Play Age Of Empire 3 Without The Disc

RUDOLF SCHOCK SINGS GAETANO DONIZETTI (1)

" Der deutsche Gigli "

This headline selects the serious weekly magazine 'Time' in November of 1986 for an obituary of the deceased Rudolf Schock is dedicated. Journalist Wolfram Schwinger decides follows the text: counted "One of his most famous roles Donizetti's Nemorino : he was able to melt his mellifluous voice with its distinctive 'golden balls' unfold, its sensual, warm timbre altogether it was in Berlin. State Opera (which is still in the Admiral's Palace played ....), and it was then still sung German, but when the applause after his romance hurricanes border simply did not want he stepped before the curtain and sang the 'Una furtiva lagrima' again on Italian, now really demonstrating how a German Gigli cantabile most Belcanto exude can. "

Gaetano Donizetti (1797-1848)

painting e Induno by Gerolamo (1825-1890)

But first again soon with big steps through the history of musical theater. So that is' at home 'are no dalliance, for we have in these times -. how the Dutch artist Herman van Veen once sang - "an incredible rush!

In the 17th Century developed the opera, especially in Italy. First of Venice as 'opera seria' - seriously so the content - with big names such as Monteverdi and Scarlatti, and then next from Naples as 'opera buffa' what to write and composers such as Pergolesi Logroscino a frohgestimmtere music. add me - - the dominant style of singing the 'bel canto' who strives for "beauty of the vocal sound and perfection of the art" (Leo belt 1959) and is 'la musica' should be subservient. In the 18th Century spread 'opera seria ' (Handel, from Gluck) and ' opera buffa ' is via Paris all over Europe. Mozart is idiosyncratic and pushes 'seria' and 'buffa' together. For 'Don Giovanni' (1787), he thinks of the term 'dramma giocoso' : a 'gay tragedy' with as Donna Anna and Don Ottavio in the tragic and Leporella / Zerlina in the cheerful bearing. Title character, Don Giovanni feels towards its inevitable demise at home in both camps. At the end of the 18th Century, but especially in the 19th Century in Europe, the dominance of the Italian 'bel canto' a heavily on the verbal expression ('le parole ') related, dramatic and declamatory style of singing broken . Later, should more and more opera singing both styles complement each other, and this musical compromise has been (and will) then called 'bel canto' .

Back to Italy,

(where in the 'opera buffa' the sung 'recitative secco' ('the dry recitative ") with harpsichord accompaniment for all lots, the outside of the bassist, long hold out, while some other country spoken dialogues her entrance. Mozart composed as well as its Italian operas sung recitatives, but in the German-speaking 'Abduction from the Seraglio "(1782) spoken dialogues.)

19 . Century. directed Gioacchino Rossini (1792-1868) all opera attention back to Italy. He composed serious (eg 'Tancredi' -1813) and comic operas (including 'Il Barbiere di Siviglia' -1816). In addition, following the example of Mozart Rossini writes 'dramma giocoso' operas, which alternate with earnestness and jest each other: 'L'italiana in Algeri -1813, ' La Cenerentola (Cinderella) ' -1817, ' Il viaggio a Reims (Journey to Reims) ' -1825. In 1829, Rossini says the Mus iktheater in a grandiose way with the farewell written for Paris' historic 'Grand Opera' 'Guillaume (Wilhelm) Tell' . In the decades after he is confined to religious works (such as the 'Stabat Mater' -1842), music for piano and songs.

Vincenzo Bellini (1801-1835 : see portrait ) and Gaetano Donizetti lead Rossini's work further and continuous so that the reputation of Italy as the birthplace of opera. Bellini is famous for fiercely romantic operas like 'Norma' and -1831 'La Sonnabula (sleepwalker)' -Dec. 1831st His friend, F elice Romani (1788-1865 : see portrait ), sealed the lyrics for operas of Bellini and for a 'dramma giocoso, "-style opera ' L ' Elisir d'amore ' , which Gaetano Donizetti breaks in 1832 internationally. Rossini, Bellini and Donizetti suggest an important bridge between Mozart's operas and those of Verdi and Puccini.

What happens on the bridge?

