110277-79 bk Rosenkav 21/10/2003 3:10 pm Page 1

ADD Great Performances 8.110277-79

Richard 3 CDs STRAUSS Risë Stevens • • • Emanuel List Chorus and Orchestra of the , New York • American Broadcasting Corporation Telecast 21st November 1949 110277-79 bk Rosenkav 21/10/2003 3:10 pm Page 2

Great Opera Performance

Richard STRAUSS (1864-1949) Der Rosenkavalier Telecast 21st November 1949 opening night of the 1949/1950 Metropolitan Opera season

Octavian ...... Risë Stevens Die Feldmarschallin ...... Eleanor Steber Baron Ochs ...... Emanuel List Sophie ...... Erna Berger Faninal ...... Hugh Thompson Annina ...... Lipton Valzacchi ...... Peter Klein Italian Singer ...... Giuseppe Di Stefano Marianne Leitmetzerin ...... Mahomet ...... Peggy Smithers Marschallin’s Major-domo ...... Emery Darcy Orphans ...... Paula Lenchner, Maxine Stellman, Thelma Altman Milliner ...... Lois Hunt Animal Vendor ...... Leslie Chabay Hairdresser ...... Matthew Vittucci Notary ...... Gerhard Pechner Leopold ...... Ludwig Burgstaller Faninal’s Major-domo ...... Paul Franke Innkeeper ...... Leslie Chabay Police Commissioner ...... Lorenzo Alvary

Chorus and Orchestra of the Metropolitan Opera House Fritz Reiner conducting 8.110277-79 2 110277-79 bk Rosenkav 21/10/2003 3:10 pm Page 15

Producer’s note

During the late 1940s, commercial television became a viable reality and the possibilities for this new medium were almost limitless. On 29th November 1948, The Metropolitan Opera Company’s first live telecast took place. The occasion was the opening night of the 1948-49 season, and the opera was Verdi’s Otello. Incidentally, this performance was only available to television viewers and was not broadcast via radio. The following year, the Metropolitan’s opening night performance of ’s Der Rosenkavalier was similarly telecast. This set contains the audio portion of that night’s performance and should not be confused with the radio broadcast of the same opera which took place on Saturday afternoon, 3rd December 1949. This recording was originally made on 78rpm lacquer coated aluminum discs using two turn table cutters so that no music is missing. The only flaw in the recording is a severe variation in pitch between the beginning and end of each side. The necessary speed adjustments have been made in order to keep the pitch accurate in accordance with the score. Some of the crackle inherent in these discs has been removed but no invasive noise reduction techniques have been employed that will undermine the integrity of the original source. It should be mentioned here that during this telecast, the announcer, Milton Cross, accidentally spoke over the opening bar of music in Act 3. This error has been corrected by patching in the same music which occurs several minutes later. The present edition contains every bit of this telecast that is known to exist. Sadly, only a short fragment from the first intermission feature and Milton Cross’s concluding announcements have come to light.

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 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.

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Baron announces his identity, but Valzacchi will not vouch her husband’s regiment, that the whole thing was simply a for him, while Mariandel feigns agitation, threatening to farce. The Officer and his constables withdraw. The Baron drown herself and deliberately revealing the bed. The now sees Octavian and begins to understand something of Baron, to avoid a charge of seduction, declares Mariandel the situation, but the Marschallin is adamant that his his bride, the daughter of Herr von Faninal. Faninal now engagement with Sophie Faninal is now impossible. makes his way through the crowd of onlookers at the door, claiming to have been summoned by the Baron himself. 0 The Feldmarschallin advises the Baron to withdraw, as The latter now has to try to explain that this is another a gentleman should, to his dismay at the upsetting of his Faninal, a relation. Faninal, however, insists that he is the plans of marriage. Valzacchi comes in, with the men who father of the Baron’s bride, but not of the girl who is with had been concealed and with Annina, now as herself. The the Baron: Sophie, he tells them, is in his carriage outside. Landlord presents the Baron with a long bill. The Baron The Baron rushes round looking for his wig, and the tries to leave, his way obstructed by Annina, the children children renew their cries of ‘Papa’. Sophie enters and goes and waiters, coachmen and house-boy, all of whom to her father, while the Baron tries to hide his baldness. demand payment. Eventually he makes his escape. Faninal is horrified at the scandal and rushes at the Baron, only to fall back, fainting, to be helped out by his servants ! Now Sophie, the Marschallin and Octavian are left and Sophie. alone. Sophie realises the whole thing was only a farce and sees that Octavian is in love with the Marschallin. 8 The Baron finds his wig, regains something of his composure and declares himself ready to pay and go home. @ The older woman now urges Octavian to go to Sophie; He will take Mariandel home with him and will, he says, she has already told him that sooner or later he must leave probably marry her, he has no idea who the other woman is, her. She looks closely at Sophie, guessing her feelings for with her children. Octavian refuses and calls the Police Octavian, who has been standing embarrassed. Officer aside, to explain to him the true situation. Now from behind the curtains of the alcove, Mariandel’s clothes are # The three express their own mixed feelings, the thrown, to the Baron’s alarm. Marschallin sadness at the sacrifice that she must now make, Sophie understanding Octavian’s divided feelings, 9 The Baron must go to her, but now the Landlord and Octavian himself now in love with Sophie. announces the arrival of the Marschallin, who enters, attended by her people, her train carried by the little Black $ The Marschallin leaves the lovers together. For both of Boy. Octavian puts his head through the alcove curtains, them this is a dream. The Marschallin returns with Faninal, but the Baron signals to him in agitation, fearing that the ready to give the couple his blessing. She and Faninal leave Marschallin will see. When the Baron’s back is turned, the couple together once more. Octavian emerges, in his own clothes, telling the Marschallin that this was not as he had planned things. She % For both of them the whole thing is a dream, that now looks at the Baron, as the door is opened and Sophie they can be together for ever. Sophie falls into Octavian’s appears, telling the Baron that her father repudiates him arms. They kiss and run out of the room together, Sophie entirely. He tries to go out to speak to Faninal, but is dropping her handkerchief. The little Black Boy trots in, prevented by the latter’s servants. The Marschallin tells him retrieves the handkerchief and trips out again, as the curtain to go, with what dignity he can, since his engagement is at falls. an end. She explains to the Police Officer, an old soldier in Keith Anderson 8.110277-79 14 110277-79 bk Rosenkav 21/10/2003 3:10 pm Page 3

