OP1361. ELEKTRA, Live Performance, 26 Aug., 1955, w.Böhm Cond. Bayerischen Staatsoper Ensemble; Christel Goltz, Leonie Rysanek, Jean Madeira, Franz Klarwein, Hermann Uhde, etc. (E.U.) 2-Walhall 0155. - 4035122651553
"Soprano Christel Goltz was a discovery of conductor Karl Böhm and one of the leading dramatic sopranos of her generation who possessed a rich voice with a brilliant range and intensity. She was particularly associated with the operas of Richard Strauss, especially SALOME and ELEKTRA, and with contemporary operas. Before she became a singer, Goltz had been a dancer and was physically the antithesis of the typical operatic soprano: small, lithe, and energetic. Despite her diminutive stature, Goltz had a big voice that easily made it out to the farthest tier, and it is said that when the character Narraboth killed himself in Strauss' SALOME, that Goltz would leap over his dead body during the Dance of the Seven Veils. It was in dramatic roles such as Salome and Elektra that Goltz made her mark, and by all accounts in performance she was extremely effective at them. The only sizable studio recordings she made - SALOME with Clemens Krauss and ELEKTRA with Georg Solti - were in such roles. Early in her career, Goltz also created roles in works of Carl Orff and Swiss composer Heinrich Sutermeister.
Born in Dortmund, she studied in Munich with Ornelli-Leeb and with Theodor Schenk, whom she later married. After singing small roles, she made her official debut in Fuerth, as Agathe, in 1935. She sang one season in Plauen, before joining the roster of principal sopranos at the Staatsoper Dresden through the invitation of Karl Böhm in 1936. She remained at that house until 1950. She began appearing at both the Berlin State Opera and the Stadtische Oper Berlin in 1947, and at the Munich State Opera and Vienna State Opera in 1950. Beginning in 1951, she also made guest appearances in Salzburg, Milan, Rome, Brussels, Paris, London, Buenos Aires, and sang at the Metropolitan Opera in 1954. Besides SALOME and ELEKTRA, her greatest successes included the title role in JENUFA, Marie in WOZZECK, Die Farberin in DIE FRAU OHNE SCHATTEN, Leonora in FIDELIO and Elettra in IDOMENEO. She created the title roles in Carl Orff's ANTIGONE and Rolf Liebermann's PENELOPE. An intense singing-actress with a clear and powerful voice of great range, she also tackled a few Italian roles, notably Turandot."
- Ned Ludd
"Rysanek is, first and foremost, an operatic actress. It is this quality that has led to her remarkable success. In everything she does, one senses total involvement with the dramatic aspects of the role. Without knowing whether this is true, I suspect she immerses herself completely in the libretto before studying out any of the vocal problems. An actress in the grand manner does not bother very much whether a role is in the creation of a German or an Italian librettist; her concern is with the flesh and blood of the woman being portrayed….Though the drama comes first, Rysanek has given the matter of voice a great deal of careful thought. She has a beautiful instrument to think about, and she wants to keep it that way."
- Alan Rich, OPERA NEWS, 6 March, 1965
“On the opera stage the connection of intellect and passion is seldom. This is why stage singers like Hermann Uhde deserve the greatest appreciation; they uplift the opera to the highest level of musical drama.”
- Audrey Williamson, OPERA, Dec., 1961
“Hermann Uhde’s American mother was a student of the famous baritone Karl Scheidemantel. He was trained as a bass, by Philipp Kraus at the Opera School in Bremen, where he made his début as Titurel (1936). After engagements in Freiburg and Munich he appeared for the first time in baritone rôles at the Deutsches Theater im Haag in 1942. A prisoner-of-war from April 1945 to February 1946, he did not return to the stage until 1947. He subsequently appeared at the opera houses of Hamburg, Vienna and Munich where he became a member of the ensemble. He gained great success in rôles such as Mandryka, Gunther and Telramund, in which he was particularly admired. The artist was regularly invited to the Bayreuth Festival from 1951 to 1960 where he became one of its most important members, appearing as Holländer, Klingsor, Gunther, Donner, Wotan in RHEINGOLD, Telramund and Melot. He was also a guest at the Salzburg Festival and performed a superb Wozzeck at the Met (sung in English!) where he regularly appeared from 1955 to 1961 and again in 1964. He sang at the Grand Opéra Paris as well as at other European opera houses. He created several rôles, including Creon in Orff’s ANTIGONAE, the baritone rôles in Britten’s THE RAPE OF LUCRETIA and Wagner-Régeny’s DAS BERGWERK ZU FALUN. He died of a heart attack during a performance of Niels Viggo Bentzon’s FAUST III, at Copenhagen in 1965.”
