Salome   (Kempe;  Borkh, Malaniuk, Uhl, Metternich, Paskuda)    (2-Myto 00282)
Item# OP2181
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Product Description

Salome   (Kempe;  Borkh, Malaniuk, Uhl, Metternich, Paskuda)    (2-Myto 00282)
OP2181. SALOME, Live Performance, 1960, w.Kempe Cond. Bayerischen Staatsoper Ensemble; Inge Borkh, Ira Malaniuk, Josef Metternich, Fritz Uhl, Georg Paskuda, etc.; DIE WALKURE - Act I, Andre Vandernoot Cond. Inge Borkh & Sebastian Feiersinger. (E.U.) 2-Myto 00282. - 0801439902824

CRITIC REVIEWS:

“Inge Borkh, a soprano who inhabited with thrilling intensity some of the most hair-raising and daunting roles in the operatic repertoire, [was admired for] passionate portrayals [which] emerged through solid technique and secure, if fiery, tone. Howard Taubman, reviewing her in concert as Elektra at Carnegie Hall in 1958, wrote in THE NEW YORK TIMES that she sang ‘with unremitting authority’, adding, ‘The word ‘sang’ is not used by courtesy, as it often has to be with Elektras’. (The role is so arduous that many sopranos practically scream through much of it.)

Ingeborg Simon was born on May 26, 1921, in Mannheim, Germany. Her father was Jewish, and the family fled Germany in 1935, after the rise of the Nazis, settling first in Geneva and then in Vienna.

Though her mother’s side of the family was dotted with singers, she began her education as an actress. After the Anschluss in 1938 she returned to Switzerland, where she encountered the bass Fritz Ollendorff, who recommended she develop her singing voice. She studied in Milan, and made her debut in 1940 in Lucerne, adopting Inge Borkh as her stage name.

Spending the 1940s in Switzerland, she swiftly moved from lighter lyrical roles to heavier ones in operas by Wagner, as well as the formidable Strauss antiheroines who became her calling cards.

In 1951, Ms. Borkh caused a sensation when she appeared in Berlin as Magda Sorel in Gian Carlo Menotti’s opera THE CONSUL, just a year after its debut. She ‘not only emerged with top honors for a brilliant performance’, Kathleen McLaughlin wrote in THE TIMES, ‘but also experienced that rarest of tributes for an actress by ‘stopping the show. The reaction of the audience’, Ms. McLaughlin added, ‘was an ovation of shouts, stamping and hand-clapping that lasted for several minutes’.

That success put Ms. Borkh on the international map, leading to debuts as far afield as London, New York and San Francisco, though her career remained focused on Continental Europe. She made few commercial recordings, but when her live performances were captured on disc they frequently became cult favorites - none more so than a delirious 1957 ELEKTRA at the Salzburg Festival led by Dimitri Mitropoulos, who also conducted her Met debut, as Salome, the next year. [Salome and Elektra], those two fiendishly difficult characters, were the ones for which Ms. Borkh was most renowned. She went on to appear at the Met as Sieglinde in Wagner’s DIE WALKÜRE, the Dyer’s Wife in Strauss’ DIE FRAU OHNE SCHATTEN and Leonore in Beethoven’s FIDELIO.

She retired from opera after a run of ELEKTRA in Palermo, Italy, in 1973, but continued to appear onstage as a monologuist and as a suave, witty cabaret artist; a memorable recording was made of her cabaret show, ‘Inge Borkh Sings Her Memoirs’.

- Zachary Woolfe, THE NEW YORK TIMES, 28 Aug., 2018





“Fritz Uhl was an Austrian operatic tenor, particularly associated with Wagner roles. Born in Matzleinsdorf, near Vienna, he studied in Vienna with Elisabeth Radó, and while still a student toured Holland with an operetta troup. He made his operatic début in Vienna, as Gounod's Faust in 1952, and then sang in Graz (1952-53), in Luzern (1953-54), in Oberhausen (1954-56), in Wuppertal (1956-58). In 1957, he began making guest appearances at the Munich State Opera, the Vienna State Opera, also appearing at the Salzburg Festival and the Bayreuth Festival.

