What Accessories Go Well With A Red Dress

SINGS Nico Dostal Nico Dostal zingt

Nico Dostal (Korneuburg 1895 - Salzburg 1981)

Van Jacques Offenbach dead Nico Dostal (een korte geschiedenis van de operetta)

In a wooden shed on the Champs-Elysees blows Jacques Offenbach (1819-1880) the no longer so comic French opera-comique revitalize (see 'RS sings Adolphe Adam ) . H ij opens its own 'music-of-the-smile ": Les Bouffes P linearis Reforms', where again full to fresh, sarcastic ' operas, Bouffes" laughter may be full.
The Paris 're skipping to Vienna. Since the genre is called prudent 'operetta' that nice neutral 'operaatje "means.
F Ranz von Suppe (1819-1895 - pictured left) writes about 1860 as the first Viennese composer such 'operetta' . Around late 1870 Jo han n Strauss Jr. (1825-1899 - pictured right) is so enticing. Then begins the great - 'GOLD' - period of the Vienna operetta, which also include Millöcker Karl (1842-1899) and Carl Zeller (1842-1898) to their potentials.

In London, the satirical 'operetta' also popular: From the Savoy Theatre launch composer Arthur Sullivan (1842-1900 - cartoon at right ) and lyricist William Gilbert (1836-1911 - left ) with overwhelming their success called 'Savoy Operas' ( "HMS Pinafore" , "The Pirates of Penzance" , " The Mikado' etc.). The Irish cellist / conductor / composer Vict or Herbert (1859-1924) stops the opera in his suitcase when he migrated to America, where he began 1898 with "musical comedies" a way for the later American musical ' (see ' RS sings Leonard Bernstein and others' ) .

By the late 19th century Viennese operetta seems to get in versukkeling. Richard Heuberger ( Der Opera Ball ' -1898) and Carl Ziehrer (' Die Landstreicher ' -1899) achieve the final success. But new glimmer of hope:
The young violinist and military chapel most r Franz Lehár (1870-1948 - photo ) are running hot: His opera 'Kukusjka " (later ' Tatjana ' called) is doing well with the public, but two genuine operettas ( 'Wiener Frauen' and Der Rastelbinder ') are only good in taste. Then it does on December 30, 1905 (Robert Young Stolz directs!) Lehár's 'The Merry Widow' her entrance. She staggers a little while, since responses are hesitant and nobody - not even Lehár - provides the leading worldwide sensation. But "The Merry Widow ' shows a star perseveres and solves the start of the second flowering that is, the ' SILVER ' era of Viennese operetta. On the side of Lehár have new names: Eysler Edmund (1874-1949, Fall Leo (1873-1925), Oscar Straus (1870-1954), Oskar Nedbal (1874-1930), Emmerich Kálmán (1882-1953), etc.

Berlin develops operetta is somewhat different: "The brutal beat-charming of the Berlin 'Schlager' fresh starts flowing waltz to supplant" (G. di Foresta : Prisma operetta guide -1962) . Maybe too strongly worded, but the mutual stimulus leads in any case in Berlin operetta a rich culture in which composers Paul Lincke (1866-1946), Walter Kollo (1878-1940), Jean Gilbert (1879-1942), Leon Jessel (1871-1942) and Künneke Eduard (1885-1953) furore.
After World stores older Franz Lehár (photo) other routes. He moved from Vienna to Berlin. That brings his talent for writing lyrical melodies, melting it in the wake of opera composer Puccini. With the vocal support of the tenor Richard Tauber he set to composing 'tragic operetta "as as' Das Land of Smiles" and Der Zarewitsch.

The 'regular' operetta now under the threat of great violence mounted 'revues' and 'sound films' t e succumb, but surprised many when it absorbs ' operaatje ' revue and film precisely eagerly: Composers writing suddenly ' revue and film-operetta " (see poster v. Josef Fennecker) . American musical and jazz influences are occur (see introduction to "Paul RS Abraham sings" ) .
Edward Künneke composes 'Lady Hamilton' and 'glückliche Reise " Ralph Benatzky (1884-1957) - team - ' Im Weissen Rössl" Paul Abraham (1892-1960) 'Viktoria and her Hussar' s 'The flower of Hawai' , Robert Stolz (1880-1975) 'Two hearts in waltz' s Nico Dostal (1895-1981) 'Clivia' s 'The Beloved'.

