Husband Woke Up Gasping For Breath

RUDOLF SCHOCK zingt LEO SINGS FALL


Rudolf Schock sings
LEO FALL

"The tradition of 'Viennese Waltz' began with Franz Schubert. Josef Lanner made him popular, the family Strauss perfected him and Leo Fall developed it elegant beyond - beyond Franz Lehár " ( Volker Klotz in " Porträt und Handbuch der Operetta, einer unerhörten Art "- Piper GmbH & Co.. KG, Munich 1991).

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The fame of the 'Silver Viennese operetta (see "sings Edmund RS Eysler') is established in 1905 with" The Merry Widow ' (music by Franz Lehár , Libretto Leo Stein and Victor Leon - picture from left to right: L. Stein, F. Lehár, V. Leon ). Leh ar is to quickly world famous. Almost as famous is Oscar Straus while Leo Fall the musical reputation of Franz Lehár soon equals. Shortly thereafter join Oskar Nedbal and Emmerich (Imre) Kálmán to this illustrious list. I have something against rank lists, because they are apples and oranges and other fruits have a lot to compare. Volker Klotz is, however, in his book, which is too Lehár was guided by a desire for international recognition, so much of his roll music, a somewhat artificial, extravagant appearance. Leo Fall is authentic, is carefree and - to the seems - effortlessly his own musical path: "... he could be simple and sophisticated, robust and first name, funny and sensitive ..." (Bernard Grun, "Cultural History of the Operetta" (Langen Müller Verlag, Munich 1961 ). Fall's instrumentation is "transparent chamber music" (Klotz). His melodies seem so at first hearing inconclusive but contain hidden meanings, which he brilliant nuances in rhythm and timbre closely relates to the opera act. Fall's waltzes (and marches) reflect and / or underline the intentions of the agents and that goes far beyond composing a melodious three-quarter time.

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Leo Fall (1873-1925)

Together with Edmund Eysler he studied violin and piano the Vienna Conservatory. Then he played in military bands, which are conducted by his father (Moritz Fall) and the father of Franz Lehár. After 1895, he played the violin and piano accompanist in Hamburg, Cologne and Berlin, he directed operettas and writes music for a cabaret group called "That bösen Buben (The evil villains). probably discovered Leo Fall in that area sense of the playful challenge, the mild provocation and develops his talent for composing a humorous and intelligent music that "gay issues seriously approached and cheerfully discusses serious issues" (Fri to Heinz Erhardt). Actual artistic talent that places him alongside Jacques Offenbach, without that he imitates.

found in 1905 in the Theater an der Wien implementing Fall's first operetta "Der Rebell" place. It is a fiasco: the public responds with a sisc oncert. Victor Leon , one of copywriters Lehar's operetta 'The Merry Widow ", who one month later in the same theater premiere would go agitates against the reactions of the public by flashy back and running again and a few "Bravo, Leo Fall!" menu. Leon leave it in words, he provides the text for a Leo Fall "people piece" of these bases and then his second operetta: Der Bauer jolly ' (1907). Victor Leon invests a portion of the money he "The Merry Widow ' earned in an emphatically non Viennese premiere of Fall's new operetta. Der Bauer jolly 'in the German Mannheim get an overwhelming welcome and in no time ' Merry Peasant ' populare an appearance in central Europe. Much more than the act, which - very traditional - in a farming environment play, the Fall's catchy music, which explains the enthusiasm. Just three months later, the weather ball as "everywhere in the world, from New York to St. Petersbu rg, rocking to the sounds of Fall's waltz music" (B. Grun): Fall's third opera "That Dollarprinzessin ' be successful this time from the Theater an der Wi and" launched and is literally a world triumph. The texts are Arthur Willner Maria (one of the librettists of Lehár's two years later "Graf von Luxemburg" ) and - as Leo Fall - the cabaret world come Fritz Grünbaum . In the period 1920 to write about Fall 14 operettas, which mainly 'Die Frau made " (Vienna 1908), ' Brüderlein Fein (Vienna 1909), Der liebe Augustin" (Berlin 1912 and the remake of 'Rebell' from 1905!), the slightly affected by Richard Strauss 'Kaiserin' (Berlin 1915, in Fall's muse: the legendary Fritzi Massary as empress) and "Die Rose von Stambul" (Vienna 1916, in Fritzi Massary this time the 'Rose').

Leo Fall looks at some of the pictures a bit threatening. He looks more like a tough American businessman than a gangster sensitive operetta composer. Contemporaries perceived Fall But as a cheerful, witty and charming man, with his successful operetta deserves a lot of money and spend it again easily. He shows an admirable resilience, on two occasions as an opera written by him is dismissed. The first time it happens that the beginning of his career in 1904 as the German Mannheim his opera "Irrlicht (Dwaallicht) ' by public criticism and poor reception. The second time in 1919, as Der goldene Vogel (The Golden Bird) ', an opera, which the now celebrated Fall had worked four years, the Vienna Opera may not be increased. The artistic director recognizes "full splendor Einfälle (beautiful finds), but points off the opera anyway. That director is none other than admired by Leo Fall Richard Strauss, composer of such 'Der Rosenkavalier' , a brilliant opera with one of the most beautiful waltzes in music. The Austrian Fall differs back to Germany and there to Dresden. Since singing in the premiere celebrities like Richard Tauber and Elisabeth Rethberg . The criticism has influenced music of Richard Strauss (!). After only 7 show flies and "The Golden Bird" not get out.

