OP2977. BORIS GODOUNOV, 13 Feb., 1943, w. Szell Cond. Met Opera Ensemble; Alexander Kipnis, Norman Cordon, Nicola Moscona, Leonard Warren, René Maison, Kerstin Thorborg, Alessio de Paolis, etc. (England) 2-Walhall 12. Very long out-of-print, Final Copy! - 5019148605027
"Slavic sonority is what Kipnis supplies in abundance. He unleashes a flood of tone, but without any of that lugubrious extra ballast that overburdens most Slavic bases. One marvels at his variety of color, ranging from the profoundly opaque to clarified, even sweet, head tones....Once again, the preserved aircheck of a broadcast is invaluable, especially when Kipnis' Boris is captured under Szell's superbly disciplined, dramatically taut direction."
- Paul Jackson, SATURDAY AFTERNOONS AT THE OLD MET, pp.366 & 367
“Kerstin Thorborg is a true contralto voice with a powerful top extension, making it eminently suitable for the special requirements of dramatic roles. Her top notes are prefectly placed and she sings with a rich and ample tone through the whole range. She is one of the great Wagnerin singers of the 20th century and all recordings in which she was involved are a ‘must’.
She gained great success, particularly as Brangäne. Bruno Walter became one of her most important mentors. Under Bruno Walter she sang the title role in Gluck’s ORFEO, and in 1936 with Walter she made gramophone history in the first ever recording of Mahler’s DAS LIED VON DER ERDE. She was most highly estimated by many great conductors, such as Georg Szell, Sir Thomas Beecham, Fritz Busch, Felix Weingartner, Hans Knappertsbusch, Wilhelm Furtwängler, Arturo Toscanini and Victor de Sabata. In 1938, when the Nazis annexed Austria, she broke her contract and left for the USA. There she had made her début already in 1936 at the Met. She stayed with this company until 1950, where she became one of the most successful mezzos, performing some three hundred nights during twelve seasons.”
- Andrea Shum-Binder, subito-cantabile
“Swedish mezzo-soprano Kerstin Thorborg was one of the finest artists before the public during her prime years in the 1930s. Celebrated by critics in London and New York, she was admired for her completeness as an artist, excelling in both opera and concert work, and adept in many areas of the repertoire. Attractive and supple on stage, she was regarded as among the finest actresses in opera. In the company of such fellow singers as Leider, Flagstad, Lehmann, Melchior, and Schorr, she made her era an outstanding one for Wagnerian performance.
Thorborg made her début at the Stockholm Opera in AÏDA, achieving a substantial success with her first Ortrud in 1924. The mezzo remained with the company until 1930 (also fulfilling numerous concert engagements) before accepting an offer from the Prague National Theatre and, subsequently, Nuremberg. After a successful series of performances in both houses, she was summoned to Berlin, where she was engaged by the Städtische Oper, singing there from 1932 to 1935. In 1935, she began appearing at Vienna Staatsoper and remained there until 1938. Her Salzburg roles between 1935 and 1937 included Orfeo, Magdalene, Brangäne, Donna Mercedes in Hugo Wolf's rarely performed DER CORREGIDOR, and Eglantine in Weber's EURYANTHE. In the midst of her European engagements, she managed to fit in a season at Buenos Aires as well.
In 1936, Thorborg made débuts at both Covent Garden and the Metropolitan Opera, receiving praise for her consummate artistry. Her May appearance in DIE WALKÜRE prompted London's very particular Ernest Newman to describe her as ‘the finest Fricka I have ever seen or hope to see’. Later, Newman greeted her Kundry with these words: ‘She walks like a goddess, sits like a statue; and not a single gesture is wasted throughout the whole evening. All in all, I would rank her as the greatest Wagnerian actress of the present day’.
In New York, Thorborg's December début was again as Fricka, a performance also celebrated as that of a great actress. While critics deemed her somewhat too bright in tone, they greeted her portrayal as altogether exceptional. Thorborg was described as ‘a woman of regal and distinguished beauty, stately in bearing, slender, tall and straight’. The reviewer hailed her as ‘an actress of intelligence and skill and power’. Thorborg's appearances at Covent Garden ended before the outbreak of World War II, but her Metropolitan engagement extended over fifteen seasons, during which she proved herself a mainstay of the Wagnerian wing. In 243 performances, she ranged over nearly the entire range of Wagner roles for mezzo and contralto, also performing such parts as Amneris, Azucena, Ulrica, Orfeo, Octavian, Herodias, and Marina in BORIS GODUNOV. Thorborg sang two seasons at San Francisco (1938 and 1943) and in Chicago between 1942 and 1945.”
- Erik Eriksson, allmusic.com