Nico Dostal

Nico Dostal is op 18-jarig leeftijd al een beetje in Oostenrijk direct bekend as zijn 'Grote Mass in D-Dur " Ebelsberg in Linz and was carried out. After World War he a few years of useful experience as Theaterkapellmeister 'in Yahoo Innsbruck, Vienna and Salzburg and then leaves with hope bustling Berlin. Since he belongs to the music scene soon. Dostal chooses conviction for the genre of the better 'Unterhaltungsmusik " works at a number of music publishers, instrument properly and arranged the music and for established composers Franz Lehár, Paul Abraham, Oscar Straus, Robert Stolz , conducts concerts e n composes film itself yet. In 1928 he founded the national all eyes itself with the 'pick-the-day-tango song " Es wird in Hundert Jahren wieder so ein Frühling signal" on (excellent) text by Robert Gilbert. In 1933 he achieved international success with his debut opera 'Clivia' , the glamor of stardom unmasks, and one year later with 'Die Vielgeliebte' where an upstart, oversensitive female movie star irony is down and put away. Dostal run the Nazis as "Aryan" composer out of the way, but as Volker Klotz his musicological very informative book 'operetta: Handbuch und Porträt einer Art unerhörten - Munich 1991 ' finds: "... he (Dostal) did stylistically or ideologically significant concessions to that which was officially promoted" In 1946, Dostal goes back to Austria with his wife, opera singer and first 'Clivia' Lillie Claus ( photo) , and his son, the future director Roman Do stable (born 1942 - photo) . Eight years later, the family pulls itself back into the mountains near Salzburg. But that's Dostal write. A long list of his work shows that the 'late romantic' composer Nico Dostal not stopped vary and experiment: film music, operettas, a musical, a comic opera, church music, the "better" light music, suites, a piano concerto, overtures, exotic 'Schlager' nostalgic torch etc.

Dostal, the last major operetta composer!


left to right: r. shock, Schramm m., n. Dostal 1973

Final August 1973 I hear in the company of my wife, whose musical tastes do not go out specifically to opera and operetta, Dostal live music in Rotterdam's 'Goals' (The concert takes place in the context of a proven "Abend in Wien" - tradition in which the composer / conductor Robert Stolz in America in the early forties his name attached. In 1967 that tradition by the Dutch impresario Wouter Liem - exclusively for the Benelux countries - restored). Father and son Dostal conducting the Limburg Symphony Orchestra. Dostal Nico Dostal Nico conducts, Roman Dostal other operetta composers . The colorful music of the then 77-year Dostal hear both of us (!) remarkably lively and not dated in the ears.

In 2010 I listen to the CD 'In My Mountains: Nico Dostal Conducts Nico Dostal' (cpo: Classic Produktion Osnabrück: 999 811-2, released in 2002):
The famous "Berliner Philharmoniker" playing on this album, in 1979, so two years for Dostal's death was recorded, and concert music by Nico Dostal. Weather surprised by the vitality, originality and timelessness of his music.

What Dostal's dramatic (including 20 operettas) concerns - writes Volker Klotz in his operetta Manual - "sticks his dramatic work by great skill and care sharply against the mediocre mass production from 30 to 50 years ... As with Abraham, and Kálmán Künneke spring melodies to be an imagination, the scope of the events on stage in their full stage to know. " Klotz concludes: " Dostal was one of the last operetta composers, who managed to maintain high musical level and intuitively felt perfect, what the scene would work and what not. And because I did not know who that besides Dostal else would or should are, I feel free Nico Dostal the last, major operetta composer to label.