- Andrea Shum-Binder, subito-cantabile
"Born Jean Browning in Central Illinois, this contralto established for herself a singular identity among singers of the deepest, darkest roles for female voice. Tall and strikingly attractive, she possessed both the physical and vocal allure for Carmen and created a riveting portrait of Klytemnestra, both addled and imperious. The later role, perhaps the one with which she was most closely identified, was captured on disc in both studio (with Bohm) and on-stage at Salzburg (with Mitropoulos). Her RHEINGOLD Erda in Solti's RING was likewise striking, voiced with steady, earth-deep tones, a sound once likened to 'gleaming anthracite'."
Browning's father, half American Indian, half English, was a coal miner; her mother taught piano and soon included her daughter among her pupils. Upon her father's death, Browning moved with her family to St. Louis, where she won a scholarship to the Leo C. Miller School of Music. While a student there, she placed first in a competition whose prize was an appearance with the St. Louis Symphony. Under Vladimir Golschmann's direction, she performed Beethoven's Third Piano Concerto. In 1941, Browning entered the Juilliard School of Music, where she majored in piano, but also pursued singing, making her debut as Nancy in von Flotow's MARTHA in a 1943 Chautauqua Summer Opera production. At Juilliard, she met and subsequently married a piano student, Francis Madeira, who later became conductor of the Rhode Island Philharmonic, a faculty member at Brown University, and occasionally accompanied his wife following her transition to a full-time singing career.
Olga Samaroff urged the young woman in 1946 to concentrate on becoming a professional singer. While still studying voice at Juilliard, Jean Madeira (as she was by then known) began making appearances with such other groups as the (American) San Carlo Opera Company. Gian Carlo Menotti chose her in 1947 to alternate with Marie Powers in the title role of his THE MEDIUM on its European tour. That same year, she was the recipient of the St. Louis Woman of Achievement Award. In 1948, she made her debut at the Metropolitan Opera as the First Norn in a performance of DIE GOTTERDAMMERUNG, beginning her steady progress through such roles as Amneris, Azucena, Ulrica, Orfeo, and Dalila. In 1954, she began a series of European appearances taking her to Covent Garden, Stockholm, Munich, and Salzburg.
The fall of 1955 brought Madeira's debut at the Vienna Staatsoper in the role of Carmen, a triumph resulting in 45 curtain calls. When she sang Carmen at the Metropolitan in 1956, critic Irving Kolodin, writing in the Saturday Review, described her as 'an intelligent artist who gives thought to what she undertakes' and noted her effective use of her striking height. He also praised her portrayal by commenting, 'Mostly it was done with a suggestion of youthful suppleness not often seen'.
In addition to her almost 300 Metropolitan performances in some 41 roles, Madeira continued to appear elsewhere in America and Europe, offering her Carmen at Chicago, where critic Claudia Cassidy praised her as 'svelte, darkly beautiful, with a mezzo soprano streaked in burnt umber and edged with a threat', and at Aix-en-Provence. Her authoritative Erda was heard at Munich, London, and Bayreuth. In 1968, she took part in the premiere of Dallapiccola's ULISSE IN BERLIN, creating the role of Circe. She retired in 1971, shortly before her death in 1972."
- Erik Eriksson, allmusic.com
“Following an apprenticeship in his native Austria, Karl Böhm was appointed, at the recommendation of Karl Muck, to be assistant to Walter at the Munich State Opera in 1921. He went on to become music director in Darmstadt in 1927, in Hamburg in 1931 and, with Hitler's approval, in Dresden, as successor to Fritz Busch in 1934. During his decade-long tenure he maintained Dresden's reputation for imaginative repertory, with performances of new works that included the premieres of DIE SCHWEIGSAME FRAU, 1935, and DAPHNE, 1938, an opera dedicated by Strauss to the conductor. From 1943 to the end of the war, he was director of the Vienna State Opera.
Privately no less than publicly, Böhm was a strong supporter of Hitler and National Socialism from 1933 on and gave the Nazi salute at the beginning of a concert. He subsequently not only was unrepentant but defiant, even, claiming that while other conductors took the easy course and fled, he stayed behind to suffer and be bombed with other Germans. After a two-year ban by occupation authorities, Böhm became conductor of the Vienna State Opera and the Vienna Philharmonic.”
- Frederic Spotts, Great Conductors of the Third Reich