Cheap Bus From Toronto To Windsor

RUDOLF SCHOCK zingt PETER CORNELIUS

Heinrich Rudolf Schock en Pflanzl (Berlijn 1951)

Zieke Van Liefde!

how it feels Nureddin themselves. O m it is all in Peter Cornelius' comic opera Der Barbier von Bagdad " (1858).

Rudolf Schock stresses in his biography the "unforgettable magical" Berlin premiere of this opera in 1951. At last, autobiographical colored opera LP ("Für meine Freunde" 1978) he recalls - not coincidentally - also the Cornelius aria "Ach, das hab Lead 'ich Getrag' . Schock, the role of Nureddin extremely happy to have sung. A missed opportunity that Electrola in the early fifties of the last century the entire "Barber of Baghdad" with the young Schock answers. Does appear to Electrola / EMI end of 1961 an implementation of Nureddin's aria: "Vor deinem Fenster who Blumen. In 1985, the 70-year-old Rudolf Schock too bad, that two separate Acanta for the radio clips included an opinion on LP. Three (!) complete radio performances from respectively. 1951, 1952 and 1957 remain locked in broadcasting archives. And even that is not entirely because of the recording from 1951 was basically assumed that she was cleared.

Only in the course of the nineties is the CD version of 1952 and in 2002 - surprise! - The lost recording from 1951. How excited I was about that one Electrola / EMI recording from 1961, really made me happy that new, old 'Barbier': It demonstrates that crazy love Nureddin a forgotten star role Rudolf Schock is.

THREE CHRISTMAS CAROLS BY PETER CORNELIUS
takes Rudolf Schock in 1964. They were / are on Schock's LP / CD with Christmas songs from that same year and have been available 45 years continuously.

PETER CO RNELIUS (Mainz 1824 - Mainz 1874)

Father Karl Cornelius was theater, uncle Peter von Cornelius a valued artist. Peter Cornelius also wants the stage. But when his father dies and the 20-year-old Peter is living with his famous uncle, he hits a different direction and begins to study music. He is a music teacher, works as a music critic for various magazines and in that capacity met the pianist / composer / conductor Franz Liszt (1811-1886) . Growing together - like Anton Bruckner - even with him a deep admiration for Richard Wagner . In 1856 composes a Peter Cornelius' Weihnachtslieder-Zyklus " (Opus 8) on their own texts. The six songs (So which Rudolf Schock sings three on CD) harvesting widespread appreciation. On December 15, 1858 appears in Weimar his opera "The Barber of Baghdad" the scene, but magic and humor of Peter Cornelius' music and lyrics are completely lost in a loud commotion around the conductor of the evening: Franz Liszt. Liszt is has long been at odds with the artistic director of the theater and calculated the premiere of "Barber of Baghdad ' by supporters from both camps an opportunity to differences of opinion on the backs of the poor to fight Peter Cornelius. F r ANZ Liszt occurs after that night no more in Weimar and Peter Cornelius pulls his 'Barbier' shocked back, puts him in a closet or other or - in the spirit of 'Barbier' text to continue - case, and no longer looks at. He must have found that the scandal (co?) The qualities of his opera-inflicted.

Nearly a half century later find many opera lovers, that Der Barbier von Bagdad " a" forgotten masterpiece " (Riemer) is.

is also outdated prejudice that Wagner-fan Peter Cornelius in composing his theater production by the

German opera giant would have been influenced. Cornelius holds an appropriate distance, his own musical path and seems to Wagner in the figure of the barber Abul Hassan even taking the piss.

Cornelius moved to Vienna and composes a new opera ( "Der Cid" ) who is actually in Weimar and also successfully premiered. He also writes songs for a number solo voice and choir, including in 1863 with text by the poet and playwright Friedrich Hebbel the beautiful "Requiem: Seele, sie nicht mistaken. This occasion of Hebbel's death in that year. In 1865 Richard Wagner cites the highly revered Cornelius to Munich, where he "Professor für Rhetorik und Harmonielehre" at the Royal Bavarian Academy is appointed. On October 26, 1874 - less than 50 years old - Peter Cornelius died in the same city where his short life began in 1824. Some opera reference books does not even Peter Cornelius. It seems sometimes, that just humble people have to settle for a place in the margins. But always his music again, which is precisely those margins look up and discover resources.

