OP2562. DAS RHEINGOLD, Live Performance, 16 Dec., 1961, w.Leinsdorf Cond. Met Opera Ensemble; George London, Norman Mittelman, Karl Liebl, Paul Kuen, Jerome Hines, Ernst Wiemann, Irene Dalis, Jean Madeira, etc. (E.U.) 2-Walhall 0360. - 4035122653601
"London attempts his first Met Wotan, pouring out reams of tone whose opulence is buttressed by conviction and trenchant diction. The free emission of his top voice is welcome, as is the noble manner he summons as an antidote to the whining in the Nibelung caverns....Dalis invariably shines more in her Teutonic assignments....apt for the German venue, and the firm command of language and style, the residue of her Berlin years, is reassuring....Madeira could have made a career out of the role [of Erda]; her deep tones and somber manner are impressive....her dense timbre is constant throughout its range, and several top tones are securely struck....Paul Kuen's....portrait is varied in nuance and lively enough to make the Nibelung's subterranean lair almost inviting....The German tenor was celebrated for his portrayal of the role at the Bayreuth Festival, and to have gained him was a coup for Bing."
- Paul Jackson, SIGN-OFF FOR THE OLD MET, p.292
“In the many performances I have appeared in, there were many wonderful colleagues who had me in raptures. There were those with magnificent voices, or great musicians, wonderful actors or great personalities. But George London had it ALL. He was as impressive on stage as he was the wonderful colleague and friend in his private life.”
- Birgit Nilsson, as quoted in Leonardo A. Ciampa’s THE TWILIGHT OF BELCANTO, p.130
“George London was a dramatic and very expressive singer. In many rôles he sang like a demonic panther with a sound of purple-black in color. London was a singer favoring the drama in a piece, varying color to suggest shifts of mood. His acting on stage was described as overwhelming. The special magnetism of this artist is documented on his great recordings. Every rôle he sang was sung with utmost expression and unbelievable commitment, truly a singing-actor!”
- Andrea Shum-Binder, subito-cantabile
"The voice of the Bavarian tenor Karl Liebl was recognised while he was studying to become a school teacher. In 1945, after serving in World War II, he became a Jugendlicher Heldentenor at the Stadttheater of Regensburg. Here he sang, among others, Riccardo in BALLO, Radames and his first Wagner role: Siegmund. The first of his frequent appearances at the Staatstheater of Wiesbaden was in 1951, thereafter, he began to develop into a Heldentenor. From 1955 through 1959 he sang at the Cologne Opera including Huon in OBERON at the opening of the new house. From 1956-59 he was a member of the Staatsoper in Vienna, where he sang in premiere of MATHIS DER MALER by Hindemith.
From 1959 to 1968 he performed at the Metropolitan Opera (debut role: Lohengrin) in such roles such as Tristan, Walther von Stolzing, Erik, Loge, Siegmund, Siegfried, Parsifal and Herod in SALOME - in all, eight major roles in 57 performances. He died in 2007."
“Irene Dalis, a versatile and fiery mezzo-soprano who starred at the Metropolitan Opera for two decades before building a second career as the director of Opera San José, an innovative company she founded in her California hometown, did not set out to be a singer or an impresario. She studied piano and music education at what was then San Jose State College before earning a master’s degree at Columbia’s Teachers College in Manhattan in the late 1940s. The plan was to go back home and teach. Yet her instructors in New York were struck by her voice and encouraged her to develop it. She began taking lessons with the mezzo-soprano Edyth Walker. Instead of returning to San Jose, she went to Italy to study voice on a Fulbright scholarship in 1951. Just two years later she made her operatic début as Princess Eboli in Verdi’s DON CARLO in Oldenburg, Germany. Four years after that, she performed the same role at the Met. Her début at the Met, on 16 March, 1957, was ‘one of the most exciting of the season’, Howard Taubman wrote in THE NEW YORK TIMES. ‘By the time she reached the second-act trio she showed she could sing with temperament’, Mr. Taubman said. ‘And in the third-act, ‘O don fatale’, one of Verdi’s greatest dramatic arias, she was like a veteran. Her voice, which has range, security and brilliant top notes, was now under full control. She sang and moved with a total absorption in the emotion of the character. ‘Her singing had color and fire. In terms of sheer quality there may be more sumptuous voices at the Met in the mezzo-soprano division; Miss Dalis uses hers like an artist’.
