OP2817. DAS LAND DES LÄCHELNS (Lehár), Live Performance, April, 1950, Köln, w.Marszalek Cond. Kölner Rundfunk: Peter Anders, Anneliese Rothenberger, Erna Dietrich, Dolf Dolz, etc. (Italy) Myto 004.H049. Long out-of-print, final copies! - 8014399500494
“Peter Anders was a German operatic tenor who sang a wide range of parts in the German, Italian, and French repertories. He began by singing lyric roles and later undertook dramatic roles with equal success.
Anders was born in Essen and studied at the Berlin Music Academy with Ernst Grenzebach, and later privately with Lula Mysz-Gmeiner, whose daughter Susanne he married. In 1931, he appeared in Berlin in LA BELLE HÉLÈNE, and made his operatic début the following year in Heidelberg, as Jacquino in FIDELIO. Anders sang in Darmstadt (1933–35), Cologne (1935–36), Hannover (1937–38), and then at the Munich State Opera (1938–40), where he took part in the creation of Richard Strauss' FRIEDENSTAG. He returned next to Berlin and sang at the Berlin State Opera from 1940 until 1948. His repertory at that time included lyric roles such as Belmonte, Tamino, Lyonel, Hans, Hoffmann, Leukippos, Alfredo and Rodolfo. Beginning in 1949, Anders undertook such heavier roles as Florestan, Max, Tannhäuser, Lohengrin, Walther, Siegmund, Radames, Otello, with equal success.
Anders made a few guest appearances at the Royal Opera House in London, the La Monnaie in Brussels and the San Carlo in Naples, as well as appearing at the Glyndebourne Festival. Anders sang not only an impressive range of operatic roles but also appeared in several operetta parts. He performed regularly on German radio and in concert and was also active in oratorio and lieder recitals.
He became a favorite of Adolf Hitler's regime and was not required to serve in the armed forces during the Second World War - instead he entertained German troops and participated in propaganda events. These activities tainted his reputation in the post-war world. While at the height of his career, Anders died in a car accident in Hamburg at the age of 46.”
“The soprano Anneliese Rothenberger was one of the most distinguished and popular German singers of the postwar period. Her career was founded initially on the lighter soubrette roles, and she won great acclaim for her performance as Sophie in the film of DER ROSENKAVALIER (1961), conducted by Herbert von Karajan – earning the accolade of ‘the best Sophie in the world’ from one of Richard Strauss' great collaborators, the soprano Lotte Lehmann. Shortly after this, however, she began to move into slightly heavier roles in which her success was more mixed.
Rothenberger was a member of the Hamburg ensemble alongside Martha Mödl, Gustav Neidlinger and Rudolf Schock. Her roles there included Blonde in Mozart's DIE ENTFÜHRUNG, the page Oscar in Verdi's UN BALLO IN MASCHERA and Alban Berg's Lulu.
In 1952 she joined the Hamburg company at the Edinburgh festival, taking the role of Regina in the British stage premiere of Paul Hindemith's MATHIS DER MALER. Two years later she made her debut at the Salzburg festival (where she was to sing until 1973), creating the role of Telemachus in Rolf Liebermann's PENELOPE. She appeared there too in his DIE SCHULE DER FRAUEN (1957) and in a number of other roles including Sophie, Papagena in Mozart's DIE ZAUBERFLÖTE, Zdenka in Strauss' ARABELLA and Flaminia in Haydn's IL MONDO DELLA LUNA.
Sophie was one of her favourite roles, and she was cast by Karajan in the celebrated film, directed and produced by Paul Czinner. Appearing alongside Elisabeth Schwarzkopf and Sena Jurinac, she blossoms as the eligible ingenue, her voice soaring mellifluously in the final trio. Rothenberger also sang Sophie at Glyndebourne (1959–60) and at the Met in New York, though it was as Zdenka that she made her debut at the latter (1960). The 1963 recording of Arabella, conducted by Joseph Keilberth, demonstrates the beguiling quality of Rothenberger's light, silvery tone in the role of Zdenka.
It was, nevertheless, in these years, the mid-1950s to the late 1960s, that Rothenberger was heard to her best advantage on many of the world's leading stages in New York, London, Munich, Vienna - where she sang a total of 365 performances in 20 roles - and elsewhere. The Mozartian roles of Susanna and Pamina suited her well, as did that of Adele in DIE FLEDERMAUS. The title role of Lulu also showed her considerable acting abilities.”
- Barry Millington, THE GUARDIAN, 26 May, 2010