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Producer’s Note Great Opera Performances ADD During the mid-1940s, The National Broadcasting Company began relaying the Saturday afternoon Metropolitan 8.110235-37 Opera performances to South America, simultaneously with the North American broadcasts, via short wave transmission. Commentary was given by a Spanish announcer who spoke from a box at the Metropolitan next to the one used by the regular North American announcer, Milton Cross. It has also been suggested that a different microphone configuration may have been used for these South American broadcasts. 3 CDs This performance of Lohengrin comes from 16 inch lacquer-coated glass-based discs, recorded off the National Broadcasting Company’s South American feed. The original discs are no longer accessible, but WAGNER fortunately, they were professionally re-recorded to magnetic tape many years ago and it is this tape source which I have used for the present transfer. Most of the Spanish commentary was omitted when the tape transfer was Lohengrin made, but the final announcements were preserved and I have included them here for the sake of completeness. In re-mastering this material, I found that there was significant pitch fluctuation between the beginning and ending of Lauritz Melchior • Astrid Varnay • Kerstin Thorborg each 15 minute side. I have made every effort to keep the pitch as constant as possible throughout the performance. Never the less, one can still hear some occasional rapid pitch flutter that I was unable to correct. The original discs Chorus and Orchestra of the Metropolitan Opera, New York • Erich Leinsdorf were in almost perfect condition when transferred and except for a noisy patch in the middle of Act Three, the lack of surface noise is remarkable. Therefore, no digital noise reduction has been employed. Recorded in 1943

Ward Marston

In 1997 Ward Marston was nominated for the Best Historical Album Grammy Award for his production work on BMG’s Fritz Kreisler collection. According to the Chicago Tribune, Marston’s name is ‘synonymous with tender loving care to collectors of historical CDs’. Opera News calls his work ‘revelatory’, and Fanfare deems him ‘miraculous’. In 1996 Ward Marston received the Gramophone award for Historical Vocal Recording of the Year, honouring his production and engineering work on Romophone’s complete recordings of Lucrezia Bori. He also served as re-recording engineer for the Franklin Mint’s Arturo Toscanini issue and BMG’s Sergey Rachmaninov recordings, both winners of the Best Historical Album Grammy. Born blind in 1952, Ward Marston has amassed tens of thousands of opera classical records over the past four decades. Following a stint in radio while a student at Williams College, he became well-known as a reissue producer in 1979, when he restored the earliest known stereo recording made by the Bell Telephone Laboratories in 1932. In the past, Ward Marston has produced records for a number of major and specialist record companies. Now he is bringing his distinctive sonic vision to bear on works released on the Naxos Historical label. Ultimately his goal is to make the music he remasters sound as natural as possible and true to life by ‘lifting the voices’ off his old 78 rpm recordings. His aim is to promote the importance of preserving old recordings and make available the works of great musicians who need to be heard. 8.110235-37 12 110235-37 bk LohengrinEU 15/7/05 3:25 pm Page 2

happiness to an end. She begs him to stay, to witness her Brabant, whom she had bewitched with the help of her repentance, but he is adamant. The men urge him to own pagan gods. Lohengrin kneels in prayer, and when stay, to lead them into battle, but in vain. He promises, the white dove of the Holy Grail appears, he unties the however, that Germany will be victorious, never to be swan. As it descends in the water, Gottfried emerges. defeated by the hordes from the East. Shouts announce Ortrud sinks down, with a cry, while Gottfried bows to the appearance of the swan. the king and greets Elsa. Lohengrin leaps quickly into Lohengrin greets the swan. Sorrowfully he turns the boat, which is drawn away by the white dove. Elsa Great Opera Performances towards it, telling Elsa that her brother is still alive, and sees him, as he makes his sad departure. She faints into would have returned to her a year later. He leaves his her brother’s arms, as the knight disappears, sailing Richard horn, sword, and ring for Gottfried, kisses Elsa, and away into the distance. moves towards the boat. Ortrud comes forward, WAGNER declaring the swan to be Elsa’s brother, the heir to Keith Anderson (1813-1883) Lohengrin An Opera in 3 Acts

