Brazillian Wax Styles

RUDOLF SCHOCK zingt GAETANO DONIZETTI (1)

de D UITS Gigli "
kopt het kwaliteit-Weekblad 'Time' november 1986, when naar aanleiding van het een necrologie Rudolf shock 's overlijden publiceert. Journalist Wolfram Schwinger ends his text as follows: "His star parts belonged Donizettis Nemorino : Since he could" Schmelz "of his sonorous voice with its distinctive" golden throat ", her sensual, warm timbre fully unfold. The happened in the Berlin State Opera (still in the 'Admiralspalast' playing ....), and it was in his day still sung German, but when his love romance after the stormy applause simply would not finish, he stepped to the edge of the stage and repeated the "Una furtiva Lagrima" in Italian, only now well demonstrating how a German Benjamino Gigli the most beautiful bel canto flow " .
G aetano Donizetti (1797-1848)

portrait, painted by Gerolamo Induno (1825-1890)

First, make great strides through the history of musical theater. So we soon 'home'. No dawdling, as we have in these times - to speak with Herman's Hermits - "an almost unbelievable"!

In the 17th century, the opera develops mainly in Italy. First from Venice as opera seria " - serious content - with big names such as Monteverdi and Scarlatti, and then from Naples 'opera buffa' which composers like Pergolesi Logroscino a happier and write music. The dominant vocal style is 'bel canto' that focuses on "beauty of voice tone and integrity of engineering" ( Leo Riemer 1959) and - I would add - wholly subservient need to 'la musica'. In the 18th century, spread through Paris 'opera seria' (Handel, Von Gluck) and 'opera buffa' on rest of Europe. does not like Mozart 'boxes' and pushes 'seria' and 'buffa' together. for 'Don Giovanni' (1787) he imagines the genre name 'dramma giocoso': a "cheerful tragedy" with eg Donna Anna / Don Ottavio in serious and Leporello / Zerlina in cheerful camp. Figure Don Giovanni, the title to his inevitable doom for the meaning in both camps. At the end of the 18th, but especially in the 19th century in Europe the dominance of the Italian 'bel canto' broken by a strong expression of the word in question, dramatic, declamatory vocal style. It is good to realize that later in more operas both singing styles are complementary and this musical compromise again 'bel canto' called.

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back to Italy,

(where the 'opera buffa' sung the 'recitativo secco ("dry recitative") with harpsichord accompaniment to all parties except the bass, it is far volh Oudt, while elsewhere spoken dialogue to make their entrance. A flexible than Mozart composed for his Italian operas sung recitatives and the German "Entführung aus dem Serail" (1782) spoken dialogue!)

In the 19th century focuses Gioacchino Rossini (1792-1868 : see photo) the opera attention back to Italy. Rossini composes serious operas (eg "Tancredi" -1813), comic operas (including Il barbiere di Siviglia " -1816) and - a la Mozart - 'dramma giocoso' -operas, which seriousness and humor alternate: "L'Italiana in Algeri" -1813, La Cenerentola (Cinderella) " -1817, " Il viaggio a Reims (The Journey to Rheims) " -1825. In 1829 Rossini says farewell to the musical theater in grand manner with the Paris written historic Grand Opera "Guillaume (William) Tell '. In the decades that he composed only religious compositions (eg "Stabat Mater" -1842) and piano music. V incenzo Bellini (1801-1835 see portrait ) and Gaetano Donizetti put Rossini's work forward and continue the reputation of Italy as an opera land. Bellini is famous with romantic operas like "Norma" and -1831 La Sonnabula (The sleepwalker) '-December 1831. His friends d Felice Romani (1788-1865 : see portrait ) , who writes the lyrics for operas, but for the "dramma giocoso' -like 'L'elisir d'amore" which Gaetano Donizetti international breakthrough in 1832. Rossini, Bellini and Donizetti hit an important bridge from the operas of Mozart to those of Verdi and Puccini.

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What happens on that bridge?

The strict division 'opera seria' and 'opera buffa' is gradually released. There are mixed forms. Automatic for the core business of the different voice types (eg, the bass always sings the High Priest) and the design of arias are being questioned. Under 'bel canto' exception is "beautiful singing" always EVEN more expressive text treatment means. Mythological and historical heroes and heroines are increasingly sharing the stage with 'ordinary people'. Static types grow to developing characters. There is a call for more realistic opera stories ( 'verismo' ) to real people in a real world. Donizetti appears not deaf to this call.

