Elektra   (Rosenstock;  Borkh, Rysanek, Madeira, Vinay, Uhde   (2-Walhall 0354)
Item# OP2337
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Product Description

Elektra   (Rosenstock;  Borkh, Rysanek, Madeira, Vinay, Uhde   (2-Walhall 0354)
OP2337. ELEKTRA, Live Performance, 25 March, 1961, w.Rosenstock Cond. Met Opera Ensemble; Inge Borkh, Leonie Rysanek, Jean Madeira, Ramon Vinay, Hermann Uhde, etc. (E.U.) 2-Walhall 0354. - 4035122653540


"Inge Borkh was one of the great heldensoprans of the 1950s and 1960s. A consummate singing-actress with a distinctive voice and a strikingly beautiful woman, Borkh made her mark on the pages of opera history as a stunning Salome and Elektra."

- Charles H. Parsons, AMERICAN RECORD GUIDE, July/Aug., 2007

[Borkh] was a Teutonic Callas - hysterical, a wild beast in every sense, but a brilliant singer.

- Georg Solti, MEMOIRS, p.76

�[Rosenstock], like B�hm, could boast of a close relationship with Strauss. He had in fact earned the composer�s imprimatur for his reading of ELEKTRA. In 1931, Strauss was reported to have whispered to Rosenstock after a Mannheim revival of the opera: �Better conducted than composed��.[Borkh�s] voice has its own attractions, not the least of which are a suggestive color in the upper octave and a rapid vibrato. The latter can be an asset in this opera, for it contributes to the eerie atmosphere of the piece�.Rysanek�s Chrysothemis is a famous characterization, as thrilling to the auditor as it was to this viewer in the theatre. It is so on this occation, her first portrayal of the r�le at the Metropolitan�.Madeira offers the most consistent portrayal of the afternoon. Her instrument seems made for the baleful Klyt�mnestra.�

- Paul Jackson, SIGN-OFF FOR THE OLD MET, pp.318-20

�Born Jean Browning in Central Illinois, this contralto established for herself a singular identity among singers of the deepest, darkest r�les 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 r�le, perhaps the one with which she was most closely identified, was captured on disc in both studio (with B�hm) 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 d�but 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 r�le 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 d�but at the Metropolitan Opera as the First Norn in a performance of DIE G�TTERD�MMERUNG, beginning her steady progress through such r�les 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 d�but at the Vienna Staatsoper in the r�le 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 r�les, 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 r�le of Circe. She retired in 1971, shortly before her death in 1972.�

- Erik Eriksson, allmusic.com

"Chilean-born Ramon Vinay began his operatic career as a baritone (Mexico City, 1938), singing many of the major baritone roles, but after study with tenor René Maison, he began a second career as a tenor (Mexico City, 1943), and after a long, distinguished career as a tenor, returned to the baritone repertoire in the 1960s, retiring in 1969 with a final Iago. He was most noted for tenor roles requiring great heft and power. His services were in demand everywhere."

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

�Hermann Uhde's American mother was a student of the famous baritone Karl Scheidemantel. He was trained as a bass, by Philipp Kraus at the Opera School in Bremen, where he made his d�but as Titurel (1936). After engagements in Freiburg and Munich he appeared for the first time in baritone r�les at the Deutsches Theater im Haag in 1942. A prisoner-of-war from April 1945 to February 1946, he did not return to the stage until 1947. He subsequently appeared at the opera houses of Hamburg, Vienna and Munich where he became a member of the ensemble. He gained great success in r�les such as Mandryka, Gunther and Telramund, in which he was particularly admired. The artist was regularly invited to the Bayreuth Festival from 1951 to 1960 where he became one of its most important members, appearing as Holl�nder, Klingsor, Gunther, Donner, Wotan in RHEINGOLD, Telramund and Melot. He was also a guest at the Salzburg Festival and performed a superb Wozzeck at the Met (sung in English!) where he regularly appeared from 1955 to 1961 and again in 1964. He sang at the Grand Op�ra Paris as well as at other European opera houses. He created several r�les, including Creon in Orff�s ANTIGONAE, the baritone r�les in Britten�s THE RAPE OF LUCRETIA and Wagner-R�geny�s DAS BERGWERK ZU FALUN. He died of a heart attack during a performance of Niels Viggo Bentzon�s FAUST III, at Copenhagen in 1965.�

- Andrea Shum-Binder, subito-cantabile