Der Barbier von Bagdad "

is a German Opera comique ' (see also the papers' Rudolf Schock sings Adam, Auber and Bizet "). Mozart's "Die Entführung aus dem Serail" (1782) and Carl Maria von Weber's 'Abu Hassan' (1811) have as an inspiration for Cornelius served. It is remarkable that the 'Barbier' a comic opera without in this genre conventional spoken dialogue. Peter Cornelius put the opera as a lyrically and musically through-composed opera, originally from a deed exists. Franz Liszt (whom Cornelius the 'Barber' tells ) advises him two of them. He also helps in choosing the two overtures, for which Cornelius 'Barbier' composed.

the magical content of the opera is based on a story from 1001 Nights " and the figure of the " autodidact universal genius Abul Hassan Ali Ebn Bekar " corpse t Peter Cornelius mildly ironic way that overshadows everything and everyone 'total artist' Richard Wagner in perspective. The real protagonist is the young hothead Nureddin, who is madly in love Margiana . At the time, Nureddin that finally gets the chance, to meet her if he still briefly shaved. That 'a moment' grows into an extremely frustrating, lengthy (but amusing for us) to be confronted with the most important zwetsende and himself taking Abul Hassan. Abul Nureddin remains in the way and dives even raving disturbing factor for the window of the room where Nureddin Margiana and express their love. But a ll is well off course: Nureddin Margiana and live happily ever after. Abul is captured and sentenced to life telling fairy tales at the court of the caliph.

Liszt conducts the first performance, which is so out of hand. Cornelius has 'Barbier' dismissed. Two years after his death they enter the work just once in Hanover, Ma ar also there is not a success. In 1882, the Wagner-conductor Felix Mottl (1856-1911) work back to a deed. He gives the instrumentation Wagnerian traits and plans for the new premier, he will conduct himself, Cornelius' second (D-Dur 6/8-) overture to deploy. The advantage would be that this overture is clearly a prelude to the music of the opera itself. The first (h-Moll 3/4-) overture is more independent of the opera. On February 1, 1884 the opera conductor Felix Mottl in Karlsruhe and can be established that the Cornelius/Mottl- 'Barbier' after two decades in Germany performed. Than the original plays in Weimar Cornelius / Liszt version again a role despite the fact that Cornelius' widow the original score "for the sake of the memory of her husband" no longer available. But using the voices of the original orchestral version, the reconstructed first score, after which on 10 June 1904 for the second time will premiere at Weimar. I get the impression that the opera then occasionally played in both versions. In 1922 against the Berlin State Opera with the "Barber of Baghdad" suddenly a public success and she does this with the nimble, original Cornelius / Liszt version. But even then disappears 'Barbier' to the background. Shortly after the second world war but he gets a chance: the end of 1949, the work - along with Puccini's "Gianni Schichi ' - at the Vienna State Opera conducted ten times rebuilt. Otto Edelmann is Abul, Anton Dermota and Julius Patzak singing alternately Nureddin and Sena Jurinac is Margiana. Otto Ackermann conducting. Middle 1951, the work directed by Ernst Legal, the Berlin State Opera premiere. Pflanzl Heinrich, Rudolf Schock and Elfriede Trötschel (see photo) sing the major roles, Leopold Ludwig and directs the performance is "unforgettable enchanting" (Schock).

It is equipped with radio versions of Cologne (late 1951, Joseph Keilberth ) and Vienna (late 1952 under Heinrich Hollreiser ). In 1957, there is finally a radio performance in Munich under Hans Vulture Star and releasing a first commercial studio recording under Erich Leinsdorf at Columbia (later EMI) by Oscar Czerwenka, Nicolai Gedda and Elisabeth Schwarzkopf. This double final chord is the same with the "boom-Barbier' almost done. Only Eurodisc in 1973 will have a commercial (stereo) version under Heinrich Hollreiser with Adalbert Kraus and Sylvia Geszty. The role of Abul sings in this recording and the famous Rudolf Schock discovered bass Karl Busch Knight (1932-1997).

