V1535. KIRSTEN FLAGSTAD, w.Krauss Cond. Havana Phil.: Ah, perfido! (Beethoven); Wesendonck Lieder, Arias & Duets (w.Svanholm) from Der Fliegende HollÃ¤nder & Tristan - Live Performance, 1948, Havana; Flagstad, w.Favaretto (Pf.): Wesendonck Lieder - Live Performance, 2 June, 1952 (all Wagner). (Germany) Archipel 0423. Very long out-of-print, Final Copy! - 4035122404234
"Mme Flagstad was the greatest singer and the greatest voice I have ever heard."
- Vincent Sheean, FIRST AND LAST LOVE, pp.278-79
"Pride of place in this column belongs to the greatest Wagnerian soprano of the 20th century (and probably the 19th as well), Kirsten Flagstad (1895-1962). Flagstad made her debut at the age of 18 in her native Norway, but her voice developed slowly and she sang mostly light roles in operettas and musical comedies and only in Scandinavia until 1932. By then her voice had greatly deepened and her artistry matured, and her late entry onto the world's stages was spectacular. By the late 1930s, when I first heard her live at the Met, she was internationally famous, but her reputation suffered during WWII, when she was made suspect by her husband's association with the Norwegian Nazis, and it took some time before she was welcomed back to recital stages in the U.S. and elsewhere.
She was a shy, self-contained woman who looked and behaved like a simple hausfrau; she refused to be a prima donna and always insisted her greatest desire was to retire to Norway and spend her life with her husband and children. Watching her knitting placidly or playing solitaire in the wings before she went on stage, observers often wondered whether she really understood what she was doing out there as Brunnhilde or Isolde. The answer was in her performances and is on these discs, in which astounding vocal beauty is combined with great passion and musical insight in deeply felt and deeply moving performances. Hearing her powerful, pure, golden tones ring out effortlessly above the loudest orchestral sound is one of the most electrifying vocal experiences you will encounter. If her characterizations often seemed more stately and restrained than vivid, she made up for it by her musical intelligence, her impeccable intonation and diction, her perfect breath control (which enabled her to produce flawless legato lines), and the radiance, brilliance, ease, and intoxicating beauty of her singing."
- Alexander J. Morin, Classical.Net
"Clemens Heinrich Krauss was a leading Austrian conductor, particularly associated with the music of Richard Strauss, who got to his major positions by the resignation of conductors less sympathetic to the German Nazi regime.
His mother was Clementine Krauss, a leading Viennese actress and singer. He was also related to Gabrielle Krauss (1842 - 1904), an important nineteenth century soprano. His father was a figure in the Austrian Imperial Court. When Clemens went into music, he used his mother's name because of its theatrical history.
He made the rounds of regional centers, conducting in Riga (1913 - 1914), Nuremberg (1915), and Sczeczin (1916 - 1921). The latter appointment gave him ample opportunity to travel to Berlin to hear Artur Nikisch conduct the Philharmonic, a major influence. His next appointment was back in Austria, where he became director of the opera and symphony concerts in Graz. In 1922 he joined the conducting staff of the Vienna State Opera and teacher of the conducting class at the State Academy of Germany. In 1923 he became conductor of the Vienna Tonkünstler Concerts (until 1927), and Intendant of the opera in Frankfurt am Maine and director of the Museum Concerts in 1924, until 1929.
He visited the United States in 1929, conducting in Philadelphia and at the New York Philharmonic. Also in 1929 he was appointed director of the Vienna State Opera. Its orchestra, in its independent concert form as the Vienna Philharmonic, appointed him its music director in 1930. He was a regular conductor at the Salzburg Festival from 1926 to 1934. In 1933 and 1934 he gave up his Vienna positions, becoming director of the Berlin State Opera in 1935 after Erich Kleiber resigned in protest over Nazi rule. Leaving Austria for Nazi Germany was no hardship for Krauss, who was a friend of both Hitler and Göring. In 1933 he took over the preparations for the premieres of Strauss' opera ARABELLA when the principled conductor Fritz Busch left. In 1937 he was appointed Intendant of the Munich National Theater, following the resignation there of Knappertsbusch. He became a close friend of Richard Strauss, wrote the libretto to the opera CAPRICCIO (which he premiered in Munich in 1942), and DER LIEBE DER DANAE. He also conducted the premiere of Strauss' anti-War cantata FRIEDENSTAG.
After the Munich opera house was bombed, shutting it down, he returned to conduct the Vienna Philharmonic Orchestra until it closed shortly before the end of the War (1944-45). After the War, Allied officials investigated his pro-Nazi activities and because of them forbade him from appearing in public until 1947. Notably, however, they also found that he had frequently acted to assist a number of individual Jews escape the Third Reich machine. When his ban was lifted he resumed frequently conducting the Vienna Philharmonic, including its famous New Years Day concerts.
He conducted at Covent Garden in London (1951 to 1953) and in the 1953 Bayreuth Festival [whose RING of that season is famously notable]. He was married to the soprano Viorica Ursuleac. He was in Mexico on vacation when he died there in 1954."
- Joseph Stevenson, allmusic.com
“Clemens Krauss was appointed conductor in Riga at the age of 21 and then at Nuremberg, Stettin, Graz and the Vienna State Opera in short succession. After heading the Frankfurt Opera from 1924 to 1929, he was appointed director of the Vienna State Opera and in 1935 succeeded Furtwängler as permanent director of the Berlin State Opera. Subsequently he replaced the politically disgraced Knappertsbusch, in Munich. Along with Furtwängler and Fritz Busch, Krauss was someone whose conducting Hitler most admired. As a result of his open support of National Socialism, Allied occupation authorities forbade him to conduct for several years after the war.”
- Frederic Spotts, Great Conductors of the Third Reich