OP2617. JENUFA (in German) (Janácek), Live Performance, 29 Sept., 1961, w.von Matacic Cond. Frankfurt Opera Ensemble; Anny Schlemm, Christel Goltz, Ernst Kozub, Gerald McKee, etc. (E.U.) 2-Myto 00319. - 0801439903197
“Lovro von Matacic was one of the great conductors who preserved the authentic late-Romantic tradition into the late-Romantic age. He worked at the Salzburg Festival on the music staff, and then returned to Yugoslavia, which at the end of World War I had finally obtained its independence from Austria. He became the Music Director of the opera house in Osijek, continuing his career advancement through opera houses in the larger cities, Novi Sad, Ljubljana, Zagreb, and in 1938 the capital, Belgrade. In the same year he also became the conductor of the Belgrade Philharmonic Orchestra. After the German invasion of 1941 he resigned his position at the Belgrade Opera (1942) and from 1942 to 1945 he was conductor of the Vienna Volksoper.
After the war, he became the General Music Director in Skopje. He organized the annual Dubrovnik and Split Festivals. He was permanent guest conductor at the opera houses of Munich and Vienna. From 1956 to 1958, he was General Music Director of the Dresden State Opera and Staatskapelle Orchestra and, with Franz Konwitschny, co-General Music Director of the (East) Berlin State Opera. He appeared in America with the Chicago Lyric Opera in 1959. In 1961, Matacic succeeded Georg Solti as General Music Director of the Frankfurt Opera and orchestra, remaining there through 1966. In 1965 he was appointed Honorary Chief Conductor of the NHK (Japanese Radio and Television) Orchestra in 1965. He was Music Director of the Zagreb Philharmonic from 1970 to 1980, and of the Monte Carlo Opera from 1974 to 1979. At the end of these tenures, he became honorary conductor for life of both organizations.
He guest conducted extensively and at various times was principal guest conductor or permanent guest conductor at various times of the Berlin Philharmonic, Vienna Philharmonic, London Philharmonic, and Prague Philharmonic. He began conducting orchestras in America frequently, and led opera performances at La Scala, the Bayreuth Festival, Opera di Roma, and various other European and Japanese venues.
He recorded frequently, and many ‘dall vivo’ recordings of his live and broadcast performances exist. He was especially praised for his control over the immense formal structures of Bruckner's symphonies and his masterly control of phrasing.”
- Joseph Stevenson, allmusic.com
“Anny Schlemm joined the Berlin State Opera, where she remained until 1961, during which period her rôles included Susanna, Marenka, Donna Elvira, Desdemona, Manon Lescaut, Octavian, Arabella, etc. She also sang at the opera houses of Cologne, Hamburg, Dresden, Frankfurt, Stuttgart, Munich, and at the Bayreuth Festival, etc. She made guest appearances at the Vienna State Opera, the Royal Opera House, the Glyndebourne Festival, the Paris Opéra, the Holland Festival, etc. Later, as her voice darkened, she became a famous exponent of rôles such as Clytemnestra, Herodias, Kabanicha in KÁTYA KABANOVÁ, and Kostelnicka in JENUFA, etc. A superb singing-actress and highly versatile artist, she was equally at home in comic and dramatic roles.
Soprano Christel Goltz was a discovery of conductor Karl Böhm and one of the leading dramatic sopranos of her generation who possessed a rich voice with a brilliant range and intensity. She was particularly associated with the operas of Richard Strauss, especially SALOME and ELEKTRA, and with contemporary operas. Before she became a singer, Goltz had been a dancer and was physically the antithesis of the typical operatic soprano: small, lithe, and energetic. Despite her diminutive stature, Goltz had a big voice that easily made it out to the farthest tier, and it is said that when the character Narraboth killed himself in Strauss' SALOME, that Goltz would leap over his dead body during the Dance of the Seven Veils. It was in dramatic rôles such as Salome and Elektra that Goltz made her mark, and by all accounts in performance she was extremely effective at them. The only sizable studio recordings she made -- SALOME with Clemens Krauss and ELEKTRA with Georg Solti -- were in such rôles. Early in her career, Goltz also created rôles in works of Carl Orff and Swiss composer Heinrich Sutermeister.
Born in Dortmund, she studied in Munich with Ornelli-Leeb and with Theodor Schenk, whom she later married. After singing small rôles, she made her official début in Fuerth, as Agathe, in 1935. She sang one season in Plauen, before joining the roster of principal sopranos at the Staatsoper Dresden through the invitation of Karl Böhm in 1936. She remained at that house until 1950. She began appearing at both the Berlin State Opera and the Stadtische Oper Berlin in 1947, and at the Munich State Opera and Vienna State Opera in 1950. Beginning in 1951, she also made guest appearances in Salzburg, Milan, Rome, Brussels, Paris, London, Buenos Aires, and sang at the Metropolitan Opera in 1954. Besides SALOME and ELEKTRA, her greatest successes included the title rôle in JENUFA, Marie in WOZZECK, Die Farberin in DIE FRAU OHNE SCHATTEN, Leonora in FIDELIO and Elettra in IDOMENEO. She created the title rôles in Carl Orff's ANTIGONE and Rolf Liebermann's PENELOPE. An intense singing-actress with a clear and powerful voice of great range, she also tackled a few Italian rôles, notably Turandot.”
- Ned Ludd