Lohengrin ...... Lauritz Melchior Elsa of Braband ...... Astrid Varnay Friedrich von Telramund ...... Alexander Sved Ortrud, his wife ...... Kerstin Thorborg Henry the Fowler, King of Germany ...... Norman Cordon Herald ...... Mack Harrell

Orchestra and Chorus of the Metropolitan Opera • Erich Leinsdorf Metropolitan Opera broadcast 2nd January 1943

The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings.

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accusing him of sorcery. There is general wonder at the 6 He tells her to put aside her doubts; he loves her and CD 1 55:05 ! Nun höret mich und achtet wohl 6:34 secret which the knight keeps, but support for him. is of noble origin. She is still afraid that he may leave (Herald, All The Men, Lohengrin, Friedrich, her, imagining him summoning the swan to take him 1 Prelude 7:42 The King, Elsa, Ortrud, Ladies) # The king and nobles have confidence in the knight. away, and urging him with greater vehemence to reveal (Orchestra) Elsa, alone, is approached by Telramund, who offers to to her his secret. They are interrupted by Telramund and @ Durch Gottes Sieg ist jetzt dein Leben mein 3:51 wound her husband slightly, thus breaking any magic his four supporters. Elsa seizes the knight’s sword and Act 1 47:23 (Lohengrin, Chorus, The King, Elsa, Ortrud, power he might have, and securing his fidelity to her. hands it to him, and he strikes Telramund dead. The Friedrich) The knight, aware of what has been said, orders others seek mercy, while Elsa sinks down, fainting. Scene 1 Telramund and Ortrud to leave his sight. He asks Elsa 2 Hört! Grafen, Edle, Freie von Brabant! 2:19 whether she doubts him, but she denies any such idea. 7 The knight tells the nobles who had helped (Herald, Brabantines, The King, Saxons) CD 2 69:49 The couple approach the king and together they go up Telramund to take the body before the king. He calls the steps of the cathedral, although Elsa sees Ortrud’s Elsa’s attendants to prepare her to appear before the 3 Dank, König, dir, daß du zu richten kamst! 6:31 Act 2 69:49 threatening glance, before they enter for the wedding king, and sadly withdraws, prepared to reveal his (Friedrich, All The Men, Herald) ceremony. identity to her in the royal presence. Scene 1 Scene 2 1 Introduction 3:45 Scene 3 4 Seht hin! Sie naht, die hart Beklagte! 3:04 (Orchestra) CD 3 (All The Men, The King, Elsa) 8 The scene is the same as that of the opening, a grove 2 Erhebe dich, Genossin meiner Schmach! 7:20 Act III by the River Scheldt. The nobles of Brabant gather, 5 Einsam in trüben Tagen 3:40 (Friedrich, Ortrud) prepared to follow the king in battle. Telramund’s men (Elsa, All The Men, The King, Friedrich) 1 Prelude bring in his corpse and lay it before the king. Elsa 3 Du wilde Seherin! Wie willst du doch 6:21 The Prelude suggests the wedding celebrations. enters, pale and troubled, unable to answer the king’s 6 Mich irret nicht ihr träumerischer Mut 4:52 (Friedrich, Ortrud) greeting. ( Friedrich, All The Men, The King, Elsa) Scene 1 Scene 2 9 The knight enters, alone, and armed as on his first 7 Wer hier im Gotteskampf zu streiten kam 4:55 4 Euch Lüften, die mein Klagen 3:26 2 The king and nobles escort the knight to the bridal arrival. He will not follow the king in battle, but (Herald, All The Men, Friedrich, Elsa, Ladies, (Elsa, Ortrud, Friedrich) chamber, and Elsa is brought there by her women. The uncovers the body of Telramund, explaining the reason First Chorus, Second Chorus) king blesses them, and the couple is left alone. for his action. He then accuses Elsa of breaking her 5 Wer ruft? Wie schauerlich und klagend 3:31 word by seeking to know his name and origin. Scene 3 (Elsa, Ortrud) Scene 2 8 Nun sei bedankt, mein lieber Schwan! 3:34 0 He describes the distant castle of Montsalvat and (Lohengrin, Men and Women, The King) 6 Entweihte Götter! Helft jetzt meiner Rache! 3:43 3 The two declare their love for each other, alone the temple of the Holy Grail, given to the purest to (Ortrud, Elsa) together for the first time. guard by an angel, with powers revived each year by a 9 Zum Kampf für eine Magd zu steh’n 5:53 dove from heaven, and explains how the knights of the (Lohengrin, Elsa, Men and Women) 7 Wie kann ich solche Huld dir lohnen 7:02 4 Elsa recalls her dream and takes pleasure in her Grail are invincible in their journeys to right the wrongs (Ortrud, Elsa, Friedrich) name on her husband’s lips. of the world, only so long as they remain unrecognised. 0 Nun hört! Euch, Volk und Edlen, 2:10 Once their identity is known, they must return. He mach’ ich kund Scene 3 5 They embrace, and the knight looks out on the himself is such a knight, the son of Parsifal, Lohengrin. (Lohengrin, All The Men, Friedrich, The King) 8 In Früh’n versammelt uns der Ruf 3:39 garden, comparing the fragrance of the flowers to the (Chorus) magic that binds him to her. Elsa, however, still wants ! Elsa sinks down, in distress, but Lohengrin seizes to learn her husband’s identity. her in his arms, reproaching her for bringing their 8.110235-37 10 3 8.110235-37 110235-37 bk LohengrinEU 15/7/05 3:25 pm Page 4

