OP1743. ELEKTRA, Live Performance, 14 Oct., 1957, w.Previtali Cond. RAI Ensemble, Roma; Inge Borkh, Hilde Zadek, Elisabeth Hongen, Herbert Handt, Tomislav Neralic, etc.; Inge Borkh: Medea - Excerpts. (E.U.) 2-Myto 00173 - 8014399501736
“Inge Borkh, a soprano who inhabited with thrilling intensity some of the most hair-raising and daunting roles in the operatic repertoire, [was admired for] passionate portrayals [which] emerged through solid technique and secure, if fiery, tone. Howard Taubman, reviewing her in concert as Elektra at Carnegie Hall in 1958, wrote in THE NEW YORK TIMES that she sang ‘with unremitting authority’, adding, ‘The word ‘sang’ is not used by courtesy, as it often has to be with Elektras’. (The role is so arduous that many sopranos practically scream through much of it.)
Ingeborg Simon was born on May 26, 1921, in Mannheim, Germany. Her father was Jewish, and the family fled Germany in 1935, after the rise of the Nazis, settling first in Geneva and then in Vienna.
Though her mother’s side of the family was dotted with singers, she began her education as an actress. After the Anschluss in 1938 she returned to Switzerland, where she encountered the bass Fritz Ollendorff, who recommended she develop her singing voice. She studied in Milan, and made her debut in 1940 in Lucerne, adopting Inge Borkh as her stage name.
Spending the 1940s in Switzerland, she swiftly moved from lighter lyrical roles to heavier ones in operas by Wagner, as well as the formidable Strauss antiheroines who became her calling cards.
In 1951, Ms. Borkh caused a sensation when she appeared in Berlin as Magda Sorel in Gian Carlo Menotti’s opera THE CONSUL, just a year after its debut. She ‘not only emerged with top honors for a brilliant performance’, Kathleen McLaughlin wrote in THE TIMES, ‘but also experienced that rarest of tributes for an actress by ‘stopping the show. The reaction of the audience’, Ms. McLaughlin added, ‘was an ovation of shouts, stamping and hand-clapping that lasted for several minutes’.
That success put Ms. Borkh on the international map, leading to debuts as far afield as London, New York and San Francisco, though her career remained focused on Continental Europe. She made few commercial recordings, but when her live performances were captured on disc they frequently became cult favorites - none more so than a delirious 1957 ELEKTRA at the Salzburg Festival led by Dimitri Mitropoulos, who also conducted her Met debut, as Salome, the next year. [Salome and Elektra], those two fiendishly difficult characters, were the ones for which Ms. Borkh was most renowned. She went on to appear at the Met as Sieglinde in Wagner’s DIE WALKÜRE, the Dyer’s Wife in Strauss’ DIE FRAU OHNE SCHATTEN and Leonore in Beethoven’s FIDELIO.
She retired from opera after a run of ELEKTRA in Palermo, Italy, in 1973, but continued to appear onstage as a monologuist and as a suave, witty cabaret artist; a memorable recording was made of her cabaret show, ‘Inge Borkh Sings Her Memoirs’.
- Zachary Woolfe, THE NEW YORK TIMES, 28 Aug., 2018
“Throughout her career, Hilde Zadek was praised by critics for her dark-hued voice, dramatic intensity and fine musicality. Before retiring from the stage in 1971, she also sang at the Metropolitan Opera, Covent Garden and other major houses. But her primary work was in Vienna. There, in the city she feared would revile her, she sang more than 700 performances in dozens of roles; taught for years at the Vienna Music Academy; presided over the International Hilde Zadek Voice Competition, a prestigious contest for young singers; and, to the end of her life, chose to make her home.
During the 1952-53 season, Ms. Zadek sang at the Metropolitan Opera eight times. Reviewing her debut there, as Donna Anna in Mozart’s DON GIOVANNI, Olin Downes of THE NEW YORK TIMES praised her ‘dramatic power’ and ‘the brilliancy of her tones’. Her other Met roles were Aida, Eva in Wagner’s MEISTERSINGER VON NÜRNBERG and Elsa in his LOHENGRIN. Elsewhere, Ms. Zadek sang Eurydice in the world premiere of ANTIGONAE, an operatic setting of the Sophocles tragedy by Carl Orff, at the Salzburg Festival in 1949. In 1963 she sang Leonora opposite the American tenor Jan Peerce in a well-received Hebrew-language concert staging of Beethoven’s FIDELIO in Jerusalem.
Her recordings include a DON GIOVANNI under Otto Klemperer, Poulenc’s DIALOGUES OF THE CARMELITES under Berislav Klobucar and songs by Erich Wolfgang Korngold.”
- Margalit Fox, THE NEW YORK TIMES, 24 Feb., 2019