Nozze    (Jochum;   Ebers, Jurinac, Kupper, Kusche, Probstl, Hofermeyer)   (3-Walhall 0236)
Item# OP1720
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Product Description

Nozze    (Jochum;   Ebers, Jurinac, Kupper, Kusche, Probstl, Hofermeyer)   (3-Walhall 0236)
OP1720. LE NOZZE DI FIGARO (in German), Live Performance, 1950, w.Jochum Cond. Bayerischen Rundfunks Ensemble;  Annelies Kupper, Clara Ebers, Sena Jurinac, Benno Küsche, Max Pröbstl, Walter Höfermeyer, etc.  (E.U.) 3-Walhall 0236. Long out-of-print, Final Sealed Copy! - 4035122652369

CRITIC REVIEWS:

"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.”



“Annelies Kupper (1906-87) was a grande dame of the German stages specializing in Mozart, but with enough power to take on Aïda, some Strauss heroines (Ariadne, Daphne), Tannhäuser’s Elizabeth and the heavy-duty heroines of Die Toten Augen, Die Tote Stadt and Tiefland, all heard on this disc….She does get splendid 'backup' from Wolfgang Windgassen in TANNHÄUSER, a ferocious Amonasro from Hans Reinmar in the ‘Nile Scene’, Kurt Boehme in TIEFLAND, and Lorenz Fehenberger in the glorious ‘Glück, das mir Verblieb’ from DIE TOTE STADT.”

- Charles H. Parsons, AMERICAN RECORD GUIDE, May/June, 2012





“After she had already worked as concert soprano, Annelies Kupper made her début in 1935 at the Opera House of Breslau as a second boy in ZAUBERFLÖTE. Other appearances quickly followed. After the National Theatre of Schwerin (1937-1938) and the National Theatre of Weimar (1938-1940), she came in 1940 to the State Opera of Hamburg. There she remained until 1945, and since then was a celebrated member of the Bavarian State Opera Munich. Annelies Kupper made regularly guest appearances at the State Opera of Vienna (starting in 1938 with the rôle of Eva in MEISTERSINGER) and at the State Opera, Berlin. Appearances led her to Paris, Stockholm, Brussels, The Hague and Amsterdam. At Bayreuth she sang in 1944 Eva in MEISTERSINGER, and in 1960 Elsa in LOHENGRIN. At the Salzburg Festival in August 1952 she created the title rôle in the official première of the Strauss’ DIE LIEBE DER DANAË, as the composer himself had promised her just before his death in 1949. In 1950 she sang the Female Chorus in THE RAPE OF LUCRETIA by Benjamin Britten, and also the solo soprano in MESSIAH and in Franz Schmidt’s BUCH MIT SIEBEN SIEGELN. In 1952-1953 she made a guest appearance at Covent Garden as Chrysothemis in ELEKTRA and in the première there of BUCH MIT SIEBEN SIEGELN. As late as 1961, she sang in Munich Desdemona in Verdi’s OTELLO. Until 1966 she still gave occasional appearances. After 1956 Annelies Kupper worked as lecturer, later as Professor at the Munich College of Music. The beauty of her voice, and the way she expressed her feelings were admired by the critics and the public alike.”

- Aryeh Oron





“With her graceful bearing and a voice both rich and penetrating, Sena Jurinac was a star of the first generation of European singers to emerge after World War II. She made her début in Vienna on 1 May, 1945 — in the company’s first performance in a liberated Austria — as Cherubino in Mozart’s NOZZE DI FIGARO, a rôle she sang 129 times there. Though she made her first mark in Vienna, which became her artistic home, her radiant Mozart performances at the Glyndebourne Festival in the 1950s catapulted her to international stardom. She also made lauded appearances at the Salzburg and Bayreuth Festivals, the Royal Opera House in London, the Teatro Colón in Buenos Aires, La Scala in Milan and the San Francisco Opera.”

- Zachary Woolfe, THE NEW YORK TIMES, 26 Nov., 2011





“The Jurinac voice was capable of a gleaming fortissimo, but it also commanded a wide range of shadings of colour and dynamic. The top notes could be floated with an ethereal purity; the middle and lower registers had a very human warmth….The present release is particularly valuable in presenting her as a Lieder singer….Like such great Lieder singers as Rehkemper, Erb, Janssen, Lehmann or Schumann, Jurinac gives us unforgettable musical phrases….We owe her a great deal – and history has already judged her to be one of the immortal sopranos of the twentieth century.”

- Tully Potter





“German conductor Eugen Jochum is considered by many to have been the foremost Bruckner conductor of the mid- to late twentieth century; he producing many outstanding recordings of Bruckner's symphonies (as well as worthy interpretations of a great many other composers). He also left to posterity a number of written articles on the interpretation of that composer.

Musical studies began in early childhood (both of Eugen's brothers, Otto Jochum and Georg Ludwig Jochum, went on to become successful musicians in their own right), and Jochum attended the Augsburg Conservatory until he was 20 years of age. He enrolled in the Munich Academy of Music as a composition student of Hermann von Waltershausen, but soon diverted his energies to conducting (working with Siegmund von Hausegger). He worked as a rehearsal assistant at the Munich National Theater, and, after a successful Munich debut in 1926, was invited to join the conducting staff at the Kiel opera. In 1926, having developed a sizable operatic repertory, he moved to Mannheim (1929-1930) and then to Duisburg (1930-1932). Although relatively young, he was asked to serve as music director for Berlin Radio in 1932, and while in that city built an association with the Berlin Philharmonic Orchestra which would led to many guest conductor appearances in the following decades.

Jochum became music director of the Hamburg opera (and, along with that title, principal conductor of the Hamburg Philharmonic) in 1934, remaining at that post until 1949 -- effectively avoiding Nazi interference with his musical activities. During the 1930s, Jochum continued to champion a number of contemporary composers who had been officially banned by the Nazi party (such as Hindemith and Bartók), though his great love remained the late Romantic repertory.

After forming the Bavarian Radio Symphony Orchestra in 1949, Jochum spent the 1950s developing that organization (in conjunction with his new role as music director for Bavarian radio) and building his stature as a guest conductor around Europe; his Bayreuth debut was in 1953, and he took partial charge of the Concertgebouw Orchestra in Amsterdam from 1961-1964. He conducted the Bamburg Symphony orchestra from 1969 to 1973, and was appointed conductor laureate of the London Symphony Orchestra for the 1978-1979 season. From 1950 on Jochum served as the president of the German chapter of the International Bruckner Society.

Jochum's conducting was marked by a fluent, lyric approach (which nevertheless proved capable of drawing tempestuous results from his players when necessary). Above all else he valued a rich, warm sound perfectly suited to the music of Bruckner and Wagner, though recordings show a wealth of insight into the music of other German masters, notably Beethoven, Bach, and Haydn.”

- Blair Johnston, allmusic.com