Pflanzl Heinrich und Rudolf Schock (1951)
Krank BB R LIEBE!
minimize bureaucracy Nureddin itself. To him everything is in Peter Cornelius' comic opera 'The Barber of Baghdad' (1858).
Rudolf Schock stresses in his biography of the "unforgettable delightful" Berlin premiere of this opera in 1951. At the last, autobiographical opera LP ('For my friends' 1978) he recalls - not coincidentally - also worn at the Cornelius aria "Ah, the suffering did I'. sang shock, the roller Nureddin extremely happy. A missed opportunity Electrola that has not in the early fifties of the last century included the full 'Barber of Bagdad' with the young Rudolf Schock. Probably will end 1961 at Electrola / EMI one execution of Nureddin aria 'at your window the flowers' . The 70-year-old Rudolf shock experienced in 1985 that Acanta two single, released to radio fragments recorded on LP. three (!) complete radio broadcasts from the years 1951, 1952 and 1957 but remain behind bars in the radio archives. And even the not quite, because of the 1951 recording was originally believed they had been wiped.
Only in the nineties will be released on CD in 1952 and 2002 versions - surprise! - The long-lost recording from 1951. How excited I was about a Electrola / EMI recording of 1961, only really happy I made this new 'old' Barbiere ': They provide the proof that the mad love Nureddin a forgotten star role of Rudolf Schock is.
three Christmas songs by Peter Cornelius
Rudolf Schock picks up 1964th They were / are to shocks LP / CD with Christmas songs from the same year and are now 45 years uninterruptedly available.
PETER CORNELIUS
(Mainz 1824 - Mainz 1874)
father, Charles Cornelius was an actor, Uncle Peter Cornelius is a valued artist. Peter Cornelius also wants the stage. But if the father dies, and the 20-year-old Peter pulls into the home of the famous uncle, he is different and the course begins to study music. He is a music teacher, works as a music reviewer for various journals and met Franz Liszt (1811-1886) , the renowned pianist, composer and conductor. At the same time is growing - as Anton Bruckner - even with a deep admiration for Cornelius Wagner . In 1856, composer Peter Cornelius a 'Christmas-cycle (Opus 8) with his own texts. The six songs (three of them so Rudolf Schock sings on CD) are far and wide recognition. Then, on 15 December 1858 in Weimar Cornelius' opera 'The Barber of Baghdad' to first time listed, but charm and humor of Peter Cornelius' melodies and lyrics are lost in the tumult surrounding the conductor of the premiere: Fri a
n z Liszt. This is quite some time with the theater playwrights in the clinch, and calculated the premiere of the 'barber' is used by supporters of both camps in order to remove the different views at the expense of poor Peter Cornelius. Franz Liszt shall meet this evening not in Weimar, and Peter Cornelius pulls his 'barber' rocked back, places it in any cabinet or - In the spirit of 'barber' -act - in a chest and no longer care about him. He must have been of the opinion that the scandal would be (too?) Attributed the qualities of his opera. Almost a century later, some judges opera lover who was 'Barber of Bagdad' a "forgotten masterpiece" (belt). Also, the prejudice is obsolete, Wagner fan Peter Cornelius have had influenced the composition of his theatrical production of German opera giants largely. Cornelius holds a reasonable distance, is the own musical path, Wagner appears in the figure of the barber Abul Hassan to satirize even.
Cornelius moved to Vienna and composed but a second opera ( 'The Cid' ), the mind in Weimar and, moreover, has been successful premiere. For solo voice and / or choir, he writes a number of songs, among which 1863 text from the playwright and poet Friedrich Hebbel the nice 'Requiem: Soul, forget not' . Hebbel had died in 1863 that is straight. Two years later received a very dear Peter Cornelius to leave the invitation of Richard Wagner, to Munich. There shall appoint one to Cornelius 'Professor of Rhetoric and harmony' at the Royal Bavarian Academy of Music. On 26 October 1874 - not yet 50 years old - Peter Cornelius died in the same town where his short life had begun 1824th In some opera reference books is not even before Cornelius. It does sometimes look as if very humble people have to be content with a place on the edge. But there is always interested in music again, just go to the edge, and discover that there riches.
