Newsletter november 2010

Newsletter November 2010

Newsletter November 2010 6 new releases Click on the FI numbers for more information on the website. FI-1180 Gottfried von Einem ~ Der Prozess Gerhard Stolze, Kurt Equiluz, Manfred Jungwirth, Heinz Zednik a.o. Orchester der Wiener Staatsoper Conductor: Heinrich Hollreiser Wien, January 31, 1970 This is the last recording in the opera series of Gottfried von Einem. This recording is not of the world premiere in 1953, as that has already been issued on CD. This is a live-recording in Vienna, 1970. According to the press this cast exceeded the one of the world premiere, and was also a bigger success. Not everyone’s cup of tea, but certainly worth getting to know. FI-1181 Giuseppe Verdi ~ La Traviata Anna Tomowa-Sintow, Neil Rosenshein, Juan Pons, Rosa Vento a.o. Orchestra and Chorus of the Lyric Opera of Chicago Conductor: Bruno Bartoletti Chicago, 26 Sept 1988 Anna Tomova-Sintow has been neglected by the major record companies. Recordings of her Puccini and Verdi performances are hardly available. She made a studio recording of her Violetta in Bulgaria which was very hard to obtain and certainly not as good as this live recording. The voice sounds a little too strong and healthy, but is till is a monumental creation. Neil Rosenshein has even been more neglected and every recording of this lyric tenor proves to be a benefit, also because he was a very good actor who knew how to affect his audience. Juan Pons is no less than his colleagues and makes everybody love him, especially in the great duet in the second act. FI-1182 Luigi Cherubini ~ Medea Maria Callas, Mirto Picchi, Renata Scotto, Giuseppe Modesti a.o. Orchestra et Coro della Scala di Milano Conductor: Tullio Serafin Milano, September 1957 The only reason to edit these recordings is the sound. If there’s one Callas-recording that’s been tampered with, it is this Medea, which is also not easy to obtain. Maria Callas has defined the ultimate standard for this role and from the first time she performed Medea hardly anything changed in her interpretation. Maybe in Florence she was fuller in her sound, and more sensitive in Dallas, but this recording clearly shows her worth, without annoying stage sounds or broadcast disturbances. FI-1184 Giacomo Puccini ~ Madama Butterfly Renata Scotto, John Alexander, Joann Grillo, John Robert Dunlap a.o. Orchestra and Chorus of the Metropolitan Opera Conductor: George Schick New York, Metropolitan Opera House January 1, 1966 Renata Scotto knew all too well what was at stake with her debut at the Metropolitan Opera. The combination of voice and interpretation makes this Butterfly the very best ever. The critics thought one had to go back to Geraldine Farrar to have heard and seen a Butterfly like that. It also was clearly a solo performance in which the rest of the cast was hardly noticed. A unique document. FI-1185 Amilcare Ponchielli ~ La Gioconda Eva Marton, Plácido Domingo, Cornell Macneil, Mignon Dunn a.o. Orchestra and Chorus of the Metropolitan Opera Conductor: Giuseppe Patanè New York, Metropolitan Opera House, February 12, 1983 This is one of the three best roles Eva Marton sang in her career. Maybe she was inspired by Plácido Domingo who is more comfortable here than in the studio. Together with Cornell Macneil they became a golden trio in this memorable performance. The other two toppers of Eva Marton will soon be released in Opera-club. FI-1186 Jacques Offenbach ~ Les Contes d’Hoffmann Waldemar Kmentt, Anja Silja, Otto Wiener, Gerhard Stolze a.o. Orchester und Chor der Wiener Staatsoper Conudctor: Josef Krips Wien, Wiener Staatsoper, 16 October 1966 The German dramatic soprano Anja Silja is a phenomenon, with a career which for longevity and range must rank in the world-record annals. After her debut in 1960 in Bayreuth many predicted a very short vocal career for Anja Silja. A career that now spands over 50 years. She doesn’t have a beautiful sound, but in combination with her stage presentation she became an opera legend. Some singers outdid the performances of the female roles in Hoffmann, but were not always able to define them. Anja Silja succeeded to do this, which makes this recording so special. O.K., also because one can hear Waldemar Kmennt in one of his best roles and Gerhard Stolze makes true creations of his characters.

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