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Leo Fall, however, recovers quickly from this stunning blow, and immediately afterwards three composing operettas, which 'Madame Pompadour' (Vienna 1922, and of course Massary in the title role) by Bernard Grun as "Die Meister Operetta par excellence is considered. Grun sees this also according to Volker Klotz "impeccable" operetta as an announcement of a possible "style renaissance" of the operetta genre. But it is different: in the spring of 1925 Fall returns in Vienna back exhausted from a grueling tour of South America and a few months after he dies in a gallbladder inflammation. A decade later allowed under the Nazi racial laws made his music with that of Yahoo Edmund Eysler, Oscar Straus and Emmerich Kálmán - not played. In the early sixties Fall's music is experiencing a small revival: Kurt Wilhelm producing director for a television series operettas, including Leo Fall: Der Bauer jolly ' (With the Dutch tenor John van Kesteren) 'Die Kaiserin " and" Der liebe Augustin " (with the Austrian tenor Peter Minich). In that same year takes some Eurodisc Fall melodies with Rudolf Schock, Margit Schramm, and Erika Koth on. In recent times, the CD labels "Membran" ' Line and Hamburger Archiv für Gesangskunst' a large number of radio productions of complete Fall operettas from the years 1950 and 1960 market algebra CHT.







'LEO FALL , Spöttischer Rebell of Operetta " of Stefan Frey (ISBN: 9783902494450, published in 2010 by Edition Steinbauer).







Rudolf Schock sings Leo Fall

He does that in any case in 1950, 1952, 1960 , 1962, 1963 and 1964. Schock's Fall recordings focus on fragments and (unfortunately) short fragments from four operettas, which sometimes a messy and / or awkward way record and / or CD are ended. This is unfortunate, because the quality of the recordings is high.

appear in 1964 on Eurodisc on EP / LP melodies from "Die Frau made" and "Der liebe Augustin" . To my knowledge, that the CD stage was never reached. This is understandable because it is very concise versions.
Fall's 'Die Rose von Stambul' of Eurodisc from 1962 presents LP in just over a quarter a number of - partly what shortened - fragments, but for unknown reasons, to meet the Theo Mackeben operation from 1931's of Carl Millöcker 'Gräfin Dubarry " (1879) linked. The CD published in 2007 by Sony / Eurodisc takes that strange combination followed slavishly. Shock absorption from the selection of 'Zwei Augen, those wool mir nicht aus dem Sinn " was in the second half of last century in a longer version Eurodisc LP available.

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EMI publishes 196 0 (see photo) on EP (45 rpm) a short but well-composed 'Querschnitt' from 'Madame Pompadour' . Fall pops on LP recording later on the side of Millöcker / Mackeben's 'Dubarry' , which given the historical reputation of both women is justified. In 2000 'Madame Pompadour' and "Die Dubarry" promoted to CD-Classic, which they lazy combined total of three other types of operettas.

For over half a century of Leo Fall in EMI's catalog Rudolf Schock's studio recording of the song title and introduction of 'Die Rose von Stambul' . That record is established shortly after a complete (!) Cologne radio version with Schock Fall of 1950 master's operetta operetta by Franz Marszalek specialist. According to the discography back Schock's biography, the inclusion preserved, but CD label Membran-Documents "assumes that they " apparently now sadly deleted " is. "Membrane" also report that following a recent CD release with still some scenes from this ' Rose von Stambul' , but composed of various archives in what was still to be found. These scenes are largely content with that disc out of Euro 1962, but are not shortened. What it makes it difficult for the fragments to find the fact that on a double CD as bonus added to a full Marszalek recording of Lehár's 'Paganini' starred singer Peter Anders in his last full o peretterol. Schock's title song "O Rose von Stambul ' the radio recording released as CD-Premiere" earlier (2005) on ' da music (Deutsche Austrophon ) "along with other rare radio recordings of Rudolf Schock. Incomprehensible and misleading is the title of the CD: " Fernsehwunschkonzert (!) mit Rudolf Schock.
Schockliefhebbers also circulating in a live recording from 1963 of the duet "Ein Walzer muss es signal!" from a 'Münchener Sonntagskonzert' . Schock's partner is the soprano Ingeborg Hallstein.

that shall Frau (Vienna 1908)

October 1964 : studio recs. Eurodisc / BMG (LP, including S 72645 IE + "Der liebe Augustin" ) of Margit Schramm as Jana, Rudolf Schock as Charles Liselotte Ebnet as Gonda and dir. Werner Schmidt-Boelcke.

