OP1625. COSÌ FAN TUTTE (in German), Broadcast Performance, 1957, w.Jochum Cond. Bayerischen Rundfunks Ensemble; Annelies Kupper, Hertha Töpper, Erika Köth, Rudolf Schock, Horst Günter & Walter Berry. (Germany) 3-Walhall 0210. - 4035122652109
“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
“Rudolf Johann Schock was a German tenor who sang a wide repertoire from operetta to LOHENGRIN, recording among others opera and lieder, doing television, radio and film work. Slim and handsome, he made many films. His voice fell almost into the heldentenor fach but was smaller and more ‘ingratiating’ than many voices in that category.[ Colored distinctly with a rich baritonal quality, Schock is described by Grove as a ‘lyric tenor’ with a warm flexible voice, and a ‘strong top voice’ which suited him to ‘heroic rôles’.
When he was 18 and still continuing his musical studies that took him to Cologne, Hanover and Berlin, Schock joined the opera chorus at Theater Duisburg in the city of his birth. The Staatstheater Braunschweig cast Schock in solo roles in 1937, but his career was interrupted by his being enlisted into the army in 1940. It resumed after the war in 1945 in Hanover. In 1946, he appeared with two of the Berlin-based opera companies and in 1947 he joined the Hamburg State Opera where he was a member until 1956.
Schock was one of the first Germans to sing at Covent Garden in 1949, appearing as Rodolfo, Alfredo, Pinkerton and Tamino in his first season. He sang the title role at IDOMENEO at the Salzburg Festival and took part in the premiere there of Rolf Liebermann's, PENELOPE and the Vienna State Opera's first staging of LULU. Schock made repeat visits to the Edinburgh International Festival and sang Walther at Bayreuth in 1959.
In 1953 he played and sang the role of Richard Tauber in the film DU BIST DIE WELT FÜR MICH (released in English-speaking countries as either YOU ARE THE WORLD FOR ME or THE RICHARD TAUBER STORY). He was often compared to the older tenor and was spoken of as his successor. He was also considered the most successful German film singer of his generation. He sold over 3 million records and his German films made him almost a superstar of his day. Schock's most impressive performances include the roles of Paul in DIE TOTE STADT (Korngold), and multiple Puccini principals.
Schock also interested himself in the development of younger singers by judging vocal competitions. After discovering Karl Ridderbusch at one of these, Schock part-funded the bass's musical training. Rudolf Schock continued making concert appearances into his sixties.”
- Ned Ludd
“German conductor Eugen Jochum is considered by many to have been the foremost Bruckner conductor of the mid- to late twentieth century; he producing many outstanding recordings of Bruckner's symphonies (as well as worthy interpretations of a great many other composers). He also left to posterity a number of written articles on the interpretation of that composer.
Musical studies began in early childhood (both of Eugen's brothers, Otto Jochum and Georg Ludwig Jochum, went on to become successful musicians in their own right), and Jochum attended the Augsburg Conservatory until he was 20 years of age. He enrolled in the Munich Academy of Music as a composition student of Hermann von Waltershausen, but soon diverted his energies to conducting (working with Siegmund von Hausegger). He worked as a rehearsal assistant at the Munich National Theater, and, after a successful Munich debut in 1926, was invited to join the conducting staff at the Kiel opera. In 1926, having developed a sizable operatic repertory, he moved to Mannheim (1929-1930) and then to Duisburg (1930-1932). Although relatively young, he was asked to serve as music director for Berlin Radio in 1932, and while in that city built an association with the Berlin Philharmonic Orchestra which would led to many guest conductor appearances in the following decades.
Jochum became music director of the Hamburg opera (and, along with that title, principal conductor of the Hamburg Philharmonic) in 1934, remaining at that post until 1949 -- effectively avoiding Nazi interference with his musical activities. During the 1930s, Jochum continued to champion a number of contemporary composers who had been officially banned by the Nazi party (such as Hindemith and Bartók), though his great love remained the late Romantic repertory.
After forming the Bavarian Radio Symphony Orchestra in 1949, Jochum spent the 1950s developing that organization (in conjunction with his new role as music director for Bavarian radio) and building his stature as a guest conductor around Europe; his Bayreuth debut was in 1953, and he took partial charge of the Concertgebouw Orchestra in Amsterdam from 1961-1964. He conducted the Bamburg Symphony orchestra from 1969 to 1973, and was appointed conductor laureate of the London Symphony Orchestra for the 1978-1979 season. From 1950 on Jochum served as the president of the German chapter of the International Bruckner Society.
Jochum's conducting was marked by a fluent, lyric approach (which nevertheless proved capable of drawing tempestuous results from his players when necessary). Above all else he valued a rich, warm sound perfectly suited to the music of Bruckner and Wagner, though recordings show a wealth of insight into the music of other German masters, notably Beethoven, Bach, and Haydn.”
- Blair Johnston, allmusic.com