Good for over 70 operas!
Go etano Donizetti from Bergamo debut as an opera composer in 1818. Until 1830, Rossini's influence on his work clearly noticeable. But then - to around thirty operas on - appears 'Anna Bolena' (Libretto by Felice Romani) the scene. Again, the historical model, but the opera figure of Anna is recognizable as a man of flesh and blood. The Italian opera audience lives and dies with her and Donizetti booked his first major success. Tirelessly produces the composer another forty operas, including: "L'elisir d'amore" (Milan 1832), 'Lucretia Borgia' (Milan 1834), "Lucia di Lammermoor" (Naples 1835), "La Fille du Regiment '/' La Favorite ' (both Paris 1840), " Linda di Chamounix " (Vienna 1842) and ' Don Pasquale ' (Paris 1843). In that opera works Donizetti further the musically nuanced picture of human characters , which he 'Anna Bolena' (photo: Maria Callas as Anna Bolena) below knee was . Among the operas he wrote by symphonies, string quartets and a requiem for the - very young - died Bellini. In 1842, directs the amazing Donizetti in Bologna world premiere of Rossini's "Stabat Mater" . In 1844 he suffers from a brain disease and is recorded in a Paris clinic. Three years afterward they Donizetti to his hometown of Bergamo, where he dies.

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"Don Pasquale"

is rich and old. He wants to marry the widow Norina. She is poor and (very) young. A k lassical plot for a nice old- 'opera buffa' . But that may not really in 1843 because they out of fashion. Yet the Parisian premiere a 'sparkling' (Riemer) performance. Donizetti's characters present themselves as modern, living people, in whom the audience can identify. Don Pasquale finally gets his mind back and generously congratulated the couple Ernesto and Norina in their marriage. He sees that he's too old for Norina. Norina emerges in the course of the story as a very smart girl, her perfect environment to put her small hand. Donizetti's music is full of melodies wealth, which peaked in the third company, as during a nighttime rendezvous i n Don Pasquale's garden Ernesto first 'side' Serenade "com gentil ' sings and then with Norina the 'velvet' duet 'Tornami a dir che m'ami' aanheft. The light, lyric tenor Tito Schipa excelled in the role of Ernesto.

Rudolf Schock as Ernesto (pictures archive Ms. Gisela Schock)
Just before the second world war Schock sings the role of Ernesto in "Don Pasquale" premiere of 'State Theater in Brunswick. Five years later, on March 2, 1944, he sings - not long after the safe return of Stalingrad - the role again in a second "Don Pasquale" premiere in Berlin. Michael Bohnen is Don Pasquale, Karl Schmitt-Walter Dottore Malatesta and Norina Irma Beilke. The performance will necessarily place ( "Deutsche Opera House" is in ruins ) in 'Admiralspalast' near the station "Friedrichstrasse" . Conductor Leopold Ludwig and the stage director has Günther Rennert. In Schock's biography is that the hall is sold out and " people wear the clothes, which they have been bombed out of their homes" . The implementation is a huge success and "d e next day I was famous."

Schock, Beilke, Bohnen, Schmitt-Walter in "Don Pasquale" 1944

An impression of how exciting Rudolf Schock about 1945 sang the role of Ernesto, can be obtained from listening to the sensuous duet night. It's on multiple Shock solo CDs with opera excerpts (including on Laser Light Classics CD LC 24865 and 74503 Sonia) . This is not live excerpt from the opera performance of 1944 but in 1946 a Berlin radio concert recorded live. That Irma Beilke here Schock's 'Norina', gives this recording special significance.

