 (Solti; Goltz, Barth, Kusche, Uhde, Kuen, Schech, Haefliger, Bohme) (2-Orfeo C407 9521) "Pin It")
Product Description
OP0090. ANTIGONAE, Live Performance, 12 Jan., 1951, w.Solti Cond. Bayerischen Staatsoper Enesmble; Christel Goltz, Irmgard Barth, Benno Kusche, Hermann Uhde, Paul Kuen, Marianne Schech, Ernst Haefliger, Kurt Böhme, etc. (Germany) 2-Orfeo C407 9521, w.Elaborate Libretto-Brochure. Final Sealed Copy! - 4011790407227
CRITIC REVIEW:
"Soprano Christel Goltz was a discovery of conductor Karl Böhm and one of the leading dramatic sopranos of her generation who possessed a rich voice with a brilliant range and intensity. She was particularly associated with the operas of Richard Strauss, especially SALOME and ELEKTRA, and with contemporary operas. Before she became a singer, Goltz had been a dancer and was physically the antithesis of the typical operatic soprano: small, lithe, and energetic. Despite her diminutive stature, Goltz had a big voice that easily made it out to the farthest tier, and it is said that when the character Narraboth killed himself in Strauss' SALOME, that Goltz would leap over his dead body during the Dance of the Seven Veils. It was in dramatic roles such as Salome and Elektra that Goltz made her mark, and by all accounts in performance she was extremely effective at them. The only sizable studio recordings she made - SALOME with Clemens Krauss and ELEKTRA with Georg Solti - were in such roles. Early in her career, Goltz also created roles in works of Carl Orff and Swiss composer Heinrich Sutermeister.
Born in Dortmund, she studied in Munich with Ornelli-Leeb and with Theodor Schenk, whom she later married. After singing small roles, she made her official debut in Fuerth, as Agathe, in 1935. She sang one season in Plauen, before joining the roster of principal sopranos at the Staatsoper Dresden through the invitation of Karl Böhm in 1936. She remained at that house until 1950. She began appearing at both the Berlin State Opera and the Stadtische Oper Berlin in 1947, and at the Munich State Opera and Vienna State Opera in 1950. Beginning in 1951, she also made guest appearances in Salzburg, Milan, Rome, Brussels, Paris, London, Buenos Aires, and sang at the Metropolitan Opera in 1954. Besides SALOME and ELEKTRA, her greatest successes included the title role in JENUFA, Marie in WOZZECK, Die Farberin in DIE FRAU OHNE SCHATTEN, Leonora in FIDELIO and Elettra in IDOMENEO. She created the title roles in Carl Orff's ANTIGONE and Rolf Liebermann's PENELOPE. An intense singing-actress with a clear and powerful voice of great range, she also tackled a few Italian roles, notably Turandot."
- Ned Ludd
CRITIC REVIEW:
"Soprano Christel Goltz was a discovery of conductor Karl Böhm and one of the leading dramatic sopranos of her generation who possessed a rich voice with a brilliant range and intensity. She was particularly associated with the operas of Richard Strauss, especially SALOME and ELEKTRA, and with contemporary operas. Before she became a singer, Goltz had been a dancer and was physically the antithesis of the typical operatic soprano: small, lithe, and energetic. Despite her diminutive stature, Goltz had a big voice that easily made it out to the farthest tier, and it is said that when the character Narraboth killed himself in Strauss' SALOME, that Goltz would leap over his dead body during the Dance of the Seven Veils. It was in dramatic roles such as Salome and Elektra that Goltz made her mark, and by all accounts in performance she was extremely effective at them. The only sizable studio recordings she made - SALOME with Clemens Krauss and ELEKTRA with Georg Solti - were in such roles. Early in her career, Goltz also created roles in works of Carl Orff and Swiss composer Heinrich Sutermeister.
Born in Dortmund, she studied in Munich with Ornelli-Leeb and with Theodor Schenk, whom she later married. After singing small roles, she made her official debut in Fuerth, as Agathe, in 1935. She sang one season in Plauen, before joining the roster of principal sopranos at the Staatsoper Dresden through the invitation of Karl Böhm in 1936. She remained at that house until 1950. She began appearing at both the Berlin State Opera and the Stadtische Oper Berlin in 1947, and at the Munich State Opera and Vienna State Opera in 1950. Beginning in 1951, she also made guest appearances in Salzburg, Milan, Rome, Brussels, Paris, London, Buenos Aires, and sang at the Metropolitan Opera in 1954. Besides SALOME and ELEKTRA, her greatest successes included the title role in JENUFA, Marie in WOZZECK, Die Farberin in DIE FRAU OHNE SCHATTEN, Leonora in FIDELIO and Elettra in IDOMENEO. She created the title roles in Carl Orff's ANTIGONE and Rolf Liebermann's PENELOPE. An intense singing-actress with a clear and powerful voice of great range, she also tackled a few Italian roles, notably Turandot."
- Ned Ludd