OP1510. LOHENGRIN, Live Performance, 25 Jan., 1947, w.Busch Cond. Met Opera Ensemble; Lauritz Melchior, Helen Traubel, Margaret Harshaw, Dezsö Ernster, etc. (E.U.) 3-Walhall 0205. - 4035122652055
“Helen Traubel had a beautiful voice that soared easily over any kind of orchestral surge, yet could be full of sweetness and lyricism….She became the most important person to the Met management [after Flagstad’s departure] who hoped to keep the lucrative Wagner music dramas in the repertoire; that was possible only as long as somebody was at hand to do the great female roles….Of course Traubel secured and got the willing and able assistance of Melchior, whose meal ticket was again safe with an Isolde and Brünnhilde around….”
- Erich Leinsdorf, CADENZA, pp.105-06
“Lauritz Melchior trained with retired Danish tenor Vilhelm Herold. In 1918, now singing as a tenor, Melchior gave his first performance as Tannhäuser. 1924 saw his first performances at Bayreuth (Siegmund, Parsifal), and at Covent Garden (Siegmund), two of the most important theaters of his career. Another crucial debut came in 1926: the Metropolitan Opera, portraying Tannhäuser. The remainder of the 1920s passed by in a whirlwind of newness.
Although in the 1920s Melchior was planning to make Germany the center of his career, the unforeseen Nazification and Great Depression of the early 1930s in fact moved him away from that country's theaters, including ‘Hitler's Bayreuth’. After 1933, the majority of his opera season was spent at the Metropolitan. It was a Dionysiac time for Wagner performance. His only new operatic rôle in the 1930s was Florestan.
Melchior left the Met and the opera after a much publicized kafuffle with incoming General Manager Rudolf Bing, giving his last performance (Lohengrin) in February of 1950."
-Zillah D. Akron
“Margaret Harshaw, an American soprano and mezzo-soprano who was best known as a Wagnerian singer but whose performances in Mozart and Verdi operas were also highly regarded, sang at the Metropolitan Opera for 22 seasons, from November 1942, when she made her debut as the Second Norn in DIE GOTTERDAMMERUNG until March 1964, when she gave her final performance as Ortud in LOHENGRIN. Because she spent the first nine years of her Met career as a mezzo-soprano and then switched to soprano roles, she sang more Wagner roles than any other singer in the Met's history. These include 14 roles in the RING operas, in which she began as a Rhinemaiden and eventually sang all three Brunnhildes, as well as both Senta and Mary (in the same season) in DIE FLIEGENDE HOLLANDER, Isolde in TRISTAN UND ISOLDE, Magdalene in DIE MEISTERSINGER, Kundry in PARSIFAL and Elisabeth and Venus in TANNHAUSER.
A series of competition victories in the early 1930s led to performances in Philadelphia, Washington and New York, all before she enrolled at the Juilliard Graduate School to begin her formal studies with Anna Schoen-Rene in 1936. In March 1942, Miss Harshaw won the Metropolitan Opera's Auditions of the Air, and she began her career at the house at the start of the next season. In 1950 Rudolf Bing, the Met's general manager, was looking for a dramatic soprano to succeed Helen Traubel, particularly in Wagner roles, and persuaded Ms. Harshaw to switch to the higher range. She did so with notable success: her recordings as a soprano show her to have a clear timbre and considerable power. All told, she sang 375 performances of 39 roles in 25 works at the house and was heard in 40 of the Met's weekly live broadcasts.
Ms. Harshaw also sang at Covent Garden, Glyndebourne, the San Francisco Opera, the Paris Opera and with companies in Philadelphia, Cincinnati, New Orleans, San Antonio, Pittsburgh and Houston. She also made several Latin American tours and was a soloist with many of the major American orchestras.
In 1962, Miss Harshaw became a professor of voice at Indiana University, where she taught until 1993.”
- Allan Kozinn, THE NEW YORK TIMES, 11 Nov., 1997