The coloratura Irma Beilke (1904-1989) occurred in almost all music capitals of Europe . In Salzburg, she was such a Pamina in 'Die Zauberflöte' heard, showing that in the course of her career, lyric soprano roles is to sing. Fairly early (1958), she took leave of the opera stage. Rudolf Schock available in the period 1936-1959 on a respectable level. Because of the circumstances leading up to the war, during the war and the aftermath of the war, which controls the highest register relatively late (the first gramophone recordings until 1947) would apply. Schock did, however, between 1947 and 1959 so much that we do not lack evidence that quality. I am thinking of a high tenor (complete and fragmentary) in "Barbier von Bagdad (Cornelius), 'Andrea Chenier' (Giordano)," Die grosse Sünderin (Künneke), "L'amico Fritz (Mascagni) "Les Contes d'Hoffmann (Offenbach) , 'Die verkauft Braut" (Smetana), Donizetti's Don Pasquale "and" L'elisir d'amore. "

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L'elisir d'amore (the love potion)

plays an important role in this 'dramma giocos0 " which the buoyancy serious undertones has: Adina has land leases, and employees. She is young, beautiful, intelligent and restless. She has self-knowledge, because she sings that she is clever and whimsical, " what fascinates me today, bores me tomorrow . Nemorino, a young, shy, naive farm boy, who can not read or write. He is in love with Adina, but looks at her: " they can read, study, in every science skills, but I understand nothing of that sort of thing. " On a bad day, there are soldiers in the village. Their arrogant sergeant (Belcore) is an experienced woman conqueror. He wants to marry as soon as possible with Adina, because before you know it, a soldier must draw again. Adina took the proposal under consideration. Nemorino is desperate, until shortly after the soldiers made a "very learned doctor Dulcamara 'village with a visit worships. Dulcamara acting in bottles with a "love potion" that after 00:01 get great effects. Nemorino buys and drinking the "potion" , from which wine is headed. He gets drunk and behaves quite arrogant and rude to Adina, which irritates her so that she cries " today ' with Belcore to marry. Nemorino is now totally lost it: he begs Adina to one day delay - something like what Adina despite rising pity refuses - and runs away in panic to the 'doctor' search. That was the first company.

In the second Adina company moves - to the annoyance of Belcore - the marriage still a few hours ahead. Nemorino appears not to have enough money to buy half bottles, which - it hopes - will activate the hormones accelerated. In order to get money he has to excess disaster by Belcore persuaded to become a soldier. At the same time the rumor spread like wildfire through the village that Nemorino's rich uncle died unexpectedly and that Nemorino is the only heir. In an instant a bewildered Nemorino sees himself surrounded by girls, who unrestrained court. Then he understood: the love potion has done on time worked! Adina tells about him, what has happened. Suddenly she realizes that she actually Nemorino is in love. She breaks Nemorino's army contract and declares her love him. Belcore gives Adina on magnanimous (for her ten others) and the opera ends in joyous singing.

"Nemorino and Adina" and "Tristan and Isolde"? Or are "buffa'-opera characters?
In the old legend (the substance produced the same medieval verse epic by Gottfried von Strassburg and in the second half of the 19th century, Wagner would inspire the opera "Tristan und Isolde "), a love potion is the cause of an elevated, but impossible love between the knight Tristan and Isolde Blond Hair. They choose to love, death and reunion in the afterlife. In Felice Romani's textbook of 'L'elisir d'amore " is ridiculous quack of a bad drink Bordeaux. Adina is a fickle lady on what rural and Nemorino a simple farm boy. The lovers is most intended as a (casual) parody of the hero and heroine of the saga.

Nemorino and Adina are not peculiar to the 'opera buffa' . Adina is pretty close to an emancipated woman of today: She is well educated and manages a farm. She is realistic in social and hu mor . Nemorino is childish, but sincere. Smitten people behave differently than normal people. At the end of the opera he laughs no more out of the village. Nemorino deserve and will get respect from everyone: 'Farmer-looking Lady' formula anno 1832.

Belcore and Dulcamara have the blood of the 'opera buffa' remains in the veins. But they behave more nuanced Belcore plays the macho, but it appears a sporting loser. Dulcamara is reminiscent of some businessmen, who in all ages an easy conversation with a pair unquenchable thirst money.

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Donizetti's music

shapes the characters and character development of the main characters: The "Cavatina" at the beginning of the first company ("Quanto è bella / Welche Huld und welche Reize ') , Nemorino in which his social distance to the beautiful and" learned "Adina describes its nature is similar. It's a simple song without text repetitions and without musical frills. Nemorino's famous romance "Una furtiva Lagrima / Heimlich aus ihrem Auge or " Wohl aus ihrem Herzen urge ' song-like simplicity which should reflect them. Just Donizetti's modest instrumentation (harp and bassoon central) this is an undeniable evidence. But in the (later) Italian 'bel canto', the aria sometimes - unnecessary - magnified by over-dramatic and too many musical passion curls. In the massive, dramatic finale of the first company selects Adina suddenly Party (What happens to her?) For Nemorino. Donizetti Adina translates that action by the musical melody of Nemorino's pathetic 'credimi Adina / Adina, glaube mir " to take over. The military is by a cart gepersifleerd ikaturale entrance under intimidating drums and menacing saber ringing. The traditional 'opera buffa' leaves a trace in the sung 'recitativo secco' with harpsichord accompaniment (see above) and the second festive finale.

