OP2569. DIE ENTFÜHRUNG AUS DEM SERAIL, Live Performance, 4 Aug., 1961, Salzburg, w.Kertész Cond. Vienna Staatsoper Ensemble; Fritz Wunderlich, Andreas Wolf, Ruth-Margret Pütz, Renate Holm, Erwin Wohlfahrt, etc. (E.U.) 2-Myto 00305. Long out-of-print, Final Sealed Copy! - 0801439903050
"An inordinately gifted conductor, Istvan Kertesz died at age 43 in a tragic drowning off the Israeli coast. He had already reached full maturity as a musician, proving his worth in opera, oratorio, and the symphonic repertory. His interests were wide-ranging, including works from the Classical and Romantic periods and large portions of twentieth century music.
Beginning with private lessons in childhood, Kertesz studied piano and violin. He continued with violin training at the Ferenc Liszt Academy in Budapest, adding composition under the supervision of such teachers as Weiner and Kodaly. He pursued his conducting studies with Laszlo Somogyi, at the same time benefiting from studying the performances of Otto Klemperer, who was then working at the Hungarian State Opera. In 1953, Kertesz was appointed resident conductor at Gyor, two years later transferring his activities to Budapest, where he was hired as coach and conductor. Following the political uprising and Soviet response in 1956, Kertesz moved with his family to Germany, subsequently acquiring German citizenship.
From 1958 to 1963, Kertesz was general music director at Augsburg. His British debut took place with the Royal Liverpool Philharmonic Orchestra in 1960, followed by appearances with the London Symphony Orchestra in 1961. His American debut came with a tour with the NDR Symphony Orchestra in 1961, during which he made a positive impression on American audiences and critics alike. An appointment as general music director in Cologne came in 1964, and 1966 brought a Covent Garden début, directing UN BALLO IN MASCHERA. A global tour with the London Symphony Orchestra led to his succeeding Pierre Monteux as LSO principal conductor in 1966. In 1971, he became music director of Cologne's Gurzenich-Orchester, a position he held until his death two years later.
Kertesz was decidedly non-interventionist as a conductor. With scrupulous attention to the composer's directions, his interpretations were more remarkable for sound musicianship than for striking individualism. Still, his performances often held high drama, and he was intentional about advocacy of works he believed in which, in light of his broad interests, were numerous. At Cologne, he presented the German premiere of Verdi's STIFFELIO as well as Mozart's LA CLEMENZA DI TITO (a work he recorded in its first complete edition on disc).
For Decca, Kertesz recorded a superb BLUEBEARD'S CASTLE with Christa Ludwig and Walter Berry, still unsurpassed after several decades. His complete recordings of the Dvorak, Brahms, and Schubert symphonies still enjoy honorable places among the best versions committed to disc. The first Western recording of Kodaly's HARY JANOS (the complete opera) was made with the London Symphony under Kertesz's direction. The Decca label coupling of Dvorak's REQUIEM and Kodaly's PSALMUS HUNGARICUS is another fitting tribute to a superb artist too soon departed.
In addition to Bartok, Kertesz was an indefatigable champion of works by Stravinsky, Henze, and Britten. Britten's BILLY BUDD was first presented to German audiences under Kertesz 's baton and he directed the first performance of the WAR REQUIEM heard in Vienna. For Ravinia Festival audiences, Kertesz directed the WAR REQUIEM with the Chicago Symphony Orchestra & Chorus shortly before his death. With soloists Phyllis Curtin, Robert Tear, and John Shirley-Quirk, the conductor's shattering interpretation left audience members limp."
- Erik Eriksson, allmusic.com
“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
“Fritz Wunderlich spent five years in Stuttgart before he became a world figure.....The voice is young and fresh. There has hardly ever been a more beautiful tenor voice, and his career lasted only ten years because he died young.”
- Donald R. Vroon, AMERICAN RECORD GUIDE, July/Aug., 2004