9 Des Königs Wort und Will’ tu’ ich euch kund 6:37 6 Höchstes Vertrau’n hast du mir schon zu danken @ The knight fells Telramund, but spares his life, seek pardon from her husband for them both. (Herald, Chorus, Four Nobles, Friedrich, (Lohengrin, Elsa) 5:17 embracing Elsa, to the general delight of all, except Four Pages) Ortrud, who cannot understand her failure. The 7 Ortrud expresses her gratitude, but sows in Elsa the 7 Weh’, nun ist all’ unser Glück dahin! 3:53 victorious knight and Elsa are carried out in triumph. seeds of doubt, as they enter the building. Telramund Scene 4 (Lohengrin, Elsa) emerges, praising his wife’s cunning and hoping for his 0 Gesegnet soll sie schreiten 4:53 enemies’ downfall. (Chorus) Scene 3 CD 2 8 Heil König Heinrich! 6:33 Scene 3 ! Zurück, Elsa! Nicht länger will ich dulden 7:49 (All The Men, The King, Four Nobles) Act II (Ortrud, Elsa, Pages, Men, Women, Ladies) 8 The people assemble, as the trumpets sound 9 Macht Platz, macht Platz dem Helden 5:36 Scene 1 morning. The doors of the palace open, with a royal @ O König! Trugbetörte Fürsten! Haltet ein! 5:27 von Brabant! fanfare. Nobles and citizens gather before the cathedral. (Friedrich, The King and Men, Ladies, Boys) (Chorus, The King, Lohengrin, The King’s Men, 1 It is night in Antwerp. In the palace there is music Ladies) and rejoicing, while Telramund and Ortrud, in paupers’ 9 The herald proclaims the banishment of Telramund, # Mein Held, entgeg’ne kühn dem Ungetreuen! 6:15 clothing, sit by the door of the cathedral, staring into the a fate the people think well deserved. He goes on to (The King, Saxon and Brabantine Nobles, 0 In fernem Land, unnahbar eu’ren Schritten 6:22 night. He is banished and must leave before morning, issue the royal proclamation of the knight as the Lohengrin, Friedrich, Elsa, Ladies, Boys, Men) (Lohengrin, The King, Men, Women) blaming his wife for his misfortune, but Ortrud is Protector of Brabant, to marry that day, but then follow unwilling to leave with her enemy triumphant. the king in his wars. This has popular support, but four ! Mein lieber Schwan! 9:53 of Telramund’s followers question the king’s decision CD 3 74:26 (Lohengrin, The King, Men, Women, Ortrud, Elsa) 2 He reproaches her for the loss of his honour and and offer to help Telramund in his accusation of sorcery reputation, since she had told him that she had seen Elsa against the knight. 1 Prelude 2:55 drowning her brother. (Orchestra) Appendix Scene 4 Bridal Chamber Scene (Act III, Scene 2) 18:56 3 Ortrud claims that the knight’s victory was through Act III 52:35 sung by Lauritz Melchior and magic, and this spell can be broken if Elsa is persuaded 0 Four pages announce the bridal procession, which Emmy Bettendorf to ask the knight his name. Telramund agrees with her moves from the women’s quarters towards the Scene 1 Orchestra • Freider Weissmann plan. cathedral. 2 Treulich geführt, ziehet dahin (Wedding March) Recorded in Berlin, 1926 • Mats. 2-8880-84 (Ladies, Men, Women) 4:47 Cat: Parlophone E10515, 10527, and 10540 Scene 2 ! Ortrud emerges from the procession and steps in front of Elsa, questioning the right of the mysterious Scene 2 @ Das süsse Lied verhallt; wir sind allein 1:53 4 Elsa appears on the balcony of the women’s knight and protesting her husband’s former reputation 3 Das süsse Lied verhallt; wir sind allein 1:30 (Lohengrin, Elsa) quarters, overlooking the square, and thanks the breezes and renown. She challenges Elsa to discover the name (Lohengrin, Elsa) for bringing her happiness. She is observed by and origin of her husband and the origin of his magic # Fühl’ ich zu dir so süss mein Herz entbrennen 5:21 Telramund and Ortrud, who tells her husband to power. The king and Saxon nobles emerge from the 4 Fühl’ ich zu dir so süss mein Herz entbrennen 4:49 (Elsa, Lohengrin) withdraw, while she deals with Elsa. palace, together with the knight, greeted by the people. (Elsa, Lohengrin) Elsa explains Ortrud’s accusation to the knight, and he $ Atmest du nicht mit mir die süssen Düfte? 3:40 5 Ortrud calls out to Elsa in humble tones, and is promises to defeat her. 5 Atmest du nicht mit mir die süssen Düfte? 3:55 (Lohengrin, Elsa) invited, out of pity, to enter. (Lohengrin, Elsa) @ Telramund now comes forward, appealing to the % Höchstes Vertraun hast du mir schon zu danken 6 As she waits for admittance, Ortrud prays to her king, and demanding, as was his right before the (Lohengrin, Elsa) 8:02 gods to grant her revenge. Elsa joins her, promising to contest, that the knight declare his name and rank, 8.110235-37 4 9 8.110235-37 110235-37 bk LohengrinEU 15/7/05 3:25 pm Page 8

