OP2442. TANNHÄUSER, Live Performance, 3 Aug., 1961, w.Sawallisch Cond. Bayreuth Festival Ensemble; Victoria de los Angeles, Grace Bumbry, Wolfgang Windgassen, Dietrich Fischer-Dieskau, Josef Greindl, Theo Adam, etc. (E.U.) 3-Myto 00291. Long out-of-print, Final Sealed Copy! - 0801439902916
“The first performance of a series, they say, isn’t always the best. In 1961, as the critics noted, the opening night suffered not just from the usual first-night nerves, but also the common cold was doing the rounds. The discovery in radio archives of a 'Tannhäuser' from the next performance is thus a real find in historic nights at the Bayreuth Festival. Wieland Wagner's 1961 production, conducted by Wolfgang Sawallisch, saw Wolfgang Windgassen as the titular hero and, alongside him, Grace Bumbry in her international breakthrough role as the 'black Venus'. Victoria de los Angeles sang Elisabeth and Dietrich Fischer-Dieskau (at his last Bayreuth Festival) the role of Wolfram. By a stroke of luck, all the protagonists were on form on the evening of 3 August 1961, as we can now hear for the first time. Dietrich Fischer-Dieskau outdoes himself once again as Wolfram, and Grace Bumbry and Wolfgang Windgassen achieve a perfect balance of love’s lust and sorrow. Sometimes a second attempt is worth more than twice the trouble.
The most important singer of the German Heldentenor repertory in the 1950s and 1960s, Wolfgang Windgassen employed his not-quite-heroic instrument, believable physique, and considerable musical intelligence to forge memorable performances on-stage and in the recording studio. Although his voice lacked the sensuous appeal of Melchior's or Völker's, it was never unattractive and never employed to obvious effect. Indeed, it conveyed a youthfulness that suited the young Siegfried especially well."
- Erik Eriksson, allmusic.com
“Theo Adam, a German opera singer whose varied career spanned the second half of the last century and who made a particularly strong impression internationally with his Wagnerian roles, was a regular at the Bayreuth Festival in Germany beginning in the early 1950s, and in February 1969 he made his debut at the Metropolitan Opera in one of his signature roles, Hans Sachs in Wagner’s DIE MEISTERSINGER.
At a time when, for many operagoers, the singing was the only thing that mattered, Mr. Adam brought an actor’s sensibility as well as a fine voice to the stage. ‘Mr. Adam has developed the vocal and histrionic aspects of his art with equal care and success’, Allen Hughes wrote in THE NEW YORK TIMES in reviewing Mr. Adam’s Met debut. ‘His voice is relatively light in weight and texture, and he sang here with a smoothness and flexibility that basses do not invariably possess’. ‘Mr. Adam is not a tall man, he has not let himself get fat, and he moves lithely’, Mr. Hughes added. ‘Indeed his movements, so splendidly scaled and timed, made his acting a joy to follow’.
By the time he retired in 2006 he had appeared in operas and recitals all over the world. For his final performance, that November at the Semperoper in Dresden, he reprised the role of the hermit in Carl Maria von Weber’s DER FREISCHÜTZ, which he had first performed at the same house in 1949.
Mr. Adam joined the rosters of both Bayreuth and the Berlin State Opera in 1952. He first performed the role of Wotan in the Wagner RING operas in 1963, and in 1967 he took his Wotan to the Royal Opera House in London. Metropolitan Opera audiences got to see him as Wotan in DIE WALKÜRE in 1969, just after his Met debut as Hans Sachs.
Mr. Adam was also known for numerous other roles, including the title character in Alban Berg’s WOZZECK. Philip Borg-Wheeler, reviewing a 1973 recording of that opera for Music Web International, said of Mr. Adam’s performance that ‘we have here arguably the most magnificent Wozzeck on record’.