The strict division 'opera seria' and 'opera buffa' is giving up. Hybrids to come. Automation for the 'core business' of the different vocal types (eg, the bass player sings the High Priest) and the design of the arias are called into question. In 'bel canto' is not only 'beautiful voice', but also 'expressive text treatment " understood. Mythological and historical heroes and heroines share the stage with more and more 'ordinary people'. Static types grow from the developing characters. The audience wants more realistic opera acts ('verismo') : tangible people in a tangible world. Donizetti shows up for this wish is not deaf.

More than seventy operas!

G aetano Donizetti from Bergamo debut in 1818 as an opera composer. Until the 1830 Rossini's influence on his work is clearly noticeable. But then - about thirty Opera on - enters 'Anna Bolena' (Libretto: Felice Romani) the stage. Again is the story model, but the operatic character of Anna turns out to be a man of flesh and blood. It is apparent to the Italian opera audiences who can share their joys and sorrows, and Donizetti was the first big success. Tireless, the composer produced again forty operas, among which 'L'Elisir d'amore' (Milan 1832), 'Lucretia Borgia' (Milan 1834), 'Lucia di Lammermoor' (Naples 1835), 'La Fille du Reg iment '/' La Favorite ' (both Paris, 1840), ' Linda di Chamounix ' (Vienna 1842) and ' Don Pasquale ' (Paris 1843). In all these moves Donizetti operas continue with musically nuanced drawing human characters he in 'Anna Bolena' (Photo: Maria Callas as Anna Bolena) got under control. Between his passing, he wrote operas symphonies, string quartets, and a requiem for the (very young) who died Bellini. In Bologna, the astonishing conducts Donizetti 1842 the world premiere of Rossini 'Stabat Mater' . In 1844, he is suffering from a brain disease and it is maintained in a Paris hospital. Three years later, bring friends to Bergamo Donizetti , where he died 1848th

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'Don Pasquale'

Don Pasquale is rich and old. He wants to marry the widow Norina. She is poor, and (very) young: a classic plot for a cozy old-fashioned 'opera buffa' . But actually such a thing can not 1843 be longer listed as the 'opera buffa' truly came out of style. Nevertheless, the Paris premiere a "brilliant" (belt) idea. Donizetti's main characters are presented as a modern, living people, to recognize where the spectators. Don Pasquale will ultimately return to common sense and congratulates the Liebespa ar Ernesto and Norina generously to the planned wedding. He realizes that he is too old for Norina. Norina emerges in the course of action as a smart girl who knows the people to manipulate easily from their surroundings. Donizetti's music is very melody wealth, in the 3rd Act - in Don Pasquale Garden - a high point reached: Ernesto sings before the first night rendezvous with Norina the 'silk' serenade 'Com'e gentil' and then with it the 'velvet' duet 'Tornami a dir che m'ami'. The light, lyric tenor Tito Schipa excelled in that role.

R UDOLF shock as Ernesto (Photos: Archive Gisela shock)

sings Just before World War II shock Ernesto in the 'Don Pasquale' Premiere of the State Theatre in Brunswick. Five years later, on 2 March 1944, he sings - not many happy return from Stalingrad - the role again in a second 'Don Pasquale' premiere, but then in Berlin. Michael Bohnen is Don Pasquale, Karl Schmitt-Walter Dottore Malatesta and Irma Beilke the Norina. The performance is necessarily (the "German opera house" was in ruins) held in the palace at the Admiral station Friedrichstrasse. Conductor Leopold Ludwig is and the stage director has Günther Rennert . Biography is in shock, the hall was sold out, but "The audience was completely dressed differently. Some wore the clothes again, that they had been bombed. The execution was a "huge success" and "The next day I was famous."

Don Pasquale, 1944: from left to right shock, Beilke, beans, Schmitt-Walter
an idea of how great sang Rudolf Schock in 1945 the role of Ernesto, do you get when you look at the sinnbetörende night duet sounds. It stands on various shock solo CDs of opera fragments (eg on laser LC Light Classics CD 74 503 24 865 and Sonia) . There is no Live fragment from an opera performance in 1944, but a live recording taken from a 1946 Berlin radio show. That Irma Beilke also shocks 'Norina' is, this recording is of particular importance.

