Tiefland  (d'Albert)   (Schech, Aldenhoff, Alexander Welitsch)   (2-Gala 100.715)
Item# OP0443a
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Tiefland  (d'Albert)   (Schech, Aldenhoff, Alexander Welitsch)   (2-Gala 100.715)
OP0443a. TIEFLAND (d’Albert), Broadcast Performance, 1953, München, w.Albert Cond. Bayerischen Rundfunks Ensemble; Alexander Welitsch, Marianne Schech, Max Proebstl, Bernd Aldenhoff, Paul Kuën, etc.; ALEXANDER WELITSCH, w.Leo Blech & Schmidt-Isserstedt Cond.: Arias from Fidelio, Die Meistersinger & Boris Godounov (1949-52). (Portugal) 2-Gala 100.715. Quite lovely lyric singing from the wonderful Aldenhoff! Long out-of-print, Final Copy! - 8712177043552


“TIEFLAND was revised by d'Albert and revived in Hamburg and Berlin in 1907, where it played to long runs. Its American premiere took place at the Metropolitan Opera in New York on 23 November, 1908 with Emmy Destinn and Erik Schmedes in the two leading roles.

In addition to Schmedes and Destinn, notable past performers have included: Kirsten Flagstad who made her stage début in 1913 at the age of 18 singing the role of Nuri at the National Theater in Oslo; the young Maria Callas who sang the role of Marta at the Olympia Theatre in Athens during the 1945/1946 season; Montserrat Caballé who, like Callas, sang Marta early in her career; and the Danish tenor, Vilhelm Herold who was considered by d'Albert to have been the ideal Pedro. Richard Tauber first performed the role at Dresden in 1918, and recorded the two principal arias in 1928. It remained a favourite role, which he performed widely until 1940 in Switzerland. TIEFLAND is fairly regularly performed in Germany and Austria, with recent new productions at the Hessisches Staatstheater Wiesbaden in April 2007, the Volksoper Wien in October 2007 and at Deutsche Oper Berlin, with Torsten Kerl as Pedro and Nadja Michael as Marta, in November 2007. Performances outside German speaking countries have tended to be more sporadic. TIEFLAND was performed at the Ankara Opera House in 1951 in a production directed by Carl Ebert with Semiha Berksoy as Marta. It also received a major revival at Washington Opera in 1995 with its first major US production in 81 years, conducted by Heinz Fricke and directed by Roman Terleckyj.

The best-known film adaptation of the opera was by the German director Leni Riefenstahl, with Riefenstahl herself playing Marta. The film, begun in 1940, but not released until 1954, used Roma slave labor from a German transportation camp for some of the extras, many of whom were sent to Auschwitz before the end of the war.”

"Marianne Schech débuted at Coblenz 1937 (Marta in TIEFLAND). From 1937 to 1945 she sang in Münster, Munich, Düsseldorf and Dresden. Schech was a member of Bavarian State Opera, Munich, 1945–70, specializing in Wagner and Strauss roles. Her Covent Garden début was in 1956, followed by her Met Opera début 1957. Schech débuted in San Francisco in 1959. She was one of singers of trio from DER ROSENKAVALIER at Richard Strauss' funeral, 1949.”

“Aldenhoff first appeared at the Bayreuth Festspielhaus in 1951 as Siegfried in DER RING DES NIBELUNGEN under both Knappertsbusch and Karajan, and returned there to repeat the rôle several times until 1957. He appeared in Bavarian State Opera Munich between 1950 and 1958 in operas by Weber and Verdi, and in Richard Strauss' DIE ÄGYPTISCHE HELENA, and sang Siegfried in GÖTTERDÄMMERUNG at Covent Garden in 1957. He made his Met début as Tannhäuser, and also appeared at La Scala, the Paris Opéra and the Opernhaus Zürich. Bernd Aldenhoff was not only one of the last heldentenors, but also one of the most interesting. Knappertsbusch called him the most ‘human heldentenor’ of his time. As an interpreter, Aldenhoff was, without a doubt, the most precise and sensitive Wagner tenor of his generation. He died in Munich on 8 October, 1959 at the peak of his career from food poisoning.”

- David Patmore

"ALEXANDER WELITSCH was the principal baritone at the Stuttgart Opera for many years. The war interfered with his career to some extent; the Vienna opera house was closed from 1940, and that’s why he went to Stuttgart. He remained there until 1963, with rare forays to Rio de Janeiro, San Francisco and Chicago….Two rarely heard Rachmaninoff and two Gretchaninoff songs show off his considerable capabilities in lieder…."

- Vivian A. Liff, AMERICAN RECORD GUIDE, July/Aug., 2007