OP2156. RIGOLETTO, Live Performance, 8 Dec., 1951, w.Erede Cond. Met Opera Ensemble; Leonard Warren, Richard Tucker, Hilde Güden, Jean Madeira, Alois Pernerstorfer, etc. (E.U.) 2-Myto 00281. - 0801439902817
“…more than energy governs this afternoon’s music making. Warren so commands the vocal mechanics of his rôle that one can only sit back and relish his mastery, especially when he deploys his ravishing mezza voce at every likely opportunity….He has a daughter worth his tears on this afternoon. Güden’s voice strikes me as a curious but appealing instrument….her Gilda as a whole has unique value….The Duke’s scene (‘Parmi veder le lagrime’) seems tailor-made for the voice and style of Tucker, and his reading is splendid….I mark this as a classic rendering, both for its air of restraint and vocal excellence.”
- Paul Jackson, SIGN-OFF FOR THE OLD MET, pp.57-58
"Leonard Warren emerged as the principal baritone of the Met’s Italian wing in the early 1940s and remained so until his untimely death on the Met’s stage, 4 March, 1960, at the peak of his career. His smooth, velvety, and beautiful voice was powerful and had an unusually large range in its high register. It was easily and evenly produced, whether he sang softly or roared like a lion….Warren acted his roles primarily by vocal coloring, expressivity, and his excellent diction….his singing was unusually consistent….Warren’s legacy should be of interest to all lovers of great singing."
- Kurt Moses, AMERICAN RECORD GUIDE, Nov./Dec., 2006
"[Warren's] remarkable voice had a dramatic intensity which did not come naturally to him. As with everything else in his life, he worked at that until he got it right. Fortunately, his incomparable voice and dramatic power are still available to us on recordings of some of his most famous roles....[He] became one of the most famous and beloved operatic baritones in the world....Warren's flawless technique, seamless flow of sound, and brilliant top voice were his vocal trademarks and these qualities became the standard by which others would be measured, including me."
- Sherrill Milnes, AMERICAN ARIA, pp.76-77
“Hilde Güden made her début at the Vienna Volksoper in Benatzky’s operetta HERZEN IM SCHNEE. Her operatic début was at the opera house of Zürich where she appeared as Cherubino. Although the soprano was of Jewish origin it was Clemens Krauss who engaged her to the Munich State Opera, but she was soon forced to leave Germany. Tullio Serafin gave her the opportunity to sing in Rome and Florence. It was not until after the end of the war that she was allowed to return to the Munich State Opera where she remained an admired member until 1973. She gained great success abroad, at La Scala, Covent Garden, at the Grand Opéra de Paris, at the Glyndebourne Festival (Despina, Zerlina), at the Teatro La Fenice, the Maggio musicale di Fiorentino, and last but not least, at the Met, where she sang from 1951 until 1965. One of her greatest achievements was Rosalinde in Johann Strauss’ DIE FLEDERMAUS. At the Salzburg Festival she regularly appeared as Cherubino (1947, 1952, 1953), Zdenka, Zerlina (1946), Sophie (1949, 1953, 1960), Norina (1952), Aminta in DIE SCHWEIGSAME FRAU (1959), Zerbinetta (1954), the Countess Almaviva (1963 - 1966), Anne Truelove in Stravinsky’s THE RAKE’S PROGRESS and as Julia in the first performance of Boris Blacher’s ROMEO UND JULIA (1950). Hilde Güden was a versatile singer, equally successful in operettas, lieder and oratorio work. She was considered as one of the most accomplished Mozart and Strauss singers of the time and was a much admired member of the so-called ‘Wiener Mozart Ensemble’. On 1 May 1945, before World War II was officially ended, the Vienna State Opera resumed operations with a performance of Mozart’s LE NOZZE DI FIGARO under Josef Krips. Hilde Güden was one of the brightest Viennese stars and one of Decca’s busiest artists during the ‘50s and ‘60s. As a lyric and coloratura soprano she enjoyed remarkable success.
Hilde Güden’s voice was a high soprano of silvery gleam and youthful shining. It was very responsive to coloraturas as well as to cantilenas (essential for Richard Strauss), and it was of a highly individual timbre. If you want to experience Güden’s charming personality, play her magnificent recordings of Richard Strauss or her ravishing operetta recordings. She was the ideal Sophie, Zerbinetta, Zdenka, Daphne, Aminta - and, she is still unequalled as Rosalinde!”
- Andrea Shum-Binder, subito-cantabile
“Hilde Güden was among the extraordinary young Mozart/Strauss singers who emerged from Vienna immediately after WWII and who dominated Mozart performance well into the 1960s. Güden's considerable ease in the top register destined her to sing the lighter roles of Richard Strauss and she made a mark in operetta as well, achieving celebrity in the works of Johann Strauss, Lehár, and others. She was a trim, sparkling personality on stage; as a Decca artist, she left numerous recordings of her best roles.