CD 1 67:24 Act One 65:44

1 Introduction 3:10 @ Di rigori armato il seno 2:04 Orchestra Italian Singer

2 Wie du warst! Wie du bist! 2:48 # Als Morgengabe… 2:49 Octavian, Die Feldmarschallin Baron Ochs, Notary, Italian Singer

3 Du bist mein Bub’, du bist mein Schatz! 5:14 $ Mein lieber Hippolyte 3:37 Die Feldmarschallin, Octavian Die Feldmarschallin, Valzacchi, Baron Ochs, Annina 4 Der Feldmarschall sitzt im krowatischen Wald Octavian, Die Feldmarschallin 4:14 % Da geht er hin, der aufgeblasene schlechte Kerl Die Feldmarschallin 4:58 5 Quinquin, es ist ein Besuch 1:51 Die Feldmarschallin, Marschallin’s Major-domo, ^ Ach, du bist wieder da! 5:13 Baron Ochs, Octavian Die Feldmarschallin, Octavian

6 Selbstverständlich empfängt mich Ihro Gnaden & Die Zeit, die ist ein sonderbar Ding 2:05 Baron Ochs, Footmen, Die Feldmarschallin, 8:29 Die Feldmarschallin Marschallin’s Major-domo * Mein schöner Schatz 3:56 7 Hat Sie schon einmal 0:52 Octavian, Die Feldmarschallin Baron Ochs, Octavian, Die Feldmarschallin ( Ich werd’ jetzt in die Kirchen geh’n 6:57 8 Macht das einen lahmen Esel aus mir? 1:38 Die Feldmarschallin, Octavian, Footmen Baron Ochs, Die Feldmarschallin, Octavian ) Broadcast commentary 1:41 9 Geben mir Euer Gnaden den Grasaff’ da 1:43 Baron Ochs, Die Feldmarschallin, Octavian

0 Wollen Euer Gnaden leicht den Jungen Herrn da Die Feldmarschallin, Baron Ochs, Octavian 1:16

! I komm’ glei….Drei arme adelige Waisen 2:52 Octavian, Orphans, Milliner, Animal Vendor, Die Feldmarschallin, Valzacchi

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CD 2: Act Two 52:46 Act One 52:04

1 Introduction 0:44 ! Herr Baron von Lerchenau! 6:27 Orchestra Valzacchi, Annina, Baron Ochs, Sophie, Octavian, Die Lerchenauschen, Faninal’s Dienerschaft, 2 Ein ernster Tag, ein grosser Tag 1:13 Marianne Leitmetzerin, Faninal Faninal, Marianne Leitmetzerin, Marschallin’s Major-domo @ Er muss mich pardonieren 6:17 Octavian, Faninal, Sophie, Marianne Leitmetzerin, 3 In dieser feierlichen Stunde der Prüfung 3:20 Baron Ochs Sophie, Marianne Leitmetzerin # Da lieg’ ich 3:18 4 Mir ist die Ehre widerfahren 7:01 Baron Ochs, Die Lerchenauschen, Annina Octavian, Sophie $ Da!...Herr Cavalier! 4:35 5 Ich kenn’ ihn schon recht wohl 3:51 Baron Ochs, Annina Sophie, Octavian % Broadcast commentary 0:42 6 Jetzt aber kommt mein Herr Zukünftiger 2:15 Sophie, Faninal, Baron Ochs, Octavian, Marianne Leitmetzerin