'The Barber of Baghdad'
is a German 'Opera Comique' (see also the essays 'RS sings Adam, Auber, Bizet and'). Mozart "The Abduction from the Seraglio ' (1782) and Carl Maria von Weber ' Abu Hassan ' (1811) must have been sources of inspiration for Cornelius. Noteworthy is the fact that the 'Barber' is a comic opera without the usual in this genre, spoken dialogues. Peter Cornelius conceived the work as a textually and musically through-composed opera, the first one only a single file. Franz Liszt (the Cornelius the 'barber' dedicated) advises him to get two files from it. Liszt also help you choose from the two overtures, the Cornelius wrote for the 'barber' .
The fairy tale of the opera is based on a story from '1001 Nights', and with the figure of 'self-taught universal genius Abul Hassan Ali Ebn Bekar' seems Pet
he Cornelius on mild into perspective, ironic way and all the all-overshadowing 'total artist' Richard Wagner. The real protagonist is the impetuous Nureddin, who is sick with love. If Nureddin finally gets the opportunity to to take Margiana , but he wants to shave a short moment. This 'brief moment' leads to an extremely frustrating, incredibly long (but funny for us) confrontation with the nonsense chattering and even the most important-making Abul Hassan. Abul continues Nureddin to walk in the way and even appeared as a disturbing factor fasel Santander before the window of the room, where Nureddin Margiana and declare their love for each other. But of course everything goes well: Nureddin Margiana and live long and happy, and Abul is captured. The Caliph was sentenced to life storytelling at his court. Liszt conducts the first performance, which is so very wrong. Cornelius has the 'barber' thrown to the old ice
en. Two years after his death leads to the factory in Hanover once more to stop, but also because it is not a success. In 1882, brings the Wagner-conductor Felix Mottl (1856-1911) the opera back into a single file. He works for the instrumentation in the sense of Wagner and plans during the premiere, which he conducts himself, Cornelius' second (D-Dur 6/8-) Overture to use. The advantage would be that this second Overture on significant prelude to the music of the opera itself. The first (h-Moll 3/4-) overture music has little connection with the opera and only exists to put the audience in good atmosphere. On 1 Felix Mottl conducted in February 1884 the opera in Karlsruhe, and can be found that the Cornelius/Mottl- 'barber' is then exported to Germany two decades long. Then played in the original Weimar Cornelius / Liszt version recovers a role despite the fact that Cornelius' widow the original score "to the memory of her husband's sake" no longer provides. But with the orchestra parts of the original version, the first score is reconstructed, according to these on 10 June 1904 2nd Time in Weimar, Premiere. I have the impression that the opera is on if and when played in both versions. The Berlin State Opera listed with the 'Barber of Bagdad' 1922 to even have a popular success, and she does it with the nimble, original Cornelius / Liszt version. Thereafter, the 'Barber' gets but again in the background. Shortly after the Second World War, however, the opera gets a new chance: the end of 1949, the work - performed on the Vienna State Opera ten new - along with Puccini 'Gianni Schichi' . Otto Edelmann Abul, Anton Dermota and Julius Patzak singing alternately Nureddin, and Sena Jurinac is Margiana. The conductor is Otto Ackermann . 
mid-1951, the work directed by Ernst Legal at the Berlin State Opera premiere. Pflanz, Heinrich, Rudolf Schock and Elfriede Trötschel (see photo) sing the leading roles, Leopold Ludwig , the musical director. The idea is "unforgettable delightful" (shock).
Then there are a few radio broadcasts. Including a broadcast from Cologne (at the end of 1951 Keilberth ) and Vienna (the end of 1952 under Heinrich Hollreiser ). Finally, appear in 1957 or a radio broadcast from Munich under Hans Gierster and the first commercial studio recording under Erich Leinsdorf at Columbia (later EMI) with Oscar Czerwenka, Nicolai Gedda and Elisabeth Schwarzkopf. With this double final chord, it is again with the 'barber' -revival over. Only in 1973 published € Disc / BMG, a second commercial (stereo) version at Heinrich Hollreiser with Adalbert Kraus and Sylvia Geszty. Abul Hassan the singing of well-known and discovered by Rudolf Schock bassist K arl
Ridderbusch (1932-1997). Karl Ridderbusch
Rudolf sings shock in 'Barber of Bagdad'
in 1936 (Duisburg) and 1939 (London), which shows off that Cornelius' 'barber' at smaller theaters and probably played was / is. In any event, Rudolf Schock sang in the thirties to the role of Nureddin. He should be mentioned in the biography. Besides Nureddin there in the opera for four tenor roles: Margianas Father: Baba Mustapha, two 'Muezzin' (mosque officials that call the faithful from the minaret to prayer ") and a slave who is beaten and therefore only tenor to need to complain. I suspect that one of Rudolf Schock 'muezzin' sang, but dat is probably a slap in the water.