Karl Knight Busch

Rudolf Schock sings "Der Barbier von Bagdad"

in 1936 (Duisburg) and 1939 (Braunschweig), which can be seen that Cornelius' 'Barbier' to smaller theaters now and then at least it was / is increased. In any case, Schock sang in the thirties is not the role of Nureddin, as this in his biography would be absent. Besides Nureddin are in the opera four tenor: Margiana's father (Baba Mustapha), two 'Muezzin' (mosque officials, the faithful from the minaret raise up prayer) and a slave, that a beating will receive and therefore tenoraal just have to wail. I keep it out that one of Rudolf Schock 'Muezzin' singing, but this is a shot in the air.

is still interesting to note that the central party of the past decades by Nureddin "Jugendliche 'and heavier heroic tenors sang. That should be less flexible voices that often do not have been easy. The literature on the opera many times the difficult nature of the roles mentioned. The singer is expected to take rapid succession from one register to another "slip" ( "Pass premium" ). The pitch shot from low to high, from falsetto to chest and vice versa. Possibly, therefore, that the role is sung by singers mainly later, except that the qualities of a hero symbolic " also that of a ' lyrical to jail house. Including the young Rudolf Schock had in the years after the second world war have these qualities and it is therefore logical that he soon as a singer for the role of Nureddin was considered.

- Berlin, May 22, 1947: the first scene the first act (Nureddin / servants) 'Sanfter Schlummer rocks ihn ein' with the RIAS Kammerchor and the RIAS Symphony Orchestra. Dir. WALTER SIEBER. (on CDs Acanta, Delta, Laser Light etc. as a bonus is added to the complete recording of the 'Barbier' on Gebhardt JGCD 0048-2).

The Berlin Chamber Choir and symphony orchestra were with financial help from the Americans established on 16 November 1946 and had their home in the American sector of Berlin. Almost a year has worked hard on the selection of choral singers and musicians and there were the necessary rehearsals. The first concert took place at the beginning of the 1947/1948 season at the Titania Palast. The conductor was Walter Sieber . Schock Nureddin's earliest recording dates is from the period between formation of choir and orchestra, and their first concert and was first released on LP in 1985. Inmiddelt she comes on many CDs Shock for opera recitals. The choir of the officers that the lovesick Nureddin asleep singing, sounds a bit dull, but Schock's languorous voice of velvet. I experienced in 1985 that explicitly recording as a dreamy sensation.

- Hamburg, March 22, 1951: Margiana second-act duet Nureddin: 'O holdes Bild in Engelberg Schöne' with Lore Hoffmann (Margiana) and the Hamburg Radio Orchestra. Dir. WALTER MARTIN . (On Shock opera recital CDs of Acanta, Delta, Relief etc. Is also a bonus added to the complete recording van'de 'Barbier' on Gebhardt JGCD 0048-2).

The love duet from the second act is the heart of an extended scene with the 'Muezzin' (see above) and Abul Hassan-for-frame. The melody is beautiful and would actually hit an opera should be. The implementation of Schock and Hoffmann calls and a delight to all. Leo Riemer implies in his "Great Opera Book" (Elsevier 1959), Peter Cornelius that this duet is meant as a parody on the great love duet of Tristan and Isolde in Richard Wagner's eponymous opera. Riemer sees even text matches. I think Riemer 'hypothesis can not be right, Cornelius' opera premiered in 1858, Wagner's "Tristan und Isolde" in 1865. So it would be rather the reverse can s are the great Wagner was inspired by the small Cornelius (but you must not think that I faith!).

The lyric soprano Lore Hoffmann (1911-1996) sang mostly to opera theaters in Berlin and Hamburg (including many Mozart roles, Eva in Wagner's 'Meistersinger von Nürnberg ", Mimi Puccini's "La Bohème" ) and was active as a concert singer. Together with Rudolf Schock sings it in a CD also available full radio version (1951) by Lehar "Graf von Luxemburg". It is non incomprehensible that this "with a soprano voice of the Purest quality" (AR-Gramophone ) now virtually forgotten. She can no longer be added to the illustrious row Schwarzkopf, Della Casa, Jurinac, Grümmer.

