OP3012. DER FLIEGENDE HOLLÄNDER, Live Performance, 1955, w.Keilberth Cond. Bayreuth Ensemble; Hermann Uhde, Astrid Varnay, Ludwig Weber, Josef Traxel, Elisabeth Schärtel, etc. (Austria) 2-Voce della Luna VL 2012. Very long out-of-print, final sealed copy. - 8020308758123
“This enthralling performance has always been a highly recommended version. Phrase after phrase [from Uhde] etches itself in the mind in this unmissable portrayal. Incredibly Varnay, who was also Brünnhilde in 1955, brings to Senta a tireless dedication and vision to match Uhde’s hero. She fines her large voice down to the more intimate needs of Senta….All [of the cast] seem to be under the spell of the work.”
- Alan Blyth, GRAMOPHONE, Oct., 2006
“Joseph Keilberth was a German conductor active during the mid-twentieth century. His talents developed early: he pursued a general education and musical training in Karlsruhe, and at the age of seventeen joined the Karlsruhe State Theater as a répétiteur (vocal coach - a common starting place for European conductors). He remained with the theater and ten years later he was appointed general music director
He remained there until 1940, when he was appointed chief conductor of the German Philharmonic Orchestra of Prague. He became chief conductor of the Dresden State Opera in 1945. With a minimum of disruption for deNazification he remained in that position until 1950. In 1949 he became chief conductor of the Bamberg Symphony Orchestra, which was in fact a reunion. After the War, the German population of the Sudetenland (the German-speaking part of Czechoslovakia), which had been the excuse for Hitler's occupation of the country, were returned to Germany, and with them went the German Philharmonic of Prague, Keilberth's old orchestra, which settled in Bamberg. Causing unwary biographers some confusion, he also became the chief conductor of the Hamburg Philharmonic in 1950.
He frequently appeared as a guest conductor elsewhere in Germany, notably with the Berlin Philharmonic and, beginning in 1952, the Bayreuth Festival, and appeared regularly at the Salzburg and Lucerne festivals. In 1952 he also led his first performance in the Edinburgh Festival with the Hamburg State Opera.
He was a favored conductor for the RING and other operas through 1956. In 1959 he succeeded Ferenc Fricay at the helm of the Bavarian State Opera in Munich. There, history repeated itself. Keilberth died after collapsing during a performance of Wagner's TRISTAN UND ISOLDE, just as Felix Mottl—conductor at the same theater - had done in 1911.
Keilberth was very strong in Mozart and in the Wagnerian repertory, and in later German classics such as Pfitzner, Bruckner, Richard Strauss, Max Reger, and Paul Hindemith. His classic recordings included Hindemith's opera CARDILLAC.”
- Joseph Stevenson, allmusic.com
“Hermann Uhde’s American mother was a student of the famous baritone Karl Scheidemantel. He was trained as a bass, by Philipp Kraus at the Opera School in Bremen, where he made his début as Titurel (1936). After engagements in Freiburg and Munich he appeared for the first time in baritone rôles at the Deutsches Theater im Haag in 1942. A prisoner-of-war from April 1945 to February 1946, he did not return to the stage until 1947. He subsequently appeared at the opera houses of Hamburg, Vienna and Munich where he became a member of the ensemble. He gained great success in rôles such as Mandryka, Gunther and Telramund, in which he was particularly admired. The artist was regularly invited to the Bayreuth Festival from 1951 to 1960 where he became one of its most important members, appearing as Holländer, Klingsor, Gunther, Donner, Wotan in RHEINGOLD, Telramund and Melot. He was also a guest at the Salzburg Festival and performed a superb Wozzeck at the Met (sung in English!) where he regularly appeared from 1955 to 1961 and again in 1964. He sang at the Grand Opéra Paris as well as at other European opera houses. He created several rôles, including Creon in Orff’s ANTIGONAE, the baritone rôles in Britten’s THE RAPE OF LUCRETIA and Wagner-Régeny’s DAS BERGWERK ZU FALUN. He died of a heart attack during a performance of Niels Viggo Bentzon’s FAUST III, at Copenhagen in 1965.”
- Andrea Shum-Binder, subito-cantabile
"The dramatic soprano Astrid Varnay was born into an operatic family: her mother was a coloratura soprano and her father a spinto tenor. The year in which she was born they founded the Opera Comique Theatre in Kristiania, Sweden, although they were both born in Hungary, and they managed it until 1921. The family then moved to Argentina and later to New York, where her father died in 1924. Her mother subsequently remarried another tenor, and the young Astrid, after studying to be a pianist, decided at the age of eighteen to become a singer. She worked intensively, first with her mother and then with the Metropolitan Opera conductor and coach Hermann Weigert, whom she later married. She made her sensational stage début at the Metropolitan in 1941, substituting at short notice for Lotte Lehmann as Sieglinde in DIE WALKÜRE with no rehearsal. After this triumph, six days later she replaced Helen Traubel in the same opera as Brünnhilde, and her operatic career was effectively launched. She made her Covent Garden début in 1948 and, at the suggestion of Kirsten Flagstad, her Bayreuth Festival début in 1951. She sang every year at Bayreuth for the next seventeen years and at the Met until 1956, when she left following a disagreement with Rudolf Bing. She henceforth concentrated her career on Germany where she was revered, living in Munich. She moved from the dramatic soprano repertoire into that for mezzo-soprano in 1969, and during the 1980s into character parts. She made her last appearance in Munich in 1995, almost fifty-five years after her Metropolitan début. Her brilliant career is well documented in both commercial and unofficial sound recordings."
- David Patmore