Frau ohne Schatten  (Kempe;  Rysanek, Hopf, Benningsen, Metternich, Schech, Bohme)  (3-Myto 00212)
Item# OP1888
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Product Description

Frau ohne Schatten  (Kempe;  Rysanek, Hopf, Benningsen, Metternich, Schech, Bohme)  (3-Myto 00212)
OP1888. DIE FRAU OHNE SCHATTEN, Live Performance, 31 Aug., 1954, München, w.Kempe Cond,. Bayerischen Staatsoper Ensemble; Leonie Rysanek, Lilian Benningsen, Josef Metternich, Marianne Schech, Hans Hopf, Kurt Böhme, etc. (E.U.) 3–Myto 00212. - 0801439902121

CRITIC REVIEWS:

“This 1954 monaural recording is strongly cast and has a first-rate conductor and a great orchestra. Though mono, the sound is clear, distortion-free, and well balanced.”

- John P. McKelvey, AMERICAN RECORD GUIDE, Nov. /Dec., 2009





“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





"Rysanek is, first and foremost, an operatic actress. It is this quality that has led to her remarkable success. In everything she does, one senses total involvement with the dramatic aspects of the role. Without knowing whether this is true, I suspect she immerses herself completely in the libretto before studying out any of the vocal problems. An actress in the grand manner does not bother very much whether a role is in the creation of a German or an Italian librettist; her concern is with the flesh and blood of the woman being portrayed….Though the drama comes first, Rysanek has given the matter of voice a great deal of careful thought. She has a beautiful instrument to think about, and she wants to keep it that way."

- Alan Rich, OPERA NEWS, 6 March, 1965





“Leonie Rysanek was both a great actress and a great singer – ‘the singer with a thousand faces’. For decades she sang some of the most difficult rôles of the German and Italian repertories with dramatic intensity and a large vocal tone - her rapturous Sieglinde which she first sang in Bayreuth in 1951 is still much talked about, and there can be no question that she was (among many other rôles) memorable as Senta, Leonore, Elizabeth, Desdemona, Kundry, Donna Anna, Aïda and Arabella. In her later years, she took on the darker- toned character rôles of the repertories and triumphed in them as well. She was beloved in New York and Vienna where she spent most of her professional time and in every city where there was a great opera house. Altogether, she gave 3000 performances and sang 50 roles. It is said that while Vienna was to Ms. Rysanek a very special place (over 500 performances at the Staatsoper from 1950 on) , the Metropolitan Opera in New York was her operatic home. It was here where on 5 February, 1959 she first fascinated New York audiences as Lady Macbeth, a rôle that was to have been sung by Maria Callas. By all accounts it was a legendary performance, marking the beginning of an enduring love affair with MET audiences. After 300 performances, she gave her farewell performance at the MET on 2 January, 1996 as the Duchess in Tchaikovsky's QUEEN OF SPADES after which, amidst a tumultuous ovation which she shared with her husband Ernst-Ludwig Gausmann, she thanked the audience for the love and devotion they had shown her through the years. This scene repeated itself the following August at the Salzburg Festival House - after her farewell performance as Klytemnestra in Strauss' ELEKTRA, she thanked an adoring audience for a beautiful life, as indeed it was.”

- Dr. Peter Dusek, FAREWELL TO A VIENNESE DIVA





“Hans Hopf sang the title role in SIEGFRIED and Siegfried in GÖTTERDÄMMERUNG. He was singing both roles for the first time and naturally had put in yeoman’s work to have readied these mammoth roles for performances on the level demanded by the Bayreuth Festival. Formerly he had sung primarily the Italian repertoire, but was now beginning to concentrate on Wagner roles, which suited his robust voice very well. Hopf was an incomparable raconteur, and one was never bored in his company.”

- Birgit Nilsson, LA NILSSON, p.160





“From 1940 until his retirement in 1971, [Metternich] was one of the leading German baritones, singing in most of the major opera houses around the world….His was a massive voice of dark power, not rich and smooth, but with an intensity and grittiness that added much to his characterizations.”

- Charles H. Parsons, AMERICAN RECORD GUIDE, Nov./Dec., 2008





"Metternich’s rich, dark voice, extraordinary breath control, and fine musicianship was coupled with an incisiveness of text projection and a sensitivity of characterization in an outpouring of luxurious sound….In an era when German baritones were expected to sing only German opera, Joseph Metternich made an international career…specializing in the dramatic baritone roles of Italian opera."

- Charles H. Parsons, AMERICAN RECORD GUIDE, May/June, 2006