Meistersinger  (Bohm; Nordmo-Lovberg, Edelmann, Rothmuller, Feiersinger, Tozzi, Resnik)  (4-Walhall 0303)
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Meistersinger  (Bohm; Nordmo-Lovberg, Edelmann, Rothmuller, Feiersinger, Tozzi, Resnik)  (4-Walhall 0303)
OP2019. DIE MEISTERSINGER, Live Performance, 7 March, 1959, w.B�hm Cond. Met Opera Ensemble; Otto Edelmann, Giorgio Tozzi, Sebastian Feirsinger, Karl D�nch, Marko Rothm�ller, Aase Nordmo-L�vberg, Regina Resnik, etc. (E.U.) 4-Walhall 0303. - 4035122653038

CRITIC REVIEWS:

"Otto Edelmann, a leading Austrian bass-baritone of the postwar period particularly known for his interpretations of Wagner and Strauss roles, had a long association with the Vienna State Opera where he sang for 30 years, and also had a close relationship with the Metropolitan Opera, where he made his debut in 1954 as Hans Sachs in Wagner's MEISTERSINGER and sang there until April, 1976. His final Met role was Baron Ochs in Strauss' ROSENKAVALIER, one of his signature roles, which he first performed in 1952 at La Scala with Elisabeth Schwarzkopf and Herbert von Karajan.

Born in Brunn am Gebirge, Austria, in 1917, Mr. Edelmann studied in Vienna with Theodor Lierhammer and Gunnar Graarud and had his first engagement in Mozart's NOZZE DI FIGARO in Gera, Germany, at the age of 20. He was subsequently engaged as a company bass in Nuremberg, where he sang his first Waldner in ARABELLA under the baton of the opera's composer, Richard Strauss. In World War II he was conscripted into the German army and spent two years as a Soviet prisoner of war before returning to the stage in 1947, first in Graz, Austria, and soon thereafter with the company of the Vienna State Opera, with whom he made his debut as the Hermit in Weber's DER FREISCHUTZ."

- Anne Midgette, THE NEW YORK TIMES, 16 May, 2003





"More than twenty-five years after she retired, Aase Nordmo Lovberg remains a vocal enigma. The Norwegian soprano enjoyed a long and successful career in Scandinavia but, despite her handsome voice and solid musicianship, never established a lasting presence on international stages. A single season at Bayreuth is commemorated in live recordings of LOHENGRIN and DIE WALKURE. A broadcast of DIE WALKURE also documents her brief career at the Metropolitan Opera: two seasons, four roles, and thirteen performances. From her debut in 1957 until her final performance in 1965, Lovberg also sang only thirteen times in four roles at the Vienna Staatsoper: a single Amelia along with Leonore, Sieglinde, and Elisabeth. She sang in Hamburg, Munich, and London without achieving enduring success in any of those cities.

Lovberg began her career in the shadow of Kirsten Flagstad. But so did Ingrid Bjoner. Unlike Lovberg, Bjoner made an international career on major European and American stages...[regardless], Lovberg was an estimable singer."

- Robert Baxter, THE OPERA QUARTERLY, Vol. 20, #4, Autumn 2004, pp. 750-752





"Marko Rothmuller, who made his Metropolitan Opera debut in Wagner's MEISTERSINGER in 1959, had a singing career that began with Weber's FREISCHUTZ in Hamburg in 1932. He rejoined the Met's company for the 1964-1965 season. By then, he had been appointed a professor of voice in Bloomington, where he started teaching in 1955. He was a native of Croatia, and studied at the Zagreb Music Academy. He went to Vienna to train as a singer with Franz Steiner and study composition with Alban Berg; the title role of Berg's WOZZECK became a signature piece. He studied for that role with Erich Kleiber, who conducted the Berlin premiere of WOZZECK in 1925.

After his engagement at the Hamburg Opera, Mr Rothmuller established himself as one of Europe's most promising baritones, scoring successes particularly in works by Wagner and Verdi. Because he was of Jewish descent, he left Germany in the early 1930's to sing in Zagreb and Zurich, where he appeared regularly until 1947. His European engagements then took him to the Vienna State Opera, Covent Garden and the Glyndebourne Opera at the Edinburgh International Festival of Music and Drama.

