OP2989. DIE WALKURE, Live Performance, 1953, w.Krauss Cond. Bayreuth Festival Ensemble; Ramon Vinay, Martha Mödl, Regina Resnik, Hans Hotter, Josef Greindl, Ira Malaniuk, etc. (Italy) 3-Arkadia 610. Outstanding sound! Very Long out-of-print, Final Copy! - 8011571610033
"...this Krauss performance, in amazingly good sound, captures a level of conducting inspiration and of consistent vocal and dramatic insight probably never equaled by any other recorded RING, live or studio.
Krauss is best remembered as a Strauss specialist (Richard and Johann Jr.). This was the only summer he conducted at Bayreuth. The singers, too, have rarely been equaled as an ensemble. Hotter is at his peak as Wotan, firm and sure, and Greindl, too, who soon developed an annoying wobble, is in solid technical command here; this is a cast of practiced, inspired Wagnerians that would be hard to match today....a performance for the ages. This is quite simply a great interpretation."
- John Rockwell, THE NEW YORK TIMES, 5 June, 1988
“Chilean tenor Ramón Vinay began his career as a baritone, later reworking his voice to the tenor range. For a decade or so, Vinay was a force to be reckoned with, a wonderful singing actor who excelled in such roles as Don José, Samson, Canio, and Otello. In the mid-late 1950s, the top notes became ever more precarious for Vinay, and he eventually returned to the baritone repertoire, and even some bass roles. Though Vinay was born in Chile, his father was French, and he studied in France. It’s not surprising then, that Vinay’s French pronunciation and grasp of the Gallic opera style are expert. And what sets Vinay’s José apart from other great exponents of [French repertoire], even legendary French artists, is the Chilean tenor’s arresting combination of a rich, vibrant, baritonal middle register with ringing high notes. It is true that, like many tenors who began as baritones, Vinay has some difficulty in scaling back his voice, particularly in the upper register.”
- Ken Meltzer, FANFARE, March / April, 2018
"Hotter was far, far more than a Wagnerian....[he] sang Lieder at recitals and in the studio throughout his timeless career. All his interpretations evinced a care over matching text to music. Even in Wagner he gave a Lieder singer's attention to the words. In private he was a gentle giant, an engaging raconteur and an intelligent observer of the musical scene"
- Alan Blyth, GRAMOPHONE, March, 2004
"Of all the singers of the 20th century, the man whose voice and presence were most capable of conveying the essence of the archetypal father was bass-baritone Hans Hotter. Blessed with a huge, resonant instrument that could be scaled down to an intimate whisper, the man could sound invincible one minute and vulnerable the next. No matter what he sang, Hotter communicated a profundity and depth of spirit that seemed rooted in a primordial place of holiness and sagacity. If you can imagine a man whose voice could convincingly express the power of a God, the wisdom of a sage, and the humanity of an open-hearted mortal, you can begin to hear the sound of Hans Hotter in your head.
In the world of opera, Richard Wagner's Wotan, the God of Valhalla, is perhaps the greatest Daddy of them all. In DIE WALKĂśRE, he has no choice but to punish his favorite daughter BrĂĽnnhilde for her sin of intervening in the affairs of mortals. But even as he puts his beloved daughter to sleep, protecting her with a ring of fire, he makes sure that love can dowse the flames and return her to life. It was the Wotan of Hans Hotter, more than of any other recorded singer, that most fully expressed the tortured godliness of this strangely mortal immortal.
At the same time as Hotter dominated the opera stage as Wotan, he became known as a supreme interpreter of German art song. With his voice pared down as necessary, Hotter's lieder interpretations evinced the same strength and surety that thundered through him when he strode across the stage carrying sword and shield."
- Jason Serinus
â€śClemens Heinrich Krauss was a leading Austrian conductor, particularly associated with the music of Richard Strauss, who got to his major positions by the resignation of conductors less sympathetic to the German Nazi regime.
His mother was Clementine Krauss, a leading Viennese actress and singer. He was also related to Gabrielle Krauss (1842 - 1904), an important nineteenth century soprano. His father was a figure in the Austrian Imperial Court. When Clemens went into music, he used his mother's name because of its theatrical history.
He made the rounds of regional centers, conducting in Riga (1913 - 1914), NĂĽremberg (1915), and Sczeczin (1916 - 1921). The latter appointment gave him ample opportunity to travel to Berlin to hear Artur Nikisch conduct the Philharmonic, a major influence. His next appointment was back in Austria, where he became director of the opera and symphony concerts in Graz. In 1922 he joined the conducting staff of the Vienna State Opera and teacher of the conducting class at the State Academy of Germany. In 1923 he became conductor of the Vienna TonkĂĽnstler Concerts (until 1927), and Intendant of the opera in Frankfurt am Maine and director of the Museum Concerts in 1924, until 1929.
He visited the United States in 1929, conducting in Philadelphia and at the New York Philharmonic. Also in 1929 he was appointed director of the Vienna State Opera. Its orchestra, in its independent concert form as the Vienna Philharmonic, appointed him its music director in 1930. He was a regular conductor at the Salzburg Festival from 1926 to 1934. In 1933 and 1934 he gave up his Vienna positions, becoming director of the Berlin State Opera in 1935 after Erich Kleiber resigned in protest over Nazi rule. Leaving Austria for Nazi Germany was no hardship for Krauss, who was a friend of both Hitler and GĂ¶ring. In 1933 he took over the preparations for the premieres of Strauss' opera ARABELLA when the principled conductor Fritz Busch left. In 1937 he was appointed Intendant of the Munich National Theater, following the resignation there of Knappertsbusch. He became a close friend of Richard Strauss, wrote the libretto to the opera CAPRICCIO (which he premiered in Munich in 1942), and DER LIEBE DER DANAE. He also conducted the premiere of Strauss' anti-War cantata FRIEDENSTAG.
After the Munich opera house was bombed, shutting it down, he returned to conduct the Vienna Philharmonic Orchestra until it closed shortly before the end of the War (1944-45). After the War, Allied officials investigated his pro-Nazi activities and because of them forbade him from appearing in public until 1947. Notably, however, they also found that he had frequently acted to assist a number of individual Jews escape the Third Reich machine. When his ban was lifted he resumed frequently conducting the Vienna Philharmonic, including its famous New Years Day concerts.
He conducted at Covent Garden in London (1951 to 1953) and in the 1953 Bayreuth Festival [whose RING of that season is famously notable]. He was married to the soprano Viorica Ursuleac. He was in Mexico on vacation when he died there in 1954.â€ť
- Joseph Stevenson, allmusic.com