RUDOLF SCHOCK LEO SINGS FALL 
Rudolf Schock
sings
LEO FALL
"The tradition of distinctive Walzertons Vienna, the Franz Schubert applied, Joseph Lanner and the younger Johann Strauss popularized has perfected, is by Leo continued case elegant - as further Franz Lehár " (Volker Klotz in his' Portrait Commission and operetta, an unheard-of art" - Piper GmbH & Co. KG, Munich 1991)
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The fame of the 'Silver Viennese operetta' (see also: 'RS sings Edmund Eysler' ) is 1905 by 'The Merry Widow 
e ' (Music: Franz Lehár , libretto by Leo Stein & Victor Léon - F oto lr L . Stein, F. Lehar, V. Leon ) founded. Lehár in a short time a composer of world renown. Almost as famous is Oscar Straus while Leo Fall the musical reputation of Franz Lehár's equivalent soon. Shortly after close Oskar Nedbal and Emmerich (Imre) Kálmán this illustrious society. I have something against rankings because they compare apples and oranges (only a Dutch phrase?) and still a lot of other fruits. Volker Klotz refers to the match point but, Lehár could be too much of a desire to lead Internatonal recognition, so much of its Waltz music a somewhat artificial, "licentious klangschwelgerischen" makes an impression. Leo Fall is authentic, is unconcerned, and - apparently - easy to own musical path: "... he could be simple and refined, elegant and robust, funny and full of feeling ..." (Bernard Grun: 'Cultural history of the operetta' - Langen Müller Verlag, Munich 1961).
If orchestration is "transparent chamber music" (Klotz). His melodies seem to result when they first hear clearly, but they contain an ambiguity, which he links closely with brilliant nuances of rhythm and timbre of action in connection with the operetta. If waltz - and marches - reflect and / or underline the intentions of the characters, and it goes much further than the composing of a well-worded three-quarter time.
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Together with Edmund Eysler he studied violin and piano at the Vienna Conservatory. He then played in military bands, which are conducted by his father (Maurice case) and of the Father Franz Lehár. After the year 1895 he is a violinist and piano accompanist in Hamburg, Cologne and Berlin, he directed operettas, and he writes music for the cabaret 'The bad guys'. He probably found in this environment, his sense of the playful challenge, the mild provocation, and he developed his compositional Talent for a humorous and intelligent musical theater, the "happy things seriously and serious things treated seriously" (free after Heinz Erhardt). This imaginative artistic talent puts him easily find Jacques Offenbach, the way he imitates no one way.
If first operetta 'The Rebel' in 1950 premiered at the 'Theater an der Wien' and becomes a fiasco. The audience responded with a hissing concert. Victor Léon , one of the librettists of Lehár's "Merry Widow ', a month later imselben Premiere Theatre should have acted against the negative reactions of the audience by being in the room noticeably goes back and forth a few times and "Bravo, Leo Fall!" calls. Léon is not content with just words, it provides the text of a Leo Fall 'people piece' of, and that his second operetta based 'The Jolly Farmer' it. Victor Léon invested a portion of the fee, which he has earned the 'Merry Widow' , in a strongly not premiere of the new Viennese operetta Leo Falls. 'The Jolly Farmer' place in Mannheim, Germany, an overwhelming reception, and in no time is this an operetta popular feature in all of Central Europe. Much more than the act which thus - quite traditional - takes place in peasant milieu, if it is inventive, exciting music, which explains the enthusiasm. Less than three months later " 
one weighs in New York and St. Petersburg (again) everywhere in dance to his waltz" (B. Green): If third operetta 'The Dollarprinzessin ' is probably this time with success by ' been ert Theater an der Wien ' from Lanci : it is literally a world triumph. The texts are of Arthur Willner Maria (one of the librettists of Lehar's operetta two years later 'The Count of Luxembourg' ) and the - just like Leo Fall - from the cabaret world coming Fritz Grünbaum . In the period to 1920, writes Leo case as about 14 operettas: including large Welerfolge to: 'The divorced woman' (Vienna 1908), 'brother fine' (Vienna 1909), 'Der liebe Augustin' (Berlin 1912 and remake of the 'rebels' from 1905!), a little of Richard Strauss influenced 'Empress' (Berlin, 1915, with Falls Muse: the legendary Fritzi Massary) and 'The Rose of Stamboul' (Vienna, 1916, with Fritzi Massary as 'The Rose').
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Leo case looks at some photos from a bit menacing. He is more of an American Gangster Boss or callous business-like as a sensitive operetta composer.
contemporaries about the case but as a cheerful, humorous and charming man who deserves his success operetta much money and also slightly outputs. It shows a commendable ability to insert, if two times a opera written by him was dismissed. The first time it happened in the beginning of his career (1904), when his opera in Mannheim 'Irrlicht' the audience and the criticism of poor reception. The second time in 1919, when 'The Golden Bird' , an opera, what case four years had been working, not in the 'Viennese opera' must be listed. The Directors commend the "grand ideas" , though, the opera from it. One of the directors is none other than the case of Leo Strauss admired , including the composer of 'Rosenkavalier' , an ingenious Opera with one of the most beautiful waltz from the history of music. The Austrian case, Leo sits back off to Germany, and Dresden. As sung in the premiere stars like Richard Tauber and Elisabeth Rethberg . The criticism recognizes musical influences of Richard Strauss (!). After only seven lengths Vorstellu flies 'The Golden Bird' no longer sufficient. 