very title of this provocative opera to time worked. If you Fall's operetta had seen was the "scandal" enacts, but first had to try to sell anyway, you had visited a "divorcee". Copywriter Victor Leon helped you, however, the operetta 'not with us in Austria' , but in the 'liberal' Netherlands to be situated. To be precise, in Amsterdam and the fair in the third company in the Frisian Zuiderzee town Makkum. In this context, it is nice to know that "Divorced Women" right away eagerly to the Netherlands was met, but the act to the "real liberal" Paris was sheared and the fairground of the third company is therefore going on to the Normandy coast.
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Summary of 'Die Frau made "
core of the act is that Jana Lysseweghe (seems a Flemish name) is wants to divorce her husband Charles , because the night train from Nice to Amsterdam sleeping car coupe with a strange lady would have shared. Gonda van der Loo - so hot the strange lady - and an angry Charles deny this vehemently, but Gonda has appearances against because they are no longer true, that one principle in favor of "free, independent love ' . The first act takes place at the court and the second on a costume party at the villa, where Charles now lives alone. This second operation two moments of dramatic interest: First try Charles 'best Gonda' expressed in rational manner "a little marriage move. He finds that for a woman the "free love" adhering, no problem may be and that he himself much because of his "social duty and his good name" . Gonda - how deeply about its principles? - Has interested. Jana will appear suddenly and it comes up half a roll of duct still hopeful Charles Jana. The dressing gives them the opportunity - to the outside world - a "theater piece for two lovers' to perform: " Child, who tanzen kannst du meine Frau! " Beyond this charade is the second company to Charles Jana not. But in the third company certifies the sleep train conductor, who (by coincidence) also at the fair is that in that night and Karel Gonda another with no finger touched. Jana and Charles reconcile themselves and Gonda marries the president of the court from the first company, who also leaves no fair in Makkum.

the end of the third and operetta music tend to lean company makes clear that Gonda (natural?) Its progress faith is and Lana, "the divorced woman '(natural?) Again' Charles 'happy housewife' is . Is this the requested by the public "that ends well, all good-finale of the average opera? Leo Fall and thus makes a bow to the Austrian public and social correctness, who after all a nice fee guarantees? I doubt it: the focus of this operetta is complicated by the psychological triangle in the second company. This transcends the superficial and supplies the ammunition for a cynical happyend.

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The images from 'Die Frau made "
Three fragments of an LP (Is there a 45-rpm-plate - KdL) may not reflect an entire operetta. However, they are in the operetta dramatically important, and so well chosen. But why are they then halved? Rudolf Schock heard, that he was under such poor conditions excellent capable of Charles's character to interpret: In simple, straightforward "Charles / Gonda waltz from the second company (Gonda, liebe Gonda" ) sounds a friendly but distant '1 +1 = 2 'by. In contrast, all sides protruding waltz duet with Lana ("Child, who tanzen kannst du meine Frau!") he sings like the situation in question: with a dash of impatience here and there a hint of mockery. The title of the third clip from the finale Du, hey du, bist wieder mein! " speaks for itself: Charles and Jana (with this kind of music perfect Margit Schramm ) form another pair of lovers.

Der liebe Augustin (Berlin 1912)
October 1964 : studio recs. Eurodisc / BMG (EP 41301 CE / LP, including the S72645 IE + 'that shall Frau' ) with Rudolf Schock as Augustin Hofer, Margit Schramm as Prinzessin Helene Walter Müggelberge and Nicola, frost of Mikolics, Ferry Gruber as Jasomirgott, valet of the princess, Liselotte Ebnet as Anna, his daughter and dir. Werner Schmidt-Boelcke.

The misunderstood operetta "Der Rebell" from Fall 1905 Leo gets an 'extreme makeover' in 1912 and ranks as "Lieber Augustin" is . The new incomprehensible is that Fall's 'Augustin' now a humble music teacher has become, while the 'real' "Lieber Augustin", once through the historic streets of Vienna, wandered as rebellious street singer and bagpiper, an assertive role model would have .

Summary of "Der liebe Augustin"
Augustin Hofer piano teacher is the beautiful Princess Helene . Augustin is in love with Helene and Helene on Augustin, but the viewer realizes that the class difference with each other will never be married. Moreover, the corrupt regent Bogumil, in his capacity as Helene's uncle and guardian, decided that Helene in the national interest as rich as possible a marriage must close. Anna, daughter of Helene's valet, is also against state differences. She is by her father and fiance Jasomirgott foisted on the neat Augustin, but you can set the clock right out that such structures do not work. In this case, as Anna feels much more attracted to the political opponent of rain Bogumil, the equally corrupt prince Nicola . Nicola finds that a "small Liaison (small affair) ' simple girl with a historical basis, but for Anna it means that such a relationship is no guarantee for the future. The solution, which the librettists Bernauer and Welisch in the finale of the opera (probably giggling) come up with is a classic cliché: Helene and Anna are swapped at the baptism: the inevitable mole proves that Helene's daughter to her marital valet and Anna the niece of the noble Bogumil. Now nothing stands in the way of two marriages and "Himmel is fuller Geige! ".