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about the inspiration and whether the opera was successful
recalled: Felice Romani wrote the lyrics and he is inspired by "theater animal" Eugene Scribe (see 'RS sings Daniel Auber "), which include the libretto for Daniel Auber's opera is now forgotten Le Philtre (The Magic Potion!)" was written. Le Philtre ' was premiered in 1830, ' L'elisir d'amore " in 1832. I do not think the duo Romani and Donizetti their French counterparts Scribe and Auber have plagiarized. But the link between the two operas is unmistakable.

After the Milan premiere of "L'elisir d'amore" in 1832, Gaetano Donizetti internationally known. In 1834, Der Liebestrank ' with modest success opg evoerd in Berlin. The German translation of the operatic tenor Grünbaum Johann Christoph (1785-1870) . One year l ater 's success Der Liebestrank ' much larger in Vienna. Respectively in 1836 and 1838 follow London and New York (in the Academy of Music). Grünbaum's German translation in the 20th century, partly reworked by Wilhelm Zentner . Hence, German tenors that the romance "Una furtiva Lagrima" sometimes in the old ( "Heimlich aus ihrem Auge ), then the new ( 'urge Wohl aus ihrem Herzen" ) version sing. Moreover changes in the second version the translation silent tears' of the Italian text a deep sigh ".

late 19th century on, barely performances of "L'elisir d'amore" place. Donizetti's tragic operas (including "Lucia di Lammermoor" ) are popular.

Up until 1901 - after Long-term and heavy insistence on the age of 28 already famous Enrico Caruso (1873-1921) - 'L elisir d'amore "at the Scala of Milan under Arturo Toscanini in herpremière goes. The success of Caruso and 'his' opera is enormous, as evidenced by the 36 models, which might still v CCORDING. In 1904 Enrico Caruso sings Nemorino in New York on the brand-new Metropolitan Opera . He explains the romance "Una furtiva Lagrima" to his favorite song.

The role of Nemorino, written for a lyrical , high tenor, was then half batch of brilliance Tito Schipa (1887-1965 - see photo) , which he 1935 Yahoo sang in the Netherlands. And of course, Nemorino also e and ideal role for "mezza-voce" specialist Benjamino Gigli (1890-1957) , who 'Die Zeit' Rudolf Schock in 1950 at a suggested line.

Music Critic Leo Riemer also points out in his "Great Opera Book" (1959) , that Der Liebestrank ' in German-speaking countries never as popular as "Don Pasquale" .

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Rudolf Sc hock as Nemorino on stage
That Rudolf Schock there in June 1950 has done everything in Donizetti's 'Liebestrank' popular in Germany to be apparent from the text of the weekly "Die Zeit", which serves for opening this blog text. Beside him, sang and played Rita Streich ( a delightful Adina ") Ruth Keplinger (Giannetta), Heinrich Pflanzl (quack Dulcamara) and Kurt Rehm (Belcore). Löwlein Hans Werner Kelch conducted and directed. A music critic (Horst Koegler) that eye and oorgetuige was noted 15 years later in the German music magazine 'Fonoforum' , that he later almost never a 'Liebestrank' has seen (not Italian), which so much in the Donizetti's spirit was. The pleasure is splattered all sides. Schock's Nemorino he recalls as "magical " .