- Neil Genzlinger, THE NEW YORK TIMES, 15 Jan., 2019
“Wolfgang Sawallisch, one of the last of the old-school German conductors, who led the Philadelphia Orchestra for nearly a decade and the Bavarian State Opera in Munich for two decades before that, embodied the German type of the ‘Kapellmeister’ in the best sense: a man steeped in music, who knew every note of every score he conducted (often from memory), who was a supportive accompanist as well as an informed interpreter and who understood how to train, develop and lead an orchestra. Never flashy, even somewhat understated, he was, at his best, insightful and illuminating.
While Mr. Sawallisch was renowned throughout Europe, he might have remained little known to American audiences had the Philadelphia Orchestra not tapped him to take over as music director in 1993. When he arrived at age 70, he underwent a veritable renaissance, evidently enjoying a new freedom, both artistic and political — far from the political squabbling that had increasingly overshadowed his last years in Munich. ‘The last 10 years, with the Philadelphia Orchestra’, he said in 2006, ‘were really the top years of my symphonic life’. His time in Philadelphia was therefore a particularly happy ending to his career. Against some expectations, the reserved, intensely private German thrived in America, and the orchestra responded warmly to him.”
- Anne Midgette, THE NEW YORK TIMES, 24 Feb., 2013
“Dietrich Fischer-Dieskau was by virtual acclamation one of the world’s great singers, from the 1940s to his official retirement in 1992, and an influential teacher and orchestra conductor for many years thereafter. He was also a formidable industry, making hundreds of recordings that pretty much set the modern standard for performances of lieder, the musical settings of poems first popular in the 18th and 19th centuries. But he was essentially a lyrical, introspective singer whose effect on listeners was not to nail them to their seat backs, but rather to draw them into the very heart of song.
The pianist Gerald Moore, who accompanied many great artists of the postwar decades, said Mr. Fischer-Dieskau had a flawless sense of rhythm and ‘one of the most remarkable voices in history — honeyed and suavely expressive’. Onstage he projected a masculine sensitivity informed by a cultivated upbringing and by dispiriting losses in World War II: the destruction of his family home, the death of his feeble brother in a Nazi institution, induction into the Wehrmacht when he had scarcely begun his voice studies at the Berlin Conservatory.
He had the good luck to age well, too. In 1988, at 62, he sang an all-Schumann program at Carnegie Hall, where people overflowed onto the stage to hear him. Donal Henahan, then the chief music critic of The New York Times, noted that Mr. Fischer-Dieskau’s voice had begun to harden in some difficult passages — but also that he was tall and lean and handsomer than ever, and had lost none of his commanding presence. Mr. Fischer-Dieskau described in his memoir REVERBERATIONS (1989) how his affinity for lieder had been formed in childhood. ‘I was won over to poetry at an early age’, he wrote. ‘I have been in its thrall all my life because I was made to read it, because it gave me pleasure, and because I eventually came to understand what I was reading’. He discerned, he said, that ‘music and poetry have a common domain, from which they draw inspiration and in which they operate: the landscape of the soul’.
Before adolescence Dietrich was inducted into a Hitler Youth group where, he recalled years later, he was appalled by the officiousness as well as by the brutality. His father died when he was 12. And he had just finished secondary school and one semester at the Berlin Conservatory when, in 1943, he was drafted into the Wehrmacht and assigned to care for army horses on the Russian front. He kept a diary there, calling it his ‘attempt at preserving an inner life in chaotic surroundings’.
Instead of returning to the disastrous campaign in Russia, he was diverted to Italy, along with thousands of other German soldiers. There, on 5 May, 1945, just three days before the Allies accepted the German surrender, he was captured and imprisoned. It turned out to be a musical opportunity: soon the Americans were sending him around to entertain other P.O.W.’s from the back of a truck. The problem was, they were so pleased with this arrangement that they kept him until June 1947. He was among the last Germans to be repatriated.
Because of his youth, Mr. Fischer-Dieskau had been in no position to make his own choices in the 1930s and ’40s, so he didn’t encounter the questions about Nazi ties that hung over many a prominent German artist after the war.