- Cologne, 19 December 1951: full radio performance of "Der Barbier von Bagdad '. Conductor: JOSEPH KEILBERTH - Gebhardt Records JGDC 0048-2. (Extra: The above excerpts from the aforementioned loose 'Barber' + the first final of Albert Lortzing 's "Zar und Zimmermann" conducted by Walter Martin with Yahoo Margot Guillaume, Rudolf Schock and Horst Günther).

Rudolf Schock the star of the recording. He sings with tremendous dedication. The young Nureddin become hopelessly frustrated by Abul Hassan's relentless flow of words and soloist Rudolf Schock dissolves in the hot head that he represents.

Kurt Böhme (1908-1989) l ate it - rightly - in an impassive approach his role: Abul Cornelius has given everything to musically and lyrically Nureddin to impress and to dominate the audience have fun. Exaggeration would only harm.

Kurt Böhme

A nny Schlemm (1929 and therefore the time of shooting only 22 years) is the ideal object of Nureddin's love. Meisjesrol soloist and fall together perfectly. Margiana - in this version - as young as possible and this is the stage setting (for listening see the operation for you) a great advantage. Moreover, the voice of Schlemm warmer than in later roles. In the seventies it would become a formidable "character singer" of dramatic roles as Klytämnestra in 'Elektra' and Herodias in "Salome" (both operas Richard Strauss).

The pleasant song of the three 'Muezzin' advance and the unfolding trio with Abul post to the beauty of the duet Nureddin-Margiana (second act) still come out better than intrinsically beautiful, but shorter , single shot of 22 March 1951 already does. This is also the supervisor of Keilberth Joseph (1908-1968) deal, which maintains a tight pace (Nureddin's role is thus technically difficult vocal) opening Nureddin / servants takes less than five minutes and not nearly as dreamy as the separate recording by Sieber in 1947, almost seven minute counts. But in the remainder of the opera means having a vital performance, who likewise breathes with the mentality of the impatient Nureddin. When mesmerized listening to the love duet eventually draw the conclusion that Keilberth's a conductor's view is correct.

This performance is the original version of Cornelius / Liszt. Which includes the first h-moll-overture. I have no denominations to discover, so it "Barbier von Bagdad" the predicate 'full' really deserves it. Technically, the quality of it - once lost - have been limited source material. The results achieved in the images is acceptable in all respects and in all the beauty that the CDs have to offer, I take a somewhat dry tone and a few noises like the bargain.

- Vienna, December 5, 1952: full radio version of the "Barbier von Bagdad '. Conductor: Heinrich HOLLREISER - Verona 27050/51 and Preiser Records 20035. (In addition to "Preiser Records: Gottlob Frick conducted by Wilhelm Schuchter sings arias by Mozart, Nicolai and Verdi Lortzing).

The Verona Italian label focuses its CD cover in 1992 Rudolf Schock. Preiser Records in 2004, Gottlob Frick, with a beautiful portrait (in the CD booklet) and as an extra seven wonderful singing opera arias in the repertoire is Emi commemorated.

If called Preiser recording date in October 1952. In Schock's biography is December 5, 1952.

Gottlob Fric k (1906-1994) , the singer with perhaps the most beautiful, 'black' bass voice of the 20th century, as the barber Nureddin for one could hardly circumvent huge obstacle. Abul's appear after Nureddin's emotional aria "Ach, ich hab das Lead Getrag, who ertrag ich nun mein Glück?" has a sacred dimension. Abul's gibberish of an impressive vocal splendor. A critic is Gottlob Frick seriously in the role, but Cornelius' humor comes right into its own in the stark contrast of sacred severity and verbal nonsense (reminds me of a similar hilarious contrast to the comedies of Molière, which omnipotent doctors, lawyers , physicists and philosophers in endless monologues rave about their perceived skills).