It seems a cream pie, but text and music of the operetta convert the inequality of men, the manipuleerdrift of those who - as they say - 'above and honor made his , selfishness, opportunism and small-mindedness in dealing with the social mores and customs in a bare light. Caricature exaggeration of human weaknesses and brutal as New! 'launched clichés serve as a colorful gift box of satirical content.

Where is the 'rebel' from the eponymous operetta of 1905 gone?
A good answer might be: the rebel state from 1912 to 1905 no more, but behind the stage and his name is Leo Fall. But another answer is possible because the behavior 'best Augustin Hofer' to do so politely and courteously? "Lass dir Zeit, all mit Gemütlichkeit (Give yourself time, all geniality) ' is Augustin's first line in the operetta. He introduces himself to the public in all circumstances as a controlled, social young man. In the next line, he shall specify that: "If fate grabs you by the ears, wear this with humor , but in the engaging walsrefreintje after he suddenly Blijk toch van enkele as égoïsme en uit te opportunisme tillers trekjes:

'What could be better, THE TAKE YOUR!
Be'm not the same, you go bad you;
show, it will give even life, so much more glorious.
It takes every one to
WHY NOT YOU! "

(Wat he of beautiful things, PAK IT!
not complain directly, if you're doing badly,
Look, life is you have so many wonderful things to offer.
Everyone strikes his blow,
WHY CAN NOT YOU! "

If the very young adult Augustin Helene met Anna he immediately fall. From that moment he touches the piano barely and he brings not only himself but also his 'comrade' Helene into trouble. He brings her noble head run wild with fantasies of a cozy, intimate inn, they go up together, and a sky, which then will be filled with the romantic sound of violins. The (rebellious?) Augustin has all the luck when Helene finally may fall into his arms.

Recordings from Der liebe Augustin "
- in a 45-rpm record - which is more extensive. But it will make do. The listener will not understand the act of the operetta, because almost all the seven fragments were amputated so that not even to speak of a short 'Querschnitt' . It is a approximately 10 minutes long medley of tunes from the operetta, which, although well sung, but as it stands can hardly rely on the level of Fall's operetta as a whole. Two moments stand out. First, a delightful duet of Nicola and Anna that 'up' last two verses. Of course the reason immediately, partly because Walter Müggelberge and Liselotte Ebnet Es gehört zum guten Ton, eine small Liaison ' so lovingly sing. The question, however, whether Müggelberge become engrossed in the unpleasant character of Nicola, as it might sound too loving. Second take the piece that Rudolf Schock Augustin's opening song, long enough to establish that the role of Schock Augustin, operetta stage or council would have known. He sings a chorus or some other roller is quoted above. Fall is Leo's rebellious sting deliberately pulled out or sing Schock promptly second verse, the chorus of which maybe a little different? Finally, the voices of Margit Schramm, Rudolf Schock and colors "Sei mein Kamerad ' and" Wenn die Sonne schlafen geht' nicely together.

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Die Rose von Stambul (Vienna 1916)

December 1950: excerpts from complete radio recs. Membran-Documents (CD + full 223985-311 ' Paganini' of F. Lehár Peter Anders) and Ursula Kerp as Kondja Gul, daughter of Kamek Pacha, Rudolf Schock as a minister's son Ahmed Bey, Kölner Rundfunkchor and dir. FRANZ Marszalek.
December 1950: Song of Ahmed Bey "O Rose von Stambul ', fragment from the same complete radio recs. Da-music (CD 77 888) - Rudolf Schock / dir. Franz Marszalek.
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June 1952 : Lied van Achmed Bey 'O Rose of Stamboul' , opn studio. EMI Classics (oa CD 7243 5 85 285 2 7:.. 'With Rudolf Schock in the world of operetta (Vol. 1) - Rudolf Schock / dir Wilhelm Schüchter
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October 1962 .. fragments uit studio-opn Sony / € Disc (CD 88 697 18 798 2 + fragm uit 'The Dubarry' van Millöcker / Mackeben Met Erika Köth / Horst Wilhelm) met Erika Köth as Kondja Gül Rudolf Schock as Ahmed Bey, Günther Arndt Choir en thee. FRANK FOX.
October 1962 : l a length versie van lied van Achmed Bey 'two eyes that do not leave my mind' , opn studio. Ariola € Disc (LP, oa op 88 957 OE) - Rudolf Schock / dir. Frank Fox.
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Feb. 1963: duet Achmed / Kondja "Ein Walzer muss es signal! "live recording from Munich (in private archives) with Rudolf Schock , Ingeborg Hallstein and dir. Werner Schmidt-Boelcke.

premiered December 2, 1916 are located in the First World War (1914-1918) location. The first two companies take place in Istanbul, the third in a Swiss hotel, on neutral ground. The choice of Leo Fall and his librettists Julius Brammer and Alfred Grünwald the Turkish environment reflects probably grateful for sympathy for the Turks, who in the late 1914 war mix and the side of Germany / Austria-Hungary choice. Modern and contemporary, does that in this (admittedly somewhat Vienna) Istanbul youth to modernize the Islamic state may require: the daughter of the powerful Passover Kondja Gül reads in secret Western oriented novels and learn from it that they prefer today then tomorrow would emancipate. Ahmed Bey, the minister promising son, bemoans the fate of the silent harem women. also shows he is prepared to marry only one woman and one that all women love.

