OP1893. DAS RHEINGOLD, Live Performance, 11 Aug., 1952, w.Keilberth Cond. Bayreuth Festival Ensemble;
Hermann Uhde, Wolfgang Windgassen, Erich Witte, Ludwig Weber, Josef Greindl, Paul Kuën, etc. (E.U.) 2–Myto 00203. - 8014399502030
“Joseph Keilberth was a German conductor active during the mid-twentieth century. His talents developed early: he pursued a general education and musical training in Karlsruhe, and at the age of seventeen joined the Karlsruhe State Theater as a répétiteur (vocal coach - a common starting place for European conductors). He remained with the theater and ten years later he was appointed general music director
He remained there until 1940, when he was appointed chief conductor of the German Philharmonic Orchestra of Prague. He became chief conductor of the Dresden State Opera in 1945. With a minimum of disruption for deNazification he remained in that position until 1950. In 1949 he became chief conductor of the Bamberg Symphony Orchestra, which was in fact a reunion. After the War, the German population of the Sudetenland (the German-speaking part of Czechoslovakia), which had been the excuse for Hitler's occupation of the country, were returned to Germany, and with them went the German Philharmonic of Prague, Keilberth's old orchestra, which settled in Bamberg. Causing unwary biographers some confusion, he also became the chief conductor of the Hamburg Philharmonic in 1950.
He frequently appeared as a guest conductor elsewhere in Germany, notably with the Berlin Philharmonic and, beginning in 1952, the Bayreuth Festival, and appeared regularly at the Salzburg and Lucerne festivals. In 1952 he also led his first performance in the Edinburgh Festival with the Hamburg State Opera.
He was a favored conductor for the RING and other operas through 1956. In 1959 he succeeded Ferenc Fricay at the helm of the Bavarian State Opera in Munich. There, history repeated itself. Keilberth died after collapsing during a performance of Wagner's TRISTAN UND ISOLDE, just as Felix Mottl—conductor at the same theater - had done in 1911.
Keilberth was very strong in Mozart and in the Wagnerian repertory, and in later German classics such as Pfitzner, Bruckner, Richard Strauss, Max Reger, and Paul Hindemith. His classic recordings included Hindemith's opera CARDILLAC.”
- Joseph Stevenson, allmusic.com
“The most important singer of the German Heldentenor repertory in the 1950s and 1960s, Wolfgang Windgassen employed his not-quite-heroic instrument, believable physique, and considerable musical intelligence to forge memorable performances on-stage and in the recording studio. Although his voice lacked the sensuous appeal of Melchior's or Völker's, it was never unattractive and never employed to obvious effect. Indeed, it conveyed a youthfulness that suited the young Siegfried especially well."
- Erik Eriksson, allmusic.com
“Hermann Uhde’s American mother was a student of the famous baritone Karl Scheidemantel. He was trained as a bass, by Philipp Kraus at the Opera School in Bremen, where he made his début as Titurel (1936). After engagements in Freiburg and Munich he appeared for the first time in baritone rôles at the Deutsches Theater im Haag in 1942. A prisoner-of-war from April 1945 to February 1946, he did not return to the stage until 1947. He subsequently appeared at the opera houses of Hamburg, Vienna and Munich where he became a member of the ensemble. He gained great success in rôles such as Mandryka, Gunther and Telramund, in which he was particularly admired. The artist was regularly invited to the Bayreuth Festival from 1951 to 1960 where he became one of its most important members, appearing as Holländer, Klingsor, Gunther, Donner, Wotan in RHEINGOLD, Telramund and Melot. He was also a guest at the Salzburg Festival and performed a superb Wozzeck at the Met (sung in English!) where he regularly appeared from 1955 to 1961 and again in 1964. He sang at the Grand Opéra Paris as well as at other European opera houses. He created several rôles, including Creon in Orff’s ANTIGONAE, the baritone rôles in Britten’s THE RAPE OF LUCRETIA and Wagner-Régeny’s DAS BERGWERK ZU FALUN. He died of a heart attack during a performance of Niels Viggo Bentzon’s FAUST III, at Copenhagen in 1965.”
- Andrea Shum-Binder, subito-cantabile