Gotterdammerung  (Mitropoulos;  Varnay, Vinay, Vichey, Vartenissian, Glaz, Elias, Amara)  (Archipel 0468)
Item# OP1912
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Product Description

Gotterdammerung  (Mitropoulos;  Varnay, Vinay, Vichey, Vartenissian, Glaz, Elias, Amara)  (Archipel 0468)
OP1912. G�TTERD�MMERUNG � Act III, Live Performance, 30 Oct., 1955, Carnegie Hall, w.Mitropoulos Cond. NYPO; Astrid Varnay, Ram�n Vinay, Luben Vichey, Shakeh Vartenissian, Herta Glaz, Rosalind Elias, Lucine Amara & Clifford Harvuot; SIEGFRIED � Waldweben (Germany) Archipel 0468. - 4035122404685

CRITIC REVIEWS:

"In this release we have the New York Philharmonic and Mitropoulos, its music director at the time, with an impressive roster of vocal soloists. The great moments most often involve Astrid Varnay, whose firm, strong, and colorful soprano conquers the difficult intervals and other obstacles of the final scene with relative ease."

- John P. McKelvey, AMERICAN RECORD GUIDE, May/June, 2010





Chilean tenor Ramn Vinay began his career as a baritone, later reworking his voice to the tenor range. For a decade or so, Vinay was a force to be reckoned with, a wonderful singing actor who excelled in such roles as Don Jos, Samson, Canio, and Otello. In the mid-late 1950s, the top notes became ever more precarious for Vinay, and he eventually returned to the baritone repertoire, and even some bass roles. Though Vinay was born in Chile, his father was French, and he studied in France. Its not surprising then, that Vinays French pronunciation and grasp of the Gallic opera style are expert. And what sets Vinays Jos apart from other great exponents of [French repertoire], even legendary French artists, is the Chilean tenors arresting combination of a rich, vibrant, baritonal middle register with ringing high notes. It is true that, like many tenors who began as baritones, Vinay has some difficulty in scaling back his voice, particularly in the upper register.

- Ken Meltzer, FANFARE, March / April, 2018





"The dramatic soprano Astrid Varnay (1918-2006) was born into an operatic family: her mother was a coloratura soprano and her father a spinto tenor. The year in which she was born they founded the Opera Comique Theatre in Kristiania, Sweden, although they were both born in Hungary, and they managed it until 1921.The family then moved to Argentina and later to New York, where her father died in 1924. Her mother subsequently remarried another tenor, and the young Astrid, after studying to be a pianist, decided at the age of eighteen to become a singer. She worked intensively, first with her mother and then with the Metropolitan Opera conductor and coach Hermann Weigert, whom she later married. She made her sensational stage d�but at the Metropolitan in 1941, substituting at short notice for Lotte Lehmann as Sieglinde in DIE WALK�RE with no rehearsal. After this triumph, six days later she replaced Helen Traubel in the same opera as Br�nnhilde, and her operatic career was effectively launched. She made her Covent Garden d�but in 1948 and, at the suggestion of Kirsten Flagstad, her Bayreuth Festival d�but in 1951. She sang every year at Bayreuth for the next seventeen years and at the Met until 1956, when she left following a disagreement with Rudolf Bing. She henceforth concentrated her career on Germany where she was revered, living in Munich. She moved from the dramatic soprano repertoire into that for mezzo-soprano in 1969, and during the 1980s into character parts. She made her last appearance in Munich in 1995, almost fifty-five years after her Metropolitan d�but. Her brilliant career is well documented in both commercial and unofficial sound recordings."

- David Patmore