Mr. Fischer-Dieskau gave his first professional lieder recital in Leipzig in the fall of 1947. Success followed success, with lieder performances in Britain and other European countries, beginning in 1949. He first toured the United States in 1955, choosing for his New York début to sing Schubert’s demanding WINTERREISE cycle without intermission.
He had made his opera début in 1948, singing Posa in Verdi’s DON CARLOS at Berlin’s Städtische Oper (later renamed the Deutsche Oper), where he was hired as principal lyric baritone. He also sang regularly at the Bavarian State Opera in Munich and appeared frequently in the opera houses of Vienna, Covent Garden, Salzburg and Bayreuth.
Versatility was not the least of Mr. Fischer-Dieskau’s assets. He tackled everything from Papageno in THE MAGIC FLUTE to heavier parts like Wotan in DAS RHEINGOLD and Wolfram in TANNHÄUSER. He recorded more than three dozen operatic rôles, Italian as well as German, along with oratorios, Bach cantatas and works of many modern composers, including Benjamin Britten, whose WAR REQUIEM he sang at its premiere in 1962.
Mr. Fischer-Dieskau’s insistence on getting things right comes through vividly in scenes of him at rehearsal or conducting master class. In a widely circulated video at the time, showing him coaching a young Christine Schäfer, Ms. Schäfer is singing beautifully, or so it would seem to your average mortal, yet the smiling maestro interrupts time and again to suggest something better. And it isn’t merely that he is invariably correct; it’s also that when he rises to sing just a few illustrative notes, the studio is instantly a stage, and he illuminates it with what seems to be an inner light.
Of the many tributes he received over the decades, perhaps none was more heartfelt than that of the British music critic John Amis: ‘Providence gives to some singers a beautiful voice, to some musical artistry, to some (let us face it) neither, but to Fischer-Dieskau Providence has given both. The result is a miracle, and that is just about all there is to be said about it….Having used a few superlatives and described the program, there is nothing else to do but write ‘finis,’ go home, and thank one’s stars for having had the good luck to be present’.”
- Daniel Lewis, THE NEW YORK TIMES, 18 May, 2012
"In 1955 Grace Bumbry entered Northwestern University, where she studied voice with Lotte Lehman, and transferred with her to the Music Academy of the West in Santa Barbara, California. In 1958 she was joint winner of the Metropolitan Opera Auditions, sharing first place with Martina Arroyo. She won some other prizes, and made her professional debut in a recital in London in 1959. Her first operatic appearance was at the Paris Opéra, as Amneris in Verdi's AIDA. It was one of the most spectacular operatic debuts in history; Bumbry became an instant star and was invited to join the roster of the Basle Opera. She made operatic history in 1961 when she was engaged by Wieland Wagner to sing at the Bayreuth Festival and became the first black singer to perform in that shrine of Wagnerian opera. Furthermore, musical historian Nicolas Slomimsky has pointed out that she was the first African American to make a professional operatic as a goddess, for her debut at Bayreuth was as Venus in TANNHAUSER, 23 July, 1961. Bumbry embarked on a concert tour of the United States and was invited by Jacqueline Kennedy to sing at the White House, on 20 February, 1962. She also followed up her success at Bayreuth with appearances as Venus at the Chicago Lyric Opera and at Lyons, France.
Bumbry's 1963 London debut came in the role of Princess Eboli in Verdi's DON CARLOS, and she gave her first Metropolitan Opera performance in the same role in 1965. During the 1960s Bumbry worked on extending her vocal range. In 1970 at the Vienna Staatsoper, she sang the part of Santuzza, making her debut as a soprano. She sang Richard Strauss' SALOME at Covent Garden the same year, and her first appearance in Puccini's TOSCA at the Metropolitan Opera came in 1971. She has a very warm voice with rich tone quality throughout the mezzo range, although it loses some of its distinctiveness in the very upper part of her soprano register. She is among the few sopranos who have sung both the roles of Aida and Amneris in AIDA and both Venus and Elisabeth in Wagner's TANNHAUSER."
- Joseph Stevenson, allmusic.com