C0043. JOSEPH KEILBERTH Cond. Reichssenders Stuttgart Ensemble, w.Teschemacher, Willer, Roswaenge & Hann: MANZONI REQUIEM, recorded 8 Nov., 1938; Teschemacher, Beckmann & Roswaenge: AÏDA – Excerpts (in German). (Austria) 2-Preiser 90068. Very long out-of-print, Final Sealed Copy!
"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 Fricsay 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
“Margarete Teschemacher was a German operatic soprano, particularly associated with the German repertory, although she sang a wide range of roles. She possessed a warm lyrico-dramatic voice and a good stage presence. She was born in Cologne in 1903 where she studied and then made her début in 1923, as Micaela in CARMEN. She sang in Aachen (1924-26), Dortmund (1926-28), Mannheim (1928-30), Stuttgart (1930-34), Dresden (1934-46) and Düsseldorf (1947-52). She created the title role in DAPHNE by Richard Strauss, and Miranda in DIE ZAUBERINSEL by Heinrich Sutermeister. In 1931, she appeared at the Royal Opera House in London, as Pamina and Elsa, and again in 1936 on tour with the Staatsoper Dresden, as Countess Almaviva and Donna Elvira. She also appeared at the Teatro Colón in Buenos Aires, in 1934."
- Ned Ludd