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recovered case, amazingly fast from this blow and composed immediately afterwards three operettas, of which 'Madame Pompadour' is (Vienna, 1922, with Massary course again in the title role) by Bernard Grun as "The Master opera par excellence" considered.
Green sees this also to Volker Klotz "impeccable" Operetta as the announcement of a possible Style Renaissance " the operetta genre. But it is different: In the spring of 1925 round case for a South American tour to Vienna back dead tired, and some months later he died of a gall-bladder disease.
may A decade later, under the rules adopted by the Nazi racial laws of his music - no more time to play - including by Edmund Eysler, Oscar Straus and Emmerich Kálmán along with the. Experience the beginning of the sixties, if a little operetta Revival: Director Kurt Wilhelm for television series produced an operetta, by which Leo If 'The Jolly Farmer' (with the Dutch tenor John van Kesteren) 'The Empress' and 'Der liebe Augustin' (with the Austrian tenor Peter Minich). In the same years, taking € disc on some case-melodies with Rudolf Schock, Erika Köth and Margit Schramm. Recent ht have the CD label 'membrane' , 'Line' and the 'Hamburger Archives for singing' a large number of radio recordings from the fifties and sixties to the market gebrac 
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In today's century came the end of 2010 at 'Edition Steinbauer' the book: 'LEO FALL, sneering rebel of the operetta' (ISBN: 9783902494450) Stefan Frey
Rudolf Schock Leo Fall
He sings that makes any event, 1950, 1952, 1960, 1962, 1963 and 1964. Shock case recordings focus on fragments and (unfortunately) reduced from 4 Fragmentchen operettas, sometimes fall into a rather messy, clumsy way to the record and / or CD. That's too bad, because the quality of these images is high.
in 1964 to € Disc (EP / LP) appear tunes from 'The divorced woman' and 'Der liebe Augustin' . As far as I know they have reached the stage of CD before. This is understandable because it is well to very compressed versions. If 'Rose of Stamboul' of € disc of 1962 presented to LP in just over a quarter of an hour a number - sometimes much shorter - scenes, but for unclear reasons, it is the Theo Mackeben processing (1931) by Carl Millöcker's 'Gräfin Dubarry' (1879) hung. The CD release (2007) copies the foreign combination safely. Schock's 'two eyes, I do not want out of mind' was from this cross-section in the 2nd Half of the last Century in a longer version on disc € LP available.
EMI published 1960 EP (45 rpm), a small but cleverly put together Quersch 
Nitt au s 'Madame Pompadour' .
on LP and it appears with Millöcker / Mackeben 'Dubarry' , which is to defend given the historic significance of the two ladies now. In 2000 graduated EMI 'Madame Pompadour' and 'The Dubarry' to CD-Classic, which she combines with three other completely arbitrary Operetta have been.
Already more than half a century, Rudolf shocks EMI studio recording of 'Oh, Rose of Stamboul' in the catalog. It comes in 1952, made after a year and a half complete (!) Cologne Radio version of Falls champion operetta. Noted conductor of the 1950 total intake is Franz Marszalek . According to the discography rear shocks in the total web design still exists, but CD-Label 'membrane-Documents' assumes that it was "now seems sadly deleted" . 'Membrane' reports this way, during a recent CD-output won with a cross-section of the execution, but the "were culled from various archives. merits the cut (1950) in large part with those of € Disc (1962). But they are fortunately not been reduced. What does it again makes it difficult to find them, is the fact that they have been accompanied by a Marszalek-complete recording of Lehár's 'Paganini' as bonus (Star singer Peter Anders sings as Paganini on this Import his last complete opera role!).
shock theme song 'O, R 
ose of Stamboul' from the radio host was released earlier as a 'CD-Release' on 'da music (German Austrophon)' , along with other rare radio recordings of Rudolf shock. Incomprehensible and misleading, but the CD title is: '(!) TV Wunschkonzert Rudolf Shock. 'Loving it must be! "
circulated Finally shocked admirers in 1963 still a live performance of the duet a 'Munich Sunday Concert' . Shocks partner is the soprano Ingeborg Hallstein .
The divorced woman (Vienna 1908)
October 1964: studio recordings € Disc / BMG (LP, among other things, S 72 645 IU + 'Der liebe Augustin' ) with Margit Schramm as Jana, Rud olf 
shock as Karel, Liselotte Ebnet as Gonda and Director Werner Schmidt-Boelcke.
