipzig Opera hired him as a répétiteur. Kempe served in the German army during World War II, but much of his duty was out of the line of fire; in 1942 he was assigned to a music post at the Chemnitz Opera. After the war, untainted by Nazi activities, he returned to Chemnitz as director of the opera (1945-1948), and then moved on to the Weimar National Theater (1948-1949). From 1949 to 1953 he served as general music director of the Staatskapelle Dresden, East Germany's finest orchestra. He then moved to the identical position at the Bavarian State Opera in Munich, 1952-1954, succeeding the young and upwardly mobile Georg Solti. During this period he was also making guest appearances outside of Germany, mainly in opera: in Vienna (1951), at Covent Garden (1953), and at the Metropolitan Opera (1954), to mention only the highlights. Although he conducted Wagner extensively, especially at Covent Garden, Kempe did not make his Bayreuth début until 1960. As an opera conductor he was greatly concerned with balance and texture, and singers particularly appreciated his efforts on their behalf. Kempe made a great impression in England, and in 1960 Sir Thomas Beecham named him associate conductor of London's Royal Philharmonic. Kempe became the orchestra's principal conductor upon Beecham's death the following year, and, after the orchestra was reorganized, served as its artistic director from 1963 to 1975. He was also the chief conductor of the Zürich Tonhalle Orchestra from 1965 to 1972, and of the Munich Philharmonic from 1967 until his death in 1976. During the last year of his life he also entered into a close association with the BBC Symphony Orchestra. Interpretively, Kempe was something of a German Beecham. He was at his best -- lively, incisive, warm, expressive, but never even remotely self-indulgent -- in the Austro-Germanic and Czech repertory. Opera lovers prize his versions of LOHENGRIN, DIE MEISTERSINGER, and ARIADNE AUF NAXOS. His greatest recorded legacy, accomplished during the last four or five years of his life, was the multi-volume EMI set of the orchestral works and concertos of Richard Strauss, performed with the highly idiomatic Dresden Staatskapelle. These recordings were only intermittently available outside of Europe in the LP days, but in the 1990s EMI issued them on nine compact discs.”

- James Reel, Rovi