It is interesting to note that the central portion of the earlier Nureddin by 'young' and heavier was shown heldentenors . That must have been for this often inflexible voices are not always easy. In the literature on this Cornelius opera often the discomfort is called the roll. The singer is in rapid succession from one register to another 'slip' ('passagio'). The pitch shoots from low to high, from chest to head voice and vice versa. It is likely therefore that the role is sung later favored by singers, both the qualities of a 'heroic' , as well as an own 'lyrical' Tenors. Including the young Rudolf Schock decreed in the decade after the Second World War, these qualities, and it is therefore logical that he was soon regarded as a suitable singer for Nureddin role.
- Berlin, 22/05/1947: 1 Scene 1 Akt (Nureddin / servant): 'Gentle slumber it weighs a' with the RIAS Chamber Choir and the RIAS Symphony Orchestra. Dir WALTER SIEBER (on CDs of Acanta, Delta, Laser Light etc. Also as a bonus for the overall implementation of the 'barber' on Gebhardt JGCD 0048-2).
The RIAS Chamber Choir and the RIAS Symphony Orchestra have been with the financial help of the Americans on 16 Founded in November 1946 and were located in the American sector of Berlin. A small year, worked hard in the selection of singers and musicians, and there was the corresponding samples. The first concert took place at the beginning of the season 1947/1948 in Titania. The conductor was Walter Sieber . Nureddin shock earliest recording is so from the period between the chorus and orchestra's founding and the first concert and will be released in 1985 for the first time on LP. Meanwhile, it occurs on many CDs with shock-opera recitals. The servant's choir, singing the love-sick Nureddin to sleep sounds pretty dull, but shocks languishing voice is like velvet. I learned this 1985 recording stresses as a dreamy sensation.
- Hamburg, 03.22.1951: Duet Noureddin Margiana second Nude: 'O lovely image in Beautiful Angel' with Lore Hoffmann (Margiana) and the Hamburg Radio Orchestra. Dir WALTER MARTIN (On shock-opera recital CDs of Acanta, Delta, Relief etc. Also as a bonus in the overall record on Gebhardt JGCD 0048-2).
The love duet from the 2nd Act is the heart of a long scene with the 'muezzin' and Abul Hassan-before-the-window. The melody is gorgeous and should be a Opernhit. The design of shock and Hoffman conjures up the sole delight. Leo Suggested in his belt 'Grand Opera Book' (Elsevier 1959), Peter Cornelius had made this duet as a parody of the great love duet from Tristan und Isolde in Wagner's opera. Belt looks even text similarity. Belt 'presumption can not be right: Cornelius' opera debut was in 1858, Wagner's 'Tristan and Isolde' 1865th It might therefore have been reversed: the great Wagner can be inspired by the small Cornelius (you do not, however, to believe!).
The lyric soprano Lore Hoffmann (1911-1996) sang mainly in the Berlin and Hamburg Opera theaters (including many Mozart roles, Eva in Wagner 'Parsifal' , Mimi in Puccini 'La Bohème' ) and was active as a concert singer. Together with Rudolf Schock sings operetta next available on CD in a complete radio recording (1951) of the 'Count of Luxembourg' by Franz Lehár. It is incomprehensible that you have this "soprano with a voice of th purest quality" (AR-Gramophone) almost forgotten today. You could easily set the illustrious Schwarzkopf, Della Casa, Jurinac, Grümmer be added.