about the act of "Die Rose von Stambul" and a number of musical highlights from the operetta
first instrument K ondja Gul Ahmed Bey and are meant for each other, but based on a mutual agreement of their parents. Achmed is certainly in love with Kondja but Kondja idolized Andre Lery, the author of her favorite books. She even sends him love letters. Andre responds and calls her Rose von Stambul ' . What the viewer soon knows, but Kondja not, is that Ahmed Bey and Andre Léry the same person. Achmed sings' O Rose von Stambul, nur du allein! " which he explains why he did not harem after and how he will love - even literary form would give a 1001-marriage to his adored by Kondja.

2nd act: this act in particular is full of musical gems: Achmed sings the enchanting song of praise: "Ihr appease, appease Frau'n - Euch, ihr Frauen, meine screams Serenade '. He feels compared to those who have to disguise as a "beggar who kneels before them . But later in the serenade he ardently desires "to the day, which unveils and frees them." He will be back on that day, but as "Conqueror, who kneels before them!". moment later, the wedding ceremony with an impatient and Achmed a cautious Kondja ("Sie kommt, schon mit Bangen SEAMS). Achmed's / Andre's waltz melody "O Rose von Stambul ' in this ensemble' leitmotif '. In the bedroom is the veil and the pair agreed on a "happiness in the (western) m ode, with a probationary period of four weeks. In those months must show that they really love each other. Almost Kondja gives, for the first time in her life drink alcohol, then still playing and that happens in Leo Fall's ecstatic d ansduet ' Ein Walzer muss es signal! "

This roller is an excellent example of what I mentioned at the beginning of this text: the rhythm of the dance - sometimes accelerating, then braking - and all content and musical tones fit seamlessly into the action. The deeper intentions of the couple are reflected and underlined the jubilant hymn in three-quarter time. Kondja struggles a little mockingly even against: 'ALSO NUR ein Walzer? " but Ahmed remains in his wedding night, but by insisting on the' unconditional ' surrender to this openly erotic dance, the girl so often in her dreams had danced before, but never actually had experienced: "Willst du Brauch keinen Himmel? / W illst du Einmal untertauchen / Lake in ein von Lust? / Willst du Einmal Nektar schlürfen? / Willst du Einmal dare erase / was du nie gewusst ! (Do you even need no heaven? / Do you agree hiding / in a sea of lust? / Do you agree with delight nectar drink? / Would you even allowed to know / what you never knew you!). Kondja yet still manages to escape and leave Achmed Turkey.

third act: Achmed is a few days later in his capacity as a prominent writer in his room in a luxury Swiss hotel and try to accept Kondja that of a dream and does not love him. But that takes him trouble, "Weil aufgelegt ist so there (because he has so much meaning in her)!". Then again hear such a unique melody Leo Fall ( a graceful anticlimax "- Volker Klotz), a charming little waltz that played carelessly Achmed sings to himself:" Zwei Augen that wool mir nicht aus dem Sinn / Heute 'war' ich so in der gewissen, zärtlichen der Stimmung - Damage ... (Two eyes, I get it out of my mind / Today I in the right, the mood was tender - Alas, alas ...)'.

Kondja, with 'Andre' in a Swiss hotel dared to agree, given the crushing news that Mr. Lery a suite reserved for him and for his wife. Fortunately for Ahmed enjoys Kondja not too long from his "joke" and now he reveals himself. The Kondja stipulated probationary period of four weeks is the last obstacle on the way to Ahmed's suite, but Kondja take that hurdle with flair: she rips into great excitement 28 calendar leaves off, it sets the time of her and Achmed into her small, emancipated hand.

The images from 'Die Rose von Stambul'

be - as both 'Querschnitte' concerns - conducted by German conductor Franz Marszalek (190 0-1975 - photos ) , Austrian conductor / arranger Frank Fox (1909-1965) . Franz Marszalek steals the show, but Frank Fox is also an excellent conductor. Franz Marszalek, who since 1949 the orchestra of the WDR Cologne led the, was and is still the most renowned opera conductor.