Just the title of this opera must have then acted provocatively. If (r) If operetta had really seen, were the 'scandal' is not half as bad, but would only a (r) will still try to sell, he or she had a 'divorced wife' made a visit. librettist Victor Leon solved this problem in that it is not the plot 'with us in Austria' to take place left, but moved into the somewhat 'liberal' Netherlands. To be precise: in the city of Amsterdam and the fun fair in the 3rd Act in the Frisian ' Zuiderzee' -town Makkum. In this context, it is sparkling, knowing that the Dutch have directly 'The divorced woman' they played more than happy in their theaters, but not after the action on the 'only real liberal' Paris city deported and the fair from the 3rd were located on the Normandy coast act.
brief summary of the 'divorced wife'
is the core of the plot, that of Jana Lysseweghe (is a Flemish name) wants to get a divorce from her husband Karel , because he should have shared in the night train from Nice to Amsterdam, the sleeping compartment with a foreign lady. Gonda van der Loo - that is, the strange lady - and a wounded Karel deny the strong, but the bill is against Gonda, because in principle for 'free, independent love ' says. The first act takes place in the courtroom, and the second to a costume party in the House, where Karel now lives alone. In the 2nd Act are two factors dramatically significant: First, Karel wants to extremely efficient way 'love Gonda' move to 'a little bissel marriage' . He finds something must for a woman to the doctrine of 'free love' attaches not be a problem. Karel and even the existence of such marriage 'duty of society and of the reputation for' great use. Gonda - how deep you go with their principles? - Karel's plan was drawn to well-dressed. Then, unexpectedly appears Jana, and there is a second waltz duet of a still hopeful Karel with Jana. The masquerade ball gives them the opportunity - even in relation to family and friends - 'a little show for two lovers' demonstrate: ' child, can you dance like my wife! ". further than this Bühnenstückchen Karel comes in 2nd Not act Jana. In the 3rd Act but said the night train conductor, who (surprisingly happens to be) is also at the fair, and Karel Gonda had touched each other in the conscious night with no fingers. Jana and Karel reconciled, and Gonda marries the chief justice of the first act, which is also always find at the fair in Makkum.
The output of the usual musical operetta in pretty poor third Act makes it clear that Gonda (obviously?) To drop their belief in progress, and Lana, 'the divorced wife' (obviously?) 'Karels happy housewife' is . Is this the result of the public wanted 'well that ends well finale' an average operetta? And the operetta composer in this way makes a bow to the Austrian public and social correctness, guaranteed him a handsome fee, finally? I doubt it: the focus of this operetta is psychologically just in complex triangular relationship of the 2nd Act. It is beyond the superficial and supplies the ammunition for a cynical happy ending.
The images from the 'divorced wife'
three fragments on an LP (Was there ever a 45 rpm disk -. KdL) can not picture this operetta . give True, they are dramatic and important therefore been well chosen. But why they have been reduced by half? Rudolf Schock can hear the way that he is still able under these miserable circumstances, Karel's character profile enter: In the simple, regular 'Karel Gonda Waltz' from the 2nd Current ('love Gonda, Gonda') sounds like a friendly, but distant, "1 +1 makes 2 'by. In a waltz duet with Jana ( a diverse and polyphase musical scene, the Waltz in varying dynamics, sometimes overpowering burst forth, sometimes subliminally continuous flow can be "- Volker Klotz), he sings, based heavily on the situation here with a touch of impatience and there a hint of sarcasm ('child, can you dance like my wife! " ) . The 3rd Untitled (from the final) 'You, ah you are, my back! " speaks for itself: Karel and Jana (with a perfect in such music Margit Schramm ) again form a couple.
Der liebe Augustin (Berlin 1912)
October 1964 : Studio melodies episode € Disc / BMG (EP: 41 301 CE / LP: among other things, S 72 645 IE + 'The divorced woman' ) with Rudolf Schock as Augustin Hofer, Margit Schramm as Princess Helene, Walter Muggle mountain as Nicola, the Prince of Mikolics, Ferry Gruber as Jasomitgott, valet, the princess Liselotte Ebnet as Anna, his daughter and Dir Werner Schmidt-Boelcke.
failure to understand the operetta 'The Rebel' from the 1905 case of Leo gets an 'extreme makeover'. As 'Dear Augustin' makes good impression in 1912. The new incomprehensible is that if 'Augustin' now has become a timid music teacher, during the 'real, dear Augustin' that ever roamed as a rebellious street singers and bagpipers through the historic streets of Vienna, a sassy role model would have made.
Brief summary of "Lieber Augustin"
Augustin Hofer piano teacher is the beautiful Princess Helene minor . Augustin Helene loves and loves Helene Augustin, but the audience realizes that they each other because of class differences may never marry. Also decides the corrupt ruler Bogumil as uncle and guardian of Helen, the princess was to the financial interests of the state to enter into a marriage rich as possible. Anna, daughter of the chamberlain of Helen, runs against Class differences in. It has been imposed from Jasomirgott , her father, as the fiancee decent Augustin, but you can take poison that such structures do not work. Also in this case, because the Anna feels much more on political opponents Bogumil, the arcs as corrupt princes Nicola angez 
. Nicola believes 'a small affair' with the simple girl was probably a historical basis, but Anna has such a relationship does not only guarantee for the future. The solution that the librettist Bernauer and Welisch (probably with a smile) for the finals have come up with is a well established cliché: Helen and Anna are mixed shortly after birth and the inevitable birth-shows, Helene was the daughter of a bourgeois valet, and Anna, the niece of the noble Bogumil. Nothing is now a festive double wedding in the way, and the 'sky is full of violins! " .