Rudolf Schock as Nemorino on CD (and LP)

• 15/07/1950: radio recording from Berlin "Una furtiva Lagrima ' with dir . Hans Löwlein (eg CR Relief 3001/Laserlight Classics LC 24865)
• 1952: radio recording "Frag but, warum der Zephir (Chiedi all'aura lusinghiera) ' Rita Streich and dir. Robert Heger (Membran 231832-Documents)
• 08/25/1955: studio recording from Bielefeld "Una furtiva Lagrima" with dir. Wilhelm Schuchter (LP (!) On EMI E2008/09: Edition 2000)
• 25/08/1955: studio recording from Bielefeld "Una furtiva Lagrima" with dir. Wilhelm Schuchter (EMI CDZ 7 67184-2)
• 1955: studio recording for the film "Der Wanderer fröhliche ' "Heimlich aus ihrem Auge with (thank you, Mr. Ludwig Stumpff very much for this supplement) dir. Egon Kaiser (film not yet released on DVD)


• February 1962: Berlin studio recording / TV movie of the complete opera "L'elisir d'amore" with Stina-Britta Melander (Adina), Lothar Ostenburg (Belcore), Ludwig Welter (Dulcamara), Roswitha Bender (Giannetta), and Berliner Kammerchor Berliner Symphoniker. Dir. ERNST MÄRZENDÖRFER (LP's (!) On Eurodisc 300 070-420/tv-film gone)


• 12/06/1963: studio recording from Bamberg "Una furtiva Lagrima" with dir. Wilhelm Schuchter (LP (!) On Eurodisc 70608 and 78571 IU KR)
• 01/09/1965: live concert recording from Munich "Una furtiva Lagrima" with dir. Arego Quadri (privately owned by R. Schock-collectors).

Because of its relationship with the Berlin premiere of June 30, 1950 15 days later, the radio recording of Nemorino's (Italian) sung romance 'historic' mentioned. Moreover, the same Löwlein Hans (1909 -? ) , who directs. To roughly that stormy June 30 Schock's acclaimed encore sounded: at the top of his voice could if 'mezza voce' specialist in the footsteps of Benjamino Gigli from escaping. This recording, which appeared only in 1985, is widely available on CD. Schock's total of about seven "Una furtiva Lagrima" recordings I still away. The in 1952 under Robert Heger (1886-1978) included duet from the first act of 'L'elisir d'amore " will not be out of the way in which Rita Streich and Rudolf Schock this duet two years earlier have sung on stage. Again, this brings me back.

Ride a Streich (1920-1987) is undoubtedly one of the leading coloratura soprano of the last century. She was taught by the legendary singers Mary Ivogün and Erna Berger started her career in 1943 with the difficult role of Zerbinetta in "Ariadne auf Naxos" by Richard Strauss . In 1954 she was in the good company of Elisabeth Schwarzkopf, Irmgard Seefried and Rudolf Schock sing the same role in the complete recording of 'Ariadne' under von Karajan. Immediately after the war (1946) Rita Streich Rudolf Schock met for the first time a joint concert in Oebisfelde. The fee consisted of food because Money had no value. Both singers were happy after the concert with a bag of food home.

In the same year 1946 debuted Streich at the Berlin State Opera in the roles of Olympia ( "Hoffmanns Erzählungen" Offenbach : pictured ) and Blond Chen ( "Entführung aus dem Serail" Mozart). Then she sang Gilda in Berlin ao "Rigoletto" by Verdi (with Josef Metternich and Rudolf Schock) and Adina in L'elisir d'amore ". After Vienna and Berlin was then the fourth Streich worldwide triumphs. Since 1974 she gave her musical experience to young, upcoming singers and singers. In the booklet accompanying the CD "Mit Rudolf Schock in der Welt der Operetta (Vol. 2) ' says Thomas Voigt, Rita Streich in the early fifties acted under the name' Gina Berger ' (' Berger ' is the surname of her husband). Schock said on CD (EMI 7243 5 85286 2 6) singing the "mysterious Gina Berger ' two excerpts from Georg Jarno 's operetta" The Forster-Christel' . Voigt suspects that the young Streich not "pop artist" wanted to be known, but it could also be that a status of operetta singer not so favorable for her operatic career and songs found. Why else would she "Forster-Christel ' recordings under a pseudonym have sung?