K oloratursopranistin Irma Beilke (1904-1989) occurred in almost all European music capitals. In Salzburg, one could hear her as a Pamina in Mozart 'Magic Flute' , which means that Irma Beilke over career began to sing lyric soprano roles. Quite early (1958) she said goodbye to the opera stage. Rudolf Schock disposal in the period 1936-1959 on a respectable level. But by the circumstances in the run-up to war during the war and the postwar dominance of the upper register came relatively late (the first recordings in 1947!) To advantage. But nonetheless shock on 1947-1959 so much that there is no lack of evidence for these life characteristics. I am thinking of high tenor parts (complete and fragmentary) in 'The Barber of Baghdad' (Cornelius), 'Andrea Chenier' (Giordano), 'L'amico Fritz' (Mascagni), 'Tales of Hoffmann ', The great sinner' ( Künneke) 'The Bartered Bride' (Smetana), 'Il Trovatore' / Rigoletto (Verdi) and Donizetti's Don Pasquale 'and ' L'Elisir d'amore '.

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L ' elisir d'amore (The Elixir of Love)

plays a major role in this 'dramma giocoso, "-like opera in which the hilarity has serious undertones: Adina has land on lease and employs more workers. She is young, beautiful, intelligent and unpredictable. She has self-knowledge, as she sings, she is capricious: "What fascinates me now bores me tomorrow '. Nemorino, a young, shy, naive farm-hand ( 'well behaved' ) that can not read or write. He fell in love with Adina, but looks up at her: 'study can read it, every science win, I'm a stranger in such matters' . One (bad) day soldiers come into the village. Your arrogant Sergeant (Bellcore) is a clever philanderer. Adina Belcore will marry as soon as possible, because before you know it, a soldier must move on again. Adina will consider the proposal of marriage. Nemorino is desperate, but then also has the honor 'a very learned D Oktor Dulcamara 'the village with a visit. Dulcamara sells bottles with a 'love potion' of just 24 hours has a great effect. Nemorino buys and drinks the 'magic potion' that is really serious wine. This intoxicates him, according to Adina Nemorino opposite of courage and even insolent acts. Adina irritated so that she exclaims, Belcore 'today' to marry . Nemorinos world collapses: he begs Adina one day delay - which it refuses, despite something of a flickering compassion - and runs in panic from it to 'the Doctor' to seek . To the extent that the first act

shifts in second act Adina - to Belcor scandal - the marriage but a few hour. It turns out that Nemorino has not enough money to buy a second bottle, which - as he hopes - will activate the hormones faster. To raise money, he can even be persuaded by Belcore to be a soldier. At the same time is rumored Nemorinos very rich uncle died unexpectedly, and Nemorino himself was the sole heir. In no time does a stunned Nemorino is surrounded by girls who give him unchecked the court. Then he understood it: The love potion worked but still in time! Adina inquires what happened. At once they discovered their own feelings for Nemorino. It breaks Nemorinos contract soldiers and confesses her love for him. Belcore is Adina on magnanimous end (for them ten others), and the opera with a happy final song.

'Nemorino and Adina' with 'Tristan and Isolde'? They are the figures of 'opera buffa'?

In the old legend (which provided the material for the same, medieval verse epic by Gottfried von Strassburg and in the 2nd half of the 19th century coaching inn to the opera Wagner's 'Tristan and Isolde' inspire should be) a love potion that causes a raised, but impossible love between knight Tristan and Isolde blond hair. You choose the Liebestod, for a reunion in the afterlife then. In text book by Felice Romanis 'L'Elisir d'amore' is the drink of the ridiculous quack a bad Bordeaux. Adina is a clever, though capricious lady in the country, and a languishing Nemorino, a simple country lad. This couple could not be more than meant as a (casual) parody of the heroic figures of legend.

Adina and Nemorino are not indicative of the 'opera buffa' . Adina could are compared with berechtigerweise an emancipated woman of today: she is well trained and will lead to a farm. In social intercourse, it behaves realistically and has humor. Nemorino is childish, but sincere. Impetuous love people behave, just different people with 'normal'. At the end of the opera Nemorino was ridiculed not by the villagers. He deserves and gets respect of each: "Bauer sucht-farmer ' formula anno 1832nd
In Belcore and Dulcamara still flows through the 'opera-buffa' blood through the veins. But they behave more nuanced: Belcore plays the macho, is However, a sporty losers. Dulcamara is similar to those business people who mt during the entire history of the world an unquenchable thirst for money mate a nimble tongue.

