Walkure  (Leinsdorf;  Nilsson, Kuchta, Vickers, Edelmann, Dalis, Wiemann)  (3-Walhall 0365)
Item# OP2574
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Product Description

Walkure  (Leinsdorf;  Nilsson, Kuchta, Vickers, Edelmann, Dalis, Wiemann)  (3-Walhall 0365)
OP2574. DIE WALKÜRE, Live Performance, 23 Dec.,1961, w.Leinsdorf Cond. Met Opera Ensemble; Birgit Nilsson, Gladys Kuchta, Jon Vickers, Otto Edelmann, Irene Dalis, Ernst Wiemann, etc. (E.U.) 3-Walhall 0365. - 4035122653656

CRITIC REVIEWS:

“Nilsson made so strong an imprint on a number of rôles that her name came to be identified with a repertory, the ‘Nilsson repertory’, and it was a broad one. She sang the operas of Richard Strauss and made a specialty of Puccini's TURANDOT, but it was Wagner who served her career and whom she served as no other soprano since the days of Kirsten Flagstad.

A big, blunt woman with a wicked sense of humor, Ms. Nilsson brooked no interference from Wagner's powerful and eventful orchestra writing. When she sang Isolde or Brünnhilde, her voice pierced through and climbed above it. Her performances took on more pathos as the years went by, but one remembers her sound more for its muscularity, accuracy and sheer joy of singing under the most trying circumstances.

Her long career at the Bayreuth Festival and her immersion in Wagner in general, began in the mid-1950s. No dramatic soprano truly approached her stature thereafter, and in the rôles of Isolde, Brünnhilde and Sieglinde, she began her stately 30-year procession around the opera houses of the world. Her United States debut was in San Francisco in 1956. Three years later she made her début at the Metropolitan Opera, singing Isolde under Karl Böhm, and some listeners treasure the memory of that performance as much as they do her live recording of the rôle from Bayreuth in 1966, also under Böhm. The exuberant review of her first Met performance appeared on the front page of The New York Times on 19 Dec., 1959, under the headline, ‘Birgit Nilsson as Isolde Flashes Like New Star in 'Met' Heavens’."

- Bernard Holland, THE NEW YORK TIMES, 12 Jan., 2006



“The Canadian tenor Jon Vickers brought a colossal voice and raw dramatic intensity to everything he sang, including legendary portrayals of Wagner’s TRISTAN, Verdi’s OTELLO, Beethoven’s Florestan and Britten’s Peter Grimes, had few rivals. Yet, even in subdued passages, whether posing questions as the clueless title character of Wagner’s PARSIFAL or singing tender phrases of a Schubert song, Mr. Vickers’ voice had penetrating body and depth. For all his power, he was a master at singing high pianissimo phrases with ethereal beauty. Making every word he sang matter was another hallmark of his artistry. Mr. Vickers was incapable of fudging a text for the sake of vocal effect, a priority he traced to his Christian upbringing, in which hymns and prayers were revered. Still, Mr. Vickers had his share of detractors, who found his singing burly and gruff.

He identified intensely with the characters he portrayed, especially misfits, like Peter Grimes, and misunderstood heroes, like Verdi’s Otello, who are outwardly strong but struggling against brutal destinies. Yet he readily admitted that in taking risks and giving his all, his singing could be inconsistent and uncontrolled. That Mr. Vickers lost himself in his roles did not surprise those who knew him. He was a volatile and enigmatic person, in many ways decent and principled, but hot-tempered and quick to jump on any perceived slight.

The soprano Birgit Nilsson, the great Isolde to his Tristan, said that Mr. Vickers ‘was almost always unhappy’, and that his ‘nerves were outside the skin, not inside the skin’, as she told Jeannie Williams, the author of JON VICKERS: A HERO’S LIFE. In her book, Ms. Williams recounts stories of Mr. Vickers bullying underlings and dressing down colleagues. When a 1986 Metropolitan Opera production of Handel’s SAMSON traveled to the Lyric Opera of Chicago, Mr. Vickers insulted the conductor, Julius Rudel, during a rehearsal in front of the entire cast and orchestra, shaking Mr. Rudel so much that he offered to quit. Yet in interviews he often spoke of how his rural roots and Christian convictions had shaped his life philosophy, as he explained in a 1974 documentary for the Canadian Broadcast Company: ‘The understanding, which slowly and surely developed in me, of the necessity of human contact and an understanding of the needs of others and their problems has probably, more than anything else, given me the ability to analyze my roles, to come to grips with a score, to study a drama, to project my feelings into the life of someone I’ve never met except on a piece of paper’.

