Die Meistersinger  (Reiner;  Schoffler, Hopf, de los Angeles, Greindl)  (4-Walhall 0273)
Item# OP1932
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Product Description

Die Meistersinger  (Reiner;  Schoffler, Hopf, de los Angeles, Greindl)  (4-Walhall 0273)
OP1932. DIE MEISTERSINGER, Live Performance, 10 Jan., 1953, w.Reiner Cond. Met Opera Ensemble; Paul Schöffler, Hans Hopf, Victoria de los Angeles, Josef Greindl, Gerhard Pechner, etc. (E.U.) 4-Walhall 0273. Very long out-of-print, Final Copy! - 4035122652734


“…Reiner’s loving touch does reveal the opera’s profound humanity…..Schöffler is a capital Sachs. He never falters throughout the afternoon….De Los Angeles seldom ventured upon the Wagnerian terrain….The warmth of her middle and low voice sheds a sunny radiance upon Eva’s too brief scenes. Of course, she is always the exemplary musician. Of equal worth, her burger’s daughter is delightfully spunky in the second-act encounter with Walther, tantalizingly coquettish in her shoe complaint to the bemused Sachs, and utterly charming in general.”

- Paul Jackson, SIGN-OFF FOR THE OLD MET, pp.78-79

“Hans Hopf sang the title role in SIEGFRIED and Siegfried in GÖTTERDÄMMERUNG. He was singing both roles for the first time and naturally had put in yeoman’s work to have readied these mammoth roles for performances on the level demanded by the Bayreuth Festival. Formerly he had sung primarily the Italian repertoire, but was now beginning to concentrate on Wagner roles, which suited his robust voice very well. Hopf was an incomparable raconteur, and one was never bored in his company.”

- Birgit Nilsson, LA NILSSON, p.160

“For many of the record-buying public, their impression of German dramatic tenor Hans Hopf was formed upon viewing the wretched photograph that was displayed on the cover of his 1960 EMI recording of TANNHÄUSER. Appearing bloated and dim-witted, the tenor was sorely misrepresented by a portrait that should never have been released. While his voice had by that time grown beefier and less pliant, Hopf was too serious an artist to have been exposed to such a public relations disaster. For a truer picture, physically and aurally, turn to his Walter in EMI's live recording of Bayreuth's 1951 DIE MEISTERSINGER with Schwarzkopf, Edelmann, and Karajan. Here, before the strain of too many heroic roles took their toll, his singing was strong and highly agreeable, accomplished if somewhat short of poetic. Hopf studied with bass Paul Bender in Munich before making his début in 1936 singing Pinkerton with the Bavarian Regional Opera. Affiliations with Augsburg, Dresden, Oslo, and Berlin preceded his extended membership at the Bavarian Staatsoper beginning in 1949. In addition to his Bayreuth début, the 1950 -- 1951 season held a first appearance at Covent Garden, where Hopf sang his German-language Radames in an otherwise English-language AÏDA. He was also heard as Walter, pleasing the critics and audiences more for his sturdy singing than for his subtlety. Hopf remained with the Royal Opera through the 1952 -- 1953 season, offering his Walter all three years. At Bayreuth, Hopf worked his way to Parsifal, Tannhäuser, and Siegfried by the 1960s. In 1952, he made his Metropolitan Opera début as Walter. He continued to appear for five more years, eventually amassing a total of 34 performances in the Wagnerian repertory. At Salzburg in 1954, Hopf made his début as Max in Weber's DER FREISCHÜTZ. Although most of his career was spent in Europe, Hopf made two further appearances in American opera houses singing Herodes in both Chicago (1968) and San Francisco (1974), both times with Astrid Varnay as his consort. Although the latter production caught him rather late in the day, he was still an arresting Herod, dissolute and clearly not quite stable. In Germany, Hopf had achieved a considerable reputation as Verdi's Otello.”

- Erik Eriksson, allmusic.com