OP2329. ENTFÜHRUNG, Live Performance, 8 Sept., 1961, Buenos Aires, w.Wallberg Cond. Teatro Colón Ensemble; Fritz Wunderlich, Anneliese Rothenberger, Renate Holm, Kurt Böhme, Victor Parlaghy, etc.; FRITZ WUNDERLICH: Six songs by Ludwig Senfl, recorded 27 Oct, 1954, Freiburg. (E.U.) 2-Walhall 0353. - 4035122653533
“The soprano Anneliese Rothenberger was one of the most distinguished and popular German singers of the postwar period. Her career was founded initially on the lighter soubrette roles, and she won great acclaim for her performance as Sophie in the film of DER ROSENKAVALIER (1961), conducted by Herbert von Karajan – earning the accolade of ‘the best Sophie in the world’ from one of Richard Strauss' great collaborators, the soprano Lotte Lehmann. Shortly after this, however, she began to move into slightly heavier roles in which her success was more mixed.
Rothenberger was a member of the Hamburg ensemble alongside Martha Mödl, Gustav Neidlinger and Rudolf Schock. Her roles there included Blonde in Mozart's DIE ENTFÜHRUNG, the page Oscar in Verdi's UN BALLO IN MASCHERA and Alban Berg's Lulu.
In 1952 she joined the Hamburg company at the Edinburgh festival, taking the role of Regina in the British stage premiere of Paul Hindemith's MATHIS DER MALER. Two years later she made her debut at the Salzburg festival (where she was to sing until 1973), creating the role of Telemachus in Rolf Liebermann's PENELOPE. She appeared there too in his DIE SCHULE DER FRAUEN (1957) and in a number of other roles including Sophie, Papagena in Mozart's DIE ZAUBERFLÖTE, Zdenka in Strauss' ARABELLA and Flaminia in Haydn's IL MONDO DELLA LUNA.
Sophie was one of her favourite roles, and she was cast by Karajan in the celebrated film, directed and produced by Paul Czinner. Appearing alongside Elisabeth Schwarzkopf and Sena Jurinac, she blossoms as the eligible ingenue, her voice soaring mellifluously in the final trio. Rothenberger also sang Sophie at Glyndebourne (1959–60) and at the Met in New York, though it was as Zdenka that she made her debut at the latter (1960). The 1963 recording of Arabella, conducted by Joseph Keilberth, demonstrates the beguiling quality of Rothenberger's light, silvery tone in the role of Zdenka.
It was, nevertheless, in these years, the mid-1950s to the late 1960s, that Rothenberger was heard to her best advantage on many of the world's leading stages in New York, London, Munich, Vienna - where she sang a total of 365 performances in 20 roles - and elsewhere. The Mozartian roles of Susanna and Pamina suited her well, as did that of Adele in DIE FLEDERMAUS. The title role of Lulu also showed her considerable acting abilities.”
- Barry Millington, THE GUARDIAN, 26 May, 2010
“Fritz Wunderlich was discovered for the opera stage at a student production of ZAUBERFLÖTE. At the age of 25 he was engaged at the Württemberg Staatstheater in Stuttgart, one of the most renowned opera houses in Germany at the time. Erich Schäfer was its General Manager, Ferdinand Leitner its conductor, and Wieland Wagner and Günther Rennert created very interesting productions. Wunderlich never broke off relations with Stuttgart completely, not even when he was engaged by the Munich Opera in 1958. Here he was influenced by Rudolf Hartmann, Günther Rennert and Josef Keilberth. In 1959 he made his début at the Salzburg Festival (Henry Morosus in Strauss’ DIE SCHWEIGSAME FRAU). He soon became the leading lyrical tenor and he was particularly admired in the Mozart repertoire. He also sang Alfredo, Lenski, Palestrina, and the Steersman in DER FLIEGENDE HÖLLANDER. He loved to sing Egk, Liebermann and Orff and was an eminent operetta singer. He sang operettas on stage only at the outset of his career in Freiburg and Stuttgart. He regularly appeared in oratorios and has been unsurpassed as Evangelist. With his fatherly friend Hubert Giesen he worked on Lieder and he soon was very much in demand as a recitalist. His career was one of the most successful after World War II. He died tragically of an accident, a few days before his 36th birthday. It is pointless to speculate what direction he would have taken if he had been granted a longer career. With the natural power of his voice he would have been able to move into heroic regions.”
- Andrea Shum-Binder, subito-cantabile