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

********************

'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 '.

********************

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.

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.

*****

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.

*****

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.

********************

"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. "

********************

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.

*****

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.

*****

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" .

*****

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.

*****

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!

*****

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.

*****

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).