Donizetti's music

modeled the characters and the character developments of the main characters: the 'Cavatina' at the beginning of the 1st Act ("Quanto è bella / What grace and what stimuli ') , Nemorino in which the social distance to the beautiful and' learned 'describes Adina, is consistent with his nature. It's a simple song with almost no text repetition and without musical frippery. Nemorinos famous Romance 'Una furtiva lagrima / Heimlich from her eye' or 'good came from their hearts' would radiate the same song-like simplicity. Donizetti modest instrumentation (harp and bassoon, only in the foreground) is already a sure hints, which should not hear it across. But (later) Italian 'Bel Canto' the song is still well again - needlessly - increased by about dramatic passion and too much vocal frills.

In the final of the first large-scale Act takes Adina suddenly Party (What's wrong with her?) For Nemorino. Donizetti translated this behavior musically in that the melody of Adina Nemorinos touching 'credimi Adina / Adina, I think' does. The military is satirized by a caricature Entree under intimidating drums and a menacing saber-rattling. The traditional 'opera buffa' leaves traces in the sung 'recitative secco' with harpsichord accompaniment (see above) and second in the festive Final.

about the source of inspiration and the question of whether the opera was successful

As I said, Felice Romani wrote the libretto, and it can be to inspire 'Theater animal' Eugène Scribe (see also 'RS sings Daniel Auber' ), who include the libretto for Auber's now-forgotten opera Daniël Le Philtre (Zaubertrank!) 'written . 'Le Philtre' had premiere in 1830, 'L'Elisir d'amore' 1832nd I do not think that Romani and Donizetti their French colleagues Scribe and Auber plagiarized. But the link is obvious between the two operas.

'L'elisir d'amore' after the Milan premiere of Gaetano Donizetti is rapidly internationally known. In the year 1834 witnessed the first performance a more modest successes g. 'Elixir of Love' from the opera tenor Johann Christoph Grünbaum (1785-1870) was translated into German. A year later, 'Elixir of Love' in Vienna much more successful. Respectively. 1836 and 1838 followed by London and New York ('Academy of Music). Grünbaum's German translation is in the 20th Century. of Wilhelm Zentner (Reclam Universal-Bibliothek 4144) revised and partly renewed. Therefore, sing (singing?) German tenors the romance 'Una furtiva lagrima' soon in the old ('secretly from her eye') , now in the new ('good came from her heart') version. By the way, turned in the second version the 'silent tear' from the Italian text in a deep 'sigh' .

At the end of the 19th century coaching inn, it is hardly speeches 'L'Elisir d'amore' . Donizetti's tragic opera (including 'Lucia di Lammermoor' ) are then very popular.

in 1901 but succeed - after long and vigorous insistence - in the 28-year-old age already world famous Enrico Caruso (1873-1921 (see photo ) , a Neupremiere the 'L'Elisir d' amore ' under Arturo Toscanini in Milan's Scala' to bring to pass. The success of Caruso and 'his opera' was enormous, it turned out from the 36 statements that follow should you. Caruso Nemorino sings in 1904 in New York on the sparkling nage Lneu 'Metropolitan Opera' . He says the romance 'Una furtiva lagrima' to his favorite song.

The role of Nemorino, which was written for a lyrical , high tenor was later a brilliant game of Tito Schipa (1887-1965 -see photo ) , who 1935 in the Netherlands among others sang. And of course, Nemorino was also an ideal job for the 'mezza voce' - Specialists Beniamino Gigli (1890-1957) , with the 'Time' equates Rudolf Schock 1986th

music reviewer Leo belt, in his 'Groot Operaboek' (1959) still 'Elixir of Love' was in the German speaking countries never as popular as 'Don Pasquale' been. has

Rudolf Sc squatting Nemorino on stage
that Rudolf Schock June 1950 all done well by Donizetti 'love potion' make popular in Germany, may become clear from the 'time' text, which my essay opens. With shock sang and played Rita Streich (according to the biography: " a delightful Adina" ) Ruth Keplinger (Giannetta), Heinrich Pflanzl (Dulcamara) and Kurt Rehm (Bellcore). Hans Werner Löwlein conducted and cup has directed. A music critic (Horst Koegler), which was an eye and ear witness noticed in 1965 in 'Fonoforum' that he later became a "amusing, sparkling, Donizetti near 'love potion' not (even with the Italian original) is very I often re-experienced. " shocks Nemorino he remembers as "beguiling."