Full inclusion of the Liebestrank "in February 1962

is recently led me to hark back to the blog text: "Rudolf Schock: singer and performer (3) '. Under the heading '1959-1986 ' I wrote that "during the 1959 vote of the then 44-year-old Rudolf Schock seems to be somewhat rougher. The upper register is more difficult. Friedrich Herzfeld (the author of a brief biography of Schock) notes that Rudolf Schock French opera "" Wenn ich König war ' (1960) " delightful singing and dreams, but he has some trouble with the top notes ". later remarked ich, however, that 'charm, charisma, flair, musicality, persuasiveness, superior text handling and above all the natural simplicity of his speech unaffected' . That particular mix of qualities was, the music critic in 2004, Thomas Voigt ask "How many singers have been there, their qualities, which the year were less, as well as Rudolf Schock managed to compensate? " . This refresher training should include as a background for what follows.

Success in 1960 (see "RS sings Adam ) of the French comic opera 'Si j'etais Roi (Wenn ich König war)" as television (and on the plate) inspired one year later half television and complete record performance of another comic opera, this time from the Italian repertoire. As "Si j'etais Roi ' was linked to an acclaimed Berlin " Adam "-performance (same singers, same conductor, same director), recalled 'L'elisir d'amore (Der Liebestrank)' to an acclaimed Berlin 'Donizetti' -representation. The difference was, however, the time gap between theatrical performance and recording: "Si j'etais Roi 'AND was carried out in 1960 for television. 'L'elisir d'amore " was conducted in 1950 and recorded for television in 1962. Of the people who Der Liebestrank ' in 1950 had made a success, were only Rudolf Schock and opera director Werner Kelch available. However, the temptation was to shoot film and sheet: Werner Kelch had come much acclaim with his staging of plays and television of the "Shock and Adam' opera was" for the role of the fisherman love (in this opera) was created as " (Herzfeld). It was therefore a logical step, from "Si j'etais Roi ' the conductor ( Ernst Märzendörfer ) and Actress ( Stina-Britta Melander ) commitment.

Build Berlin Wall (1961) indirect cause of Schock's break with 'EMI / Electrola " (Source: Der Spiegel 48/1962)

In Fe ruary 1958 Rudolf Schock says his "Exklusiv-Vertrag 'with EMI / Electrola enough aerobic exclusivity. He promises, however, continue to sing for Electrola, Electrola long-producer Gans Fritz (right in photo with Rudolf Schock) it remains active. In 1961 the GDR built the Berlin Wall. EMI / Electrola moved its operations to Cologne. Gans Fritz does not want to Cologne and remains in his Berlin apartment. During 1962, he resigned from Electrola and is a producer for the new classical record label 'Eurodisc' . Rudolf Schock Gans goes with it, like 'Toningenieur' Horst Lindner, a part of the recording team and administrative staff. A lawsuit Electrola Rudolf Schock against breach of contract by Electrola lost. A lawsuit against Electrola Ariola / Eurodisc about competing green bar on the cover of the new Eurodisc LP's by Electrola won. The complete 'Liebestrank' the first of many recordings, which from 1962 to Rudolf Schock Ariola / Eurodisc made.

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Comments on the TV broadcast 'L'elisir d'amore (Der Liebestrank)'

I can not find, but secondary signals can be seen that the television opera was positively received after the first broadcast Jan. 23 1963, Donizetti's 'Liebestrank' New Year 1965 repeated. The Austrian opera critic and presenter Marcel Prawy leaves no opera on TV, excerpts from section to see and hear. The full soundtrack appears (later) on LP, followed by a detailed 'Querschnitt. In the seventies Eurodisc brings the complete 'Liebestrank' again in an album with pictures from the TV production. on commercial CD's, this German "Liebestrank" however, is still not available!

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Comments on the album recording of "Der Liebestrank '

Löble und Werba in 'opera house Schallplatten auf " (1983) found the performance rather " dramatically than elegant ", but" if one takes for granted, one is not bad with this recording served ". Harold Rosenthal judges in Opera on Record " (1979), which Rudolf Schock older, Stina-Britta Melander a colorless heroine and that the "Belcore" and "Dulcamara" " unidiomatic" are.

It is most negative in Horst Koegler 'Fonoforum " (1965). First, he refers to the great, "Donizetti -nahe" , Berlin performance from 1950 (see his exultation above). Then he calls Ernst Märzendörfers musical director " glanzlos" , "inflexible" and " insensibel" . Total "un- donizettihaft" Koegler Märzendörfers decision, according to the 'dry recitativen' by a harpsichord to accompany moreover " electro-acoustic amplified" seem. Furthermore, he criticizes virtually all the soloists on a post. And who now expect those one soloist in the context of this series will be Rudolf Schock, is wrong. Only Ludwig Welter as Dulcamara - find Koegler - is a real, so idiomatic " Buffo cantante" . Schock other hand has problems with the height and " breath" , Lothar Ostenburg often square and poor Stina-Britta Melander " vulgar" and afflicted with a " unnerving, scolding timbre" .