With the Anschluss, Güden escaped to Switzerland where she auditioned for the Zürich Opera. Engaged on the spot, Güden made her début in 1939 as Cherubino in LE NOZZE DI FIGARO. Numerous other roles came in the aftermath of her success and she remained in Zürich for two years. Family matters called her back to Vienna in 1941 and, finding herself unable to leave her home country, she accepted an engagement in Munich where she appeared first with conductor Clemens Krauss as Zerlina in DON GIOVANNI. Composer Richard Strauss attended a performance of COSÌ FAN TUTTE and, struck by the beauty and splendid vocal resources of the young singer, urged Güden to study the role of Sophie in his DER ROSENKAVALIER. After taking his advice, Güden made her Italian début as Sophie at the Rome Opera in December 1942. Given her intense dislike for the Nazi regimes in both Austria and Germany, Gueden elected to remain in Italy. When the Nazis occupied that country, she simply withdrew from performing for the duration of the war, seeking shelter first in Venice, then in a rural town near Milan.
Following the conclusion of hostilities, Güden returned to Austria and was invited to the Salzburg Festival in 1946 where she débuted in the signature role of Zerlina. That same year, she was engaged by the Vienna Staatsoper where she remained a treasured artist until 1973. In 1947, she sang at Covent Garden for the first time and, in 1951, she began a relationship with the Metropolitan Opera which lasted for nine seasons and embraced more than 100 performances in 13 roles. For the Metropolitan, she created the role of Anne Truelove in Stravinsky's THE RAKE'S PROGRESS in a production coming shortly after the work's Venice premiere. Among other roles in New York, Güden sang both Musetta and Mimì in LA BOHÈME, Zerlina, Susanna, Sophie, Zdenka, and Rosalinde.
At Salzburg, Gueden offered a saucy performance of the title role in Strauss' DIE SCHWEIGSAME FRAU in 1959, and, in Vienna, a radiant Daphne in 1964, both productions captured on disc. Her cherishable Sophie was preserved on commercial recording under Erich Kleiber.”
- Erik Eriksson, allmusic.com
"...for some thirty years, until his sudden death in 1975, Tucker's vocal security, boundless energy, unceasing enthusiasm, and thorough professionalism ensured a level of popularity that necessitated comparisons to some of his greatest predecessors....Tucker sang thrillingly and delivered the goods, communicating his own joy in singing to all who would listen...."
- Marc Mandel, FANFARE, May/June, 1997
“Born Jean Browning in Central Illinois, this contralto established for herself a singular identity among singers of the deepest, darkest rôles for female voice. Tall and strikingly attractive, she possessed both the physical and vocal allure for Carmen and created a riveting portrait of Klytemnestra, both addled and imperious. The later rôle, perhaps the one with which she was most closely identified, was captured on disc in both studio (with Böhm) and on-stage at Salzburg (with Mitropoulos). Her RHEINGOLD Erda in Solti's RING was likewise striking, voiced with steady, earth-deep tones, a sound once likened to ‘gleaming anthracite’."
Browning's father, half American Indian, half English, was a coal miner; her mother taught piano and soon included her daughter among her pupils. Upon her father's death, Browning moved with her family to St. Louis, where she won a scholarship to the Leo C. Miller School of Music. While a student there, she placed first in a competition whose prize was an appearance with the St. Louis Symphony. Under Vladimir Golschmann's direction, she performed Beethoven's Third Piano Concerto. In 1941, Browning entered the Juilliard School of Music, where she majored in piano, but also pursued singing, making her début as Nancy in von Flotow's MARTHA in a 1943 Chautauqua Summer Opera production. At Juilliard, she met and subsequently married a piano student, Francis Madeira, who later became conductor of the Rhode Island Philharmonic, a faculty member at Brown University, and occasionally accompanied his wife following her transition to a full-time singing career.
Olga Samaroff urged the young woman in 1946 to concentrate on becoming a professional singer. While still studying voice at Juilliard, Jean Madeira (as she was by then known) began making appearances with such other groups as the (American) San Carlo Opera Company. Gian Carlo Menotti chose her in 1947 to alternate with Marie Powers in the title rôle of his THE MEDIUM on its European tour. That same year, she was the recipient of the St. Louis Woman of Achievement Award. In 1948, she made her début at the Metropolitan Opera as the First Norn in a performance of DIE GÖTTERDÄMMERUNG, beginning her steady progress through such rôles as Amneris, Azucena, Ulrica, Orfeo, and Dalila. In 1954, she began a series of European appearances taking her to Covent Garden, Stockholm, Munich, and Salzburg.
The fall of 1955 brought Madeira's début at the Vienna Staatsoper in the rôle of Carmen, a triumph resulting in 45 curtain calls. When she sang Carmen at the Metropolitan in 1956, critic Irving Kolodin, writing in the Saturday Review, described her as ‘an intelligent artist who gives thought to what she undertakes’ and noted her effective use of her striking height. He also praised her portrayal by commenting, ‘Mostly it was done with a suggestion of youthful suppleness not often seen’.
In addition to her almost 300 Metropolitan performances in some 41 rôles, Madeira continued to appear elsewhere in America and Europe, offering her Carmen at Chicago, where critic Claudia Cassidy praised her as ‘svelte, darkly beautiful, with a mezzo soprano streaked in burnt umber and edged with a threat’, and at Aix-en-Provence. Her authoritative Erda was heard at Munich, London, and Bayreuth. In 1968, she took part in the premiere of Dallapiccola's ULISSE IN BERLIN, creating the rôle of Circe. She retired in 1971, shortly before her death in 1972.”
- Erik Eriksson, allmusic.com