Der Fledermaus   (Gorlich;  Teschemacher, Anders, Schmitt-Walter, Berger, Rethy, Reining)   (2-Gebhardt 0022)
Item# OP0182
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Der Fledermaus   (Gorlich;  Teschemacher, Anders, Schmitt-Walter, Berger, Rethy, Reining)   (2-Gebhardt 0022)
OP0182. DIE FLEDERMAUS, Broadcast Performance, 20 Feb., 1938 [before a most enthusiastic audience], w.Görlich Cond. Stuttgart Reichssenders; Margarete Teschemacher, Peter Anders, Martina Wulf, Karl Schmitt-Walter, Robert Kiefer, Karl Mikorey, Einar Kristjansson, etc. (Party Guests incl. Erna Berger, Ester Réthy & Maria Reining). (Germany) 2-Gebhardt 0022. Long out-of-print, Final Sealed Copies! - 4035122000221


“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.

Schmitt-Walter made his key début at the Berlin State Opera in 1935, as Luna in IL TROVATORE, which led to a long association with this important theatre, where he would sing wide repertory of lyric parts for the baritone voice. He also performed often at the Hamburg State Opera, the Vienna State Opera, the Salzburg Festival, the Bayreuth Festival, and, from 1950, the Munich State Opera. Outside the Austro-German operatic heartland, he made guest appearances at the Paris Opéra, the Royal Opera House, Covent Garden, the Liceo in Barcelona, La Monnaie in Brussels and the Holland Festival, among other major European venues.

Schmitt-Walter possessed a comparatively light, high-baritone voice of great beauty and was equipped with an exceptionally good singing technique. He was particularly admired in Mozart and Wagner roles, notably Papageno, Wolfram von Eschenbach, and Beckmesser, which role he often sang at Bayreuth. Schmitt-Walter also performed in Verdi operas such as ERNANI, LA TRAVIATA and UN BALLO IN MASCHERA, mostly in German translation. He enjoyed considerable success in light German operas by Lortzing and also in operetta. He was an excellent lieder interpreter, too. From 1962, he taught in Munich and Copenhagen and died in Bavaria at the age of 84.”

- Ned Ludd

“Maria Reining was the jugendliche-dramatische soprano who took over the majority of Lotte Lehmann's rôles at the Vienna State Opera when Lehmann left in 1937, and continued singing them into the early 1950s. She proved hugely popular with the public because of her naturally beautiful soprano and lovely looks, the voice as we hear it obviously part of the outgoing, unaffected personality. On disc she recorded for Telefunken just before the war, for Electrola during it, and for Decca after, most notably her Marschallin in the legendary DER ROSENKAVALIER conducted by Erich Kleiber. Perhaps her most notable legacies on disc are her account of the title-rôle in ARIADNE AUF NAXOS, recorded at the Vienna State Opera to celebrate Strauss' eightieth birthday, and her Arabella in the 'unofficial' off-the-air Salzburg Festival performances of Strauss' opera in 1947 (with Hotter as Mandryka).”

- Alan Blyth, GRAMOPHONE, Sept., 1992