It seems like a cream cake, but text and music of the operetta back inequality of people Manipuliersucht those who - as it is called - 'has been made about others' are , selfishness, opportunism and narrow-mindedness in dealing with social mores and customs in a stark light. Enlargement of caricatures of human weaknesses, and unabashedly as 'NEW' launched stereotypes are the colored gift box from the satirical content.
Where is the 'rebel' from the same operetta remained of 1905?
A good answer might be: The rebel of 1905, as of 1912 will no longer on but behind the stage, and his name is Leo Fall. But a different answer would also be possible, for as modest and decent behaves actually 'Der liebe Augustin' ? 'Take your time, all with comfort' is the first line that Augustin sing in the operetta. He presents himself to the public as a dominated in all circumstances, social, young man, Two lines later he explains that in more detail: 'Shrugs dir' contribution to his ear the destiny, it's with humor ....' , but after that - in ravishing chorus - it shows at once but some traits that could be interpreted as selfishness and opportunism:
'What could be better, THE TAKE YOU! Be'm not the same, will go ill with you;
show, it will give even life, so much glorious! It takes every one to WHY NOT YOU ... '
When Augustine met the legal age of the young Helen, he drops Anna without remorse. From that moment he touches the piano hardly brings not only themselves but also 'his comrades Helene' in the problems. He turned the - then still noble - head with fantasies about an intimate, romantic inn, which she and the landlady he was the host and a cloudless sky, full of forever Violins hang! The (internal rebellion?) Augustin chose to give the greatest happiness of the world, if Helen is in the end he may throw in our arms.
The images from the "Lieber Augustin"
are - on EP: 45Upm - something substantial, but it remains a makeshift. The listener gets little insight into the opera plot, because the seven fragments were amputated almost all so that you can not even speak of a 'short section'. There is actually no more than about a 10-minute episode melodies.
Two moments stand out on. First a lovely Düttchen Nicola and Anna, the two (!) takes couplets. It falls directly on the length, the more so because Walter Muggle mountain and Liselotte Ebnet 'It is good form, a small liaison' sing so loving. I wonder, though nobody knows if the Muggle Walter Berg has deepened in Nicolas unpleasant character, because he sounds almost lovingly . Secondly, the verse that Rudolf Schock sings of Augustine's entrance song, long enough to see that he had known to be on a stage operetta, which he and the Augustine's role should have started. He sings a part Andren waltz refrain, as I have quoted here above. If Leo were rebellious 'fangs' drawn, consciously or Rudolf Schock sings a later verse, the chorus is different perhaps? Finally: The Voices of Margit Schramm and Rudolf Schock fit nicely with each other 'Be my friend' and 'sleep when the sun goes' .
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D 
ie Rose of Stamboul (Vienna 1916)
December 1950: Fragments from the total radio host. Membrane Documents (CD + 223985-311 total intake ' Paganini' of F. Lehár with Peter Anders ) with Ursula Kerp as Kondja Gul, daughter of Kamek Pasha, Rudolf Schock as Ahmed Bey, the son of a minister, the Cologne Radio Choir and Director FRANZ MARSZALEK.
December 1950 : song of Ahmed Bey (Act 1) 'Oh, Rose of Stamboul' , fragment from the same total radio host. Da-music (CD 77 888) - Rudolf Schock / D ir. Franz Marszalek.
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June 1952 : song of Ahmed Bey 'Oh, Rose of Stamboul' , studio recording. EMI Classics (including 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 . studio-sectional Sony / € Disc (CD 88 697 18 798 2 + fragments from "The Dubarry" of C. Millöcker / T. Mackeben) with Erika Köth as Kondja Gul, Rudolf Schock as Achmed Bey, Günther Arndt Choir and Dir FRANK FOX
October 1962 : (!) Longer Version song of Ahmed Bey (Act 3) 'two eyes that do not leave my mind' , studio recording. Ariola / € Disc (LP, including on 88 957 OE) - Rudolf Schock / Günther Arndt Choir / Dir Frank Fox .
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February 1963 : Duet Achmed / Kondja (Act 2) 'Loving it to be! " , live recording from Munich (In private archives). With Rudolf Schock , Ingeborg Hallstein and Dir Werner Schmidt Boelcke .