Synopsis 5 She goes on to tell of her dream, in which she Richard Wagner (1813-1883) seemed to see a noble knight, carrying a golden horn at CD 1 his side and leaning on his sword, one who will defend Lohengrin her. Act I The legends, which eventually resulted in the operas egged on by Ortrud, and claims Elsa as his bride. She 6 Telramund rejects the indignity of calling any Tannhäuser and Lohengrin, came to the notice of must not ask him to reveal his identity. The villainous 1 Prelude witness, and the king decrees that the matter shall be Wagner while he was in Paris in 1841. In the summer of Ortrud is determined to find the name of Elsa’s husband The Prelude to Lohengrin includes the Grail motif, settled by mortal combat, a decision to which both 1845 the composer returned to the Lohengrin story, and demands she ask the forbidden question. Having which appears, vanishes, and then returns once more. parties assent. Elsa chooses as her champion the knight briefly told in Wolfram von Eschenbach’s poem slain Telramund in self-defence, the Knight announces she has seen in her trance, to whom she will give her Parzival, and in fuller detail in an anonymous he is Lohengrin, the son of Parsifal, a Knight of the Scene 1 hand in marriage and on whom she will bestow all her thirteenth-century German poem entitled Lohengrin and Holy Grail at Montsalvat in Spain. At the end the swan, lands. a French epic Le Chevalier au Cygne. Having drafted a which had been transformed by Ortrud’s witchcraft, is 2 The scene is a grove by the River Scheldt near prose scenario for a possible opera after returning to restored as Gottfried. Antwerp. Under the Judgement Oak sits King Henry, 7 The herald calls for Elsa’s champion to come Dresden on 3rd August, Wagner then set about Wagner’s part in the Dresden revolt of 1849 his nobles around him. A herald calls on the nobles and forward, calling out once more, but with no response. constructing the poem, which he completed by obliged him to flee the Saxon state. Furthermore, the citizens of Brabant. They greet their king, who rises and Elsa kneels down in prayer, and suddenly shouts are 27th November. By 1846 he began composition on the intended première was removed from the schedule of addresses them, calling on them to join him in fighting heard from the river, where a knight approaches, in a work, starting with the Third Act first, then the First, the Court Opera. At the composer’s request, Lohengrin the Hungarians. He then turns to the local dissension boat drawn by a swan. and then the Second (which was completed by was first produced at the Court Theatre in Weimar on among them, calling on Count Friedrich von Telramund 30th July), finally finishing with the opening Prelude 28th August 1850 under the direction of Liszt, while to explain matters to him. Scene 3 for the opera, the whole complete draft being finished Wagner had taken refuge in Switzerland. The orchestra on 29th August. (He had realised from the beginning comprised 38 players, and the initial reception was 3 Count von Telramund recounts his position as 8 The knight steps from the boat, thanking the swan that the middle act would prove the most problematic.) muted, with the opera not taken up elsewhere. It was guardian to the deceased Duke’s children, Elsa and for his service, while those assembled wonder