The renowned German soprano Anny Schlemm (b. 1929), except that oratorio and opera in her younger years sang many operettas by Marszalek, called him once in a guarded moment (as we know it now) respectfully "Karajan of the operetta" and that is understandable when you listen to his recordings. Franz Marszalek was active in theater, film, radio (such as "Herr Sanders ' who ' records are open box" ) and on television. He conducted in the fifties just for the radio 60 complete operettas and, later, he was the central conductor of the TV operettas, the aforementioned Kurt Wilhelm produced and directed. Many of the operetta by Franz Marszalek orchestrated is not part of the standard repertoire, but now - partly thanks to him - now recorded and put on CD. Franz Marszalek dedicated himself to the work of wrongly underestimated just musically very interesting composers Leo Fall and Künneke Eduard (1885-1953 ), the last of whom was a close friend of Marszalek. Marszalek knew those kinds of shots coming operetta and opera talents to engage, including the three big German tenors of the second half of the twentieth century: Peter Anders, Rudolf Schock and Fritz Wunderlich. With Marszalek Schock took the radio four complete operettas by: Johann Strauss Jr.: "Eine Nacht in Venedig" Künneke of Eduard "Die grosse Sünderin" Granichstaedten Bruno (Der Orlow ") and Leo Fall (Die Rose von Stambul).

Franz Marszalek leads the few but essential excerpts from "Die Rose von Stambul 'm et tight dynamics. The capital waltz duet from the second company I have enjoyed the climax as a grand directed spectacle together playing musical instruments, where the frantic sounds of a violin and a pianootje surfaced and the voices of the soloists "in a sea of lust absconding ".

Kondja sung by Ursula Kerp , a playful sounding soprano soubrette-like , whom I unfortunately little can learn. Her sparkling voice can be heard in many radio operettas from the fifties. But she was in the Scala of Milan is also one of the flower girls in Richard Wagner's opera Parsifal (1960). She performed there on, along with singers like Sándor Konya (Parsifal), Gustav Neidlinger , Boris Christoff and Belgian alt Rita Gorr. Andre Cluytens , even a famous Belgian, conducted. In an LP recording (also on CD?) Of Humperdinck's 'Hansel and Gretel' sings Ursula Kerp the 'Sandmännchen. Matzerath Otto leads the opera and the roles of Hansel and Gretel will be sung by Elisabeth Grümmer and Erika Koth.

Rudolf Schock is Ahmed Bey

Marszalek The recording from 1950 (the day comes to a festive full inclusion out yet again?) Is Achmed Rudolf Schock in one of his most overwhelming operetta roles. The radio microphone picks up in the young, uninhibited voice singing the shine of velvet and sparkle of steel. On EMI in 1952 remains under the title song Tentatively approaching nearby. The best acoustic stereo recordings from 1962 on Eurodisc velvet and sparkle are still more than sufficient quantities Schock with expressive vocals and proves once again his affinity with the role of Ahmed and the music of Fall.

Conductor Frank Fox let the Berliner Symphoniker and compelling music Schock's partner is a lovely and deliberately singing Erika Koth . Kondja succeed in this intense scene roller credible as long as possible (only) distance to the turbulent Achmed keep intruding: her "ALSO NUR ein Walzer? therefore sounds delicious irony. The composition of the studio recording largely coincides with the "membrane" radio fragments excavated from 1950. Membran has not from the second company the introductory ensemble at the ceremony ("Sie kommt, schon SEAMS mit Bangen ') but do the opening scene with duet in the bedroom (' Das ist das Glück nach der Mode "). Eurodisc Unfortunately Achmed's "Zwei Augen, those wool mir nicht aus dem Sinn" from the third act halved ("Damage!"). The song is completely recorded in 1962, however, because the former appeared separately on an album with Shock operetta songs.

The live recording of 1963 from Munich, Schock's Achmed prejudice on fire and this time for Ingeborg Hallstein (b. 1933) , that Kondja stylish singing.

'Madame Pompadour' (Berlin 1922)

December 1960 : studio recs. EMI Classics (CD 7243 8 26393 2 9 + "Die Dubarry" and 3 other operetta selections) with Melitta Muszely as Marquise de Pompadour, Rudolf Schock as Rene d'Estrades, Karl-Ernst Mercker the poet Joseph calico, Günther Arndt Choir and dir. Werner Schmidt-Boelcke

Operetta experts Volker Klotz and Bernard Grun (see the beginning of this text) are in complete agreement: Klotz : "The libretto by Rudolph Schanzer and Ernst Welisch and the music of Leo Fall is above reproach, the work is rich in musical discoveries! " ; Grun: "Lyrically, musically, stylistically and time critical: by Meister Operetta par excellence. Although I'm no expert, I would like to the experts: the above-EMI selection, which takes only fifteen minutes, is a gem, where you happy.

"Marquise de Pompadour " (portrait by François Boucher (1703-1770)

Interpretation (thanks to Volker Klotz!) and summary of Madame Pompadour "