The premiere on 2 December 1916 by the middle of the First World War (1914-1918) instead. The first two acts are taking place in Istanbul, the third in a Swiss hotel, on neutral ground. The election of Leo Fall and his librettist Julius Brammer and Alfred Grünwald for the Turkish milieu reflects most likely with grateful sympathy for the Turks, the mix at the end of 1914 in the war, taking the side of Germany / Austria Hungary-select. Modern and up to expected that in the - added: pretty Viennese - the capital Istanbul require young people to modernize the Islamic state: the daughter of the mighty Pasha, Kondja Gül reads, secretly-Western novels and learns that she is today rather than tomorrow would emancipate. Ahmed Bey, the promising son of the minister lamented the fate of the silent harem women. Moreover, he shows himself willing to marry only one woman and liebzuhaben in this one all women.
about the plot of the 'Rose of Istanbul "and a number of highlights from
first Current : Kondja Gul Ahmed Bey and are meant for each other, but unfortunately at the birth of their mutual parents. Ahmed loves Kondja, but Kondja adores André Lery, the author of her favorite books. They even sent him love letters. Andre responds and calls them 'the Rose of Stamboul' . What viewers will soon know, is that Ahmed Bey and André Lery one and the same person. Achmed sings 'Oh, Rose of Stamboul, and you alone' , in which he makes clear that he will not have a harem and what image he is - even literary - from a Thousand and One Night with the marriage of his adored Kondja makes.
second Current : Especially this act is full of musical gems. Achmed sings the enchanting song of praise: "You still sweet wives - you, you women. Serenade is my ' . He feels, compared to them, must wear the veil, like a 'beggar who kneels before them' . But later in the serenade he demands fiery 'after the day they unveiled and liberated' . He will be back on that day, but then as 'winner, who kneels before them! " . Shortly after the wedding ceremony is followed by an impatient and Achmed a restrained Kondja ('She is already approaching with trepidation') . Achmed's waltz 'Oh, Rose of Stamboul' in this ensemble 'theme'. In the bedroom is the veil, and the pair agree on a 'happiness after the (Western) fashion, with a trial period of four weeks' . This month has to show that they love each other really. Almost explained Kondja who drinks for the first time in her life alcohol, then still beating, and this happens in case Leo ecstatic Tanzd 
uett 'Loving it must be! " . This waltz is the most striking example of what I said at the beginning of these notes, the rhythm of the dance - sometimes accelerating, braking quickly - and a variety of tones fit musically and content seamlessly to action. The deeper intentions of the lovers are reflected in the jubilant song of praise reflected in the three-quarter time and are underscored by blissful. Kondja resists a bit and laughs at this: 'SAY ONLY a waltz? " , but Ahmed hammered incessantly in his wedding night Kondja aware that she must 'absolutely' give the (frankly erotic) waltz, that dance that the girls danced so often in her dreams, but never experienced in reality had: Want 'you do not need a heaven / Would you ever go underground / in a sea of lust? / Do you want one sip nectar? / Want to know even allowed / what you never knew! " . It is possible Kondja but to escape Achmed. She leaves Turkey.
third Current : Achmed's 'alter ego': the prominent writer André Lery sits a few days later, a little sad in the suite of a Swiss luxury hotel. He tries to accept Kondja that not him but a dream love. That cost him trouble 'because he is so hung up! " . And then again sounds like such a great invention Leo Fall ("a shoulder-shrugging ... graceful anticlimax" - Volker Klotz), a small, wistful melody played Achmed sings nonchalantly to himself, 'Two Eyes that I would not want out of mind .... Today I so in the certain, the tender mood .... shame, shame ... ' .
Kondja who has dared to talk to 'Andrew' in a Swiss hotel learns the shattering Mitteiling, Mr. Léry a suite for him and myself reserved for his wife. Fortunately for Kondja costs Achmed the 'fun' is not too long. He now unveiled itself is stipulated by the probation period of four weeks Kondja the last obstacle on the way to the suite Achmed. Kondja but makes their time with flair and Achmed's docile and tears from her little hand emancipated twenty-eight calendar leaves.
The recordings are from der'Rose of Stamboul '
- which the fragments from the years 1950 and 1962 concerns - or run by the German conductor Franz Marszalek and the Austrian conductor / arranger Frank Fox . Marszalek steals the show, but Frank Fox appears as an excellent conductor of Falls music.
Franz Marszalek (1900-1975 ) , who from 1949, the Cologne Radio Orchestra, was and is a renowned conductor of operetta 
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The renowned soprano Anny Schlemm (born 1929), except the oratorio and opera in her younger years, Marszalek often sang operetta, called him ever in a guarded moment (because we know today) the awesome "Karajan of the operetta. This becomes understandable when one listens to his recordings. Franz Marszalek was active in theater, film, radio (as "Mr. Sanders" once he opened many times "his record cabinet" ) and the television. In his fifties he has conducted itself for broadcasting 60 full operettas and, later, he was also the central, musical director of TV-operettas, which directed the already mentioned Kurt Wilhelm führte.Viele of the operetta, which stipulated Marszalek, do not belong to the standard repertoire, but are today - with many thanks to him - probably available on CD. He championed the works of underappreciated wrong, but it is musically a very significant composers such as Leo case and Künneke Eduard (1883-1953 ) , the latter of which was his good friend. Marszalek did for these images a rich selection of storming operetta and opera talent to engage. Including the three large German Tenors of the 2nd Half of the last century: Peter Anders, Rudolf Schock and Fritz Wunderlich. Marszalek was with shock to the total radio observations of four operettas: Johann Strauss Jr.: 'A Night in Venice' , by Eduard Künneke: 'The great sinner' , Bruno Granichstaedten: ' The Orlov ' and Leo Fall: ' The Rose of Stamboul '.
