Otello   (Ehrling;  Svanholm, Nordmo-Lovberg, Sigurd Bjorling, Hasslo, Meyer, Wixell)   (3-Preiser 90754)
Item# OP1798
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Product Description

Otello   (Ehrling;  Svanholm, Nordmo-Lovberg, Sigurd Bjorling, Hasslo, Meyer, Wixell)   (3-Preiser 90754)
OP1798. OTELLO (in Swedish), Broadcast Performance, 1953-54, w.Ehrling Cond. Radio Stockholm Ensemble;� Set Svanholm, Aase Nordmo-L�vberg, Sigurd Bj�rling, Arne Ohlson, G�sta Bj�rling, etc.;� DON CARLOS � Excerpts, w.Ehrling Cond. Joel Berglund, Set Svanholm, Hugo Hasslo, Sigurd Bj�rling, Aase Nordmo-L�vberg, Kerstin Meyer, Ingar Wixell, etc. - Live Performance 9 June, 1956 in honor of a State Visit of Elisabeth II. - Two magnificent performances in sublime sound. Surely worth the price of the set for the magnificent DON CARLOS excerpts alone! (Austria) 3-Preiser 90754. - 717281907545


"Ehrling's Swedish-language performance [of OTELLO] is fast-paced, imaginative and urgently projected, though always responsive to the score's many quieter passages, and it has a star attraction in the vocally handsome Iago of Sigurd Bjorling, surely one of the most engaging on disc, singing alongside a heroic-sounding Set Svanholm in the title-role and Aase Nordmo Lovberg as an impassioned and believable Desdemona."

- Rob Cowan, GRAMOPHONE, March, 2009

"[Hasslo possessed] a high, supple lyric baritone [voice], [appearing in] opera, operetta, concert and oratorio. [He was] a lifelong stalwart of the Swedish Royal Opera, [was] offered a Met contract for Escamillo, but declined to accept it. His disinterest in an international career became a great and lasting asset to the Swedish Royal Opera."

- Richard T. Soper, NORDIC VOICES

�Commanding a voluminous bass-baritone of striking beauty and perfect formation for Wagner (deep pedal tones in the lower register firmly supporting a sturdy middle and finely focused upper register), Joel Berglund enjoyed considerable success in several international venues before assuming the directorship of the Stockholm Opera in his mid-forties. Berglund continued to sing in numerous productions there for another decade while guiding the fortunes of his country's foremost opera house. Berglund ranks with the twentieth century's foremost artists in his vocal category in addition to having been a shrewd and galvanizing singing actor.

After study at the Stockholm Conservatory with the famous baritone John Forsell, Berglund made his d�but with the Stockholm Opera as Monterone (RIGOLETTO) in 1929 and continued as a house artist in Stockholm for the ensuing two decades. Thereafter, he combined singing with administrative responsibilities as the company's director (1949 - 1956) and, still later, appeared regularly as a guest artist until 1964. Following appearances in America as a concert singer, the Metropolitan Opera became interested in Berglund to bolster its roster of artists capable of sustaining heroic roles in Wagner and Strauss. Expected at the Metropolitan on the eve of WWII, Berglund was kept by the hostilities from his New York stage d�but while the aging Friedrich Schorr was sorely tested in continuing to meet the needs of the bass-baritone wing. Berglund did sing abroad, however, making an appearance at Bayreuth in 1942 as Vanderdecken in DER FLIEGENDE HOLL�NDER. When Berglund finally arrived at the Metropolitan as �a strong, well-detailed Sachs� in a 9 January, 1946 MEISTERSINGER, he was welcomed as an artist of the first rank. In quick succession, Berglund impressed critics and audiences alike as the WALK�RE Wotan and Kurwenal. During the 1946 - 1947 season, a 15 March PARSIFAL enabled Berglund to prove how comfortable he was in the lower reaches of a true bass role when he sang a Gurnemanz to particular acclaim. Earlier, he sang a powerful Wanderer in SIEGFRIED. During the 1947 - 1948 season, a RING cycle mounted concurrently with the Metropolitan's first venture with PETER GRIMES was strengthened considerably by Berglund's participation, his RHEINGOLD Wotan being singled out both for his canny portrayal of the young god and for the sovereign command he brought to his singing.

In his final season at the Metropolitan, Berglund was the Jochanaan at the 4 February d�but of Ljuba Welitch in SALOME, and managed not to disappear under her dramatic and vocal onslaught. Indeed, his virile singing and realization of the prophet's fanaticism enabled the red-haired soprano to surpass herself and provide the New York house one of the most talked-about nights in its history. Just before his return to Sweden to assume the directorship in Stockholm, Berglund repeated his �excellent� Gurnemanz, thereafter leaving the Metropolitan without a leading bass-baritone until the arrival of Hans Hotter and Paul Sch�ffler.

While Berglund's American career focused on Wagner and Strauss, he sang French and Italian roles in Sweden (primarily in the Swedish language). He was an insinuating M�phistophel�s in FAUST and a profoundly troubled Athana�l in THA�S. In the Italian repertory, he was celebrated for his Scarpia as well as for his Simon Boccanegra and Filippo II in DON CARLO. Berglund's stage savvy and flexible singing technique made him a notable Figaro in Mozart's LE NOZZE DI FIGARO.�

- Erik Eriksson, allmusic.com

"More than twenty-five years after she retired, Aase Nordmo Lovberg remains a vocal enigma. The Norwegian soprano enjoyed a long and successful career in Scandinavia but, despite her handsome voice and solid musicianship, never established a lasting presence on international stages. A single season at Bayreuth is commemorated in live recordings of LOHENGRIN and DIE WALKURE. A broadcast of DIE WALKURE also documents her brief career at the Metropolitan Opera: two seasons, four roles, and thirteen performances. From her debut in 1957 until her final performance in 1965, Lovberg also sang only thirteen times in four roles at the Vienna Staatsoper: a single Amelia along with Leonore, Sieglinde, and Elisabeth. She sang in Hamburg, Munich, and London without achieving enduring success in any of those cities.

Lovberg began her career in the shadow of Kirsten Flagstad. But so did Ingrid Bjoner. Unlike Lovberg, Bjoner made an international career on major European and American stages...[regardless], Lovberg was an estimable singer."

- Robert Baxter, THE OPERA QUARTERLY, Vol. 20, #4, Autumn 2004, pp. 750-752

�Ingvar Wixell, a Swedish baritone whose intelligent, vivid performances in the Italian repertory made him a respected fixture on the world�s opera stages, was praised not just for his firm, grainy voice but also for his dramatic acuity, stage presence and sense of spontaneity. Reviewing his Metropolitan Opera debut in the title role of Verdi�s RIGOLETTO in 1973, Raymond Ericson wrote in THE NEW YORK TIMES: �What gave Mr. Wixell�s singing its distinction was his awareness of the text. His clear enunciation and concern for words charged the vocal line with vitality�.

Ingvar Wixell made his American debut in San Francisco in 1967 as Belcore in Donizetti�s L�ELISIR D�AMORE and first appeared at Bayreuth in 1971 and at London�s Royal Opera House in 1972. In the six years after his Met debut as Rigoletto he sang 81 performances with the company. He ended his career in 2003 singing the music teacher in Strauss� ARIADNE AUF NAXOS at the Malmo Opera in Sweden. He was best known for his steady-toned, riveting portrayals of the major baritone roles of Verdi.�

- Zachary Woolfe, THE NEW YORK TIMES, 19 Oct., 2011