7 Brav, Faninal, er weiss, was sich gehört 4:36 Baron Ochs, Octavian, Sophie, Faninal, Marianne Leitmetzerin

8 Wird kommen über Nacht 2:13 Baron Ochs, Octavian, Marianne Leitmetzerin, Faninal

9 Hab’ nichts dawider 3:36 Baron Ochs, Octavian, Sophie, Faninal’s Major-domo, Marianne Leitmetzerin

0 Was Sie ist…Mit Ihren Augen voll Tränen 2:40 Die Feldmarschallin, Sophie, Octavian

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Valzacchi helping to adjust her veil and dress and leads him back to the table and Octavian feigns to flirt adding make-up to her eyes. A head appears for a modestly with him. moment through the door. Then a not entirely unsuspicious-looking old woman ushers Octavian in, 4 The Baron explains how a gentleman like himself wearing women’s clothes and a cap, like a middle-class must behave, free of bourgeois pretensions. He is girl, Valzacchi bows to him and Annina, who does not deterred from an attempt to kiss Mariandel by the recognise him, curtseys in astonishment. Octavian, like marked resemblance to Octavian. One of the men a man, feels in the pocket of the riding-breeches he appears too soon through the trap-door, but promptly wears under his dress and throws a purse to Valzacchi, disappears, at a sign from Octavian, who assures the who kisses his hands, while Annina helps to adjust Baron that there was nothing there. The latter is still Octavian’s kerchief. Five suspicious-looking men enter disturbed by Mariandel’s resemblance to Octavian. and Valzacchi signals to them to wait. The clock strikes and Octavian hurries out, followed by the old woman. 5 The door opens and the sound of music is heard, as Valzacchi signals to the men to be careful, hiding them the Baron’s servant comes in to serve them. Mariandel in various places, while Annina takes out a paper and starts crying at the pretty music and the Baron sends the seems to be learning her part. He and Annina go out, but servant away, although the man returns out of curiosity then he returns and claps his hands, at which the heads to look round the door and see how things are going. of those hiding appear in various places, with one man coming up through a trap-door and others from the 6 Mariandel’s melancholy continues: everything is alcove and from behind the panelling. At a sign from hopeless, however much one may want it. The Baron Valzacchi they disappear again. He opens the door and suggests that her dress is too tight and tries to undo it sets about lighting the candles on the table, while a and then, feeling hot himself, takes off his wig. At this waiter and a boy come in to light the other candles. moment a head appears in the alcove. He looks at Mariandel and seems to see Octavian and then sees 2 Dance music is heard from an anteroom. Valzacchi another face staring at him from the wall. Terrified he opens the centre door and the Baron comes in, his arm seizes a hand-bell from the table and rings it in in a sling, with Octavian as Mariandel and followed by agitation. Now the blind window opens and Annina his body-servant. The Baron stops more candles being appears, calling for her husband, the Baron, and lit. The Landlord greets the Baron, assisted by his speaking in a respectable Bohemian German accent. waiters, and assures him that the musicians can come She is followed by the Landlord and waiters, who nearer, if he wishes. The Baron dismisses him and the observe in sympathy as she accuses the Baron of waiters and puts out some of the candles, asking intended bigamy. He thinks he is going out of his mind Valzacchi to help reduce the cost of the whole business. and then seems to remember her. The four children she Valzacchi leaves them and Octavian, who has been has brought with her now call for their father and the adjusting his cap in the mirror over the fire-place, is led Baron tries to fend them off. The Landlord warns the by the Baron to the table. The Baron tries to kiss Baron of the morality-police, who will take a stern view Octavian’s hand and signals to his servant to withdraw. of bigamy, while the latter calls out for the police himself. 3 The Baron pours wine, which Octavian modestly refuses and feigns to try to leave and rushes, as if by 7 At this moment a Police Officer enters and seems to mistake, to the alcove, revealing the bed. The Baron mistake the unwigged Baron for the Landlord. The 13 8.110277-79 110277-79 bk Rosenkav 21/10/2003 3:10 pm Page 12