at the The work was finished in full score by 28th April 1848. eventually given in Vienna in 1861, and later seen in Gottfried, and the disappearance of the latter, while out sight. The knight greets the king. Six months later the composer conducted a concert London, Milan and St Petersburg. Thereafter it has walking with his sister. Elsa had admitted her guilt in performance of the Finale of the First Act. remained among the composer’s most performed the matter, and Telramund had renounced his right to 9 He tells him he has been sent to fight for a maiden Lohengrin was the last opera in which the composer works. marriage with her, marrying instead the Friesian in distress. He asks Elsa if she will trust him, marry him, could bring himself to make use of the more Lohengrin has been popular with film-makers since princess Ortrud. Ortrud steps forward and bows to the but never ask his name or origin. conventional operatic expression; the stage is alive with 1902, the year when a three-minute silent sequence was king. Telramund goes on to charge Elsa with the murder crowded scenes and awkward-looking trumpet-players, used in a black and white film. A fifty-minute silent of her brother and to suggest the existence of a secret 0 The knight then declares Elsa’s innocence, calling the chorus contributes much onlooker’s comment, and German adaptation appeared in 1916 when live singers lover, with whom she has plotted to rule Brabant. The for combat. Nobles try to persuade Telramund to there are occasional ensembles for solo voices. The and orchestral forces were used to accompany king hangs his shield on the oak-tree, a sign that the trial withdraw, but he refuses, and the ground is prepared for opera was conceived as a drama in historical terms screenings. In 1947 a more expanded Italian-language will begin. The men draw their swords and the herald the trial of strength. between Christianity and Paganism. Lohengrin film was directed by Max Calandri and ran for more summons Elsa. represents the former, Ortrud (Wagner’s own creation) than a hundred minutes. It employed a cast of actors ! The herald commands that the combat should take and her husband Telramund the latter. Heinrich is the miming to a separate cast of singers for the soundtrack. Scene 2 place without interference, admonishing the two historical Henry the Fowler, King of Saxony and The rôle of Elsa is sung here by the American combatants, who declare their resove to fight for justice. champion of German unity against the invading soprano, later mezzo-soprano, of Austrian and 4 Elsa enters, an image of innocence and purity. The The king prays for truth to prevail, joined by the Hungarians. Elsa of Brabant is accused of the abduction Hungarian parentage, Astrid Varnay (b. 1918). Her king questions her, and she sadly denies her guilt. company, except for Ortrud, who has confidence in the and murder of her brother Gottfried, heir to the Brabant father was the Austrian singer Alexander Varnay (1889- martial prowess of her husband. The trumpet sounds Kingdom. Her defender, a mysterious Knight, arrives in 1924) who later became stage manager at the and combat begins. the swan-drawn boat, defeats her accuser Telramund, Stockholm and Oslo opera houses. Studying first with 8.110235-37 8 5 8.110235-37 110235-37 bk LohengrinEU 15/7/05 3:25 pm Page 6

