Rheingold   (Kempe;   Otto Wiener, Gerhard Stolze, Otakar Kraus, Marga Hoffgen, Grace Hoffman)  (2-Myto 00323)
Item# OP2677
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Product Description

Rheingold   (Kempe;   Otto Wiener, Gerhard Stolze, Otakar Kraus, Marga Hoffgen, Grace Hoffman)  (2-Myto 00323)
OP2677. DAS RHEINGOLD, Live Performance, 28 July, 1962, w.Kempe Cond. Bayreuth Festival Ensemble; Otto Wiener, Gerhard Stolze, Otakar Kraus, Marga Höffgen, Grace Hoffman, etc. (E.U.) 2-Myto 00323. - 0801439903234

CRITIC REVIEWS:

“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



“Otto Wiener was an Austrian baritone, notable for his performances in the operas of Richard Wagner. He was born in Vienna, joined the Vienna Boys' Choir at the age of six, and started his adult career as a concert singer before making his stage début in 1953 at Graz in the title-role of SIMON BOCCANEGRA. He subsequently sang with the opera companies at Düsseldorf, Frankfurt and Berlin and performed at the Vienna State Opera from 1957 onwards and at the Bavarian State Opera from 1960. He appeared at the Salzburg Festival in 1955 and sang there in the stage première of Frank Martin's LE MYSTÈRE DE LA NATIVITÉ.

Wiener first appeared at the Bayreuth Festival in 1957, and sang there until 1963 as Hans Sachs in DIE MEISTERSINGER VON NÜRNBERG, Gunther in GÖTTERDÄMMERUNG, Wotan in DAS RHEINGOLD and in the title-role of DER FLIEGENDE HOLLÄNDER. In 1962 he performed the role of Sachs at both the Royal Opera House, Covent Garden, and the Metropolitan Opera. In 1964, he appeared at the Glyndebourne Festival Opera in the role of La Roche in CAPRICCIO.

Wiener was one of the highest and brightest of the successful heldenbaritones of the 1950s and 60s. He was cast in roles usually reserved for deeper, darker voices because his technique was so relaxed, well-projected, and free. Wiener retired in 1976 and died in Vienna.”

- H. P. Casavant