Rudolf Schock sings Nico Dostal
occasion of Dostal's 75th birthday will appear in the spring of 1970 a deluxe double-LP album with highlights from four operettas, Dostal: 'Nico Dostal dirigiert Oper beliebtesten seine nets' (Eurodisc 80585 XE) .
What this album is of historical significance is the fact that the composer conducts .
Rudolf Schock , Margit Schramm and Sylvia Geszty sing the leading roles, Ferry Gruber and Monika Dahlberg the buffo pair .

Later that year (14/11/1970) Nico and Roman Dostal conducting a 'Festkonzert' in Salzburg with the Symphonie-Orchester Graunke and soloists Renate Holm and Rudolf Schock ( On page 366 of Schock's biography seems that he swap concert with the Dutch 'Ein Abend in Wien " concerts of 1973 and conducted by Nicola Roman Dostal. Schock wrote enthusiastically that he was in Holland " Jubel beim Publikum unter Riesen " with Renate Holm the duet" Ein Walzer zu Zwei ' from Dostal's operetta ' Monika ' sang and danced. Schock song and waltz partner in the Netherlands was Margit Schramm ).
in April 1964 was there on Eurodisc ( 'Nico Dostal Welterfolge' - 71,519 IU ) has a by Dostal orchestrated and therefore historically valuable Dostal- LP released by several of his tunes from operettas and two songs. Rudolf Schock 's partner was Erika Koth buffo and the pair was sung by Harry Friedauer again and operetta soubrette Monika Dahlberg .

In 1971, the last a special Eurodisc LP Shock (85,575 IU) under the title "Ich sing 'mein Lied für all schönen Frau'n' - composers schreiben für Rudolf Schock " . Two songs, including the title song from Nico Dostal and directed by him.





















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Recordings of April 1964 offer - led by the master himself - a varied bouquet of melodies from 'Clivia' (1933), "That Vielgeliebte" (1934), 'Monika' (1937), 'Die Hochzeit ungarische " (1939), " Flucht ins Glück " (1940), ' Manina ' (1942) and ' Rhapsodie der Liebe " (1963). Furthermore, Dostal's first song success, the tango "Es wird in Hundert Jahren wieder so ein Frühling signal" (1928) and included the postwar "Florentin Tunisian Nächte" (1948). The "Florentin Tunisian Nächte" not in the old version of schmaltz singer Rudi Schuricke, but in that of opera and lieder singer Rudolf Schock , who is also a song at a time hen melting and respectfully be heard know them (Paul Chr. Westering of in 1958 - in response to Schock's performance of Robert Schumann's 'Dichterliebe' - " singer who can do anything!" ).

Rudolf Schock and Erika Koth (see 'RS sings G. Donizetti second part ") sing Dostal's melodious music, as with Erika Koth ' Clivia ' and ' Vielgeliebte ', although very vocal virtuoso role and interpretation lacks. Erika Koth would mi on the stage with two ironic caricature enlarged divas not have been able to manage well. In the other four operetta roles (including those of innocent 'Monika' ) is much better singer. Rudolf Schock again proves his affinity with the (folk) song: Dostal's Es wird in Hundert Jahren .....' and subsequent "Heimat Land (actually a soprano song 'Monika' ) he sings with appropriate sentiment but not sentimental. Friedauer Harry (1927-1985) excels in his parody of an Italian 'tenore lirico' in the buffo duet 'Sizilianischer Wein' from 'Die Vielgeliebte' . The recordings of 1964 give a rich and musically excellent overview of Nico Dostal's oeuvre. Yet such compilation forced to stay on the surface. More interesting is if we get the chance of a few more Dostal-operetta to hear. That chance comes six years later.

Recordings of April 1970 are highlights from the operettas: 'Clivia' , 'Monika' , 'Die Hochzeit ungarische' and 'Manina' . Volker Klotz (see above) dedicates his book much attention to Dostal's 'Clivia' and 'Manina' and he draws attention to other interesting Dostal, operettas as 'Monika' , "That ungarische Hochzeit" , "That Vielgeliebte ', ' Extrablätter" (1937) etc. The four Eurodisc on double LP released operettas can be called for Dostal's exemplary qualities as an operetta composer.