her mother, the coloratura Maria Yavor, and Hermann performance of the first act of Die Walküre in remained between the years 1940-50 and during eight The conductor Erich Leinsdorf (born Landauer) Weigert, whom she married in 1944, she made an Copenhagen. His many recordings reveal Melchior as seasons sang sixty performances of Renato (Un ballo in was born in Vienna in 1912, later studying composition, unheralded short notice début without any rehearsal, the outstanding Heldentenor of his era. He died in maschera), Escamillo (Carmen), Alfio (Cavalleria piano and cello at both the Academy of Music and replacing an indisposed Lotte Lehmann, as Sieglinde in California. rusticana), Amonasro (Aida) and Telramund. He University. His early experiences were as a rehearsal Die Walküre at the Metropolitan Opera in New York in The rôle of the evil and manipulative Ortrud is returned to Budapest in 1950, singing there until his pianist where his fluency and remarkable memory were December 1941. Six days later she replaced Helen taken by the Swedish mezzo-soprano Kerstin retirement in 1956, after which he taught singing in quickly noted, and he soon found himself engaged as Traubel as Brünnhilde. She would continue to sing at Thorborg (1896-1970). Born in Venjan, she studied in Stuttgart. Sved’s admired singing technique, allied to repetiteur to both Bruno Walter and Arturo Toscanini in the Met until 1958, but returned again in 1974, giving Stockholm, later making her début there in 1924 as powerful but warm-toned voice, made him well suited 1934, an association which would continue in Salzburg 158 performances in a total of 24 rôles over nineteen Ortrud with the city’s opera company, where she to the Italian repertoire, and his interpretations of until 1937. Recommended to Artur Bodansky in New seasons. In May 1948 she first sang rôles in the Italian remained a member for six seasons in addition to Rigoletto, Boccanegra and Macbeth were admired in York, Leinsdorf joined the Metropolitan as an assistant repertory, including Aida, Gioconda and Tosca, in appearing throughout her native country. Her Italy. He recorded for both EMI and Supraphon. conductor later that year. Making his début with Die Mexico City. Her European début at Covent Garden international career began with her engagement as The bass-baritone Norman Cordon (1904-1964) Walküre in January 1938 he would remain with the was as Brünnhilde in Siegfried in November 1948. Waltraute in Götterdämmerung in Dresden in 1929, was born in Washington DC and studied at the company until 1943. Then followed a brief one-year Varnay would return in 1951, 1958-59 and 1974, also quickly followed by engagements in Nuremberg (1930- Nashville Conservatory in Tennessee and later in period in which he conducted the Cleveland Orchestra singing Isolde. She appeared in the reopening season at 31), followed by Prague (1932-33), Berlin (1933-35), Chicago. After his début in the latter city as the King in before military service intervened. This was followed Bayreuth in 1951, continuing every year until 1968, Vienna (1935-38), Salzburg (1935-37) and Covent Aida with the San Carlo Company in 1933, his first by an eight-year spell with the Rochester Philharmonic singing the principal soprano rôles (and some mezzo Garden (1936-39). In 1936 she joined the Metropolitan appearance with the Metropolitan Opera was as in New York State before an unhappy appointment with rôles from 1962). She also appeared in Florence (1951), in New York, first appearing as Fricka in Die Walküre Monterone in Rigoletto in May 1936. In the eleven New York City Opera. During the years 1957-62 he Paris (1956) and Milan (1957). By the early 1960s she and remaining until 1950. In her thirteen seasons she seasons he sang with the company he sang 377 served as a musical consultant to Rudolf Bing at the had moved to the mezzo repertory. It was in the Strauss sang 243 performances of some nineteen rôles. Her performances of some 55 rôles which included the Metropolitan before following Charles Münch at the and Wagner repertoire that