OP3350. DIE FRAU OHNE SCHATTEN – Abridged (Complete, as performed), Live Performance, 11 June, 1953, Vienna Konzerthaus, part of the Festwochen, w.Böhm Cond. Vienna Staatsoper Ensemble; Eleanor Steber, Elisabeth Höngen, Christel Goltz, Set Svanholm, Karl Kamann, Otto Wiener, Ilona Steingruber, etc. (Canada) 2-St Laurent Studio YSL T-1022
“In 1953, from a Vienna broadcast of DIE FRAU OHNE SCHATTEN, [Steber] is heard as the Kaiserin, a role she never sang onstage. Her gleaming top tones deal with the treacherous tessitura with easy abandon.”
- Walter Price, THE LOS ANGELES TIMES, 11 JULY, 1993
“That night, in high spirits, I joyfully sang for Vienna….There was a confusion of general rejoicing backstage afterwards. Dr. Böhm seemed pleased with my performance and George London, always a tremendous favorite in Vienna, was ecstatic. I was elated for many reasons, not the least because I adored the way the part sat so beautifully for my voice.”
- Eleanor Steber, ELEANOR STEBER, AN AUTOBIOGRAPHY, p.133
“Although severely cut, this 1953 concert performance gives us the opportunity to hear American soprano Eleanor Steber as the Empress - although not much of the role. From the first act we have but one line, ‘Ich will den Schatten küssen, den sie wirft!’ in a scene featuring the Dyer's Wife and the Nurse. From Act II we have the Empress' big scene beginning ‘Sieh - Amme - sieh’. From Act III we hear the scene beginning ‘Vater, bist dus?’ Set Svanholm doesn't fare much better; we do have his Act II ‘Falke, Falke, du wiedergefundener’ but his big scene from the first act is absent. Act III is the most complete including the entire opening scene between Barak and his wife. We then cut to the Empress' ‘Vater, bist dus?’ and continue to the end of the opera.
Steber is a magnificent Empress, fearless on the infamous high notes of the demanding role that Rysanek dominated for over two decades, a bit lacking in power on the lower end. It also is a pleasure to hear Set Svanholm as the Emperor. Goltz, one of the reigning Strauss singers of the time, is an ideal Dyer's Wife, in finer voice here than she was in the commercial recording two years later. Höngen is a strong nurse, a role she also sang in the early Decca recording. Otto Wiener's Spirit-Messenger is fine; Karl Kamann's Barak is edgy, and the chorus of unborn children are a squally lot indeed.
The issue is of great interest….DIE FRAU OHNE SCHATTEN wasn't performed very often at the Vienna State Opera before the War. During the second half of the '40s the State Opera had to perform mostly in the Theater an der Wien as its own home had yet to be rebuilt. FRAU was considered too grand-scale to be in the smaller theater. With the influence of Karl Böhm, and to renew interest in the work, a concert performance was presented in the Vienna Konzerthaus June 11, 1953 as part of the Festwochen, and that is what is heard on these CDs. The mono sound really isn't too bad for the time; voices are well projected with the Vienna Philharmonic rather distant, distortion not overly offensive. The occasion was so successful it led to a new staging of FRAU during opening weeks of the rebuilt Staatsoper in November 1955 shortly after which conductor and cast, in their eagerness to have the work recorded, agreed to do so without fee. Decca/London made the recording in 1955. The cast featured Hans Hopf as the Emperor, Leonie Rysanek as the Empress, Elisabeth Höngen as the Nurse, Paul Schöffler as Barak and Christel Goltz as Barak's Wife. Produced by Victor Olof and Peter Andry, it's an outstanding example of early stereo recording technique. In the years to follow Böhm continued to perform FRAU including a series of performances at the Metropolitan Opera in their 1966 opening season in their new house, a spectacular production with Rysanek, Christa Ludwig, Walter Berry, James King and Irene Dalis as the Nurse.”
"Soprano Christel Goltz was a discovery of conductor Karl Böhm and one of the leading dramatic sopranos of her generation who possessed a rich voice with a brilliant range and intensity. She was particularly associated with the operas of Richard Strauss, especially SALOME and ELEKTRA, and with contemporary operas. Before she became a singer, Goltz had been a dancer and was physically the antithesis of the typical operatic soprano: small, lithe, and energetic. Despite her diminutive stature, Goltz had a big voice that easily made it out to the farthest tier, and it is said that when the character Narraboth killed himself in Strauss' SALOME, that Goltz would leap over his dead body during the Dance of the Seven Veils. It was in dramatic roles such as Salome and Elektra that Goltz made her mark, and by all accounts in performance she was extremely effective at them. The only sizable studio recordings she made - SALOME with Clemens Krauss and ELEKTRA with Georg Solti - were in such roles. Early in her career, Goltz also created roles in works of Carl Orff and Swiss composer Heinrich Sutermeister.
Born in Dortmund, she studied in Munich with Ornelli-Leeb and with Theodor Schenk, whom she later married. After singing small roles, she made her official debut in Fuerth, as Agathe, in 1935. She sang one season in Plauen, before joining the roster of principal sopranos at the Staatsoper Dresden through the invitation of Karl Böhm in 1936. She remained at that house until 1950. She began appearing at both the Berlin State Opera and the Stadtische Oper Berlin in 1947, and at the Munich State Opera and Vienna State Opera in 1950. Beginning in 1951, she also made guest appearances in Salzburg, Milan, Rome, Brussels, Paris, London, Buenos Aires, and sang at the Metropolitan Opera in 1954. Besides SALOME and ELEKTRA, her greatest successes included the title role in JENUFA, Marie in WOZZECK, Die Farberin in DIE FRAU OHNE SCHATTEN, Leonora in FIDELIO and Elettra in IDOMENEO. She created the title roles in Carl Orff's ANTIGONE and Rolf Liebermann's PENELOPE. An intense singing-actress with a clear and powerful voice of great range, she also tackled a few Italian roles, notably Turandot."
- Ned Ludd