OP1887. SALOME, Broadcast Performance, 1952, Frankfurt, w.Schröder Cond. Hessischen Rundfunks Ensemble; Inge Borkh, Margarete Klose, Max Lorenz, Ferdinand Frantz, Christa Ludwig, etc. (E.U.) 2–Myto 00211. - 0801439902114
“Borkh was one of the great heldensoprans of the 1950s and 1960s. A consummate singing-actress with a distinctive voice and a strikingly beautiful woman, Borkh made her mark on the pages of opera history as a stunning Salome and Elektra.”
- Charles H. Parsons, AMERICAN RECORD GUIDE, July/Aug., 2007
“Dramatic tenor Max Lorenz usually made the most of a hard-edged and often intractable voice in singing the heroic rôles of Wagner and the high-lying lyric/dramatic ones of Strauss. A riveting stage figure (trim and athletic in appearance), he was, in his prime, perhaps the most credible visual exponent of Siegmund and the two Siegfrieds. His musicianship, likewise, was more reliable than that of most other singers of the big German rôles. Yet his voice was so unmalleable and his technique so unorthodox, that his performances required of the listener a considerable period of adjustment. Once the accommodation was made to a vocal mechanism that sounded as though its soft palate had been constructed of concrete, significant rewards awaited.
Following study in Berlin, Lorenz was awarded a prize in a competition sponsored by a city newspaper. He was subsequently engaged by Fritz Busch for Dresden and made his début there in 1927, singing the secondary rôle of Walter in TANNHÄUSER. His performance as Menelaus in Strauss' ÄGYPTISCHE HELENA, premiered in Dresden in 1928, prompted the composer to recommend Lorenz to Berlin where they were seeking a tenor for the same rôle. Lorenz left Dresden, joining the Berlin Staatsoper in 1933.
Meanwhile, he had made his début at the Metropolitan Opera in 1931. His Walter in DIE MEISTERSINGER was received as the work of a ‘serious artist and an intelligent musician’, though one afflicted with a ‘hard and unyielding tone quality’ that changed little during the ensuing two decades of Metropolitan appearances. Perhaps the continued presence of Lauritz Melchior made it impossible for New York audiences to adjust to the much less beautiful sound produced by Lorenz.
London heard Lorenz for the first time on-stage in 1934 when his Walter made a good impression. He returned to Covent Garden in 1937 for the title rôle in SIEGFRIED and was found too lightweight for the arduous rôle, but an ‘eminently cultivated and musicianly singer’ nonetheless. Bayreuth proved a more hospitable venue for Lorenz's unique art. For a decade beginning in 1933, the tenor sang Siegfried and Tristan to considerable acclaim and gained a reputation as a singing actor of exceptional ability. Recordings from the theater preserve his Siegfried, sung with rare intensity and rhythmic spring. From 1937, he was a regular at the Vienna Staatsoper, as well as a frequent visitor to other European houses. In the post-WWII era, he sang in Italy, performing both Wagner and Verdi, and appeared in both Mexico City and Buenos Aires. Salzburg heard him frequently, as did other festivals such as those at Amsterdam, Florence, and Zürich. In addition to his dramatic leading rôles, Lorenz took on contemporary parts in the premières of Gottfried Von Einem's DER PROZESS in 1953, Rolf Liebermann's PENELOPE in 1954, and as late as 1961, of Rudolf Wagner-Régeny's DAS BERGWERK ZU FALUN.”
- Erik Eriksson, allmusic.com
“Christa Ludwig was one of the most admired mezzo-sopranos of her generation, with a wide repertoire of both lieder and opera. She brought a fine sense of musicianship as well as drama to her performances. Her rôles ranged from Dorabella in COSÌ FAN TUTTE to Brangane in TRISTAN UND ISOLDE and Clytemnestra in ELEKTRA, and she was the creator of the role of Claire in Gottfried von Einem's BESUCH DER ALTEN DAME. Her technique and upper register were solid enough to let her sing the Marschallin in DER ROSENKAVALIER and the Dyer's Wife in DIE FRAU OHNE SCHATTEN, parts almost exclusively sung by sopranos -- though she did retreat from plans to sing Isolde and Brünnhilde. She was also a noted lieder performer, especially of Mahler.
She made her operatic début as Prince Orlofsky in Strauss' DIE FLEDERMAUS in 1946, at the Frankfurt State Opera, where she was a member of the company until 1952. She then moved to Darmstadt to study acting with the director Gustav Sellner. After two years, she and her mother (who was still teaching her) moved to Hanover, where she began to sing leading rôles such as Carmen, Ortrud, and Kundry. Her Salzburg début was in 1954 as Cherubino, and followed by her 1955 début in the same rôle at the Vienna State Opera, at the invitation of Karl Böhm, where she sang for more than 30 years. In 1957, she sang with Elisabeth Schwarzkopf, who encouraged her husband Walter Legge, the famous producer, to sign Ludwig with EMI records. Ludwig's United States operatic début was in 1959 in Chicago, as Dorabella. In the 1970s, she went through a vocal crisis due to menopause, and she took some of the most demanding rôles out of her repertoire and began to give more attention to songs. Again she challenged the typical views of repertoire, and sang material, such as WINTERREISE, that is most often associated with male voices, especially baritones. Working with Leonard Bernstein, she developed a special affection for Mahler (whose music Bernstein championed when Mahler was relatively obscure.)”
- Anne Feeney, allmusic.com
“Christa Ludwig is the Lotte Lehmann of her generation.”
- Donal Henahan, THE NEW YORK TIMES, 22 March, 1990