(Rudolf Schock and Margaret Schramm)

'C Livia' (1933) plays Set in a South American fantasy-state (Boliguay '), around 1930 financial scandals, corruption, revolution and regime change are the order of the day. American businessmen are not happy, if a revolutionary government to power under a new president (Olivero), which strongly influences the U.S. wants to reduce (Each supposed resemblance to real situations and / or individuals on behalf of the reader - KdL) . An "American film crew 'goes with the intention of fomenting unrest to political Boliguay to - to the hot - shooting for a film with the famous diva Clivia Gray, who know no evil of the prince. Boliguay movie star and team may not, unless Miss Gray - and then we are back in the world of opera - in this country find a marriage partner. Clivia is that partner. He calls himself Juan Damigo, but in reality the new leader Olivero. Juan and Clivia in love, but then discovered Juan / Olivero, that the films cover a dingy to overthrow his government reform. The Americans - including Clivia - are arrested. They escape, but Clivia returns: they get from the clean appearance of money and fame and choose an admittedly uncertain, but fairer future on the side of a revolutionary.

Dostal's music is surprisingly often on a flight from everyday reality and retreat into a romantic, but risky isolation. In 'tragic operetta " the older Lehár, but actually said in his much earlier " Gypsy Love " that risk is not taken: Zorika chooses the bourgeois Jonel and not for " Gypsy Love " with Jószi. Lisa leaves Sou Chong and his "Land of Smiles' , Anna Elisa remains sovereign and breaks 'Paganini' the 'Zarewitsch' Aljoscha farewell to Sonja, 'Friederike' gives Goethe. Certainly tragic, but also safe: Lehar heroes and heroines remain where they are and ultimately will not budge. In Dostal protagonists show much of the world the world and find the (shaky) luck elsewhere. At first glance, a fairy tale happy-end, but the question is whether they then 'will live happily ever after. " Personal tragedy has now once many faces. Yet Dostal's dramatic styling - though operatic parts - far less weighty than that of Lehár. It just is often playful and ironic, Volker Klotz as using two examples to clarify:

• Clivia takes on her first entrance ( a "hectic" Paso Doble) to us as the 'Clivia', about whom everyone lips, and now as a true diva ' punctually late " come.
• Am Manzanares ' (where ' female virtue is something rare " is) is the name of the scene, located on an exotic referred Amazon happening, but by castanets guided three-quarter time ( !) an alleged erotic site in English, so European Castile sings. In other words, how far you are on this earth are, the grass across the street - even grow that much closer to home - it's become greener.

Dostal's 'Clivia' get a model implementation in 1970. It is a pity that it remains in a selection (Membran-Documents now has a complete 'Clivia' published in 1951 by Anneliese Rothenberger in the title role and Rupert Glawitsch as Juan / Olivero under conductor Wilhelm Stephan). Nico Dostal let the Berliner Symphoniker with great music fire. The buffo couple Monika Dahlberg / Ferry Gruber meets in the rather short version of their duetjes and Rudolf Schock sings inspired and carefully (for some mysterious reason, shoot me with his performance on this LP's every English word eager (= eager) to mind). Margit Schramm was created for the title character, who is also her first major role in the operetta stage was .

M argit Schramm (1935-1996)

had a soprano, the light and flexibility of a naïve young 'soubrette' paired with undeniable dramatic talent. Rudolf Schock record shows in his biography, that the public saw her as "the reincarnation of the diva, that one of the large (pre-war) era of the operetta knew ". Margit Schramm was indeed an early age as a diva, but without having this" divine "(engl.: divine ) image a seasoned, celebrated artist deliberately pursued. Never did they take the stage drawn into exaggerated mannerisms or contrived artistry. On the contrary: Always - and I saw her in concert many times so admired - impressed her male and female audience - both vocal and interpretative - a completely natural charm and grace. Margit Schramm made even occasionally a shy impression. But in her operetta solos that made embarrassing place for total surrender and during the years of performing with Rudolf Schock showed they are a very good hold on him and playing - singing partner.