Paris around 1750: Marquise de Pompadour , "staatsmaitresse 'of King Louis XV, maintains a secret relationship with the married Count René d'Estrades. The operetta opens with a carnival celebration. The noble René has a light in each arm girl, when he people "dressed in mask and in high spirits a bath in the crowd (Laridi, Laridon,'s Karneval!). In the crowd he runs 'coincidentally' the equally 'popular' masked Marquise bump. With a talent for simplicity they are called Jeanne. a wonderful night can begin! Maurepas, minister of state security and police, however, sees the Marquise as a political rival. He leaves her with the intention of spying on her - because of criminal links with the married Rene - with the king to fall into disfavor. The Marquise sees through the plan of the Minister and concocts a ruse: they allow a number of 'subversive elements' arrest, including the poet Joseph calico which parodies make on her and (therefore) the king and Count Rene, who poet admires very reason. She makes her private home of Joseph calico poet and bomb the meantime fierce love to Rene 'of its body regiment' . Maurepas conducted by the outside world, there is no head or tail of: The Marquise pretends it - as the reincarnation of Potiphar's wife - the confusion brought Joseph wants to seduce: "Joseph, Joseph alas, was du bist so Keusch?! / Pillows power so gut das kein who Geräusche '. What this sarcastic duet or noise, the orchestra is that bombastic fate motif from Bizet's 'Carmen' quotes (As Don José Carmen could not get it, can you, stupid Joseph calico, of course me, the Marquise, do not get!) . Her second, erotic game with the Marquise Rene in the intimacy of its own exercise site, "extending from the front room into the bedroom extends" -Klotz). She goes to her reputation as a commander and orders him stand of hair-exercise following orders. He pretends he is loyal subject its recommended subjects, but the text, which he to the beat of a military march, always obsessive is improvises, is about something completely different: ''Tonight, I come to you, but I would sure have to pay "( "Stillgest anden! Kerzengrade! - Ich bin dein Untertan, applied Treuer !!').

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Volker Klotz emphasized in his brilliant analysis of the opera, this exercise-duet "the casting, music, dramatic linchpin" is where 'Madame Pompadour' about. This opera is not over-the happyend of the final ( Madeleine , Rene's wife appears to be the sister of the Marquise to be. It can so no relationship with her brother maintain. Louis XV so no reason to be suspicious and Rene returns so - as it should be - back at Madeleine). No, this operetta and many of Fall's other operettas are about the desire of people to escape the daily grind, in the social straitjacket. Klotz: "The greater the restrictions, the stronger is the inner urge ... it breaks out and tries to create more flexibility for himself" . Jana and Charles are only able to dance with each other if they are costumed to the dance floor. Princess Helene turns its back on the golden cage and starts Augustin simply provided an inn and the princess Anna is simple. Kondja throws off her veil and Achmed disappears regularly Andre Lery. The Marquise is happy when they masked among the people, if she plays the wife of Potiphar, and if they guard Rene commands can give. But Rene ignores the command and place its military more a passionate serenade ("Madame Pompadour, Kronjuwel der Natur ') , whose melody is taken over by the other members of the body regiment, making you a sense of collective insubordination to speak.

The images from 'Madame Pompadour'
by Werner Schmidt-Boelcke (1903-1985) on EMI conducted with verve. It's a miracle that such a small selection leaves a big impression: Rudolf Schock sings not only a beautiful voice, but Ren e has everything you up for the figure suggests: charm, humor and an overriding passion, which I can do nothing, then meekly capitulate.

The character buffo Karl Ernst Mercker (born 1933 - see "RS sings Adam ) sang at the Berlin opera many operatic roles, but was in the sixties regularly in opera recordings: at the time of Leo Fall recording he is still very young but it shows not the impressive ease with which his role in h et "Joseph, Joseph ah ' - duet and especially plays. If the credibility the occurrence of an operetta historical figure as the Marquise de Pompadour a not too great violence to do was choose the lyric-dramatic soprano Melitta Muszely an ideal.

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Muszely Melitta (b. 1927)


is of Hungarian descent but was born in Vienna. She debuts in 1950 in Regensburg (Germany) and in 1953 by internationally respected director Günther Rennert (1911-1978) for the Hamburg State Opera committed. Her first role is that of 'Madame Butterfly' (Puccini). Hamburg is the springboard to a variety of roles in Paris, Lisbon, Florence, Edinburgh, Venice and - especially - Berlin. In Berlin, she sings in 1958 four female roles in "Les Contes d'Hoffmann" (Offenbach), led by half quantity director: Walter Felsenstein (1901-1919 75), whose innovative 'magic realistic theater "unique in the music world was and is. Felsenstein did not on principle difference between opera and operetta (!) And scraped lengthy and detailed are carefully chosen "Sänger-Darsteller (singer-performers), that he had to sing not only expressive but also had to be expressive acting. of Felsenstein's 'Hoffmann' was a movie made (now on DVD , see picture) as well as his 'La Traviata' (Verdi). Melitta Muszely 'sang and performed " (" impressive ") the female lead, who also live on TV was ( Rudolf Schock worked in 1950 also Felsenstein namely in Smetana's "verkauft Braut. Anny Schlemm stood in that performances on the stage as Marie). In 1958 zi ngt also the role of Micaela (see photo) in 'Carmen' third among top directors: Wieland Wagner (see 'sings RS Bizet "), which evokes Wagner's desire to sing.