In the Netherlands Leo Riemer just very excited about the recording. Unfortunately I do not criticize that, but I remember that Riemer was sorry that something so beautiful Dutch television rarely achieved. A rule is still in my head: "... and I (Riemer) unknown baritone Lothar Ostenburg is nothing to sneeze at."

'Liebestrank' production under fateful

First, there is the political-legal and business issues. Then came the (in my opinion) and also artistic underestimate again the (provisional) fact that the 'Accord-television movie " traceless has disappeared. Furthermore, there is the sudden death at age 47, the bass Ludwig Welter, two years after he sang Dulcamara. Lothar died in 1971 Ostenburg at a younger age.

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St ina-Britta Melander (1924)
sings Adolphe Adam I told that the soprano Stina-Britta Melander in responses to its contribution to "Si j'etais Roi" (1960) received less critical acclaim. This Swedish singer, in 1949 by the famous tenor Jussi Björling and in 1954 by the outgoing Benjamino Gigli was strongly encouraged to pursue her career, singer, has one (me) impressive voice. Her powerful delivery Topton me goose bumps and the sound of her middle and lower register call a Callas-feeling. A month ago I came across reviews on the Internet from Yahoo Göran Fors Ling (Musicweb-International), which I doubt, if I still could hear, concerns. Fors Ling discusses a double CD of Stina-Britta Melander, beginning with the appearance of a test picture of HMV, that it was the age of 14. Even then attacked the easy, treble, and her talent for coloratuurzang. Her Melander achieves greatest success between 1958 and 1973. In 1958 she sings in Glauce "Medea" by Cherubini "with a chrystal clear voice and perfect coloratura" . I n is 1959, after a sensational debut in Wiesbaden Germany as Violetta ( 'La Traviata' ) 52 times before the curtain called. Shortly after she sings her Berlin lievelingsrol Zerbinetta in "Ariadne auf Naxos' after ast Lisa Della Casa (photo: right Melander, left Della Casa) . The highlights on the CD's charges Fors Ling songs of Max Reger, Mimi's aria from 'La Bohème' AND Norina's aria from Donizetti's 'Don Pasquale' : "A high spot in 1959 ... recorded and sung in Italian where clause re Norina is witty and alluring (humor and allure).

*****

The 'Liebestrank' again many times listened to!

And - I insured ker you - the drink works! Ernst Märzendörfer (1921-2009) , Austria's Mozart Conductor, who knows how to sound out the fine details to bring " (Thomas Voigt 2004), focuses on more serious overtones of the opera. It is a fact that Nemorino with suicidal thoughts running around: both Romani's text and Grünbaum translation of the minor romance ( "Una furtiva Lagrima" ) he wants one more time Adina aankruipen to "the success of her heart hear '. He thinks to know that it is only right for him, if Adina is not aware. Yes, and then he can die! "Out of love (d'amore) ', according to Romani. "In peace (zufrieden) ' according to Grünbaum. The harpsichord accompaniment (see 'Knaurs Grosser Oper Fuhrer-1999' ) of the sung recitatives by Donizetti intended that way. She is not acoustically enhanced, but well recogn away. Ostenburg Lothar (1928-1971) , that really hot and Oostburg Lloyd was born in Iowa (USA), is an ironic Belcore with a baritone splendor. Ludwig Welter (1917-1965) is appropriate as Dulcamara. His smooth sales pitch ( 'Wortkaskaden' ) rolls his skills on the tongue, but I like a feeling that there is more color in the role had been. Welter was in many roles - specifically in Italian opera - to be heard the Wiener Staatsoper. Roswitha Bender singing with a small but cute voice Adina's confidante Giannetta. She is with the ladies of the "Berliner Kammerchor" irresistible in the 'whisper choir' (I prefer to call it gossip choir ') amidst the first act. Stina-Britta Melander is a top attraction: her coloratura tucked her musical relationship with Donizetti exemplary. I get agitated when they repeatedly at the beginning of the aria, prior to the final duet, the surrendered contract Nemorino returns with the words: 'So (without vibrato crescendo) Nimmen (diminuendo). Melander shows spirit and style, irony and sensitivity. She is an ideal, emancipated Adina, who you immediately believe that she is perfectly able to lead a large company. Finally Rudolf Schock's Nemorino: parent, but not too old to convince as the younger man. With unfailing intuition, the focus - in line Märzendörfer - moving from his proven 'italianità' to the dramatic, declamatory tragedy, which the figure of Nemorino in Donizetti certainly intended that way can have. Schock has really no breathlessness. A single high note, which cost him strength. But there is a lot compared: Schock's ee nvoud and naturalness, which Nemorino hear the credibility of his despair in the first final ( "Oh, Herr Doktor!" ), the dull sadness, which Nemorino Adina begs "nur heute nicht" with Belcore to marriage, followed by him singing "Adina, glaube mir" that Adina's (and my) heart melts. But the transcendent way in which a tenor romance played out the second company.