Margit Schramm debut in 1957 - after her conservatory training - as in Lucieta Ermanno Wolf-Ferrari's opera 'I quattro Rusteghi (The four House Tyrants) ". Then she sings the role of Giulietta successfully (written for a dramatic soprano!) in Offenbach's opera "Hoffmann's Erzählungen" and the title role in Rimsky-Korsakov's 'Snegourotchka (The Snow Girl). then submits it - on the advice of an experienced colleague singing - to the operetta. Her first operetterol is that of Clivia. In Munich Rudolf Schock occurs several times In concert with her and in 1963, he moved her to a premiere Lehar Der Graf von Luxemburg " to mark the opening of the New Berlin Operetta Theater . After the show takes the final applause half hour and cooperation between Margit Schramm and Rudolf Schock r uim ten years: in 1964 they sing in a full television version of Paul Abraham's Victoria und ihr Husar ' and a series of outdoor performances Lehár's "Merry Widow" in the "Theater der Stadt Koblenz auf dem Rhein. Margit Schramm starts alongside Rudolf Schock (Photo Archive Mrs. Gisela Schock) a great television career in Germany. The brand new record label Eurodisc (Fritz goose) will contract Margit Schramm, Rudolf Schock as a partner for a brand new series of opera recordings. At the same time lost in the background, but still very evocative name of the aged conductor and composer Robert Stolz (1880-1975) the "dream couple" link.

From moment the opera is back (almost) gone. Operetta suddenly dominated the TV screen: The program "Robert Stolz - Ein Porträt" with Yahoo Margit Schramm, Lisa della Casa, Rudolf Schock, Rene Kollo, and of course Robert Stolz In 1967, broadcast throughout Europe. In that same year, in spring and late summer, a double series of extremely successful 'Abend in Wien " concerts with Stolz, Schramm and Schock (see photo) for the last place occupied concert halls in the Benelux. The 'operetta happening in the Amsterdam Concertgebouw, the Dutch are entirely on primetime broadcast television. Suddenly the opera back into the spotlight of current events.

'MONIKA' (1937) is a beautiful and humble peasant girl from the Black Forest. Her parents died and she and her two sisters manage as long as the farm to the little brother age. The three (marriage) girls feel at home in the safe environment of the village community. But of course there is the necessary figures walking around with a hidden agenda. Among them is "someone from outside ': Horst-Dietrich, who comes from a noble family, studied medicine and village placement. Monika is secretly in love with him and gets in the highest state of euphoria, as Horst-Dietrich calculated after completed training of its special farewell and says that he loves her. She jumps back without hesitation and rides his bike along to a country estate somewhere near a town in northern Germany. Monika will meet a fancy family, Horst-Dietrich for their marriage partner holds, which are definitely not 'Monika' hot. After much fuss on the estate like the love between Horst-Dietrich and Monika cooling. The peasant girl returns to her homeland (Heimat Land "). Eventually she does not know better than to someone from the village to give her yes. But storms Horst-Dietrich within: he wants the new town doctor, and the operetta-end takes care of itself.

The action in "Monika" is again about someone who screened a prosperous environment and turn their backs: Horst-Dietrich is a simple life in a village meeting inward. It is striking that h libretto by Hermann et Hermecke quotes from other operettas: Monika is a bit "Friederike" (Lehár), but also a little Leon Jessel's 'Schwarzwaldmädel' . Three girls we know from the 'Dreimäderlhaus " (Berte) and the operatic drama of the finale reminds us of Lehár's " Schön ist die Welt' . But is it all so thick, that it is quite possible that Dostal / Hermecke with just a single citaatjes us-know-us-wink intended to give an audience that knows his favorite composers. Something similar is common in films, young filmmakers name their illustrious predecessors. The instance is full of movies, where Alfred Hitchcock referred to as nod to a film audience, that his favorite directors knows inside out.

