C1354. LJUBOMIR ROMANSKY Cond. ORTF Ensemble, w.Agnes Giebel, Lore Fischer, Josef Traxel & Ernst Wiemann: Matthaus-Passion (abridged) (Bach). (Canada) 2–St Laurent Studio YSL T-265, Live Performance, 8 April, 1957, Salle Playel, Paris. Transfers by Yves St Laurent.
“The professional career of Bulgarian conductor Ljubomir Romansky began in 1940 as Kapellmeister at the Frankfurt Opera. After World War II, he was again active in Frankfurt; then, from 1946, as Music Director in Wiesbaden and the WDR Sinfonieorchester Köln. In 1950 he became Chief Conductor in Gelsenkirchen, first the Municipal Theatre, from 1959 the newly built Music Theater in the area, and in 1967 also General Music Director of the city of Gelsenkirchen, where he remained in the office until his retirement in 1977.
In 1946, Ljubomir Romansky became the Director of the Frankfurter Singakademie. Under his direction the choir was established as one of the prominent concert choirs of Germany. He performed with the Frankfurter Singakademie in several concerts in Frankfurt and on many tours in European music centers with great success and led this prestigious choir until 1985. The town of Herne entrusted him in 1955, the management of its Jugendkonzerte (youth concerts) and later its symphony concerts. In 1956 he became Director of the Städtischen Chores Herne, which he established as a major oratorio choir. This choir soon took up a respectable place among the choral societies of Germany. Romansky led this choir until his death in 1989. From 1986 to 1988 he was also Director of the Romanos-Chores für östliche Liturgie in Essen and conducted with great success, Church Slavonic chants.
With his choirs Ljubomir Romansky celebrated successes at various music festivals abroad, such as the Festival van Vlaanderen in Tongeren. After his retirement in 1977, he conducted many concerts at home and abroad as a guest conductor.”
- Bach Cantatas Website
“Born in Heerlen, Netherlands, Agnes Giebel’s career began in 1947 and quickly became a fixture with the Philharmonia Orchestra under Otto Klemperer and the Leipzig Thomanerchor with Günter Ramin. Giebel’s repertoire was very varied but it was mostly made up of Cantatas, Oratorios, passions and masses. She was considered one of the greatest interpreters of Bach’s music and was also recognized for interpretations in lieder. She was also well known for her work on Beethoven’s Ninth Symphony. Her career lasted until the 1990s.
Later in her career, she served as a jury member for Alois Kottmann Award. She retired in the 1990s.”
- Francisco Salazar
“Josef Traxel was a German operatic tenor, particularly associated with Mozart roles and the German repertory. He studied at the Darmstadt Conservatory, but was conscripted into the army before beginning his career. However, he was able to make his début in Mainz, as Don Ottavio, in 1942, while on sick-leave from the army. After internment in Britain as a prisoner of war, he returned to Germany and resumed his career in Nuremberg in 1946, where he remained until 1952, and then joined the Stuttgart Opera. The same year he appeared at the Salzburg Festival, where he sang the role of Mercury at the premiere of Richard Strauss' DIE LIEBE DER DANAE. In 1954, he first appeared at the Bayreuth Festival as Froh in RHEINGOLD, returning as Walther in TANNHÄUSER, as Erik in DER FLIEGENDE HOLLÄNDER, the young sailor in TRISTAN UND ISOLDE, a Knight in PARSIFAL, and in 1957, as Stolzing in DIE MEISTERSINGER VON NÜRNBERG. He was also a frequent guest at the Munich State Opera and the Vienna State Opera, also appearing in the Netherlands and Switzerland.
He possessed a finely poised tenor with an unusually high tessitura; his wide repertoire ranged from Belmonte to Siegmund, and he was also active in concert, often appearing in Bach's oratorios. From 1963 on he was a teacher at the Stuttgart Musikhochschule.”
- Ned Ludd
“Each of these disks, from Canadian engineer Yves St Laurent… [feature] St Laurent's natural transfer – made without filtering, like all his dubbings – it is easy to listen to, despite the surface noise.”
- Tully Potter, CLASSICAL RECORD QUARTERLY, Summer, 2011