she is best remembered but other American engagements included San Francisco Commendatore in Don Giovanni, Colline in Boston Symphony Orchestra. From 1969 onwards she was much admired in Italian rôles. She was the most and Chicago. Generally regarded as the finest La Bohème, Sparafucile in Rigoletto, Méphistofélès in Leinsdorf guest conducted worldwide while also significant Wagnerian dramatic soprano between Wagnerian mezzo of her time, Thorborg excelled as Faust and the King in Lohengrin. Although Cordon working at the Metropolitan. In all he conducted nearly Flagstad and Nilsson. Kundry in Parsifal, Ortrud, Brangäne in Tristan and sang in Chicago (1933-35) and San Francisco (1936- four hundred performances of some 26 operas in that The title rôle is sung by the Danish-born but later Fricka in The Ring. She was also much admired as 39), his career was entirely confined to the United house. He also directed Meistersinger at Bayreuth in naturalised American Lauritz Melchior (1890-1973) Klytemnestra in Elektra, Herodias in Salome, Delilah, States. His of recordings display a firm, well-schooled 1959. A safe pair of hands in all he undertook, Originally a baritone who studied at the Royal Opera and in the title rôle of Gluck’s Orfeo. Her recorded voice with an excellent technique. Leinsdorf recorded a prolific number of complete School in Copenhagen, he made his official début in legacy includes a live version of Mahler’s Das Lied von The American baritone Mack Harrell (1909-1960) German and Italian operas. He died in New York Copenhagen in 1912. Six years later he essayed the der Erde under Bruno Walter in Vienna in 1936. After studied first in Texas and later at the Juilliard School of in 1993. tenor title rôle of Tannhäuser before a further period of retirement she returned to her native Sweden, dying Music in New York before winning the Metropolitan This live recording from January 1943 is a fine study resulted in his noteworthy Covent Garden début there at the age of 73. Opera Auditions of the Air in 1938, the year he made example of the prevailing standard of Wagnerian in 1924 as Siegmund in Die Walküre. For the ensuing As Telramund, the weak and put-upon husband of his début in that house as Biterolf in Tannhauser. He performance to be heard in New York during the quarter century he was the foremost Wagner tenor of his Ortrud, we have the Hungarian baritone Alexander sang for twelve years with this company, his rôles wartime years. The young Astrid Varnay at the start of time, with a career that extended throughout Europe (born Sandor) Sved (1906-1979). Born in Budapest including Kothner, Jochanaan and Amfortas, and Nick her illustrious career and the stalwart Lauritz Melchior (including Bayreuth and Berlin), North and South where he undertook his initial studies, he later went to Shadow in the American première of Stravinsky’s The contribute markedly to this performance as do Kerstin America. He also sang heroic Italian (including Otello) Italy where he worked work with the distinguished Rake Progress in 1953. He also sang at the New York Thorborg, and Alexander Sved in his only German rôle. and some French rôles. His untiring vocal stamina allied baritones Marco Sammarco and Riccardo Stracciari. City Opera. He enjoyed a most successful career in the Erich Leinsdorf’s admirable pacing of the score is also a to a robust physique was ideally suited to heroic Sved made his début as Conte di Luna (Il Trovatore) in concert hall, being a fine Bach singer and an equally reminder of the excellent work he did during this Wagnerian rôles. After leaving the stage in 1950 he his native city in 1928. He later appeared at the impressive Lieder performer. He was the father of the period. appeared in a number of Hollywood films. At the age of Staatsoper in Vienna (1936-39, 1950), La Scala, Milan distinguished cellist and conductor Lynn Harrell. Malcolm Walker seventy he sang Siegmund in a broadcast concert (1938) and the Metropolitan in New York, where he 8.110235-37 6 7 8.110235-37 110235-37 bk LohengrinEU 15/7/05 3:25 pm Page 6