Rudolf Schock as Nemorino on CD (and LP)

• 15/07/1950: radio recording from Berlin 'Una furtiva lagrima' with you Hans Löwlein (oa Relief CR 3001/Laserlight Classics LC 24 865)
• 1952: Radio host 'asking me why the Zephyr (directory ask all'aura lusinghiera)' with Rita Streich and Director Robert Heger (membrane-231 832 Documents)
• 25/08/1955: Studio recording from Bielefeld 'Una furtiva lagrima' with you Wilhelm Schüchter (LP! op EMI E 2008/09/Edition 2000)
• 06/25/1955: studio consumption from Bielefeld 'Heimlich from her eye' with you Wilhelm Schüchter (EMI CDZ 7 67 184 2)
• 1955 studio recording 'secretly from her eye' for the movie 'The Happy Wanderer' with ( Mr. Ludwig I thank you very much for this Stumpff ! Supplement) Dir Egon Kaiser (The film 'The Happy Wanderer' has to date not released on DVD)


• February 1962, Berlin studio recording of the entire opera 'Elixir of Love' with Stina-Britta Melander (Adina), Lothar Ostenburg (Bellcore), Ludwig Welter (Dulcamara), Roswitha Bender (Giannetta), the Berlin Chamber Choir and the Berlin Symphony Orchestra. Dir ERNST March VILLAGES (LPs! on disc € 300 070-420/Fernsehfilm has disappeared)


• 12/06/1963: Studio recording from Bamberg 'Una furtiva lagrima' with you Wilhelm Schüchter (LP! optical disc 70 608 € 78 571 IU and KR)
• 09/01/1965: Live live recording from Munich 'Una furtiva lagrima' with you Arego Quadri (in private)

In connection with the Berlin premiere of the 30th June 1950 could be called the 15 days later, radio host of Nemorinos (Italian) sung romance with law 'historic' . Moreover, it is the same Hans Löwlein (1909 -? ) who has the musical director. Something like that must be on 30 have sounded in June shocks "Applause winter storms rewarded Belcanto: on the top of his vocal abilities, as 'mezza voce' specialist in the footsteps of Beniamino Gigli kicking. This image, which appeared first in 1985, is abundantly available on CD. In total shock seven 'Una furtiva lagrima' recordings I come back even further. Also under Robert Heger (1886-1978) recorded a duet from the 1st Act of the opera will not differ greatly from the way in which Rita Streich and Rudolf have been singing the same duet shock two years earlier on the stage. Also, I still talk like this.

Rita Streic h (1920-1987) is without doubt one of the greatest coloratura singers of the last century. It was taught by including the legendary sopranos Maria Ivogün and Erna Berger, and began her career in 1943 with the tricky role of Zerbinetta in 'Ariadne auf Naxos "by Richard Strauss . In 1954 she was singing in good company of Elisabeth Schwarzkopf, Irmgard Seefried and Rudolf Schock the same role in the overall intake of 'Ariadne' under von Karajan. Buy after the war (1946) are met Rita Streich and Rudolf Schock for the first time in a joint concert in Oebisfelde. The fee was to eat from all kinds, because money had become worthless. After the concert they went " packed rich" home.

made his debut in this same year 1946 Rita Streich at the Berlin State Opera in the roles of Olympia ( 'Tales of Hoffmann' of Offenbach: see photo German Fotothek ) and Blonde ( 'Abduction from the Serail ' of Mozart). In 'Rigoletto' by Verdi she sang alongside Rudolf Schock, Josef Metternich, and again, and with shock in 'L'Elisir d'amore' . Came to Berlin and Vienna after the singer triumphs in the world. Starting from 1974 gave further Rita strike the riches of their musical experience to young, aspiring singers. In the booklet with the CD 'with Rudolf Schock in the world of operetta (Vol. 2)' Thomas Voigt told by the way, Rita Streich was in the early fifties under the name 'Gina Berger' occurred ('Berger' was the surname of her husband). On-called shock-CD (EMI 7243 5 85 286 2 6) sings the 'mysterious Gina Berger' two fragments from Georg Jarno operetta 'The Ranger Chris' . Voigt suspects that young Rita Streich did not want to be known as a pop singer, but also it could be possible that the status of operetta singer to be not so favorable for its opera and songs assesses career. Why else would the 'Ranger Chris' recordings were sung under a pseudonym?

