Fledermaus (von Karajan; Gueden, Streich, di Stefano, Zampieri, Waechter, Kunz, Stolze) (3-Andromeda 9082)
Item# OP2167
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Fledermaus (von Karajan; Gueden, Streich, di Stefano, Zampieri, Waechter, Kunz, Stolze) (3-Andromeda 9082)
OP2167. DIE FLEDERMAUS, Live Performance, 31 Dec., 1960, w.von Karajan Cond. Vienna Staatsoper Ensemble; Hilde Güden, Rita Streich, Giuseppe Zampieri, Eberhard Wächter, Walter Berry, Erich Kunz, Gerhard Stolze, etc.; guest appearance by Giuseppe di Stefano. (E.U.) 3-Andromeda 9074. Final Copy! - 3830257490821

CRITIC REVIEWS:

"Here is a fabulous live performance with a classically Viennese cast, redolent of magnificent 'schwung und schlag'! This is an essential FLEDERMAUS which deserves a place in every collection! It also includes a guest appearance by Giuseppe di Stefano singing 'O sole mio' and 'Dein ist mein ganzes herz'. The cast sings splendidly, and Karajan is stupendous! In keeping with Viennese tradition at the time, Gerhard Stolze is a tenor Orlofsky."



“Recorded in 1960, this is still thought to be the best historical live FLEDERMAUS. It includes a party scene in which Giuseppe di Stefano sings 'O sole mio' and 'Dein ist mein ganzes Herz'.”



“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





“Giuseppe di Stefano possessed an especially beautiful voice. It was impossible not to be moved; he truly had the sound of tears in his voice, without being over sentimental. His wonderful piano – and his stirring voice – moved his audience almost beyond endurance.”

- Birgit Nilsson, LA NILSSON, p.116





“Unwittingly [Karajan] had filled the void left by the death of Hitler in that part of the German psyche which craves for a leader. He was unpredictable, ruthless and outspoken. Nobody - at any rate nobody in Austria - ever questioned Karajan's right to do exactly what he wanted. He moved everywhere with a circle of sycophants, who tried to justify their existence by speaking for him whenever possible, and I had to make it clear right away that I could not function at one remove from the conductor. As always, the direct approach worked. I don't think Karajan ever understood how much of his troubles were due to the people he allowed to surround him. Such petty issues often distorted one's view of Karajan the musician.”

- John Culshaw, manager of classical recording for Decca, 1967-75





“No one would deny von Karajan’s position in the topmost ranks of 20th-century conductors. Inspired to conduct at the age of 20 when he heard Arturo Toscanini in Vienna, and Wilhelm Furtwängler's great rival from the early 1940s until the older maestro's death in 1954, Mr. Karajan once said that he had attempted to combine ‘Toscanini's precision with Furtwängler's fantasy’. But Mr. Karajan was always more than a mere conductor: he was a man of enormous energy and careerist determination, and he managed at his peak, in the late 1950s and early ‘60s, to tower over European musical life as no one had done before or is likely to do again. His nickname at the time was 'the general music director of Europe’,' leading the Berlin Philharmonic, La Scala in Milan, London's Philharmonia Orchestra, the Vienna State Opera and the Salzburg Festival.

Mr. Karajan's life was hardly untouched by controversy. His membership in the Nazi party from 1933, his lack of overt repentance for his thriving career during the Nazi years and his imperious personality made him many enemies. While he was always deeply respected as a conductor, some critics found his music-making increasingly slick and overrefined in his last decades. And his final years were clouded by a series of bitter battles with the Berlin Philharmonic, the West Berlin ensemble whose 'conductor for life' he became in 1955. He abruptly resigned his Berlin post in April, 1989, citing ill health.

Yet for all the tales of arrogance and self-indulgence, Mr. Karajan remained a masterly conductor, with a grasp of the standard orchestral and operatic repertory from Mozart through Schönberg that was unsurpassed among his peers. Always a champion of Mozart, Beethoven - whose symphony cycle he recorded three times - Wagner and Bruckner, he gradually extended his grasp to include Mahler and even Schönberg. He was also a lifelong admirer of Italian opera and, contrary to his domineering image, a champion of young talent, from the American soprano Leontyne Price to the Soviet pianist Yevgeny Kissin.

When critics complained that his performances in his later years had grown overrefined, he replied that 'if the details are right, the performance will work’. And to the very end, he drew playing of the utmost tonal beauty from his orchestras. The Berlin Philharmonic is widely regarded as the world's pre-eminent orchestra, if any one ensemble can stake that claim. And his performances at Carnegie Hall with the Vienna Philharmonic drew almost astonished enthusiasm from veteran observers for their sonic sumptuousness, even if not all the critics praised the musical results.

'The Karajan industry bears about the same relation to postwar European music that Krupp bore to prewar European steel production’, wrote Martin Mayer in The New York Times Magazine in 1967. The classic, if perhaps apocryphal, Karajan anecdote had the conductor leaping into a taxi and, when asked his destination, replying: 'No matter. I am in demand everywhere’. Yet the conductor also had a spiritual side, and was a 40-year student of yoga and Zen Buddhism. He believed in reincarnation, and once dreamed of being reborn as an eagle, soaring above his beloved Alps. Fascinated by technical innovations, he once contemplated being frozen for 15 years so that he could re-record the standard repertory in the latest video and audio technology.”

- John Rockwell, THE NEW YORK TIMES, 17 July, 1989





“A musical prodigy, appearing on the concert platform as a pianist at the age of five, Herbert von Karajan was appointed chief conductor of the Aachen Opera in 1935. There and later in Berlin his conducting was such a sensation that his reputation in Germany soon came to rival Furtwängler's. He joined the Nazi party in 1933 [and rejoined it in 1935], and in the following years each used the other - he to advance his career and the party to promote its cultural objectives. In 1945 he fled but was discovered in Italy and accused of having been a covert member of the secret police, charges eventually dropped for lack of proof. Karajan conquered every musical capital. He succeeded Furtwängler at the Berlin Philharmonic in 1955, replaced Böhm at the Vienna State Opera in 1956 and was appointed head of the Salzburg Festival in 1957.”

- Frederic Spotts, Great Conductors of the Third Reich