V2630. LOTTE SCHÖNE: The Complete Recordings, incl. Songs by Schubert, Schumann, Brahms, Mendelssohn, Wolf, Richard Strauss, Josef Strauss, Johann Strauss, Benedict, Rossini, Rubinstein, Benedict, Debussy, Chausson, Ravel & Roussel; Arias & Duets (w.Wittrisch, Janssen, Domgraf-Fassbänder & Hislop), from Nozze, Don Giovanni, Così fan Tutte, Die Zauberflöte, Barbiere, Don Pasquale, Les Huguenots, Manon, Ballo, Rigoletto, Turandot, La Boheme, Madama Butterfly, Die Lustigen Weiber von Windsor, Eine Nacht in Venedig, Der Vogelhändler, Der Obersteiger, The Geisha, Cagliostro in Wien, Die Schöne Galathée, Der Arme Jonathan & Die Fledermaus. 5-Marston 55002, recorded 1921-50. Specially priced, 5-CDs for the price of 4. - 638335500225
"Lotte Schöne is one of those singers whose personality shines through the shellac: joyful, expressive, and bubbly. She was loved by audiences in Vienna, Salzburg, Berlin, Paris, and London. Lotte Schöne’s records are highly prized, especially her acoustic discs. This set contains all of her known recordings for Vox, Odeon, and the Gramophone Company, including six unpublished Odeon sides made just before the company’s conversion from the acoustic to the electric recording process, and four unpublished Gramophone Company sides of Hugo Wolf songs recorded in 1934. The set concludes with a delightful group of non-commercial discs made for her family, and a substantial offering of German and French songs recorded late in her career for French and German Radio in 1948 and 1950.
This is the first time that Lotte Schöne’s complete extant recordings can be heard in one compilation. The booklet includes rare photos, an evaluation of Schöne’s recordings by Michael Aspinall, and a personal essay by the noted French author, André Tubeuf, written in English especially for this Marston Records release.
Lotte Schöne confined herself to just two opera houses, admittedly the very best in the world in terms of musical quality: Vienna and Berlin. Her ambitions did not strive any further, and she did not have a worldwide career by any means. Hers was just a case of developing, from lighter to heavier (but never too heavy) roles, from light-hearted to deeply emotional: the way every singer’s growing and mellowing ought to be, (and was actually typical in those days) when singers stayed close to home. Such wisdom ought to have been rewarded by long, happy years of fulfillment. But - thus it also had to be in those days - history prevented what ought to have been.”
- André Tubeuf, Marston Records