EMI contract the " beautiful, instantly recognizable soprano voice with a slightly Slavic-colored, slightly melancholy timbre of an oboe" (Opernwelt ') for a series of opera and operetta recordings (often with Rudolf Schock as partner). She is a welcome guest in the media. In the early sixties, together with Koth and Schock involved in a Robert Stolz -rivival and ensured by artistic director and conductor Herbert von Karajan invited to the Vienna State Opera to sing. This is a fervent wish came true: finally allowed to sing in her native city. Melitta Muszely will guarantee that they include three major opera-premieres will occur: of Claude Debussy "Pelleas et Melisande" (Melisande), Georges Bizet 'Carmen' (Micaela) and of Richard Strauss' Arabella " (the credits).

Then the major setbacks: Von Karajan leave with a fight. His successor (Egon Hilbert) Muszely place between 1964 and 1967 only for the existing repertoire (eg Mozart, Smetana, and Richard Strauss the role of Sophie in 'Der Rosenkavalier' ). Music Magazine 'Opernwelt "published in 2007 to commemorate the 80th anniversary of the singer a detailed article which bitterly Melitta Muszely the poor conditions under which they had to work in Vienna, recalled: ".... I was so spoiled by the collegial atmosphere in Hamburg. .... And here I found a condescending and poorly played friendliness. The only human being in that hell whole (Muszely soprano's colleague) Gundala Janowitz. And then the desert, when it came to acting: the Vienna Acoustic Stage was treacherous, and those who were initiated, knew the good spots. Since then, they remained standing, and nailed to the stage floor. Hence there was no ....". acted

Melitta Muszely attracts around 1970, 42 years old (!), Is back on the opera stage. The public can then only her, but for decades, live and hear songs singer. Besides the unpleasant experiences in Vienna should probably taking the serious and prolonged illness of her husband and the physical deterioration of Muszely director Walter Felsenstein's favorite role. Until one by him as Elisabeth Muszely at the last moment planned production of Verdi's "Don Carlos" is unfortunately no longer come.

Co Melitta Muszely - Rudolf Schock

Melitta Muszely's collaboration with Rudolf Schock begins in January 1958 with the operetta recordings of portions of 'Ein Walzertraum' Oscar Straus ( Conductor: Wilhelm Schuchter), closely followed by major opera selections from Verdi's 'La Traviata' and "Il Trovatore" and a complete "I Pagliacci" by Ruggiero Leoncavallo under Horst Stein. Melitta Muszely, Rudolf Schock and Josef Metternich in the 1958/59 season, the 'Triassic Musica' of German opera. In 1960, Schock and take Muszely in Berlin including the aforementioned recording of Leo Fall's 'Madame Pompadour' on.

Rob Brink's' Tribute to Rudolf Schock '' http://www.rudolfschock.nl/ " presents under the heading" Inventory / Various aspects "by Ludwig Stumpff compiled a detailed list of recordings and concerts with Melitta Muszely and Rudolf S Chock.

A joint action Muszely and Schock would be added to this list: On September 29, 1962 is in the Kurhaus in Scheveningen 'GRAND GALA DU DISQUE POPULAR 1962 , that entirely by the Dutch TV broadcasting. The program is hosted by the famous Dutch Conny Stuart and William Duys.


line between the gala and the like " GRAND GALA DU DISQUE CLASSIQUE ' (in 1962, including opera star Renata Tebaldi ) was and is in the Netherlands much more sharply drawn than between church and state. During the popular gala of 1962 act include Conny Froboess ('Zwei small Italiener "), Nana Moskouri, Vera Lynn the ' Maastrichter Stare ' the " Dutch Swing College Band and phenomenal jazz singer (and more than that!) Cleo Laine on. Framed by the English Cleo Laine and French singing group 'Les Compagnons de la Chanson " sing the German Rudolf Schock and Austrian Melitta Muszely three operetta excerpts: from Lehár's ' Giuditta ' "Freunde, das Leben ist leben Swert ' & " Meine Lippen kisses so heiss' and Kálmán's 'Gräfin Mariza' 'Sag' ja, mein Lieb, 'sag' yes' . They are accompanied by AVRO's Cosmopolitan Orchestra, conducted by Jos Cleber .

I remember that this remarkable performance contrasted against the rest of the program. But opera should be in the Netherlands now back home in the popular and classical opera in ho (e) kje. Melitta Muszely Rudolf Schock and sang on the wrong night and thereby inadvertently confirmed a persistent bias Dutch. And to think that both opera singers an illustrious past were carrying. Only a few weeks earlier sang eg Rudolf Schock in Alban Berg's "Lulu" in Leoncavallo's "I Pagliacci" , in Mozart's "Cosi fan tutte" and 'Magic Flute' and in Puccini's "Manon Lescaut" ....
Krijn de Blank, February 20, 2011

Note
Among the larger items I assume by now in short texts occasionally also composers, of whom Rudolf Schock only a single (e) aria or song on vinyl or tape is recorded. For example Carl Bohm's "Still who the Night" , Rudolf Dellinger's 'herab Komm, O Madonna Theresa ', Tommasso Giordini 's' Caro mio am ' and Michael Glinka's "Dort gene Mitternacht' from" Ruslan und Ludmilla " I may not skip?

The next time so: Rudolf SHOCKING sings Milij Alexejewitsch BALAKIREW