Frans Marszalek leads the surviving fragments and fortunately at the same time substantially 
from 'The Rose of Stamboul' with strong momentum. The famous waltz duet from the 2nd I experience to act as a grand climax child show mixed-playing musical instruments in which an extra-safe apparatus violin and piano, a similar flood the entire orchestra, and 'submerged in a sea of pleasure' the voices of the soloists . can
Kondja sung by Ursula Kerp , soubrettenhaften a soprano, from the little experience I unfortunately . Her pretty, playful-sounding voice is broadcast in many operettas from the fifties to hear. But it is 1960 at Milan's La Scala also one of the flower girl in Richard Wagner's opera 'Parsifal' . She is performing as singers met together Sandor Konya (Parsifal), Gustav Neidlinger , Boris Christoff and Belgian contralto Rita Gorr on. André Cluytens , another, famous Belgians conducted. In an LP recording (also have on CD?) of Humperdinck's "Hansel and Gretel ' sings Ursula Kerp the Sandman. Otto Matzerath directs the opera and the roles of Hansel and Gretel by Elisabeth Grümmer Erika and Köth shown.
Rudolf Schock is Achmed Bey
The Marszalek recording from the 1950 (immersed in a festive day, the total intake still on?) can Rudolf Schock in one of his most stunning operetta roles listen. The radio microphone notes in the young, naive voice of the luster of silk and the glitter of steel. At EMI, in 1952, the theme song to Wilhelm Schüchter remains very close. In the beautiful sound at stereo recordings from 1962 to Euro disc, there are the velvet and the twinkle still in sufficient mass, and shock proof, with an expressive voice anew his affinity with the role and Achmed Falls music.
conductor Frank Fox (1900-1965) makes the Berlin Symphony Orchestra con brio music, and shocks partner is a winsome, intelligent singing Erika Köth. It is possible this Kondja in the heady waltz scene credible as long as possible (a little) distance to the passionately insistent to maintain Achmed: their 'SAY ONLY a waltz? " sounds as well as ironic. The compilation of the studio recording differs so much from the good ten years older, excavated broadcasting fragments. 'Membrane' but has not from the 2nd Act, the ensemble, which initiates the marriage ('She is already approaching with trepidation') , but well the opening scene with duet in the bedroom ('This is the luck in the fashion' ) . € Disc unfortunately Achmed 'two eyes that do not leave my mind' from the 3rd Act halved (Schade!), although it had probably absorbed. The complete song appeared namely on a single LP with shock-operetta songs.
In the live recording of 1963 from Munich shocks Achmed unabated fire and flame, this time for Ingeborg Hallstein (born 1933), the Kondja singing style.
Madame Pompadour (Berlin 1922)
December 1960 : Studio recording. EMI Classics (CD 7243 8 26393 2 9 + 'The Dubarry' and three other operetta sections ) with Melitta Muszely as Marquise de Pompadour, Rudolf Schock as René d'Estrades, Karl-Ernst Mercker as the poet Joseph calico, the Günther Arndt Choir and Dir Werner Schmidt-Boelcke.
'Marquise de Pompadour "(painting by François Boucher - 1703-1770)
operetta expert Volker Klotz and Bernard Grun're very united. Klotz : "The libretto of Rudolph Schanzer & Ernst Welisch and Leo If music are almost flawless, the work is as inventive as witty" ; Grun : "Lyrically , musically, stylistically and time-critical: the operetta masters par excellence ". Although I'm no expert, I gladly put to the expert: The here above EMI cross-section that takes a little more than a quarter of an hour, includes fascinating music and is a small Ju 
wel, that makes you happy.