Encouraged to pursue singing seriously, he auditioned for George Lambert, a voice teacher who recruited students for the Royal Conservatory in Toronto, and was offered a scholarship, beginning with the 1950-51 academic year. While at the conservatory, Mr. Vickers met Henrietta Elsie Outerbridge, a child of missionaries who had worked in China. Hetti, as she was called, had studied medicine for several semesters and taught English and art. They married in July 1953. A devoted couple, they were ‘one of the great love stories of our time’, in the words of the soprano Teresa Stratas.

Mr. Vickers considered his professional stage début to be a performance in 1954 as the Duke of Mantua in Verdi’s RIGOLETTO at the Toronto Opera Festival, which in 1959 became the Canadian Opera Company. Over the next two years with the festival he sang Alfredo in LA TRAVIATA, Don José in CARMEN and other roles but preferred singing for radio and television because the work paid better.

In 1957, for his first season at the Royal Opera at Covent Garden in London, he sang Don José, Riccardo in BALLO IN MASCHERA and Enée (Aeneas) in Berlioz’s epic opera LES TROYENS. Mr. Vickers would later sing Enée in a new production of the opera at Covent Garden in 1969, the centennial of the composer’s death. The conductor was Colin Davis, an inspired Berlioz interpreter. During the run, the Covent Garden forces recorded the opera in a London studio, and the sessions were tense. The cast, especially Mr. Vickers, complained of the strain of recording the work while also performing it on stage. Some rough patches in Mr. Vickers’s singing come through. Still, he brought a heroic cast to the music, and the recording remains a classic.

Mr. Vickers’ first performances at the Metropolitan Opera came in early 1960, singing Canio in Leoncavallo’s PAGLIACCI, Florestan in Beethoven’s FIDELIO and Siegmund in Wagner’s WALKÜRE, all within two months. It was on the Met stage in 1967 that Mr. Vickers introduced what many consider his greatest achievement, the title role of Britten’s PETER GRIMES, conducted by Mr. Davis and directed by Tyrone Guthrie. Working with a libretto by Montagu Slater, Britten conceived the title role of the loner fisherman in an English village for his lifelong partner, the tenor Peter Pears, who gave the first performance in London in 1945. With his ethereal voice, Pears portrayed the fisherman as an alienated dreamer, a misfit in a narrow-minded town. While yearning to be accepted, Grimes takes out his thwarted anger on homeless boys who are drafted into work as his apprentices. Britten described the opera as depicting the struggle of an individual against the masses. But many see Grimes’ persecution as a metaphor for the oppression of homosexuals. Mr. Vickers, who was, as many of his colleagues recounted, quite homophobic, could not abide such an interpretation. For him [the role of] Peter Grimes was a study in the ‘psychology of human rejection’, a view shared by Mr. Davis and Guthrie. With his powerful heldentenor voice, Mr. Vickers revealed the danger within the twisted psyche of the ostracized fisherman. His Grimes was one moment lost in reverie, the next exploding with brutality. His bleakly poignant portrayal and fearsome singing altered the public perception of the role. Though they did not like to voice their attitudes publicly, Britten and Pears were dismayed by Mr. Vickers’ Grimes. But they could not argue with success. Companies around the world mounted productions of PETER GRIMES for Mr. Vickers.

He sang more than 280 total performances at the Met, including the company premiere of LES TROYENS in 1973, and the title roles of Verdi’s OTELLO and Wagner’s PARSIFAL. For years Mr. Vickers resisted the role of Wagner’s Tristan, to the frustration of Birgit Nilsson, the great Isolde of her day, who had been searching for a powerhouse tenor who could match her in the opera. Mr. Vickers finally came through in Buenos Aires in 1971, singing Tristan to Ms. Nilsson’s Isolde. It was a triumph. They went on to sing it many times, though not as often as Ms. Nilsson had hoped. ‘I told him at the time that I waited and waited for my Tristan for 14 years’, Ms. Nilsson told THE NEW YORK TIMES, ‘as long as Jacob waited for Rachel in the Bible’. He sang the role just twice at the Met, and only one of those was with Ms. Nilsson, on 30 Jan., 1974.

Mr. Vickers lived in Toronto at the start of his career and then settled in London before returning to Canada and buying a farm about an hour’s drive from Toronto. After his retirement in 1988 he gave occasional master classes but mostly kept a low profile. He once touched on the impetus of his artistry in a graduation address in 1969 at the Royal Academy of Music in Toronto. ‘I sang because I had to’, he said. Singing, he explained, was ‘an absolute necessity, fulfilling some kind of emotional and even perhaps physical need in me’.”

