Lohengrin   (Stiedry; Sullivan, Steber, Harshaw, Ernster, Sigurd Bjorling)   (3-Gala 100.640)
Item# OP1718
$29.95
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Product Description

Lohengrin   (Stiedry; Sullivan, Steber, Harshaw, Ernster, Sigurd Bjorling)   (3-Gala 100.640)
OP1718. LOHENGRIN, Live Performance, 11 April, 1953, w.Stiedry Cond. Met Opera Ensemble; Brian Sullivan, Eleanor Steber, Margaret Harshaw, Sigurd Björling, Dezsö Ernster, etc.; LOHENGRIN – Excerpts, Live Performance, 25 Jan., 1947, w.Busch Cond. Helen Traubel, Margaret Harshaw & Osie Hawkins. (Portugal) 3-Gala 100.640. - 8712177053643

CRITIC REVIEWS:

"…the great surprise is the Elsa of Eleanor Steber – alas, a singer now almost forgotten. She had absolutely everything needed for the role and then some: a voice of great power and beauty under perfect control, an ability to follow and illuminate every nuance of the text, and intonation that would put Heifetz to shame….while Steber is singing, there seems to be perfection everywhere."

- William Youngren, FANFARE, Nov./Dec., 2005





“Brian Sullivan was born on 9 August, 1912 in Oakland, California. He was an actor, known for Cavalcade of Stars (1949), The Ed Sullivan Show (1948) and Musical Comedy Time (1950).

A versatile, boyishly good-looking (in his younger days) tenor, he came from Broadway to spend fourteen seasons with the Metropolitan Opera, beginning with the title role in Benjamin Britten's PETER GRIMES in 1948. Other frequent roles with the company included Alfred in Johann Strauss II's DIE FLEDERMAUS, Tamino in Mozart's ZAUBERFLÖTE, Grigori in Mussorgsky's BORIS GODUNOV, and the title role in Wagner's LOHENGRIN. From what I can glean from the Internet and The Met Archives, Brian Sullivan sang in 162 performances at The Met, including his first performance as Peter Grimes 23 Feb., 1948, and ending with Alceste in 1961. He enjoyed an active career in the United States and Europe.

Brian Sullivan believed he had been engaged to sing in Wagner’s GÖTTERDÄMMERUNG in Switzerland. Apparently, he believed that he was contracted to star in the production but, in actuality, was just the understudy to the star, Claude Heater. When he failed to find an opportunity to sing in the production, Sullivan drowned himself on 17 June, 1969, as did Peter Grimes, a case of Life Imitating Art.”

- Lloyd L. Thoms Jr., Greenville, Wilmington, Delaware





“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