For the next two decades, Ms. Dalis was among the Met’s most admired performers, appearing more than 270 times and singing virtually every major mezzo-soprano part written by Verdi, Wagner, Richard Strauss and others. She was nurtured by Rudolf Bing, the Met’s formidable general manager, and performed with Birgit Nilsson, Jussi Bjorling, Robert Merrill, Leontyne Price, Plácido Domingo and Leonie Rysanek.
She sang on many other stages, including at the San Francisco Opera and at Covent Garden. One of her most acclaimed performances was in 1962, when she sang the role of Kundry in PARSIFAL at the Bayreuth Festival in Germany. She said later that, under stress from a grueling schedule, she had a revelation while she was there. ‘I asked myself if my talent, which I had always thought so sacred, was so special after all’, she recalled in 1964. ‘I decided it wasn’t. I realized that this was just my way of making a living. I began to see that I couldn’t deliver my best all the time, nobody can, and that I shouldn’t punish myself for my mistakes. ‘I have now approached the time of life where I want to enjoy what I’m doing. Does it seem silly? It seems to me a great discovery’.
She would perform for another decade, but in the mid-1970s she finally went home to California to teach voice, finding a position at San Jose State. Her work with students there led to her founding of Opera San José in 1984. It was modeled on a program in Oldenburg, which gave young performers like Ms. Dalis the chance to sing big roles early in their careers. ‘In the old days, singers started singing major roles at a young age, and it didn’t ruin their voices, did it?’ she said in an interview with OPERA NEWS in 2007. The company, which performs at the California Theater, a restored 1927 movie palace, has its own costume and set shops, owns administrative buildings and provides apartments to some performers. Ms. Dalis ran it until this June. OPERA NEWS called Opera San José ‘the only opera company in the U.S. entirely dedicated to developing the careers of emerging young artists’.”
- William Yardley, THE NEW YORK TIMES, 18 Dec., 2014
"Erich Leinsdorf, a conductor whose abrasive intelligence and deep musical learning served as a conscience for two generations of conductors, had a utilitarian stage manner and his disdain of dramatic effects for their own sake stood out as a not-so-silent rebuke to his colleagues in this most glamorous of all musical jobs. In addition, Mr. Leinsdorf - in rehearsal, in the press and in his valuable book on conducting, THE COMPOSER'S ADVOCATE - never tired of pointing out gaps in culture among musicians, faulty editing among music publishers and errors in judgment or acts of ignorance among his fellow conductors. He rarely named his victims, but his messages and their targets were often clear. Moreover, he usually had the solid grasp of facts to support his contentions.
Mr. Leinsdorf moved to this country from Vienna in 1937. Helped by the recommendation of Arturo Toscanini, whom he had been assisting at the Salzburg Festival, Mr. Leinsdorf made his conducting début at the Metropolitan Opera a year later with DIE WALKÜRE. He was 25 years old at the time . A year later he was made overseer of the Met's German repertory, and his contentious style - in particular an insistence on textual accuracy and more rehearsal - won him no friends among singers like Lauritz Melchior and Kirsten Flagstad. Backed by management, he remained at the Met until 1943. At the New York City Opera, where he became music director in 1956, Mr. Leinsdorf's demanding policies in matters of repertory and preparation made him further enemies, and he left a year later. His searches for permanent employment turned mostly to orchestras. After the briefest of tenures at the Cleveland Orchestra during World War II, Mr. Leinsdorf took over the Rochester Philharmonic and stayed for nine years.
Mr. Leinsdorf's last and most prestigious music directorship was at the Boston Symphony, where he replaced Charles Münch in 1962. No contrast in style could have been sharper: Münch had viewed conducting mystically, as a kind of priesthood; Mr. Leinsdorf's policy was to make performances work in the clearest and most rational way. Observers both in and out of the orchestra could not deny the benefits of Mr. Leinsdorf's discipline, but there were some who were hostile to what they perceived as an objectivity that could hardly be called heartwarming.
One American orchestra manager a few years ago responded to musicians' grumblings over Mr. Leinsdorf's rehearsal manner by saying that he was ‘good for my orchestra’. And so he probably was.”
- Bernard Holland, THE NEW YORK TIMES, 12 Sept., 1993