Joseph Keilbert conductor's position was I right, but that of Hollreiser Heinrich (1913-2006) is nothing to sneeze at. When is a Hollreiser ll lusher and more serious, so his view, following 'high priest' Abul Hassan additionally contributes to the humorous contrast between form and (textual) content. The tempos are slower than Keilberth (Nureddin's opening of the first act lasts here more than five a half minutes), but that gives the soloists more opportunity the full splendor of their voices to showcase: Rudolf Schock show then able to stimulate even greater vocal virtuosity and thereby not lost in passion. Roger Pines (The Opera Quarterly 2004) praises "his sheer abandon of the singing" and supplements thereto to: "Schock navi gates Superbly through the 'only discounts are" (see above-kdl) , an essential skill in singing Nureddin, Which not even Wunderlich Could have matched " Schock is with heart and soul in Nureddin, who is sick of love. The introverted repetition of the prayer "Mache mein Herz gesund" after the climax of the aria "Vor deinem Fenster who Blumen" moves me every time. Besides Frick and Schock is the role of Margiana Sena Jurinac (1921) the third luxury voice that fits the musical interpretation of the conductor. This applies equally to the melodious alto H ILDE Rossel-Majdan (Also 1921) as Bostana. Her duet with Nureddin, which forged a clever plan ( "Wenn zum vom Minarett Prayer" ), is yet another gem of the opera and suddenly chooses Hollreiser for a higher rate than Keilberth. Thus unfolds the sung dialogue in an atmosphere of tension and excitement. Among the other - excellent - soloists of the recording as a v an the "muezzin" the 23-year Walter Berry (1929-2000) hear.

Music Magazine 'Fanfare' put the recording in 1992 "ganz vorn" and recommends it wholeheartedly. On the website of the Vienna State Opera by 'pb' Peter Cornelius' "Barbier von Bagdad" discussed under the heading "Attractive rediscovery" : "... the radio recording alone in taking the word clarity of the singers ... .. luxurious Occupation: Rudolf Schock .... passionate expressiveness, Sena Jurinac .... radiant voice, Gottlob Frick .... its sparkling bass a class by itself. Heinrich Hollreiser let the pearls of this score shine ... "

These performance adheres to the original Cornelius / Liszt version with the - in comparison to the remarkably mild deployed Keilberth recording - the first overture. Over ten minutes were deleted, which is so Keilberth be heard. The addition of what sounds theatrical works well, adding here and there (clarifying), not sentences. The inclusion of Preiser is more spacious than those of Verona, may sound a bit "smothered". Overall compliance both good shots.

- Munich, September 18, 1957: Complete implementation of radio Der Barbier von Bagdad '. HANS VULTURE STAR conducts choir and orchestra of the Bayrischer Rundfunk (original tires have in the archives of his Bayrischer Rundfunk. Not professional copies of a subsequent radio broadcast, circulate among collectors) .

Music History would be reason enough for a professional publication based on the original - certainly cool - tires. This performance of Wagner City Munich appears to have come pretty close to the rarely played Felix Mottl version from 1882 (see above).

Conductor Hans Vulture Star directs second Cornelius-overture, which Mottl at the start put his revised shorter version of the opera. Vulture At the opera star takes half hours shorter than Keilberth and that is because especially in the second part of the opera has been cut significantly. The instrumentation was by Felix Mottl on Wagnerian footing. Vulture Star-shooting, often the same strong pace as Keilberth persists despite heavy sounds and light and not the naivety of the version from 1858. The poignant moment of Nureddin's repeated plea "Mache mein Herz gesund" at the end of his aria "Vor deinem Fenster who Blumen" is therefore about beaten. What we hear is a different type interpretation with soloists high class: Dorothea S iebert (1921) , who like Lore Hoffman for unknown reasons in the oblivion, sings an excellent Margiana , Rudolf Schock, in harmony with some of these changed circumstances 'Barbier' a predominantly 'symbolic hero "Nureddin. This is the Nureddin naïeviteit over. Abul Hassan his hands full with him and that leads to Kurt Böhme - more than in 1951 - clearly out of his comic reserv Oir draw. But now he's in it too far. Furthermore, we hear a sympathetic Caliph admirable hero baritone Marcel Cordes (1920-1992 ), as the father of Margiana the beautiful, bright lyric tenor Kurt Wehofschitz and three "prayer announcers' , also in this recording their small but rewarding exemplary singing party.