Margit Schramm is equally at home in the role of Monica and that of Clivia: Margit Schramm natural talent is not just a straightforward diva, but also an easy uncomplicated peasant girl. Rudolf Schock approached in 1970 by Horst-Dietrich role in the wider context of this' Querschnitt 'from ' Monika ' unlike in the duet "Ein Walzer zu Zwei' from 1964 Erika Koth. When was this dance duet from the operetta context and put it Schock - as in the Dostal concerts - with great flair as a compelling demonstration of operetta and carefree fun. In 1970 he shows himself as Horst-Dietrich a mild protective and persuasive partner who Monika blushing with embarrassment at the estate of his family learn how to dance a waltz. Monika forgets her critical environment and eventually salvaged know 'im Jubilee of Music .

'WHO UNGARISCHE HOCHZE IT' (1939) and 'Manina' (1942)

(Sylvia Geszty and Rudolf Schock )

On Dostal / Hermecke offers extensive Hungarian steppe ("Puszta") the opportunity once again the familiar atmosphere of a 'Gypsy operetta to call, but, as in ' Monika ' seems only to function as a party pack. The contents of 'Die Hochzeit ungarische' has certainly nothing to do with the gypsy romance "Gypsy Love" ( Lehár) and 'The Gipsy Baron' (J. Strauss Jr.) to do. Only the work of operetta composer Emmerich Kálmán comes close. But all Dostal is again the output of the hero from its luxurious, but hollow existence: 'Casanova' Count Stefan is on completion of the operetta (permanent?) "Glück und Treu ' the character Janka far from a Hungarian village.

In 'Manina' is the Viennese Countess Hella, who - dressed in an ermine cloak - with its very fond of poetry and very mixed feelings "Catanea" (a fictional kingdom-at-sea the Balkans) travels. It is unfortunately married to the philanderer of a king there, but what it does attract is the fact that Catanea also the home of Mario Zentis, the poet and shoemaker (reference to the poet and cobbler Hans Sachs in Wagner's "Meistersinger" !) , which include Hella's favorite epic about the fisher girl Manina wrote. Hella report to Mario in the capacity of an unknown admirer. They call themselves: Manina. Mario she is the reincarnation of his own poetry. The couple making love, but the next morning Hella / Manina disappeared leaving a note that read: "you have forgotten me." An accident is rarely alone: Mario must leave the country for his satirical song on the king. Two years later - after turbulent fortunes abroad and an unrelenting desire Manina - he comes back into the country illegally. The king has abdicated done. Hella queen and is absolutely positive about Mario's clemency request. But when Mario to his great joy Manina (Hella) to meet the festival, she did not seem to want know. Mario refuses the grace and his country will now definitely turn their backs. At the moment he wants to leave his house, Hella appears as queen and Manina: "She only thought of him." To him and their three year old son that she proposes to Mario. She will give the crown to Mario and their son wholly to belong.

It happens again Dostal: Hella's hope for the escape from a complicated and so obscure reality. In hopes of blessing, because Mario's character has two ominous features, each of which developed to the extreme: that of the dreamer and the fanatical irreconcilable anarchist. After 'Manina' Nico Dostal end of 1942 is silent. In 1945 he returned to Am Morgen ', the first part of his' Romantic Suite': "In meinen Bergen (see CD" In My Mountains above) . In the three years of war between them he would return to himself and his family.

The action and music 'Manina' is not that of a traditional opera. It is noteworthy that in Dostal 'Manina' operetta no job, but refers to an opera by Richard Wagner. The work is - despite a few playful buffo-duetjes - an operatic impression, partly because of the strong drama in the scenes of Hella and Mario. Volker Klotz rightly points to the "heroes of operetta unusually tantalizing allure of the Mario character." His return from exile is a "gripping dramatic music scene .... fishermen and winegrowers declared the exiled poet cries of welcome to a loud crescendo .... .... alternate keys to Mario in his es-Moll story begins. Trombones, trumpets and percussive bass-pizzikati accompany his grueling experiences in exile, followed by softer tones when he sings about the beauty of nature. Finally, in the chorus, it will then and now, the here- and there together in that which fills him constantly and everywhere: "Ich Such 'in jeder Frau Manina ". The measure changes abruptly march in tango, the key of minor in major ...." So Volker Klotz. In 'Manina' recording of 1970 is completely happy scene included.
The voices and dramatic possibilities of Rudolf Schock and Hungarian soprano Sylvia Geszty perfectly fit the character of opera 'Manina' . The same applies to 'Ungarische Hochzeit' which opera by Dostal also put accents. Schock sounds - I wrote it - in this highly concentrated Dostal-operettas. The replay of his performance pleased me well. Sylvia Geszty is a singer with a big, dramatic voice, which is capable of awesome coloratura. Her profoundly dramatic "Spiel mir das Lied von Glück und Treu ' from' Die Hochzeit ungarische ' of rare quality. The only thing you may notice is that her song lyrics are sometimes less easy to understand.

