OP0309. DAPHNE, Live Performance, 17 Sept., 1948, w.KLEIBER Cond. Teatro Colón Ensemble; Rose Bampton, Set Svanholm, Anton Dermota & Ludwig Weber; DAPHNE – Excerpts, w.Maria Cebotari & Teresa Stich-Randall. [Sublime singing from Bampton - her finest work!] (Austria) 2-Voce della Luna VL 2015. Very long out-of-print, Final Copy! - 8020308758153
"Rose Bampton, an American opera singer who switched from mezzo-soprano to soprano and sang leading roles in both ranges at the Metropolitan Opera….in January, 1940, she appeared at the Met as Aïda one Saturday and as Amneris a week later…. By the time she married Wilfrid Pelletier, a conductor at the Met, in 1937 (he died in 1982)…[she] decided to return to the soprano repertory."
- Allan Kozinn, THE NEW YORK TIMES, 23 Aug., 2007
"Rose had one of the finest mezzo-soprano voices I ever heard - and I say that without any hesitation. Stately and beautiful, she was a gifted actress and was never less than total in her study of a new role....Rose's ruby-like mezzo was a phenomenon...."
- Rosa Ponselle, A SINGER'S LIFE, p.138
“Svanholm made his début in 1930 as a baritone, as Silvio in Leoncavallo’s PAGLIACCI, and became a member of the Royal Opera’s ensemble in 1932. All on his own, he began reworking his vocal technique to make the transition from baritone to tenor roles. He was a lyrical Italian baritone, known as ‘Kavalierbariton’ in German, and had always had an easy high register. One day he telephoned his old teacher John Forsell and announced that he had a promising new tenor that he would like to present – and surprised Forsell by coming to the appointed meeting all on his own!
Svanholm made his début as a tenor in February of 1936, as soloist in Beethoven’s Ninth Symphony. His operatic début followed on 22 September of the same year with Radames in Verdi’s AIDA. In the fall of 1937 he began to sing Wagner, with Lohengrin as his first role. In a short time he added Siegmund in DIE WALKÜRE, Tannhäuser, Stolzing in DIE MEISTERSINGER VON NÜRNBERG, and both Siegfrieds to his Wagnerian repertoire.
Kirsten Flagstad, the greatest Wagnerian soprano of the age, remarked in her memoirs: ‘For me there was only one Siegmund . . . that was Set’. It is hard to disagree with her. The baritonal, metallic quality of Svanholm’s voice was a perfect match for this role. A commercial recording from 1957 (Decca) of DIE WALKÜRE, Act I, also presents Svanholm at his very best and Flagstad as a surprisingly youthful and convincing Sieglinde – at the age of 62!
Svanholm’s career outside Sweden began in 1938, on the eve of World War II. Bruno Walter had heard him in Stockholm, and invited him to Vienna where he made his début in LOHENGRIN. Performances in Germany, Austria, Zürich, Budapest and Prague soon followed. In 1942 he became the first Swede ever to sing at La Scala in Milan (TANNHÄUSER) and, in the same year, became the only Swede to appear in a major role at the Kriegsfestspiele in Bayreuth. Many vocal artists from politically ‘neutral’ Sweden sang in Germany during the war years: Jussi Björling, Sigurd Björling, Torsten Ralf, Sven Olof Sandberg, and Zarah Leander are names that come to mind. But apart from Leander, who was criticized severely after the war for her activities, Svanholm was probably the Swedish artist most active in the Third Reich during these years. He was a member of the ensemble of the Deutsche Staatsoper in Berlin and did not leave the German stages until 1944. There is no real indication that Svanholm was sympathetic to the political policies of the Nazi regime. One plausible explanation for his desire to remain in Germany was the opportunity of developing his interpretations of the great Wagnerian roles in collaboration with Heinz Tietjen, artistic director of the Bayreuther Festspiele from 1931 to 1944.