"Heimlich aus ihrem Auge sich eine Trane stahl (Still appeared a tear in her eye)"

(Now: the individually recorded - incidentally very complete - duet with Rita Streich Schock's Nemorino is from 1952 vocal and strong in terms of expression. Except virility but Nemorino has an Italian flair, which is far more reckless than Adina timidly can be called. Rita Streich as Nemorino in addition to these sounds logical Adina: its silver-youthful singing - how great too - not enough to characterize the witty and emancipated young woman who is Adina. That's Stina-Britta Melander easier 10 years later)

In my quest for additional information on "Una furtiva Lagrima" I came from recordings of

• Placido Domingo : unbelievable as Nemorino (too heavy). Technically perfect, without exaggerations
• Luciano Pavarotti (later video recording "with handkerchief '): Pavarotti sings really' Pavarotti 'instead of' Nemorino"
• Fritz Wunderlich: golden voice, he sings Handel instead Donizetti. Spun romance lasts more than 6 minutes. The text ( 'urge Wohl aus ihrem Herzen zu mir ein Seufzer PACE ), recent German translation of Wilhelm Zentner
• Enrico Caruso (in 1904: 31 years) demonstrates simplicity. Two small decorations. Credible as Nemorino. Remarkably fast execution: 4.13 minutes
• Rudolf Schock : all versions take approximately 4.30 minutes
  The two German sung recordings from 1955, Schock's 'italianità' prominent hear a German 'bel canto " without exaggerations. The German also implementation of the romance in the entire 'Liebestrank " (1962) chooses Rudolf Schock for ' simplicity of the song" . His 'italianità' is limited to a single moment. The song tells Nemorino's dying wish: he is convinced that Adina loves him. The tear proves that. Yet it will never work between them are. He should rest therein. Nemorino's only desire is 'still here' be with her and the beating of her heart to hear. If successful, he 'happy to love die . With an affirmative 'push' on the third syllable of the last "zufrieden" Nemorino put an end to life. Shortly before making Schock with a single accent and a slight delay "the grave, that opens" already visible. The song is off.

is nice to note that a similar threat in a visionary metaphor from the first act is to listen (Adina, Nemorino duet: "Frag" but, warum der Zephir ... '): Nemorino sees itself as the source of the rock into the sea flows, " where death's cold receives' . In short: less "Schmelz", much more depth.

For "Schmelz" We can go to Schock's Italian g ezongen versions: In 1950 - under a scrupulous directing Hans Löwlein - the finest Rudolf Schock in top form, both in 'bel canto' and dramatic intensity. In 1955 - under Wilhelm Timid - he barely stays behind. In 1963 - again under timidity - have been showing a tendency to hold the nomination Italian energy considerations that the interpretation of 1962 must have resulted. The last romance - live in Munich - was in 1965 in a concert under the Italian conductor Arego Quadri sung. Besides Schock joined the soprano Claire Watson and baritone Tom Krause on. A now 'Italian' Rudolf Schock makes clear in this recording, to what an impressive Nemorino in the sixties, he still was capable of.

Krijn de Blank, February 8, 2010

Including "Lucia di Lammermoor" with Yahoo Erika Koth, Josef Metternich and Rudolf Schock comes in March 2010 turn in "Rudolf SHOCKING SINGS GAETANON Donizetti (2).