8 The Baron is confident that after their wedding- and Sophie were secretly engaged before. night all will be clear to Sophie, who pushes him away. He appreciates a lively girl and congratulates himself on @ Faninal is horrified at the disaster in his house and his luck. reproaches Octavian, who begs his pardon, promising an explanation later from Sophie, who now openly 9 Ochs goes out with Faninal and the lawyer to settle rejects the Baron. Faninal asks Octavian to leave, while matters, leaving Sophie with Octavian, who may, if he the doctor, who has arrived to attend to the Baron, wishes, make eyes at her, as far as the Baron is assures them that the injury is not fatal. He bows in concerned. dismissal to Octavian, who returns the courtesy, but remains, while Sophie continues to refuse to marry the 0 Left alone with her, Octavian asks if she will really Baron. Octavian eventually leaves, while Marianne marry such a lout and assures her that he had never seen hurries Sophie away. Faninal fusses over the Baron, Ochs until the day before: he only calls him ‘cousin’ out threatening Sophie with a convent and full of apologies. of politeness. They are interrupted by Faninal’s maid- servants, trying to escape from the drunken attentions of # The Baron can now express his contempt for the the Baron’s men, followed by the Major-domo, who young Octavian, recovering his humour as he drinks the leaves with Marianne, to muster their own men to deal wine Faninal has ordered his servants to bring. Annina with the situation. Octavian now tells Sophie that steals in carrying a letter for the Baron, which he tells everything rests with her. She kisses his hand and he her to read to him. kisses her on the lips, resolved to bring to reality his love for her and hers for him. $ The letter is from Mariandel, the chambermaid, suggesting an assignation. Annina, as the messenger, ! As they are engrossed in their own recognition of expects a reward, but the Baron is too mean to pay her, their feelings for each other, they are observed by the leaving her ready to take revenge. Still drinking, he is intriguers Valzacchi and Annina. These two now escorted out to his room by his servants. scream out for the Baron. Valzacchi holds Octavian and Annina seizes Sophie, releasing them when the Baron appears. Sophie seeks comfort in Octavian’s proximity CD 3 and the Baron observes the situation, seeking an answer from her. Since Sophie cannot reply, Octavian speaks Act III for her, telling Ochs of her aversion and refusal to marry. The Baron regards this as nothing more than 1 The third act takes place in a private room at an inn. childish talk, refusing to understand, forcing Octavian At the back is a curtained alcove, holding a bed. A table to insult him openly and eventually to draw his sword is laid for two, with a many-branched candlestick and wound him, in spite of the attempts of the Baron’s standing on it. In one corner there is a fireplace, with a servants, now summoned, to prevent him. The Baron fire lit, and there are doors, one leading to a side room, shouts for help, supported by Valzacchi and Annina and one to a corridor. One of the windows is blind, another his servants, now calling for a doctor. There is general looks out on the street and there are candles in wall confusion, as attempts are made to see to the Baron’s sconces and in candelabras on the sideboard and the wound. Faninal rushes in, with the lawyer, and Annina chimney-piece. At the moment the room is only half-lit. explains, as she had to the servants before, that Octavian Annina is seen dressed as a lady in mourning, with 8.110277-79 12 110277-79 bk Rosenkav 21/10/2003 3:10 pm Page 5

CD 3: Act Three 60:56 Act One 56:44

1 Introduction and Pantomime 6:38 0 Ist halt vorbei 2:24 Orchestra Die Feldmarschallin, Sophie, Baron Ochs, Valzacchi, Annina, Kellner, Kinder, Wirt, 2 Hab’n Euer Gnaden noch weitre Befehle? 1:49 Musikanten, Kutscher Der Wirt, Waiters, Baron Ochs ! Mein Gott, es war nicht mehr al seine Farce 3 Nein, nein, nein, nein! I trink’ kein Wein 1:26 Sophie, Octavian, Die Feldmarschallin 2:13 Octavian, Baron Ochs @ Heut’oder morgen oder den übernächsten Tag 4 Ach, lass Sie schon einmal das fade Wort! 2:55 Die Feldmarschallin, Octavian, Sophie 4:13 Baron Ochs, Octavian # Marie Theres’!...Hab’mir’s gelobt 5:57 5 Die schöne Musi! 2:22 Octavian, Die Feldmarschallin, Sophie Octavian, Baron Ochs $ Ist ein Traum, kann nicht wirklich sein 3:33 6 Wie die Stund’ hingeht 4:09 Sophie, Octavian Octavian, Baron Ochs, Annina, Wirt, Vier Kinder, Kellner, Valzacchi % Ist ein Traum…Spür nur dich 2:54 Sophie, Octavian 7 Oh weh, was maken wir?... 4:34 Halt! Keiner rührt sich! ^ Broadcast commentary 4:11 Kommissarius, Octavian, Baron Ochs, Annina, Wirt,Vier Kinder, Kellner, Valzacchi, Sophie, Faninal

8 Sind desto eher im Klaren 1:33 Baron Ochs, Kommissarius, