OP2625. SIEGFRIED, Live Performance, 28 Sept., 1959, w.Konwitschny Cond. Royal Opera House Ensemble;
Hans Hotter, Wolfgang Windgassen, Peter Klein, Otakar Kraus, Astrid Varnay, Marga Hoffgen, etc. (E.U.) 4-Walhall 0370. - 4035122653700
"Franz Konwitschny (1901-62) was a large and rotund fellow, a fine musician who is less known internationally than he should have been, mostly because he rarely ventured outside the communist controlled east European countries. He was for many years director of the Leipzig Gewandhaus Orchestra, and his recordings with them include a fine stereo set of the Beethoven symphonies. Actually, he was a powerful Beethoven conductor, and his Eroica with the Staatskapelle Dresden is surely among the best of the 20th Century. He was a fine opera conductor also, and made excellent recordings of Wagner's FLYING DUTCHMAN, TANNHÃ„USER and TRISTAN."
- John P. McKelvey, AMERICAN RECORD GUIDE, May/June, 2012
"Almost forgotten a generation after his death, Franz Konwitschny, director of both the Gewandhaus Orchestra in Leipzig and the Berlin State Opera from 1949 until his death in 1962, was much the finest and by far the most successful East German conductor of his time. Konwitschny didn't seek to match the glamour of Herbert von Karajan, his West German opposite; he was interested in something else entirely. Born in 1901 at the height of German romantic idealism, Konwitschny came of age in the milieu of post-War modernism, and in his maturity the one influence tempered the other so that the classic Konwitschny performances were clean and lucid but enormously concentrated and unbearably intense. For latter-day [listeners] who know best Karajan's more charismatic recordings, Konwitschny's will clear the mind, cleanse the palette and sooth the spirit."
- James Leonard, allmusic.com
“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.
The tenor made his début as Alvaro in LA FORZA DEL DESTINO at Pforzheim in 1941. In 1945, he joined the Württembergisches Staatstheater in Stuttgart, steadily moving from lyric rôles to more heroic parts; he remained a singer there until 1972. Upon making his début in the first postwar season at Bayreuth in 1951, he came to international attention. His Parsifal, growing from uncomprehending innocence to maturity and service, was a moving portrayal and was recorded live by Decca Records. Windgassen became indispensable at the Bayreuth Festival, excelling as Lohengrin, the two Siegfrieds, Tannhäuser, and Tristan. There, he earned the respect and devotion of the three leading dramatic sopranos of the age: Martha Mödl, Astrid Varnay, and Birgit Nilsson. Elsewhere, Windgassen made positive impressions at La Scala (where he débuted as Florestan in 1952), Paris (Parsifal in 1954), and Covent Garden, where he appeared as Tristan in 1954. Although regarded by English critics as somewhat light of voice for Wagner's heaviest tenor rôles, his lyric expression and dramatic aptness were wholly admired. The Metropolitan Opera briefly heard him as Siegmund beginning in January 1957 and as Siegfried. Windgassen did not return to America until 1970, when he sang Tristan to the Isolde of Nilsson at San Francisco. Beginning that same year, he turned to stage direction. Among Windgassen's finest recordings are his Bayreuth PARSIFAL, captured with a superb cast under Knappertsbusch's direction, his 1954 Bayreuth LOHENGRIN under Jochum, his SIEGFRIEDs under both Böhm at Bayreuth and in the studio with Solti, and his Bayreuth TRISTAN with Böhm conducting and Nilsson as his Isolde.”
- Erik Eriksson, allmusic.com
"Hotter was far, far more than a Wagnerian....[he] sang Lieder at recitals and in the studio throughout his timeless career. All his interpretations evinced a care over matching text to music. Even in Wagner he gave a Lieder singer's attention to the words. In private he was a gentle giant, an engaging raconteur and an intelligent observer of the musical scene"
- Alan Blyth, GRAMOPHONE, March, 2004
"Of all the singers of the 20th century, the man whose voice and presence were most capable of conveying the essence of the archetypal father was bass-baritone Hans Hotter. Blessed with a huge, resonant instrument that could be scaled down to an intimate whisper, the man could sound invincible one minute and vulnerable the next. No matter what he sang, Hotter communicated a profundity and depth of spirit that seemed rooted in a primordial place of holiness and sagacity. If you can imagine a man whose voice could convincingly express the power of a God, the wisdom of a sage, and the humanity of an open-hearted mortal, you can begin to hear the sound of Hans Hotter in your head.
In the world of opera, Richard Wagner's Wotan, the God of Valhalla, is perhaps the greatest Daddy of them all. In DIE WALKÜRE, he has no choice but to punish his favorite daughter Brünnhilde for her sin of intervening in the affairs of mortals. But even as he puts his beloved daughter to sleep, protecting her with a ring of fire, he makes sure that love can dowse the flames and return her to life. It was the Wotan of Hans Hotter, more than of any other recorded singer, that most fully expressed the tortured godliness of this strangely mortal immortal.
At the same time as Hotter dominated the opera stage as Wotan, he became known as a supreme interpreter of German art song. With his voice pared down as necessary, Hotter's lieder interpretations evinced the same strength and surety that thundered through him when he strode across the stage carrying sword and shield."
- Jason Serinus
"The dramatic soprano Astrid Varnay was born into an operatic family: her mother was a coloratura soprano and her father a spinto tenor. The year in which she was born they founded the Opera Comique Theatre in Kristiania, Sweden, although they were both born in Hungary, and they managed it until 1921.The family then moved to Argentina and later to New York, where her father died in 1924. Her mother subsequently remarried another tenor, and the young Astrid, after studying to be a pianist, decided at the age of eighteen to become a singer. She worked intensively, first with her mother and then with the Metropolitan Opera conductor and coach Hermann Weigert, whom she later married. She made her sensational stage début at the Metropolitan in 1941, substituting at short notice for Lotte Lehmann as Sieglinde in DIE WALKÜRE with no rehearsal. After this triumph, six days later she replaced Helen Traubel in the same opera as Brünnhilde, and her operatic career was effectively launched. She made her Covent Garden début in 1948 and, at the suggestion of Kirsten Flagstad, her Bayreuth Festival début in 1951. She sang every year at Bayreuth for the next seventeen years and at the Met until 1956, when she left following a disagreement with Rudolf Bing. She henceforth concentrated her career on Germany where she was revered, living in Munich. She moved from the dramatic soprano repertoire into that for mezzo-soprano in 1969, and during the 1980s into character parts. She made her last appearance in Munich in 1995, almost fifty-five years after her Metropolitan début. Her brilliant career is well documented in both commercial and unofficial sound recordings."
- David Patmore