About conductor Ha ns Vulture Star (1925) scarce information on the Internet. His name comes up often, but details and / or a photo are hard to find. Shock Specialist Ludwig Stumpff helped me out but the fire and sent me a portrait of the conductor that you find here. Hans Vulture Star from 1964 to 1988 was a successful opera and concert conductor in Nuremberg. He distinguished himself particularly by the attention he gave to the works of the 20th century. Vulture Star in 1957 it must have attracted, not just the well-known version of Der Barbier von Bagdad " to the radio audience. In 1973 he conducted the Eurodisc label Rudolf Schock again in a wide selection of opera's Wilhelm Kienzl 'Evangelimann.

- Two later studio recordings:

On December 11, 1961 Rudolf Schock sings under Horst Stein conductor Nureddin's aria "Vor deinem Fenster who Blumen '. The aria is available under the title "Rudolf Schock-Portrait" (3 CDs Cartridge with EMI under number 767 183 2 CNS). The stereo recording is brilliant, and Schock's performance too.

On April 3, 1978 Rudolf Schock sings under conductor Walter Fried Nureddin's aria "Ah, das hab Lead 'ich Getrag' . She is on Schock's last opera recital LP "Für meine Freunde ' . She belongs there home because the singer on this album recalls such musical brilliance roles of yesteryear.

Rudolf Schock sings Christmas songs by Peter Cornelius Others

February / March 1964 will Rudolf Schock for BMG / Eurodisc nine familiar carols on. On the album, which appears, they are supplemented by Yahoo three Christmas songs of Cornelius and 'Maria Wiegenlied "by Max Reger . Cornelius, the songs on the piano by Ivan Erode (1936) .

D E experienced choirmaster Günther Arndt ( 1907-1976) directs Schock, and the RIAS-Kammerchor/Kinderchor Berliner Symphoniker the other Christmas songs.

The plate is carefully and not just the obvious compositions composed. Traditional carols, choirs and soloists which sometimes together, sometimes separately heard, in a restrained but effective arrangement of Werner Eisbre nner (1908-1981) harmoniously connected. They are framed by the tolling of the bells of the Berlin Grunewald Church and the cathedrals in Minden and Salzburg. At the end of the program, Rudolf Schock his listeners a merry Christmas. This LP release is from the period, Rudolf Schock (almost 50 years old) at the height of his popularity there. The great opera than true years behind him, but the major television years have started.

In 1987, the CD version on the market (dating from 2009 is available under the label Eurodisc-Sony Music) Shock admirers are disappointed, if confirmed, Christmas wish that has been deleted and the merge into each other, old Christmas songs are reduced to individual tracks, making the full concert choir character vanishes. The church bells are no longer on the CD to hear, although placed on the back of the cover is announced. It remains the most important and festive music by Schock and other collaborators and intense without sacrificing good taste runs. I'm tempted here to accept the interpretation of it most famous Christmas song 'Silent Night' . But that is not Peter Cornelius.

Rudolf Schock performs three of a total of six songs from that Cornelius '' W eihnachts-Zyklus " Opus 8-counts. Ivan Erode is the excellent accompanist on piano. Schock sings the songs 1, 3 and 6: 'Christbaum' , "Die Könige ' and' Christ Child ' and doing so with warmth and empathy. The songs bear witness to Cornelius' pure and simple faith in God that if naturally form in the warm security of the family: mother, (probably) father and the children ie we, children of men, sitting at the 'golden light of the Christmas tree. We can 'Christmas Child' not like the "Kings of the East 'frankincense, myrrh and gold" give. So we're not rich. But what we can give our hearts. the song "Die Könige ' also connect with a double invitation: first the song seems to end with " Schenke dein Herz dem Knäblein hold , but it sounds - with Shock-in mezza voce - an even more insisting: 'Give' ihm dein Herz ...'. Peter Cornelius reached play the same emotion as Nureddin's 'mein Herz gesund Mache' . If only for those moments I look like the modest Peter Cornelius in the margins and promote him to spring one of my favorite "little BIG composers.

Krijn de Blank, November 10, 2009 (It is the intention in December 2009 a number of articles to date. In 2010, I continued with the series: "Rudolf Schock sings Gaetano Donizetti" ).