V2270. HERMANN JADLOWKER, Vol. III, incl. Arias, Duets & Ensembles (w.Erna Denera, Maria Labia, Margarethe Arndt-Ober, Leon Rains, Joseph Mödlinger & Eduard Habich) from Il Trovatore, Rigoletto, Un Ballo in Maschera, Aïda, Carmen, Die Lustigen Weiber von Windsor, La Bohème & Martha. (Germany) Truesound Transfers 3116, recorded 1910-11 (whereas the Marston set covers 1912-28). Transfers by Christian Zwarg.
“Jadlowker…displays a dazzling technique owing much to the cantorial tradition. His records show countless moments (and sometimes minutes) of sheer magic coming so often that not one of his records can be avoided or dismissed….Once again, Truesound Transfers are immaculate and impossible of negative criticism. The originals used would seem all to have been fine copies; the voice rings out clearly….I recommend these CDs and at the same time hope that Truesound will produce Jadlowker’s later work in similar first-rate transfers. As I said for the same producer’s 5-CD set of Giovanni Zenatello: buy these CDs without delay. They deserve to be on the shelves of any lover of ‘le voci tenorile’ worthy of the name.”
- John Banks, THE RECORD COLLECTOR, 2015
“Hermann Jadlowker was one of the most unusual tenors of the twentieth century. His recorded voice has a slightly baritonal timbre, but he also was able to produce high notes with ease and exhibit unbelievable agility. His ‘Ecco ridente in cielo’ abounds in trills and runs, while his ‘Fuor del mar’ demonstrates his coloratura singing.
With the baritonal characteristics of his voice (he might well have been classified as a ‘baritenor’ today), and incredible virtuoso abilities, he would have been even better in Rossini’s OTELLO than in Verdi’s—or in that composer’s ERMIONE than IL BARBIERE DI SIVIGLIA. But this is not to denigrate his ‘Ecco ridente in cielo’—one of the all time great tenor records. It is only unfortunate that while he was active, so many of Rossini’s serious operas calling for a baritenor role were out of fashion and had been completely forgotten for close to fifty years.
Still, his recorded legacy leaves us a great deal to be grateful for and admire, including the best recordings ever of arias from Flotow’s ALESSANDRO STRADELLA; Auber’s LA MUETTE DE PORTICI and FRA DIAVOLO; Mozart’s IDOMENEO; and Rossini’s IL BARBIERE DI SIVIGLIA. There is a magnificent duet from LES HUGUENOTS with Frieda Hempel, and another from DIE LUSTIGEN WEIBER VON WINDSOR with Josef Mödlinger. Nevertheless, it would have been wonderful to to hear him in other excerpts from French grand opera, where he particularly excelled.
Jadlowker obtained an engagement at the Municipal Theatre in Cologne and made a début there in 1899. His Met début, 22 Jan. 1910, was as Faust, a role he repeated in Philadelphia a few weeks later….the Met had [a] world premiere, that of Humperdinck’s DIE KÖNIGSKINDER (28 December 1910). With Jadlowker in the latter work were Farrar, Homer, Goritz and Didur. During his third and last Metropolitan season, he took part in three American premieres: LOBETANZ (Thuille) on 18 November 1911, LE DONNE CURIOSE (Wolf-Ferrari) on 3 January 1912, and VERSIEGELT (Blech) on 20 January. With him in the LE DONNE CURIOSE were Farrar, Scotti, and Didur, Toscanini conducting. In spite of the fine cast, the opera was apparently unsuccessful, achieving only four repeats. Still, Jadlowker and Farrar did record a duet from the work for Victor.
…a major new opera house had opened in Stuttgart. To mark the occasion, Richard Strauss composed his ARIADNE AUF NAXOS for that city and selected Jadlowker for the role of Bacchus. The world premiere took place on 25 October 1912, with the composer conducting, and Maria Jeritza, Margarete Siems and Sigrid Onégin also in the cast. Jadlowker soon returned to Berlin, where he took part in an important new production of Auber’s LA MUETTE DE PORTICI (4 November 1912) with Adelaide Andrejewa-Skilondz and Paul Knüpfer, then the Berlin premiere of ARIADNE on 17 February 1913.
Jadlowker returned to Riga in 1929, and was chosen as chief chasan of the main synagogue in his native city. He also became a professor of singing at the Riga Conservatory from 1936 to 1938. He managed, however, to see the writing on the wall, and, since he already had relatives in Palestine, decided to go there, escaping Europe just before the war. He became a professor of singing at the Jerusalem Conservatory but left to go to Tel Aviv after his wife died in 1940. He opened a voice studio in that city, reportedly sang a performance of Verdi’s BALLO IN MASCHERA in 1943, and was involved in an attempt to found the Palestine opera. While the project didn’t materialize, Jadlowker continued singing in charity concerts and teaching until his death on 13 May 1953.”
- Tom Kaufman, liner notes to Marston’s JADLOWKER Set
“[Truesound] transfers have been an absolute revelation to me….Amazingly, Christian Zwarg has managed to unlock the sound of these recordings in such a way as to present [voices] such as I have never heard before. Here the sound has a sheen and glow which is quite beautiful. It is as if an old masterpiece painting has been cleaned and restored, allowing rays of brilliant light to emerge….”
- Davyd Booth, THE RECORD COLLECTOR, 2012