The complete recording of "L'Elisir d'amore 'led the 1962

me shortly on the blog text ': ' Rudolf Schock: Singer and actor (3) 'domain. In '1959 - 1986 ' I wrote: "In the course of 1959, Rudolf shocks voice seems a little less flexible, the highest registration costs more power ".......... Friedrich Herzfeld (author of a short biography of shock and music critic) notes that in 1960 Rudolf Schock ..... charming in the French opera 'If I Were King (Si j'étais Roi)' sings and dreams .... but also that he probably has a little trouble with the high notes " little further, I noticed, however. " ... remain unaffected charm, charisma, charm, musical talent, conviction, excellent text handling and over all the natural simplicity of his presentation " It is this combination of features, the music critic Thomas Voigt 2004 initiates the rhetorical question. " .. how many singers gave it their qualities over the years eased to compensate so well knew how Rudolf Schock? " This exercise is repeated with the background for what follows.

1960-The success of the French, comic opera 'Si j'étais Roi' ( see also 'RS sings Adolphe Adam' ) as TV movie (and on the record) inspired 1962 a second TV movie + record-Gesamtaufname another comic opera. This time from the Italian repertoire. As the 'Si j'étais Roi' movie ' praised at a Berlin Adam -idea, as it was linked (with the same singers, conductors, and the same director), could ' L'Elisir d'amore film ' remember a vaunted Berlin Donizetti -performance. The period between the stage version of 'L'Elisir d'amore' and their TV reception was more than 10 years! 'Si j'étais Roi' was even recorded and performed still in the same year. Of the people who had made the opera 1950 for success, there were only Rudolf Schock and opera director Werner cup still available. Nevertheless, the temptation had been great to be making films and recordings. Werner Kelch had just found a lot of recognition for his Enszenierung the Adam's opera on stage and on television, and shock was " been created for the role of a fisherman in love with the Adam-opera like (Herzfeld). It was therefore a logical step, in addition to shock and the conductor of 'Si j'étais Roi' (Ernst March villages) and their female lead (Stina-Britta Melander) engage .

building of the Berlin Wall (1961) indirectly caused shock break with 'EMI / Electrola' (Source: Der Spiegel 48/1962)

February 1958 Rudolf Schock announces its exclusive contract with EMI / Electrola. He promises but "to continue to sing for Electrola, EMI long-producer Fritz Ganss (Photo: Rudolf Schock) there remains active" . Built in 1961 the GDR, the Berlin Wall. EMI / Electrola moved all their activities in Berlin to Cologne. Fritz Ganss not want to go to Cologne and remains in his Berlin apartment. On 30 September 1962 he moved from Electrola over to Ariola Sonopress and then works only for new classical label Ariolas ' € Disc' . Rudolf Schock to go, and it follows sound engineer Horst Lindner, part of the host team, the secretary, and "several typists. Electrola "asked the district court issued a temporary injunction against Berlin Rudolf Schock: He should be allowed to sing for € Disc . The application against Electrola the singer is dismissed. A second injunction against Ariola Sonopress to competing, thick green bar at the top of the 'Eurodisc'-plate cover is not rejected. The 'love potion' total intake is the first of many records, which has made since 1962 for Rudolf Schock Ariola / € disc.

reactions on the television broadcast of "L'Elisir d'amore (The Elixir of Love) '

I can not find, but some secondary signals can be seen, that television opera well received was: after the 1st Broadcast on 13 January 1963 Donizetti's 'Elixir of Love' by ZDF is repeated on New Year's 1965th The Austrian opera critic Marcel Prawy shows on television fragments of the shipment in his opera magazine. The integral audio tape released (later) on LP records. A detailed cross-section follows. € published in the seventies, the total disc recording again in an album of photos from the TV movie. Nowadays the opera on commercial CDs are still not available at!

reactions to the recording session

Loebl and Werba see 'opera on records (1983)' execution rather "drastically as elegant, but if you take into account, one is with this recording serves not bad" . Harold Rosenthal tried in 'Opera on Record (1979)' , shock'm getting older, Stina-Britta Melander is a colorless heroine, and Bellcore / Dulcamara were " unidiomatic" has (somehow the way they sing German to ) do.

most negative Horst Koegler is in the music magazine 'Fonoforum (1965)' . First, he refers to the " sparkling, Donizetti close" Berlin production of 1950 (see his Cheering up here). He then called Ernst March villages musical direction " lackluster" , " inflexible" and insensitive ". Completely "un- donizetti way" was - after Koegler -. March villages' decision to support the secco recitatives with an apparently even greater electroacoustic harpsichord " He also criticized almost all the soloists, except one. And if you expect this one will be soloist in the context of my blog articles Rudolf Schock well be mistaken. Only Ludwig Welter as Dulcamara - by Koegler - was a good " buffo cantante" . Shock, however, has problems with height and is "short of breath" , Lothar Ostenburg often " to burly" , and the poor Stina-Britta Melander " vulgar" : "She has a body whose very timbre nagging gets on my nerves."