interpretation (thanks to Volker Klotz) and summary of 'Madame Pompadour'
Paris around 1750: Marquise de Pompadour, King Louis XV Staatsmätresse, has a secret love affair with the married Count René d' Estrades . The operetta begins with a carnival celebration. The noble René has one in each arm Grisette when he 'nationalist' dressed up, with mask-spirited and a bath in the crowd takes ( 'Laridi, , Laridon 's Carnival! " ). runs in the crowd he 'coincidentally' the same 'ethnic' masked Marquise in her arms. With great talent for simplicity it is called 'Jeanne' . A wonderful night can begin! Maurepas, Minister of Police considers the Marquise, but as a political rival. He can spy with the intention of them - have to fall out of favor with the king - because of the criminal relations with the married René. The Marquise sees through the plan of the Minister and shall use a library: they placed the order, some 'subversive elements' to arrest. Among them, the poet Joseph calico , the satirical songs on them and (that) makes the king, and Count René, who admired the poet for that very reason. The Marquise catapulted Joseph calico to the private house and makes the poet now seriously in love for René 'soldiers of her bodyguards' . Maurepas and his spies understand anything about it: the Marquise does it alsob - as the reincarnated biblical Potiphar's wife - wants to seduce the put out of kilter Joseph 'Oh Joseph, Joseph, what art thou as chaste / Kissing! makes almost no noise ' . What the ridiculously funny duet probably makes noise, the orchestra, the bomba 
Stisch the fate motif from Bizet's 'Carmen' (cited as not Don José Carmen could get, you can, get stupid Joseph calico, of course me, the Marchioness, do not!). Her second - seriously erotic - game plays the Marquise with her soldiers in the privacy of your own 'parade ground', "which extends from the hall into her bedroom ( Klotz). She pulls at the reins as commander and orders René strictly to listen to their commands. René pretends that he submits to a loyal subject of their orders, but the text that he improvised in time with a always becoming obsessive military march, is something quite different: 'Today Eight I will come to you also must I atone's ' ( ' Halt candles degrees - I am your subject, your faithfulness! " ). Volker Klotz said in his brilliant analysis of the operetta, this Exerzierduett was "a major hub of music and drama Madame Pompadour". It turns in this operetta, of course, not the happy ending (It turns out that Madeleine , René's wife, the half sister of the Marquise. This can therefore have no relation with her brother. Louis XV has so no reason to be suspicious, and René-versa so - as it should be - back to his wife) No, In 'Madame Pompadour' and many other case-operettas, it is about the desire of the people, the daily grind, the social straitjacket escape to.. Klotz: "The greater the restrictions, the more violent the internal storage ... it breaks out into other roles that give them greater leeway . Jana and Karel are only able to dance with each other when they are dressed up on the dance floor. Princess Helen turned to the golden cage to the back and makes the Augustin in all simplicity to an inn. The simple Anna wants to be a princess and she will. Kondja throws the veil from Ahmed and turns like in André Lery. The Marquise de Pompadour lives only really when to mask it among the people is, Potiphar's wife, or can command plays the role of a commander the obedient bodyguard René. But René's leeway is love: it is assumed negates the commands and brings the adored superiors serenaded (' Madame Pompadour, crown jewel of nature' ) whose fiery melody of the other soldiers of the Life Guards, which one might even say kollektiever insubordination.
The images from 'Madame Pompadour '
will be conducted by Werner Schmidt-Boelcke (1903-1985) on EMI 
with momentum. It is a wonder that such a small cross section makes such a big impression.
Rudolf Schock not only sings with a beautiful voice, but his René has everything you could imagine in the form: charm, humor and a compelling passion, what are I can only surrender willingly.
The Charakterbuffo Karl-Ernst Mercker 
(b. 1933 - 'RS Adam sings' see ) sang at the Berlin Opera many operatic roles, but was in the sixties often heard in opera recordings: the time of Leo Fall admission he is still very young, but it shows not the obvious ease with which he in 'Joseph, O Joseph' duet sings his role and plays it all. To harming the credibility of the operetta site of a historic figure like the Marquise de Pompadour a not so great violence, was the choice of good-looking, lyrical-dramatic soprano Melitta Muszely an ideal.
Me 
litta Muszely (born 1927) is
Hungarian descent but was born in Vienna. She made her debut as a singer in Regensburg and in 1953 by internationally acclaimed director Günther Rennert (1911-1978) for the Hamburg State Opera is committed. The 1st Role is 'Madame Butterfly' (Puccini ).
Hamburg will be the springboard for the most diverse roles in Paris, Lisbon, Florence, Edinburgh, Venice and - especially - Berlin. In Berlin she sang in 1958, the four women's roles in 'Les Contes d'Hoffmann' (Offenbach), conducted a second director Sizes: Walter Felsenstein (1901-1975), whose refreshing ' magical-realist Theater ' was unique in the musical theater world and is. Felsenstein was basically no difference between opera and operetta (!) And filed a lengthy and detailed to 
his carefully chosen ' singer-actors', expected that he, she could not only expressive sing , but also expressive represent . By Felsenstein 'Hoffmann' was a film made (now on DVD, see picture! ) , well as on its 'La Traviata' (Verdi). Melissa sings Muszely and provides ("Impressive ") in the Verdi opera the female lead that will be broadcast live on television. ( Rudolf Schock worked 1950, under Felsentein and was indeed in Smetana 'Bartered Bride' . Anny Schlemm in these performances as Marie on stage). Melissa Mu Szely 1958 also sings the role of Micaëla in 'Carmen' hmten in the third Beru 
Director: Wieland Wagner (see 'RS sings Bizet' ). It sparked in her the desire to sing in operas by Richard Wagner.