Uhl began his career by singing lyric roles and lighter Wagner roles such as Erik in DER FLIEGENDE HOLLÄNDER, and gradually moved into heldentenor roles such as Tristan, Siegmund, Stolzing, Florestan, Herod, etc. He sang widely in Europe, appearing at the Paris Opéra, La Monnaie in Brussels, the Liceo in Barcelona, the Maggio Musicale Fiorentino, the Royal Opera House in London, etc. He was also invited at the San Francisco Opera and the Teatro Colón in Buenos Aires.

A forthright singer with a fine voice, he is best known for his recording of TRISTAN UND ISOLDE, opposite Birgit Nilsson, under Georg Solti.”

- Ned Ludd





From 1940 until his retirement in 1971, [Metternich] was one of the leading German baritones, singing in most of the major opera houses around the world�.His was a massive voice of dark power, not rich and smooth, but with an intensity and grittiness that added much to his characterizations.�

- Charles H. Parsons, AMERICAN RECORD GUIDE, Nov./Dec., 2008





“From 1940 until his retirement in 1971, [Metternich] was one of the leading German baritones, singing in most of the major opera houses around the world….His was a massive voice of dark power, not rich and smooth, but with an intensity and grittiness that added much to his characterizations.”

- Charles H. Parsons, AMERICAN RECORD GUIDE, Nov./Dec., 2008





"Metternich’s rich, dark voice, extraordinary breath control, and fine musicianship was coupled with an incisiveness of text projection and a sensitivity of characterization in an outpouring of luxurious sound….In an era when German baritones were expected to sing only German opera, Joseph Metternich made an international career…specializing in the dramatic baritone roles of Italian opera."

- Charles H. Parsons, AMERICAN RECORD GUIDE, May/June, 2006



“One of the great unsung conductors of the middle twentieth century, Rudolf Kempe enjoyed a strong reputation in England but never quite achieved the international acclaim that he might have had with more aggressive management, promotion, and recording. Not well enough known to be a celebrity but too widely respected to count as a cult figure, Kempe is perhaps best remembered as a connoisseur's conductor, one valued for his strong creative temperament rather than for any personal mystique. He studied oboe as a child, performed with the Dortmund Opera, and, in 1929, barely out of his teens, he became first oboist of the Leipzig Gewandhaus Orchestra. His conducting début came in 1936, at the Leipzig Opera; this performance of Lortzing's DER WILDSCHÜTZ was so successful that the Leipzig Opera hired him as a répétiteur. Kempe served in the German army during World War II, but much of his duty was out of the line of fire; in 1942 he was assigned to a music post at the Chemnitz Opera. After the war, untainted by Nazi activities, he returned to Chemnitz as director of the opera (1945-1948), and then moved on to the Weimar National Theater (1948-1949). From 1949 to 1953 he served as general music director of the Staatskapelle Dresden, East Germany's finest orchestra. He then moved to the identical position at the Bavarian State Opera in Munich, 1952-1954, succeeding the young and upwardly mobile Georg Solti. During this period he was also making guest appearances outside of Germany, mainly in opera: in Vienna (1951), at Covent Garden (1953), and at the Metropolitan Opera (1954), to mention only the highlights. Although he conducted Wagner extensively, especially at Covent Garden, Kempe did not make his Bayreuth début until 1960. As an opera conductor he was greatly concerned with balance and texture, and singers particularly appreciated his efforts on their behalf. Kempe made a great impression in England, and in 1960 Sir Thomas Beecham named him associate conductor of London's Royal Philharmonic. Kempe became the orchestra's principal conductor upon Beecham's death the following year, and, after the orchestra was reorganized, served as its artistic director from 1963 to 1975. He was also the chief conductor of the Zürich Tonhalle Orchestra from 1965 to 1972, and of the Munich Philharmonic from 1967 until his death in 1976. During the last year of his life he also entered into a close association with the BBC Symphony Orchestra. Interpretively, Kempe was something of a German Beecham. He was at his best -- lively, incisive, warm, expressive, but never even remotely self-indulgent -- in the Austro-Germanic and Czech repertory. Opera lovers prize his versions of LOHENGRIN, DIE MEISTERSINGER, and ARIADNE AUF NAXOS. His greatest recorded legacy, accomplished during the last four or five years of his life, was the multi-volume EMI set of the orchestral works and concertos of Richard Strauss, performed with the highly idiomatic Dresden Staatskapelle. These recordings were only intermittently available outside of Europe in the LP days, but in the 1990s EMI issued them on nine compact discs.”

- James Reel, Rovi