OP0510. DIE WALKÜRE - Acts I & II, Extended Excerpts, Live Performance, 1960, Buenos Aires, w.Leitner Cond. Teatro Colon Ensemble; Martha Mödl, Gré Brouwenstijn, Hans Beirer, Hans Hotter, Grace Hoffman, etc. (Slovenia) 2-Living Stage 4035170. Long out-of-print, Final Sealed Copy! - 3830025741797
"The Dutch soprano Gré Brouwenstijn was one of those singers whom audiences and record collectors truly seemed to love....She seemed personally involved in everything she did."
- Ralph V. Lucano, AMERICAN RECORD GUIDE, Sept./Oct., 2011
"The Dutch soprano Gré Brouwenstijn has long been held in the highest esteem within her own country, and within a circle of vocal connoisseurs, for the fearless vibrancy of her approach to the great hochdramatisch soprano roles, without ever compromising the standards and ideals of vocal beauty: hers is a voice of great strength and flexibility, fully able to meet the challenge of projecting both the scale and drama of Wagner's heroines while also inhabiting their more intimate confessions. Brouwenstijn made precious few recordings - most of what is left to us now derives from private tapes or radio archives of live performances"
- Zillah Dorset Akron
No one could sing Brangane's Warning more perfectly than [Grace Hoffman], and it was one of the high points of the evening to hear the beautiful sound of her voice penetrating the darkness of night, while I was enfolded in Tristan's arms."
- Birgit Nilsson, LA NILSSON, pp. 198 & 153
"Hotter was far, far more than a Wagnerian....[he] sang Lieder at recitals and in the studio throughout his timeless career. All his interpretations evinced a care over matching text to music. Even in Wagner he gave a Lieder singer's attention to the words. In private he was a gentle giant, an engaging raconteur and an intelligent observer of the musical scene"
- Alan Blyth, GRAMOPHONE, March, 2004
"Of all the singers of the 20th century, the man whose voice and presence were most capable of conveying the essence of the archetypal father was bass-baritone Hans Hotter. Blessed with a huge, resonant instrument that could be scaled down to an intimate whisper, the man could sound invincible one minute and vulnerable the next. No matter what he sang, Hotter communicated a profundity and depth of spirit that seemed rooted in a primordial place of holiness and sagacity. If you can imagine a man whose voice could convincingly express the power of a God, the wisdom of a sage, and the humanity of an open-hearted mortal, you can begin to hear the sound of Hans Hotter in your head.
In the world of opera, Richard Wagner's Wotan, the God of Valhalla, is perhaps the greatest Daddy of them all. In DIE WALKÃœRE, he has no choice but to punish his favorite daughter BrÃ¼nnhilde for her sin of intervening in the affairs of mortals. But even as he puts his beloved daughter to sleep, protecting her with a ring of fire, he makes sure that love can dowse the flames and return her to life. It was the Wotan of Hans Hotter, more than of any other recorded singer, that most fully expressed the tortured godliness of this strangely mortal immortal.
At the same time as Hotter dominated the opera stage as Wotan, he became known as a supreme interpreter of German art song. With his voice pared down as necessary, Hotter's lieder interpretations evinced the same strength and surety that thundered through him when he strode across the stage carrying sword and shield."
- Jason Serinus
“Ferdinand Leitner was a German conductor who studied under Franz Schreker, Julius Prüwer, Artur Schnabel and Karl Muck. He also was a composition student with Robert Kahn. Starting as a pianist, through the help of Fritz Busch, he became a conductor in the 1930s. He was conductor of the Nollendorfplatz Theater in Berlin from 1943 to 1945; in Hannover from 1945 to 1946; in Munich from 1946 to 1947; and the General Music Director of the Württemberg State Opera house in Stuttgart from 1947 until 1969.
He is famous as a conductor of opera, his favourite composers being Wagner, Richard Strauss, Mozart, and twentieth-century composers Carl Orff and Karl Amadeus Hartmann. He succeeded Erich Kleiber in 1956 as conductor for the Teatro Colón in Buenos Aires. From 1976 to 1980, he worked in The Hague as principal conductor of Het Residentie Orkest.”