EMI takes "wonderfully unique soprano voice with the slightly Slavic-colored, slightly melancholy oboe timbre" ('opera world) for a series of opera and operetta recordings under contract. Rudolf Schock This is often her tenor partner. Melitta Muszely is a welcome guest in the media, and in the early sixties, also involving them, together with Erika Köth and Rudolf Schock in a Robert Stolz revival with. She then goes into the conductor and artistic director Herbert von Karajan the Invitation to perform at the Vienna State Opera . This goes for Melitta Muszely an ardent wish come true: to finally allowed to sing in her native city. It is guaranteed that it will include singing in three major opera premieres important games: Mélisande in 'Pelléas et Mélisande (Claude Debussy), Micaëla in ' Carmen ' (Georges Bizet) and Arabella in ' Arabella ' (Richard Strauss).
Then follow the disappointments: Von Karajan skin in 1964 after a violent crash. The successor (Egon Hilbert) is Muszely 1964-1967 only in repertoire but a (Mozart, Smetana and Sophie in 'Der Rosenkavalier' by Richard Strauss ). Music Magazine 'opera world "published in 2007 on occasion of the 80th Anniversary of the singer an extensive interview, in which Melissa Muszely remembers bitterly the adverse circumstances under which they had to work in Vienna: "I was so spoiled by the wonderful colleagues in Hamburg and here now ... this patronizing, poorly played this friendliness. . The only person in this whole hell was the Janowitz (soprano colleague Muszelys Gundala Janowitz). And then this acting desert! State Opera stage has its acoustical quirks, and knew the initiated the good points. can therefore there was just no drama ...."
attracts around 1970, Melitta Muszely, 42 years old, back from the opera stage, the audience - as they stood, as if they were nailed (!). they must then only, but probably dezennienlang hear live songs singer. In addition to the deeply disappointing experiences in Vienna with the resignation probably serious and protracted illness of her husband and the physical deterioration of Muszelys favorite director Walter Felsenstein be taken at eye view. to one of rock stone as Elisabeth Muszely planned production of Verdi's 'Don Carlos' it has come, unfortunately.
Melitta Muszelys cooperation with Rudolf Schock the beginning of January 1958 with images of fragments from 'A Waltz Dream' by Oscar Straus (conductor: Wilhelm Schüchter started). Immediately followed by large sections of opera 'La Traviata' and 'Il Trovatore' by Giuseppe Verdi and a complete version of 'I Pagliacci "by Ruggiero Leoncavallo under Horst Stein . Melitta Muszely, Rudolf Schock and Josef Metternich in the season 1958/59 the 'triad Musica' of German opera. In 1960 to take Muszely and shock in Berlin just discussed the inclusion of Leo If 'Madame Pompadour' .
Rob van Brinks 'Tribute to Rudolf Shock: http://www.rudolfschock.nl/ presented under the heading' Inventarisatie / Diverse aspecten ' a detail of Louis Stumpff together gesture llte overview of recording and performing with Melissa Muszely and Rudolf Schock.
A Dutch, shared occurrence of shock and Muszely this survey could be added : On 29 September 1962 will take place in the 'Kurhaus' from Scheveningen 'GRAND GALA POPULAIRE DU DISQUE 1962' . It is integrally transferred from Dutch television and the moderators are known as Dutchman Conny Stuart and Willem Duy.
The dividing line between the Gala and the similar 'GRAND GALA DU DISQUE CLASSIQUE' (1962 including opera star Renata Tebaldi with) was and is drawn more sharply in the Netherlands many times than that between church and state. In 1962 occurred during the popular galas including Conny Froboess ('Two little Italian') , Nana Mouskouri , Vera Lynn , the 'Maastricht Staar' that 'Dutch Swing College Band' and the phenomenal jazz singer (and more than that!) Cleo Laine on. Surrounded by the English Cleo Laine and the French vocal group 'Les Compagnons de la Chanson' sing the German Rudolf Schock and Austrian Melitta Muszely live three operetta fragments: from Lehár's 'Giuditta' 'Friends, life is worth living' & 'My lips to kiss so hot' and from Kálmán 'Countess Maritza' 'Say yes, my love, say 'yes' . They are accompanied by departing Avro Cosmopolitan Orchestra under conductor Jos Cleber .
I remember that this strange occurrence took off from the rest of the program: it is in the Netherlands, probably just the opera and operetta in the 'classic' drawer. Actually, Melissa sang Muszely and Rudolf Shock at the wrong gala evening confirmed and thus unintentionally a persistent, Dutch prejudice. And then remember that both singer wore a wide-famous opera past with them. Only a few weeks ago, for example, sang Rudolf Schock in Alban Berg's 'Lulu' in Leoncavallo 'I Pagliacci' in 'Cosi fan tutte' and 'The Magic Flute "by Mozart and 'Manon Lescaut' of 
Puccini.
Krijn de Lege, 02/20/2011
NB:
From today I change my major from in between articles with lyrics that deal with very briefly composers, of which there are Rudolf Schock with only a single aria or a single song. For example, Carl Bohm 'Still as de Nacht' , Rudolf Dellingers 'Come down, O Lady Theresa' , Tommasso Giordinis 'Caro mio ben' and Michael Glinka 'There, toward midnight' from 'Ruslan and Ludmilla 'but I can not roll over?
a next time then: 'Rudolf Schock sings Mily Balakirev'