- Anthony Tommasini, THE NEW YORK TIMES, 12 July, 2015



“[Gladys Kuchta] American soprano in her late thirties at the time of her Met début as Chrysothemis [4 March, 1961]…had spent the decade of the fifties in the middle European houses, honing her craft….The Metropolitan would know her for eight seasons, but would fail to utilize her commanding capabilities effectively (only twenty-eight performances in New York)….the Met scheduled her as Aïda, Turandot and Donna Anna….At his entrance, Siegmund’s character is defined by Vickers’ virility of tone and utterance….With Vickers, the actual presence of a big voice resonating throughout the grand space of the opera house is, even over the radio, vividly apparent….He draws out the ‘Wälse’ pair to Melchiorian lengths, and his tonal wealth as well is comparable to that of the revered Dane....”

- Paul Jackson, SIGN-OFF FOR THE OLD MET, p.295 & p.191



"With a most beautiful vocal tone, [Kuchta] shaped expressive musical phrases that soared out above the orchestra with clarity, understanding and expressive feeling."

- Eric Salzman, THE NEW YORK TIMES, 5 March, 1961 (after Kuchta's Met Opera début, 4 March, 1961)



“Gladys Kuchta made many guest appearances in London, Paris, Rome, Vienna, New York, San Francisco and Buenos Aires, in a repertory that during the early years contained several Italian rôles, but which gradually turned more and more to German opera, notably Richard Strauss and Wagner. However, she continued to sing Turandot, which displayed her large, opulent-toned voice and dramatic temperament to superb advantage.

Kuchta was born in Chicopee, Massachusetts, in 1923; her family was of Polish origin. She studied in New York, at the Juilliard School of Music, and with Sinalda Lissitschkina (a coloratura soprano who sang the Queen of Night in THE MAGIC FLUTE at Glyndebourne in 1937).

In 1951 Kuchta was awarded a scholarship stipend to travel to Italy for further study, and made her début in Florence that year as Donna Elvira in DON GIOVANNI. After engagements in Flensburg and Kassel, in 1958 she joined the then Städtische Oper, which in 1961 became the Deutsche Oper, in West Berlin. She remained a member of the company until her retirement in 1975.

One of her earliest successes was in 1959 as Ursula in the Berlin première of Hindemith's MATHIS DER MALER (with Dietrich Fischer-Dieskau in the title rôle). Her repertory included Amelia in both SIMON BOCCANEGRA and UN BALLO IN MASCHERA, as well as another Verdi rôle, Lady Macbeth. She also sang Donna Anna in DON GIOVANNI, Leonore in FIDELIO, the title rôle of ARIADNE AUF NAXOS and the Marschallin in DER ROSENKAVALIER. In 1960 she made her début at Covent Garden, as Chrysothemis in ELEKTRA; although Kuchta was greatly admired in that part, she soon moved on to Elektra herself, which became one of her finest chracterisations, and which she sang with the Hamburg State Opera at Edinburgh in 1966, when she caused a furore.

Kuchta made her Metropolitan début in as Chrysothemis in ELEKTRA, and once again she soon gave up the rôle for that of Brunnhilde. At San Francisco in 1964, she sang another Verdi rôle, Abigaille in NABUCCO, and also sang the Dyer's Wife in DIE FRAU OHNE SCHATTEN. She repeated the Dyer's Wife in Buenos Aires in 1965, and the following year she sang it with the Hamburg company on a visit to London at Sadler's Wells.

This was the British première of Strauss' opera, and, despite the smallness of the theatre, it was an overwhelming success, to which Kuchta contributed no small part. She remained loyal to the Dyer's Wife throughout her career, and sang the rôle in Paris in 1972.

Meanwhile, in Berlin Kuchta was launched on a series of Wagner rôles: Senta in DER FLIEGENDE HOLLANDER, Kundry in PARSIFAL, and Isolde, as well as Brünnhilde, which she sang in a complete cycle of DER RING DES NIBELUNGEN in a new production at the Deutsche Oper in 1967. She also sang Brünnhilde at Bayreuth in 1968 and 1969.

It was in GÖTTERDÄMMERUNG that she excelled: her stamina was legendary, and she never appeared to tire. As Isolde she also seemed to have inexhaustible breath, and energy to spare. I heard her give a performance at Munich in 1968, and her rage against Tristan in the first act was white-hot in its passionate emotion. That same year she sang a concert performance of FIDELIO at the Royal Festival Hall, but Kuchta needed the stage to generate the dramatic intensity she usually displayed

By the early 1970s the top of Kuchta's voice began to show the strain of singing such heavy rôles for more than 20 years. On 16 June 1975 she gave her farewell performance at the Deutsche Oper; she sang Isolde. In her retirement from the stage she taught singing at Düsseldorf, where her husband, the influential German singers' agent Friedrich Paasch, was based. When he retired, the couple moved to Keitum, on the island of Sylt.”

- Elizabeth Forbes, THE INDEPENDENT, 9 Nov., 1998



“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