Orchestra and Chorus of the Metropolitan Opera • Erich Leinsdorf Metropolitan Opera broadcast 2nd January 1943

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Ward Marston

CMYK NAXOS Historical ADD Great Opera Performances 8.110235-37

WAGNER 3 CDs 8.110235-37 Lohengrin Lauritz Melchior • Astrid Varnay • Kerstin Thorborg Chorus and Orchestra of the Metropolitan Opera, New York • Erich Leinsdorf WAGNER: Recorded in 1943 Lohengrin Lohengrin WAGNER: WAGNER: 8.110235-37 NAXOS HistoricalNAXOS 110235-37 fb LohengrinEU 15/7/05 4:19 pm Page 2

CMYK NAXOS Historical 8.110235-37 Richard ADD 3 CDs WAGNER Playing DISC PROHIBITED. BROADCASTING AND COPYING OF THIS COMPACT TRANSLATIONS RESERVED. UNAUTHORISED PUBLICPERFORMANCE, RIGHTS IN THIS SOUND RECORDING, ARTWORK, TEXTS AND ALL (1818-1893)

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3:19:20 8.110235-37

2005 Naxos RightsInternational Ltd. Lohengrin

This live recording from January Lohengrin ...... Lauritz Melchior 1943 is a fine example of the

excellent standard of Wagnerian • Varnay • Thorborg •Leinsdorf Melchior Elsa of Brabant ...... Astrid Varnay performance to be heard in New Ortrud ...... Kerstin Thorborg York during the war years. The young Astrid Varnay, who was to Friedrich von Telramund ...... Alexander Sved become the most significant Wagnerian dramatic soprano Herald ...... Mack Harrell between Flagstad and Nilsson, and Lauritz Melchior, the outstanding Henry the Fowler ...... Norman Cordon Heldentenor of his era, are vocally Chorus and Orchestra of the Metropolitan Opera, New York splendid in every way. There are also notable contributions from Conducted by Erich Leinsdorf Kerstin Thorborg, and from the Hungarian baritone Alexander Sved Metropolitan Opera broadcast in his only German role. Erich 2nd January 1943 Leinsdorf’s admirable pacing of the score is a reminder of the excellent work he did for the Metropolitan Opera. CD 1 55:05 CD 3 74:26 1 Prelude 7:42 1 Prelude 2:55 2-@ Act I 47:23 2-! Act III 52:35 @-% Appendix: The Bridal Chamber Scene 18:56 Melchior • Leinsdorf Thorborg • Varnay • CD 2 69:49 Sung by Lauritz Melchior MADE IN 1-# Act II 69:49 and Emmy Bettendorf • Recorded 1926 THE EU

Archivist & Restoration Producer: Ward Marston 8.110235-37 www.naxos.com

A detailed track list can be found in the booklet Cover Image: Arrival of Lohengrin at Antwerp

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