V1343. INGE BORKH: Arias & Scenes from Lady Macbeth of Mtsensk, Elektra & Genoveva. (Portugal) 2-Gala 100.805, Live Performances, 1950-99. [Beyond her fascinating singing here, Borkh's spoken dialogues from ELEKTRA are spellbinding!] Final Copy! - 8712177051649
“Inge Borkh, a soprano who inhabited with thrilling intensity some of the most hair-raising and daunting roles in the operatic repertoire, [was admired for] passionate portrayals [which] emerged through solid technique and secure, if fiery, tone. Howard Taubman, reviewing her in concert as Elektra at Carnegie Hall in 1958, wrote in THE NEW YORK TIMES that she sang ‘with unremitting authority’, adding, ‘The word ‘sang’ is not used by courtesy, as it often has to be with Elektras’. (The role is so arduous that many sopranos practically scream through much of it.)
Ingeborg Simon was born on May 26, 1921, in Mannheim, Germany. Her father was Jewish, and the family fled Germany in 1935, after the rise of the Nazis, settling first in Geneva and then in Vienna.
Though her mother’s side of the family was dotted with singers, she began her education as an actress. After the Anschluss in 1938 she returned to Switzerland, where she encountered the bass Fritz Ollendorff, who recommended she develop her singing voice. She studied in Milan, and made her debut in 1940 in Lucerne, adopting Inge Borkh as her stage name.
Spending the 1940s in Switzerland, she swiftly moved from lighter lyrical roles to heavier ones in operas by Wagner, as well as the formidable Strauss antiheroines who became her calling cards.
In 1951, Ms. Borkh caused a sensation when she appeared in Berlin as Magda Sorel in Gian Carlo Menotti’s opera THE CONSUL, just a year after its debut. She ‘not only emerged with top honors for a brilliant performance’, Kathleen McLaughlin wrote in THE TIMES, ‘but also experienced that rarest of tributes for an actress by ‘stopping the show. The reaction of the audience’, Ms. McLaughlin added, ‘was an ovation of shouts, stamping and hand-clapping that lasted for several minutes’.
That success put Ms. Borkh on the international map, leading to debuts as far afield as London, New York and San Francisco, though her career remained focused on Continental Europe. She made few commercial recordings, but when her live performances were captured on disc they frequently became cult favorites - none more so than a delirious 1957 ELEKTRA at the Salzburg Festival led by Dimitri Mitropoulos, who also conducted her Met debut, as Salome, the next year. [Salome and Elektra], those two fiendishly difficult characters, were the ones for which Ms. Borkh was most renowned. She went on to appear at the Met as Sieglinde in Wagner’s DIE WALKÜRE, the Dyer’s Wife in Strauss’ DIE FRAU OHNE SCHATTEN and Leonore in Beethoven’s FIDELIO.
She retired from opera after a run of ELEKTRA in Palermo, Italy, in 1973, but continued to appear onstage as a monologuist and as a suave, witty cabaret artist; a memorable recording was made of her cabaret show, ‘Inge Borkh Sings Her Memoirs’.
- Zachary Woolfe, THE NEW YORK TIMES, 28 Aug., 2018
"Unlike most German sopranos, Inge Borkh possessed a lyric warmth not often associated with the German Fach and which also blessed singers such as Frida Leider and Lotte Lehman. As a young kid I learned my first TURANDOT through her Decca recording and I still have an undiminished enthusiasm for it in spite of some deficiencies, for Inge Borkh is still the least 'icy' sounding princess in recorded TURANDOT history. Borkh is too often associated with Strauss alone; the soprano had a much more varied repertory in which she excelled. Borkh initially wanted to become a stage actress and thus it is no wonder her enunciation is always so well-rendered with every word perfectly clear. Even as a young girl she impresses with her enthusiasm when at age 14 she recorded a Ralph Erwin song. Ralph Erwin, an indirect Nazi victim (1943) and of Richard Tauber fame ('Ich kuesse ihre hand, Madame') would have loved her unspoilt go at 'Man hat's nicht leicht'."
- Rudi van den Bulck, Opera Nostalgia