- Cologne, 19/12/1951: Total execution on the radio: 'The Barber of Baghdad' . Dir Keilberth - Gebhardt Records JGDC 0048-2 (extra: the above-mentioned individual fragments from the 'Barber' + the first finals from Albert Lortzing 'Zar und Zimmermann' under Walter Martin and Margot Guillaume, Rudolf Schock and Horst Günther).
Rudolf Schock is the star of this recording. He sings the young Nureddin overwhelmingly passing. Nureddin falls hopelessly Abul Hassan not drain connected speech stream frustrated, and the soloist Rudolf Schock magistral disappear in the hot-headed, because he rstellt
. Kurt Böhme (1908-1989) plays the Abul Hassan with unshakable equanimity, and he is right: Cornelius Abul musically and textually given everything to impress Nureddin, to dominate and to amuse the audience. Exaggeration would hurt the presentation only.
Anny Schlemm (1929, at the moment So the host nu
old r 22 years) is Nureddin the ideal love object. Singer and girl role coincide perfectly. Margiana is - in this version - as young as is possible, and that is for the stage (as in the listening you can see the action before him) a big advantage. Schlemm's voice also sounds warmer than in later games. In the seventies, Anny Schlemm should lead to a formidable 'singer character' roles as Clytemnestra in 'Elektra' and Herodias in "Salome" (both operas by Richard Strauss) to grow. The atmospheric Song of the Three 'muezzin' advance and the unfolding trio with Abul then let the beauty of the duet Noureddin Margiana (Act 2) even more effective than the coming of so beautiful, shorter intake of 22 March can be realized. Perhaps this also has something to do with Joseph Keilberth baton
. Keilberth (1908-1968) sets a strikingly zügisches pace (the role of vocal Nureddin becomes technically more difficult). The opening scene Nureddin / servant takes more than five minutes and is therefore not nearly as dreamy as Sieber 1947, which requires almost seven minutes. When the opera plot, but their further course takes, one experiences a dynamic performance that is as it were driven by the feverish mind of the impatient Nureddin forward. And sing at the moment as a shock and slam in the second act, the ravishing love duet, we see a suddenly that Keilberth Dirigierauffassung is partly right. This version is the original version of Cornelius / Liszt. So including the first B-minor overture. I can not see any significant cuts to some extent, so this 'Barber of Bagdad' the predicate 'fully' deserves genuine. Technically, the quality of - the lost believed - source material have been limited. The achieved Tonresultat is perfectly acceptable. With all this beauty I take a slightly dry sound and a few noises like into the bargain.
- Vienna, 05.12.1952: Extended version on the radio: 'The Barber of Baghdad' . Dir Heinrich Hollreiser - Verona 27050/51 and Preiser Records 20 035 (at extra Preiser Records: Gottlob Frick sings under Willelm Schüchter opera arias by Mozart, Nicola, Lortzing and Verdi).
Verona, the Italian label focused with the CD cover in 1992 to Rudolf Schock.
Preiser Records 2004, Gottlob Frick, who is associated with a nice portrait photo (Fayer) and as a bonus seven brilliant operatic arias sung from the EMI repertoire in memory.
As Recorded calls Preiser October 1952. In shock web is the 5th December 1951.
