V2369. ZINAIDA JURJEVSKAJA: Arias from Iphigénie en Aulide; Zauberflöte, Jenufa, Madama Butterfly & La Boheme; ALINE SANDEN: Arias from Der Fliegende Holländer, Faust, Carmen, Mignon, Manon, Cavalleria & Madama Butterfly. (Austria) Preiser 89196, recorded 1920-25. Very long out-of-print, Final sealed Copy! - 717281891967
“The career of this beautiful singer lasted only three years, but during that time Zinaida Jurjevskaja established herself as a front-ranking artist. We know very little of her early life, even the date of her birth is not certain. She and her family left Russia after the revolution in 1917 and came to Berlin where she began vocal studies. She immediately showed remarkable talent. In 1922 Jurjevskaja made her début at the Berlin Staatsoper in Rimsky-Korsakov’s LE COQ D'OR (in German). She succeeded in the role of Janacek’s Jenufa in the first German performance. The cast included Margarete Arndt-Ober, Fritz Soot, Karl Jöken, Ida von Scheele-Müller, Else Knepel and Ernst Osterkamp. The Berlin-premiere of JENUFA was acclaimed with great enthusiasm by both public and press and established the worldwide success of Janácek’s opera which had had its world première eight years earlier at the National Theatre in Prague. Her roles also included Sophie, the Countess and Fiordiligi. She made highly successful guest appearances in Paris (Sophie) and Amsterdam. She also introduced some of Prokoviev’s songs. It would appear that she was on the way of making a great career when in the summer of 1925, on a visit to Andermatt in Switzerland, she took poison before throwing herself into a mountain river and drowned.
Hers is a warm soprano voice with an extremely pure middle and upper register. All recordings show her as a wonderfully inspired artist. Iphigenie’s aria ‘O du, die mir einst Hilfe gab’ is not sung in a ‘classical’ style, but it is a sad and deeply moving interpretation. So is her version of Pamina’s ‘Ach, ich fühls’. Her most important recording is of Jenufa’s arias. It is above all a musical performance, not the kind of ‘Sprechgesang’ which is a common practise in today’s Janácek performances.”
- Andrea Shum-Binder, subito-cantabile
“Aline Sanden gained experience in Berlin operetta and cabarets before taking singing lessons from Mrs. Albrecht-Fraude and Valeska of Facius in Berlin. After her début in 1899 as a coloratura soprano in Berlin, engagements followed at the Municipal Theatre of Plauen, the Cologne Opera and the Vienna Volksoper, then in 1909 with conductor Arthur Nikisch at the opera house in Leipzig where she sang for 12 years. After one season at the Great National Opera in Berlin she joined the Munich State Opera, where she retired from singing in 1930 to teach in her hometown.
Guest performances and concerts brought her in Berlin, Vienna, London, Paris, Amsterdam, Brussels and also in the US with great success.”