V0320. META SEINEMEYER: O Lieb' so lang du lieben kannst (Liszt); Arias & Duets (w.Pattiera & Jung) from Don Carlos, Otello, Aïda. Ballo, La Boheme, Madama Butterfly, Andrea Chénier, Manon Lescaut & Tsar's Bride. (Austria) Preiser 89029, recorded 1926-29. Very long out-of-print, Final Copy!
"Concentrated tone, an intensely personal vibrancy, finely expressive shading: these were [Seinemeyer’s] leading characteristics. If we look for a (relatively) modern counterpart, I would hazard Julia Varady, or a generation earlier, Gré Brouwenstijn. And even then something would remain that is Seinemeyer, individual and irreplaceable. The collection opens with one of the rarest and most sought-after of her recordings, the aria of Elisabeth from the last scene of DON CARLOS. First, she remembers it is a prayer, not a prima donna’s command; then she takes the melody tenderly, with a restrained passion gaining all the time in tragic urgency."
- John Steane, GRAMOPHONE, Jan., 2007
“Despite her short life, Meta Seinemeyer achieved great success as a singer. Her recordings were among the few that Walter Legge recommended his wife, the great Elisabeth Schwarzkopf, listen to as examples of style and lyricism. Her voice was a light dramatic soprano which, if she had lived longer, might have developed into a full dramatic sound capable of singing Brünnhilde and Isolde. Her recordings display an uncanny control of long legato phrases and great dynamic variety.
Seinemeyer made her operatic début in 1918 at the Deutschen Opernhaus Berlin as Euridice in Gluck's ORFEO ED EURIDICE. She remained under contract there until 1925. However, in 1923 she toured North America with the German Opera Company, the same company which provided Friedrich Schorr with his U.S. début. She made her New York début on 23 February, 1923, as Eva in DIE MEISTERSINGER, and the very next evening sang Elisabeth in TANNHÄUSER. In November 1924 she sang Marguerite in Gounod's FAUST as a guest artist at Dresden; she was offered a contract for the following season and almost immediately became the company's leading light dramatic soprano. Her earliest successes came in Italian opera, in particular Andrea Chénier and La forza del destino. She sang the Duchess of Parma in the premiere of Busoni's DOKTOR FAUST in 1925. In 1926 she toured South America and made a successful Buenos Aires début as Agathe in Weber's DER FREISCHÜTZ and later sang in performances of DIE MEISTERSINGER and TANNHÄUSER. In 1927, she made her début in Vienna. In May 1929 she sang Sieglinde at Covent Garden. Later that season in London she also sang in DIE MEISTERSINGER and LOHENGRIN. She was ill at the time she left London and in August 1929 she died of influenza at the age of 34. She was married to conductor and pianist Frieder Weissmann.”
- Richard LeSueur, allmusic.com