In the Netherlands Leo is enthusiastic about the inclusion belt just extraordinary. Unfortunately I have not the criticism, but I still remember belt is a pity that something so beautiful rarely or never reach the Dutch screens. One line stuck in my head in: ".... and I (belt) not known baritone Lothar Ostenburg is not to be despised, too. "

'Liebestrank' production under an unlucky star.

first so there was the political and factual and legal issues. Then there were the - in my view - artistic underestimation and ultimately the (provisional) fact that the 'Accord-TV movie' is missing. In addition, the bass player died Ludwig Welter suddenly in the 47 years of age, two years after he sang Dulcamara. And in 1971, died Lothar Ostenburg in even younger age.

Sti na-Britta Melander (1924)

In 'RS sings Adolphe Adam' I reported the soprano Stina-Britta Melander was harvested from time to time in response to its share of 'Si j'étais Roi' (1960) less good reviews. This Swedish singer in 1949 by the famous tenor Jussi Björling and 1954 from which be adopted by Beniamino Gigli was strongly encouraged to develop the singing career continues to have one (me) impressive voice. Your final high notes are stressful, and quantity and tone of the middle and lower voice conjures up for me even a Callas-feeling.

A month ago, las I reviews from the web including Göran Forsling (MusicWeb International), which my doubts whether I could probably still hear well, took away. Forsling discusses a double CD that starts with playing a test board for HMV, the Stina-Britta Melander started at 14 years. Even then fell to the comfortable high notes and her talent for coloratura singing. The greatest successes wins Melander 1958-1973. In 1958 she sings the role of Glauce in 'Medea' Cherubini "with a chrystal clear voice and perfect coloratura" , 1959, after a sensational German debut as Violetta ( 'La Traviata' ) in Wiesbaden 52 times before the curtain called. Imselben year, she sings with vi success el the 'favorite role' in Zerbinetta 'Ariadne auf Naxos' next to Lisa Della Casa (Della Casa (left), Melander (right) archive Ilse Buhs / Jürgen Remmler) . The H ighlights Forsling songs on CD by Max Reger, Mimi's aria expects from 'La Bohème' aria from Donizetti AND Norinas 'Don Pasquale': "a high spot ... recorded in 1959 and sung in Italian Norina is where her witty and alluring (has humor and format).

the 'love potion' I've heard Recent again many times!

And - I assure you I hnen - T has rank! March villages Ernst (1921-2009) , the Austrian " Mozart conductor who knows how to bring out fine detail to sound" (Thomas Voigt 2004), seems to be the more serious undertones of the work sent. The fact is that Nemorino walking around with thoughts of suicide: Romanis in both text and translation of the tree in Green-Mineur romance ('Una furtiva lagrima') he wants just one more time to conform to Adina 'To hear the beating of her heart' . He thinks it knock only for him, although his was not aware of the Adina. Yes, and then he would die! 'For Love (d'amor)' , according to Romani, 'satisfied' , to green tree. The harpsichord accompaniment (See 'Knaurs Grand Opera Encyclopedia 1999' ) of the sung recitatives is meant by Donizetti. It has been reinforced not acoustically. Horst Lindner it has only been well received. Lothar East Castle (1 928-1971) , whose name actually is Oostenbrug Lloyd, and was born in Iowa (USA), is an ironic Belcore with lush baritone voice. Ludwig Welter (1917-1965) is suitable as Dulcamara. The 'word cascade' roll him skilfully on the tongue, but I still keep the feeling that it would have been sitting more color in the role. Welter was in many roles - including stresses in Italian opera - at the Vienna State Opera to hear. Roswitha Bender sings with small but lovely voice Adina's confidante Giannetta. It is irresistible with the ladies of the Berlin Chamber Choir in 'whisper Chörchen' (I prefer to call 'gossip Chörchen' ) right in the first Stina-Britta Melander act is a star attraction: her coloratura are stung, their musical Sensitivity of Donizetti's music admirably. Goose bumps every time when the beginning of the aria that precedes the final duet, Nemorino returns the detached contract with the two words: 'So (with vibrato loose Crescendo) take (with diminuendo)'. Melander shows spirit and size, irony and compassion. It is an ideal, emancipated Adina, from which everyone thinks directly that she is fine position to manage a business. Finally Rudolf shocks Nemorino: older but not too old to convince as a younger man. With ever decreasing Intuition - making sure to line villages in March - the focus from proven 'Italian way' relocating to the dramatic and declamatory tragedy, intended for Nemorino Donizetti might have meant. 'Dyspnoea' there really are not in shock. Probably cost him an isolated high tone power, but such a moment as many significant moments with respect to: Sch Ock simplicity and naturalness that belong just to Nemorino; Glaubenswürdigkeit the desperation in the 1st Final ('O, sir!) ; the dull sadness, which he begs Adina ' 'marry Belcore, the then sung ' not only today, Adina, I think ' that Adina's (and my) heart melts. But everything remains on growing the way, like a tenor, the romance of the 2nd Act given.