But Svanholm also had invitations from the Metropolitan, Chicago Lyric and San Francisco operas and in 1946 finally crossed the Atlantic for a glorious decade as the foremost Wagnerian tenor of the post-war era. Svanholm’s trans-Atlantic career began in South America, where he sang Siegmund and Tristan in Rio de Janeiro. His début at the Met was on 15 November, 1946 in the title role in Wagner’s SIEGFRIED. Svanholm was to remain under contract to the Met until 1956. The American critics and audiences saw Svanholm as the self-evident successor to Lauritz Melchior, who was nearing the end of his career. To an international public, Svanholm is recognized primarily as a great Wagnerian, but in fact, his repertoire, both in terms of art song and opera, was broad and diversified.
During his decade in the Americas Svanholm continued to sing at home and performed many roles from Italian and French repertoire, as well as Swedish rarities such as De Frumerie’s SINGOALLA and Atterberg’s FANAL. By 1956 he was weary of traveling, wanted to spend more time with his family, and thus accepted the position as General Manager of the Royal Opera in Stockholm.
In the aftermath of World War II Svanholm’s main repertoire was, with a few exceptions, ignored by the major record companies. A Wagner ‘Renaissance’ eventually occurred partly thanks to the commercial success of the Solti RING, in which Svanholm participated only as Loge in DAS RHEINGOLD. Many live recordings of this important musician, however, have been preserved.”
- Edmund St. Austell
“Erich Kleiber decided to become a conductor while still a student at the Prague Conservatory after hearing Gustav Mahler conducting his Sixth Symphony. As choirmaster at the German Theater in Prague, he made his conducting début in 1911 directing the music for a stage comedy. A composer in his student years, his works include violin and piano concertos, orchestral and chamber works.
Following a series of appointments as conductor at Darmstadt, Barmen-Eberfeld, Düsseldorf, and Mannheim, he became general music director of the Berlin State Opera in 1923. In addition to the mainstream repertory, Kleiber introduced unfamiliar works such as Schönberg's PIERROT LUNAIRE, Janácek's JENUFA, Bittner's DAS ROSENGÄRTLEIN, and, after an astounding 132 rehearsals, gave the first U.S. performance of Berg's WOZZECK in 1924. His U.S. début as an orchestral conductor was with the New York Philharmonic Orchestra in 1930.
As conductor of the Berlin Philharmonic Orchestra and a friend of Alban Berg, Kleiber was planning a Berlin performance of the five symphonic interludes from Berg's opera LULU, but, incensed by the Nazi regime's hostility to atonal music and growing political interference in his choice of programs, he resigned his Berlin post in 1934, left Germany, and appeared as guest conductor in London, Prague, Brussels, Buenos Aires, Amsterdam, and Salzburg. In 1939, Kleiber took up residence in Buenos Aires and became an Argentine citizen. He conducted opera at the Teatro Colón, trained the Buenos Aires Symphony Orchestra and toured extensively in South America with various orchestras. From 1943 he was with the Havana Philharmonic Orchestra, leaving for Europe in 1948.
In postwar Europe, Kleiber was ready to return to his roots. In 1951, he accepted the position of conductor at the Berlin State Opera, then located in the Communist sector of East Berlin, and from 1950 to 1953 conducted at London's Covent Garden opera house. Once again, however, he became dissatisfied with the atmosphere of repression and resigned his Berlin post in 1955. Before his relatively early death, he appeared as guest conductor of orchestras in London, Vienna, Cologne, Stuttgart, and other European centers.
Despite his early enthusiasm for twentieth century music, Kleiber is best remembered for minutely rehearsed and finely balanced interpretations of Beethoven, Mahler, and Bruckner. Even when in Berlin, where much of the Classical and Romantic repertory was familiar to the performers, he usually called five rehearsals before a concert. A perfectionist by nature, he insisted on complete faithfulness to the score. In his words, ‘[t]here are only two enemies of good performance: one is routine and the other improvisation’.
After his death, a performance by the Vienna Philharmonic Orchestra became available on CD, as did the ROSENKAVALIER he recorded in 1954.”
- Roy Brewer, allmusic.com