Gotterdammerung  (Traubel, Melchior, Harshaw, Janssen, Resnik)  (4-Immortal Performances IPCD1010)
Item# OP2148
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Gotterdammerung  (Traubel, Melchior, Harshaw, Janssen, Resnik)  (4-Immortal Performances IPCD1010)
OP2148. GÖTTERDÄMMERUNG (composite Live Performance, a re-creation of the performance of 20 Dec., 1948), w.Stiedry Cond. Met Opera Ensemble; Lauritz Melchior, Helen Traubel, Margaret Harshaw, Herbert Janssen, Regina Resnik, Dezsö Ernster, Erna Berger, Lucine Amara, Jean Madeira, Gerhard Pechner, etc.; Lauritz Melchior 1970s interview. (Canada) 4-Immortal Performances IPCD 1010. Restoration, re-creation & transfers by Richard Caniell. - 625989647123


“Continuing the idea of ‘dream’ performances of Wagner, Richard Caniell has reconstructed Melchior’s final performance as Siegfried on 20 December, 1948, at the Metropolitan Opera House, a performance alas not put down for posterity….Helen Traubel’s Brünnhilde is unfailingly lyrical, supported in no uncertain terms by the orchestra….Yet lyricism does not preclude intensity, and she proves that Hell hath no fury like a Valkyrie scorned. She is still strong come the Immolation. Here, in the opera’s final moments, is magnificent, open-throated singing, portraying a character full of dignity. There is an amazingly beautiful ‘Ruhe, ruhe, du Gott’, and a piercing, arresting ‘Fliegt Heim, ihr Raben’. The fall of Valhalla is graphically depicted in the orchestra. Throughout, Melchior is not only a lusty, never-tiring Heldentenor here; he is the very incarnation of the hero himself. Regina Resnik’s Gutrune shines in Act II. One can hear her every emotion. Waltraute’s Narration is gripping, and carefully paced. Gerhard Pechner is an ardent Alberich against Ernster’s magnificent Hagen, and the second-act scene is perfectly managed.

For all Wagnerites, this will provide a fascinating experience. The set also includes an edited (nine-minute) interview with Melchior, in English. The name of the interviewer is not known, and we are told that Melchior was in his 80s at the time of the interview. Melchior comes across as absolutely delightful, witty, merry, and yet also deeply wise.”

- Colin Clarke, FANFARE, July/Aug., 2011

“Well, here’s…a really phenomenal and truly historic performance….the original source must have been acetate FM broadcast masters – 16 inch plastic discs that could accommodate 25 minutes per side, clear, distortion-free, and with a full frequency spectrum….There is no question Melchior was the greatest Wagnerian tenor of the 20th Century. His voice was baritonal in timbre, very loud, its carrying power unsurpassed. His pitch is accurate, and it can go up to the top with ease….In this performance he is singing his last Götterdämmerung at the Met….Helen Traubel was the Wagnerian soprano of choice at this time….Traubel was a big woman with a big wide-ranging soprano voice with lots of carrying power….Herbert Janssen was at the time the US Wotan of choice, his smooth, dark, low-pitched baritone perfect for the rôle….Ernster a threatening black-voiced Hagen….Regina Resnik as Gutrune, and Margaret Harshaw as Waltraute, both as good as they come. As a whole, a finer cast could hardly have been assembled, then or now, anywhere….an experience I shall never forget, from a golden era at the Met.”

- John P. McKelvey, AMERICAN RECORD GUIDE, Sept./Oct., 2011

“I approach a so-called compilation of a complete performance with some caution, but in this instance, and in the main, I needn’t have worried too much. Here is a worthy attempt to give us Melchior’s final performance as Siegfried, and with a strong, starry cast what can go wrong? Well, not much!.... the cast are indeed exemplary. Very little more really needs to be said, as Melchior and Traubel are magnificent throughout…. A much laboured upon restoration and re-creation of Melchior’s final performance as Siegfried which occurred on 20 December 1948 at the Metropolitan Opera. Superb sound overall. This 4 CD set comes with a 56 page booklet, with articles about the performance and the composer, as well as a full track-related synopsis, biographies and rare photographs. An unforgettable memento of the final days of the Wagner Golden Age at the Met.”


“Helen Traubel had a beautiful voice that soared easily over any kind of orchestral surge, yet could be full of sweetness and lyricism….She became the most important person to the Met management [after Flagstad’s departure] who hoped to keep the lucrative Wagner music dramas in the repertoire; that was possible only as long as somebody was at hand to do the great female roles….Of course Traubel secured and got the willing and able assistance of Melchior, whose meal ticket was again safe with an Isolde and Brünnhilde around….”

- Erich Leinsdorf, CADENZA, pp.105-06

“Margaret Harshaw (made her professional début in the dramatic mezzo-soprano rôle of Azucena in IL TROVATORE with The Philadelphia Operatic Society in 1934. She entered the graduate program at The Juilliard School in 1936, where she studied with Anna E. Schoen-René, who had been a student of Pauline Viardot-García and her brother Manuel García. It was at Juilliard where Harshaw, after singing the rôle of Dido in Purcell’s DIDO AND AEANEAS, met Walter Damroasch who prophesied: ‘My child, one day you will be Brünnhilde!’. She won the Metropolitan Opera’s ‘Auditions on the Air’ in 1942, and made her Met début as the second Norn in Wagner’s GÖTTERDÄMMERUNG. Gifted with an extended range, Harshaw sang many mezzo-soprano rôles for the next nine seasons before she entered soprano territory in 1951 when she sang the rôle of Senta in THE FLYING DUTCHMAN. By 1954 she had inherited the mantel of Kirsten Flagstad and Helen Traubel, and sang all the leading Wagnerian soprano rôles, including Isolde, Brünnhilde, Elisabeth, Kundry and Sieglinde. Harshaw retired in 1964 from the Metropolitan Opera after having sung 375 performances of 38 rôles in 25 works over 22 consecutive seasons. She then became a professor of voice at Indiana University in 1962, where she taught until 1993. She also taught at the Curtis Institute of Music and Westminster Choir College. Among her many students are Benita Valente, Vinson Cole, Matthew Polenzani, etc."

- Daniel James Shigo

“Lauritz Melchior trained with retired Danish tenor Vilhelm Herold. In 1918, now singing as a tenor, Melchior gave his first performance as Tannhäuser. 1924 saw his first performances at Bayreuth (Siegmund, Parsifal), and at Covent Garden (Siegmund), two of the most important theaters of his career. Another crucial debut came in 1926: the Metropolitan Opera, portraying Tannhäuser. The remainder of the 1920s passed by in a whirlwind of newness.

Although in the 1920s Melchior was planning to make Germany the center of his career, the unforeseen Nazification and Great Depression of the early 1930s in fact moved him away from that country's theaters, including ‘Hitler's Bayreuth’. After 1933, the majority of his opera season was spent at the Metropolitan. It was a Dionysiac time for Wagner performance. His only new operatic rôle in the 1930s was Florestan.

Melchior left the Met and the opera after a much publicized kafuffle with incoming General Manager Rudolf Bing, giving his last performance (Lohengrin) in February of 1950."

-Zillah D. Akron