Idomeneo   (Zillig;  Eipperle, Trotschel, Kupper, Fehringer)   (2-Walhall 0150)
Item# OP0999
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Product Description

Idomeneo   (Zillig;  Eipperle, Trotschel, Kupper, Fehringer)   (2-Walhall 0150)
OP0999. IDOMENEO (in German), Broadcast Performance, 1954, Frankfurt, w.Zillig Cond. Hessischen Rundfunks; Kurt Schüffler, Trude Eipperle, Elfride Trötschel, Annelise Kupper, Herbert Hess & Franz Fehringer. (E.U.) 2-Walhall 0150. - 4035122651508


“Trude Eipperle was a German operatic soprano who studied at the Musikhochschule in her native Stuttgart, and made her stage début in Wiesbaden, in 1930. She sang in Nuremberg (1930-34), Brunswick (1934-37), Munich (1938-44), Cologne (1945-51), and Stuttgart from 1951 onwards. She also appeared at the Salzburg Festival in 1942. She made guest appearances in Vienna, Milan, Barcelona, Lisbon, Brussels, Monte Carlo, Paris and London.

Her repertory included Countess Almaviva, Pamina, Agathe, Elisabeth, Elsa, Eva, the Marschallin, Arabella, Empress/Kaiserin (DIE FRAU OHNE SCHATTEN) but was also admired as Desdemona in Verdi's OTELLO, Mimi in LA BOHEME, and as Cio-Cio-San in MADAMA BUTTERFLY.”

“Elfriede Trötschel began her career as a member of the Dresden Opera choir and became a soloist in 1933 after being selected by the Opera’s director, Karl Böhm. Her many rôles on the operatic stage included Lola, Gretel, Esmeralda, Zerlina, Blondchen, Marie, Susanna, Nannetta, Zdenka, Jenufa, Donna Elvira, Bastienne, Oskar, Papagena, Marzelline, Sophie, Mimi and Madama Butterfly. She sang at the Salzburg Festival in 1941 and at the Berlin State Opera in 1950. In 1950 she sang Susanna at the Edinburgh and Glyndebourne Festivals, sang at the Vienna State Opera in 1952 and appeared at Covent Garden in 1953 in Strauss’ ARABELLA. Trötschel performed with some of the great conductors of the 20th century, such as Fritz Stiedry, Wilhelm Furtwängler, Krauss, Keilbert, Eugen Jochum, Kempe, Otto Klemperer, Karl Böhm and Fricsay.”

“Annelies Kupper (1906-87) was a grande dame of the German stages specializing in Mozart, but with enough power to take on Aïda, some Strauss heroines (Ariadne, Daphne), Tannhäuser’s Elizabeth and the heavy-duty heroines of Die Toten Augen, Die Tote Stadt and Tiefland, all heard on this disc….She does get splendid 'backup' from Wolfgang Windgassen in TANNHÄUSER, a ferocious Amonasro from Hans Reinmar in the ‘Nile Scene’, Kurt Boehme in TIEFLAND, and Lorenz Fehenberger in the glorious ‘Glück, das mir Verblieb’ from DIE TOTE STADT.”

- Charles H. Parsons, AMERICAN RECORD GUIDE, May/June, 2012

“After she had already worked as concert soprano, Annelies Kupper made her début in 1935 at the Opera House of Breslau as a second boy in ZAUBERFLÖTE. Other appearances quickly followed. After the National Theatre of Schwerin (1937-1938) and the National Theatre of Weimar (1938-1940), she came in 1940 to the State Opera of Hamburg. There she remained until 1945, and since then was a celebrated member of the Bavarian State Opera Munich. Annelies Kupper made regularly guest appearances at the State Opera of Vienna (starting in 1938 with the rôle of Eva in MEISTERSINGER) and at the State Opera, Berlin. Appearances led her to Paris, Stockholm, Brussels, The Hague and Amsterdam. At Bayreuth she sang in 1944 Eva in MEISTERSINGER, and in 1960 Elsa in LOHENGRIN. At the Salzburg Festival in August 1952 she created the title rôle in the official première of the Strauss’ DIE LIEBE DER DANAË, as the composer himself had promised her just before his death in 1949. In 1950 she sang the Female Chorus in THE RAPE OF LUCRETIA by Benjamin Britten, and also the solo soprano in MESSIAH and in Franz Schmidt’s BUCH MIT SIEBEN SIEGELN. In 1952-1953 she made a guest appearance at Covent Garden as Chrysothemis in ELEKTRA and in the première there of BUCH MIT SIEBEN SIEGELN. As late as 1961, she sang in Munich Desdemona in Verdi’s OTELLO. Until 1966 she still gave occasional appearances. After 1956 Annelies Kupper worked as lecturer, later as Professor at the Munich College of Music. The beauty of her voice, and the way she expressed her feelings were admired by the critics and the public alike.”

- Aryeh Oron