OP0522. La Traviata (in German), Broadcast Performance, 11 June, 1952, w.Molinari-Pradelli Cond. Hessischen Rundfunks Ensemble; Ebers, Holm, Metternich, etc. (E.U.) 2-Walhall 0048. - 4035122650488
"Trained by Eduard Erhard in Karlsruhe, Clara Ebers began her career 1924 as a volunteer at the National Theatre of Karlsruhe. In 1925-26 she sang at the City Theatre of Mönchengladbach, 1926-28 at the Düsseldorf Opera, 1928-44 at the Frankfurt Opera, after she had guested there successfully as Olympia in LES CONTES D’HOFFMANN. In addition, she sang as a successor to Adele Kern in rôles like Susanna in NOZZE, Despina and Fiordiligi in COSÌ FAN TUTTE, Gilda in RIGOLETTO, Zerbinetta in ARIADNE AUF NAXOS and Daphne in the Strauss operas.
With the Frankfurt Ensemble she guested in 1934 in Amsterdam as Sophie in DER ROSENKAVALIER. Further appearances in 1934 at the City Theatre of Zürich,1935 at the Staatsoper Dresden, 1937-38 at the opera of Antwerp, 1938 with the Maggio Musical Fiorentino (as Helmwige in the WALKÜRE). On 6 Aug., 1937 she sang
in a soprano solo in the première of Orff’s CARMINA BURANA. On 13 Jan., 1942 she created the rôle of Isabella in the première Egk’s opera COLUMBUS. In 1938-41 Ebers made appearances Frankfurt, Bucharest, Sofia, Athens, Belgrade, Zagreb and Barcelona.
After the Second World War she resumed her career first at the Theatre of Kiel. In 1946 she was appointed as the first Soprano to the State Opera of Hamburg, where she remained until 1965. Here she moved into rôles like Leonora in TROVATORE and LA FORZA DEL DESTIN, Desdemona in OTELLO, Pamina in DIE ZAUBERFLÖTE, Agathe in DER FREISCHÜTZ, Eurydice in Gluck’S ORFEO, the four female rôles in LES CONTES D’HOFFMANN, Konstanze in ENTFÜHRUNG, Maddalena in ANDREA CHÉNIER, Arabella, the Countess in CAPRICCIO and the Empress in DIE FRAU OHNE SCHATTEN; above all, however, she was loved as the Marschallin in DER ROSENKAVALIER. She made appearances at the state operas of Berlin and Munich, at La Scala, in Amsterdam and Brussels, at the Teatro San Carlos Lisbon, at the opera of Nice and at the theatre of Berne (Switzerland), with great success. At Covent Garden, in 1950, she was heard in LA TRAVIATA. At the Vienna Staatsoper, in 1963, as the Marschallin. She guested with the festivals of Aix in Provence (1949), Edinburgh and Glyndebourne (1950 as the Countess in NOZZE, and was also a respected concert Soprano. At her song recitals she was accompanied several times by Hans Pfitzner at the piano. From 1964-71 she was Professor at the College of Music Hamburg.”
“From 1940 until his retirement in 1971, [Metternich] was one of the leading German baritones, singing in most of the major opera houses around the world….His was a massive voice of dark power, not rich and smooth, but with an intensity and grittiness that added much to his characterizations.”
- Charles H. Parsons, AMERICAN RECORD GUIDE, Nov./Dec., 2008
"Metternich’s rich, dark voice, extraordinary breath control, and fine musicianship was coupled with an incisiveness of text projection and a sensitivity of characterization in an outpouring of luxurious sound….In an era when German baritones were expected to sing only German opera, Joseph Metternich made an international career…specializing in the dramatic baritone roles of Italian opera."
- Charles H. Parsons, AMERICAN RECORD GUIDE, May/June, 2006