Gottlob Frick (1906-1994 ) , the singer with perhaps the most beautiful of all 'black' bass voice of the 20th Century,
than the barber for Nureddin a huge obstacle that can not be overcome almost. Abul show after Nureddin emotional aria "Ah, the suffering have I worn, how profitable would I lay my happiness?" has a sacred dimension. Abul vocal kinky talk is of impressive splendor. A single serious critic respects Gottlob Frick in the role But Cornelius' humor is just a stark contrast between holy seriousness and verbal nonsense to advantage (and I think mortise on similar comic contrasts in many comedies of Molière, in which all-powerful doctors, lawyers, physicists and philosophers end up in never-ending monologues their alleged expertise. Joseph Keilberth Dirigierauffassung I thought was a correct, but the vo
n Hollreiser Heinrich (1913-2006) is determined to despise it either. Hollreiser When everything is lush and serious, so his views on the model of 'high priest' Abul Hassan again for extra humorous contrast between form and (textual) content contributes. Hollreiser tempos are a little slower than the (take Nureddin opening of the first act here just over five and a half minutes) of Keilberth, but gives the soloist an opportunity to the full luxury allowing their voices to the show: Rudolf proves shock then as an even greater ability and virtuosity loses not one of passion. Roger Pines ('The Opera Quarterly' 2004) praises "his sheer abandon of the singing" , adding: "shock superbly navigates through the 'passaggio' (see above-kdl ) on essential skill in singing Nureddin, Which not even Wunderlich could have matched. shock goes to his heart and soul into Nureddin. The introverted repetition of supplication 'Make my heart healthy' after the climax of the aria 
'at your window the flowers' moved me again and again. In addition to Frick and shock is in the role of Margiana Sena Jurinac (1921) the third, luxurious voice that fits the musical interpretation of the conductor. This is also true for the well-denominated alto of Hi 
lde Roess (e) l-Majdan (also 1921) as Bostana. Their duet with Nureddin, which is a wise plan forged ('If the prayer from the minarets') is the umpteenth pearl of this opera. Suddenly Hollreiser chooses a higher rate than Keilberth. Thus unfolds the sung dialogue in a perfectly mixed atmosphere of tension and excitement. Among the other - excellent - soloists of the recording is one of the 'muezzin' the 23-year-old Walter Berry (1929-2000) heard . music magazine 'Fanfare' is 1992, the recording "forefront" and recommends it without restriction. The website of the Vienna State Opera discusses 'pb' Peter Cornelius '' Barber of Baghdad under the headline "Sexy rediscovery" "... The Viennese radio host offers, if only through the singer ... Wortdeutlichkeit most luxurious Cast: Rudolf Schock with passionate emphasis, Sena Jurinac ... wonderfully luminous voice, Gottlob Frick ... thanks to his sparkling bass in a class by itself . Heinrich Hollreiser brings on the podium, the beads of this fine score to sparkle ...".
This model also adheres to the original Cornelius / Liszt version with the - in comparison to the remarkably mild onset Keilberth recording - first overture. A good ten minutes have been removed, which can be heard at Keilberth to so well. The addition some stage noise works well not the addition of some (clear Area), smaller rates. The inclusion of spatial prices than that of Verona, but sounds a little 'suppressed'. On the whole, to prove themselves good both copies.
- Munich, 18.09.1957; overall execution on the radio: 'The Barber of Baghdad' . HANS Gierster conducts choir and orchestra of the Bavarian Radio (original tape must be in the archives of the Bavarian Radio. Satisfying, but not professional copies of a later broadcast circulate among collectors ) .
music Historically there was already sufficient cause for a professional edition of the original - certainly impeccable - tapes come true! It provides, as if this production came from Wagner Munich neatly in the vicinity of the still only rarely played Felix Mottl-processing from the year 1882 (see above).
Hans Gierster conducted the second Cornelius overture, Mottl the 'barber' beginning of his newly-revised, shorter sat version. In Gierster shaved 'barber' half an hour (!) Is shorter than under Keilberth. Especially in the second part of the opera have (Mottl?) Cut operational. The Intrumentation was beaten by Felix Mottl on a 'Wagnerian' bars. The Gierster recording, which meets about a rapid pace as well Keilberth seems rather difficult, notwithstanding, and does not have the easy and naïve in 1858 version. The moving, repeated entreaties Nureddin 'Make my heart healthy' at the end of the aria 'at your window ...' will roll over for it.
