Elektra   (Concert Version)  (Rodzinski;  Rose Pauly, Huehn, Szantho, Jagel)  (Eklipse EKR 17)
Item# OP0295
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Elektra   (Concert Version)  (Rodzinski;  Rose Pauly, Huehn, Szantho, Jagel)  (Eklipse EKR 17)
OP0295. ELEKTRA (Concert Version), Live Performance, 21 March, 1937, Carnegie Hall, w.Artur Rodzinski Cond. NYPO: Rose Pauly, Charlotte Boerner, Enid Szantho, Frederick Jagel, Julius Huehn, etc. (U.K.) Eklipse EKR 17. Very long out-of-print, Final Copy! - 5019148602323


"Rose Pauly....was a hugely successful dramatic soprano in Germany in the 1930s, but had to leave as the Nazis rose to power....She made very few recordings, and so we don't think of her in the same way we think of other great dramatic sopranos of her day and the next generation - Flagstad, Leider, Lawrence, Varnay, Borkh and then Nilsson. This ELEKTRA and the astonishing SALOME final scene from a New York Philharmonic concert with Barbirolli in 1938 make clear that she is of the same caliber as any of them....(Her) vocal brilliance and steely power, combined with a sufficient warmth of tone to provide vocal beauty as well as sheer volume, are part of the picture. But of equal importance is her understanding and communication of the text....Her rage and hatred are reflected in her tone, as is the ecstasy when she recognizes her brother. For those to whom ELEKTRA is an important work, it would be essential to get to know this recording. The excerpts from the 1938 all-Strauss New York Philharmonic concert are valuable too, giving us more documentation of the art of John Barbirolli...the accompaniments to Pauly in the two songs ('Verführung' and 'Gesang der Apollopriesterin') are sensitive, and the singing is remarkably intimate....

Then comes the other highlight of this set: the final scene from SALOME. Pauly manages to convey the sense, through vocal color and phrasing, that this girl is indeed a teenager. At the same time, she rides the orchestra with power. This is one of the great recording performances of this scene."

- Henry Fogel, FANFARE Nov./Dec., 2014

"Everyone on stage was excellent, but Pauly was nothing less than phenomenal. For that matter, Artur, whose ELEKTRA in Cleveland I had thought impossible to top, completely transcended himself. The public went wild with enthusuiasm. To a man, from parterre to galleries, the audience in Carnegie Hall stood and shouted and applauded for a full twenty-five minutes. I had not seen an ovation like this before, neither for Artur nor anyone else. My husband was sublimely happy as, time after time, he led Mme Pauly and other members of the cast back on stage with him for bow after bow. Raising the orchestra to share the applause with him drove the audience to noisier, prolonged acclamations. It seemed as though they would never stop."

- Halina Rodzinski, OUR TWO LIVES, p.157

"[Pauly] is completely the dramatic interpreter. It is in this cause that the tone assumes a thousand colors, according to the stress of the moment, which sometimes the voice is as jagged as Strauss' terrific text....Few voices have at once the power and the color that the music asks. Here is a singer born for the part."

- Olin Downes, THE NEW YORK TIMES, 8 Jan., 1938

"Considering the range of her roles, the length of her career, the number of creations, the major opera houses where she sang, and the stature of the musicians with whom she worked, Pauly enjoys nothing like the posthumous fame that time has granted to so many of her contemporaries' concert recordings taken from a 1937 ELEKTRA performance serve as a fine testimony to her excellence in this role. Pauly sings it to perfection."

- Vivian A. Liff, AMERICAN RECORD GUIDE, Nov./Dec., 2009

"Truly one of the finest dramatic sopranos of the 20th Century, yet today known only by the true connoisseurs of vocal music. Pauly was considered to be the greatest of all 20th Century Elektras, a role she made her own throughout the World, including 8 performances over 3 seasons at the Metropolitan Opera. A refugee from the Holocaust, her disappearance from people's lips perhaps was by her own design, as she left her meteoric career in 1946 and settled in Tel Aviv as a pedagogue. Pauly made her first American appearance in a March 18, 1937, New York Philharmonic concert performance of ELEKTRA. After a prolonged ovation, a host of the musical elite streamed backstage to offer their congratulations. Olin Downes proclaimed her 'the greatest and most dramatic singer in this part to have been heard in this country'."

- Erik Eriksson, allmusic.com