In 1954, he returned to Germany for the first time with a guest appearance in West Berlin. His American debut was with the New York City Center Opera as Amonasro in Verdi's AIDA in 1948, after which he traveled extensively in this country for occasional opera and concert engagements."

- Wolfgang Saxon, THE NEW YORK TIMES, 22 Jan., 1993





Giorgio Tozzi, a distinguished bass who spent two decades with the Metropolitan Opera and also appeared on film, television and Broadway, was a distinguished professor emeritus at Indiana Universitys Jacobs School of Music, where he had taught since 1991. He was previously on the Juilliard School faculty [originally having studied with Rosa Raisa, Giacomo Rimini and John Daggett Howell].

Esteemed for his warm, smooth voice; skillful acting; pinpoint diction; and authoritative stage presence - he was 6 foot 2 in his prime - Mr. Tozzi sang 528 performances with the Met. He was so ubiquitous there for so long that THE NEW YORK TIMES was later moved to describe him (admiringly) as inescapable. Mr. Tozzi made his Met dbut as Alvise in Ponchiellis LA GIOCONDA in 1955. Reviewing the performance, The NEW YORK POST wrote that he proved to have a voice of beautiful quality, adding: It was rich in texture and expertly handled both as to characterization and technique. His most famous performances at the Met include the title roles in Mussorgskys BORIS GODUNOV and Mozarts MARRIAGE OF FIGARO; Ramfis in Verdis ADA; Don Basilio in Rossinis BARBER OF SEVILLE; Philip II in Verdis DON CARLO; and Hans Sachs in Wagners DIE MEISTERSINGER VON NRNBERG. Mr. Tozzi began his vocal life as a baritone. He made his dbut (as George Tozzi) in 1948, singing Tarquinius in Benjamin Brittens THE RAPE OF LUCRETIA. Staged at the Ziegfeld Theater on Broadway, the production also starred Kitty Carlisle.

He originated the role of the Doctor in Samuel Barbers VANESSA, which had its world premiere at the Met in 1958. Conducted by Dimitri Mitropoulos, the production also starred Eleanor Steber and Nicolai Gedda. Mr. Tozzis last performance with the Met was in 1975, as Colline in Puccinis BOHME.

He also sang with the San Francisco Opera, La Scala and other companies and appeared as a soloist with major symphony orchestras throughout the United States and Europe. On film Mr. Tozzi dubbed the singing voice of the actor Rossano Brazzi in the role of Emile de Becque in SOUTH PACIFIC (1958), directed by Joshua Logan. (Mr. Tozzi had played the role himself, opposite Mary Martin, in a West Coast production of the musical the year before.) On the small screen he sang King Melchior in the 1978 television film of Gian Carlo Menottis AMAHL AND THE NIGHT VISITORS, also starring Teresa Stratas. On Broadway he received a Tony nomination for the role of the lonely California grape farmer Tony Esposito in the 1979 revival of Frank Loessers operatic musical comedy THE MOST HAPPY FELLA. (The award went to Jim Dale for BARNUM.)"

- Margalit Fox, THE NEW YORK TIMES, 2 June, 2011





Following an apprenticeship in his native Austria, Karl Bhm was appointed, at the recommendation of Karl Muck, to be assistant to Walter at the Munich State Opera in 1921. He went on to become music director in Darmstadt in 1927, in Hamburg in 1931 and, with Hitler's approval, in Dresden, as successor to Fritz Busch in 1934. During his decade-long tenure he maintained Dresden's reputation for imaginative repertory, with performances of new works that included the premieres of DIE SCHWEIGSAME FRAU, 1935, and DAPHNE, 1938, an opera dedicated by Strauss to the conductor. From 1943 to the end of the war, he was director of the Vienna State Opera.

Privately no less than publicly, Bhm was a strong supporter of Hitler and National Socialism from 1933 on and gave the Nazi salute at the beginning of a concert. He subsequently not only was unrepentant but defiant, even, claiming that while other conductors took the easy course and fled, he stayed behind to suffer and be bombed with other Germans. After a two-year ban by occupation authorities, Bhm became conductor of the Vienna State Opera and the Vienna Philharmonic.

- Frederic Spotts, Great Conductors of the Third Reich