'secrets from her eye, a tear stole'

(Another quick note: In detail - all the way, completely absorbed - duet with Rita Streich from 1952 shocks Nemorino is expressive vocal and strong. Besides this virility but Nemorino has an Italian flair that could be called in relation to Adina rather than brave as shy. Rita Streich sounds not find this Nemorino as the logical Adina: its youthful silver song - how gorgeous too - not enough to characterize the intelligent and emancipated woman, Adina. This is Stina-Britta Melander 10 years later more easily by hand).

In search of supplementary material on 'Una furtiva lagrima' I heard recordings of

• Placido Domingo : Do not believable as Nemorino: too heavy . Technically perfect, without exaggeration.
• Luciano Pavarotti (later video recording 'With the handkerchief'): Pavarotti sings "Pavarotti" and not "Nemorino"
• Fritz Wunderlich : golden voice, but sings instead of Haendel Donizetti. Spun romance takes more than 6 minutes. The text ( 'good came from my heart a sigh to me her' ) is the modern German translation by Wilhelm Zentner.
• Enrico Caruso (1904: 31 years old): Demonstrates simple, two small ornaments. Fully convinced as Nemorino. Remarkably fast execution: 4.13 minutes
• Rudolf Schock: all versions take about 4:30 minutes.

In the two German sung recordings from 1955, you can hear shock 'Italian way' prominent: a German bel canto without exaggeration. In the au ch German presentation in full 'love potion' (1962) Rudolf Schock selected for the 'simplicity of the song'. His 'Italian way' limited to a single moment. The song tells of Nemorinos last wish: he is convinced that Adina loves him. The tear proof of that, but it is nothing come of it. He has to be content with his lot. His only desire is 'very briefly' to be with her and hear the beating of her heart. When he reached it, he can 'die happy in love' . With a short, simple pressure on the third syllable of the last time sung little word 'satisfied' , shocks Nemorino is a line under his life. Just before the singer does with only a slight delay and a single accent 'the grave that opens' already visible. The song is over.

It is also remarkable that a similar threat in a prescient metaphor from the 1st Current sounds (Duet Adina, Nemorino: 'ask' but why the breeze ... '): Nemorino sees itself as the source of the rocks down, up to the sea is loseth, ' where death they are cold 'receives . summarized to : less 'melting', a lot more depth.

For the 'melting' there is more shocks Italian sung romances: 1950 - under a differentiated directing Hans Löwlein - the most beautiful with Rudolf Schock in top form, both in the bel canto, as the dramatic intensity concerns. In 1955, he is under Wilhelm Schüchter beautiful singing of the version in 1950 to almost nothing. In 1963 - again under Schüchter - his cautious, Italian representation tends to the considerations that must have led to the interpretation of 1962nd The Last Romance - live in Munich - was sung in 1965 in a concert under the Italian conductor Arego Quadri . In addition to shock sang in this concert, the soprano Claire Watson and baritone Tom Krause . One again 'Italian' Rudolf Schock shows with this recording, to what an impressive Nemorino he was in the sixties still capable.

Krijn de Lay, 8 februari 2010

The inclusion of 'Lucia di Lammermoor' with like Erika Köth, Josef Metternich and Rudolf Schock comes in the month of March: 'RUDOLF SCHOCK SINGS GAETANO DONIZETTI (2)' turn.