What we hear most, is a meh or less different kind interpretation of the opera, have their soloists large class: Dorothea Siebert (1921) , like Lore Hoffmann made unclear reasons, to fall into oblivion threatens sings an excellent Margiana, Rudolf Schock , in perfect harmony with the partly by changing circumstances 'barber', a predominantly 'heroic' Nureddin. This is the naivete by Nureddin. Abul Hassan has got her hands full with him, and this brings Kurt Böhme to - more than 1951 - to draw clear of his comic reservoir. But now he is not going too far. Furthermore, we hear as sympathetic to the Caliph b
ewundernswürdigen Heldenbariton Marcel Cordes (1920-1992) , the beautiful, light lyric tenor Kurt Wehofschitz as Margianas father and three 'muezzin' that even now their small, sing but rewarding role model. About the conductor Hans Gierster (1925) the Internet the information scarce. Se
inen name to read often, but more detailed information and / or a photo are difficult to find. Shock specialist Ludwig Stumpff helped me but from the terminal and sent with a portrait of the conductor that can be found on the side. Hans Gierster 1964-1988 in Nuremberg was an active and successful operatic and symphonic conductor. He distinguished himself particularly by the attention he devoted many works of the twentieth century. It must have been tempting for Gierster, the radio audience to present just the lesser-known version of the 'Barber of Baghdad' to . In 1973 he conducted for the euro disc label Rudolf Schock in a large cross-section of Opera's Wilhelm Kienzl 'Evangelimann' . two later, commercial studio recordings:
On 11 December 1961 Rudolf Schock sings under conductor Horst Stein Nureddin aria (in version 1) 'at your window the flowers' . The aria is listed under the title 'Rudolf Schock-Portrait' (cassette with 3 CDs: Emi-CZS 767 183 2) . The (stereo) recording is brilliant, and even shock presentation.
On 3 April 1978 sings Rudolf Shock under the baton of Walter Fried Nureddin's aria "Ah did, the pain I carried '. It stands to shocks last opera LP 'For my friends' . It is one of the recital, because the singer reminds one of more of earlier musical best roles.
Rudolf Schock sings Christmas songs by Peter Cornelius Others
February / March 1964, he took on Rudolf Schock for € Disc / BMG nine known Christmas carols. On the LP, which appears to be to include three Christmas Songs by Cornelius and 'Mary Lullaby' by Max Reger added (at the piano in the Cornelius-songs: Ivan Eröd).
Veteran
choirmaster Günther Arndt (1907-1976) conducted shock that RIAS-Kammerchor/-Kinderchor and the Berlin Symphony Orchestra in the other Christmas songs. The LP is conscientious and put together with not only the obvious compositions. The traditional songs, in which choirs and soloist together soon to hear soon have to be individually, in a restrained but effective arrangement of Who 
Ner Eisbrenner (1908-1981) succeeded each other. The bells of the Church and the Berlin Grunewald Dome in Minden and Salzburg, they frame. At the end of the program wants Rudolf shock his listeners a merry Christmas. This LP release is from the period that Rudolf Schock (then almost 50 years old), located at the peak of his popularity. The grand opera years are behind him, then indeed, but the big television years have now begun. In 1987 the CD version comes on the market (in the year 2009 under the label € Disc-Sony-Music get). Shock admirers are disappointed if it is found that the Christmas wish is deleted w
orden. The old, flowing into each other Christmas songs have been cut back to individual tracks, so the integral character-choir concert was largely lost. The bells were ringing on the CD is no longer, though they are announced on the back of the CD case well. The most important thing is and remains the festive music that will shock and the other contributors forcefully and without concessions to the good taste run. I come into the temptation here to the interpretation of the well-known Christmas carol 'Silent Night' to take . But that is not of Peter Cornelius. Rudolf Schock sings three of the six songs that Cornelius '' Christmas cycle - one (Opus 8). Eröd Ivan (1936) is the excellent accompanist on piano. Schock sings the songs 1, 3 and 6: 'Christmas tree' , 'The Kings' and 'Christ child' and does it with warmth and empathy.
The songs bear witness to Cornelius' simple and sincere faith in God, which naturally in the warm comfort of the family circle, a tangible Takes shape: the mother, (probably) the father and children, or we, children of men sitting around the 'golden (s) lights on the Christmas tree' . We can "the Christ child ' did not like the" kings from the East "donation" Frankincense, myrrh and gold ". So rich we are not. But what we can give him probably, is our heart. The song 'The King' because ends with a double invitation: First is the song with 'Give your heart to the little boy hold' completed, but then follows - in shock 'mezza voce' - again a pressing: 'Give' Him your heart ... ' . Peter Cornelius achieves the same emotion as in Nureddin 'Make my heart healthy' . Because of such moments, I already look like the modest Peter Cornelius on the edge and a PhD him as one of my BIG 'small' composers.
Krijn de Lay, 10.11.2009 (For December 2009, I intend to update some of the elements. Composers series in 2010 with 'Rudolf Schock sings Gaetano Donizetti' continued).