Geszty Sylvia (b. 1934)

Rudolf Schock Geszty Sylvia belongs in the second half of the sixties for the first time during a night drive, if it somewhere in Europe in a 'Magic Flute' -representation of the 'Queen of the Night sings. He makes sure that Sylvia Geszty a record deal with getting Eurodisc and takes her between 1967 and 1970 duets from operas / operettas by Puccini, Lehár and Dostal on.

Geszty Sylvia begins her career in 1959 in Budapest. In 1961 they go to the Staatsoper Berlin, "where she Amor debut in" Orpheus and Euridice ' von Gluck. Berlin starts from a large, global career, which 'Kammersängerin' in places like Salzburg, Vienna, London, Paris, Amsterdam, Brussels, Moscow and North and South America bring. Between 1975 and 1998 Geszty teaches singing in Stuttgart and Zurich, and she leads master classes in Germany, Austria, Japan and Poland. After 1998 she works in the latter (Posen) as opera director. Concise and apt descriptions of her singing can be found in the famous music magazine "Gramophone" and on the web site "Opera-L Archives. David Fox (Opera-L ') writes in 1995: ".... Geszty who do not know .... it's a VERY distinctive voice that you are not soon forget: a strong, smoky low register accompanied on a clear, penetrating high register ". WA Chislett ("Gramophone") called in 1972 Geszty unique because of its "purity of tone and unusually accurate intonation and she masseuses it very charmingly.

Rudolf Schock sings Nico Dostal on 2 CDs
Off LP productions of 1964 and 1970, two CDs together:

on BMG / Ariola / Eurodisc CD 69067 (edition: 1990) are the four operetta selections from 1970 housed.
But because there is less space on a CD than on LP are the two buffo-duetjes of Dahlberg / Gruber and some great duets of Shock / Schramm / Geszty ill deleted.
It therefore makes sense (even) the old LP's to buy, still regularly Internet.


on BMG / Ariola / Eurodisc CD 7431 29334 2 "Träume der Oper Vol.1 Nets' are n ogal many songs from operetta and Dostal, 1964 (including Schock's "Essential Florentin Nächte ')' and some operetta excerpts from 1970, including two still-duetjes buffo! The tenor Rene Kollo can also be heard (in 'Manina' ) and sings her Geszty 'Lied von Glück und Treu' in a later recording by conductor Walter Fried. Tools sant more on this CD is the song 'Ich sing' mein Lied für all schönen Frau'n ' . This song is the title song of the LP from 1971, which I mentioned earlier, and which songs / songs are, by several 'composers für Rudolf Schock doei haben. Of the two compositions by Nico Dostal that LP comes the song "Ich sing 'mein Lied für all schönen Frau'n' from older Dostal -operetta" Zirkus Blut ' of 1950. Twenty years later, Nico Dostal this song is dedicated to Rudolf Schock.

Dostal-The second song on the LP ("Keine ist so schön those who Eine ') 1971 was probably a new composition, which was dedicated Dostal to Schock. It is still annually - like in 2010 - to listen as "mandatory number 'for upcoming opera singers during " Dostal-Gesangswettbewerb ", already fourth century Dostal's birthplace Korneuburg in Vienna.

Krijn de Blank, June 2010

end of September 2010 appears : "Rudolf Schock sings Antonin Dvorak and Leos Janacek '. I wish you a good summer holiday!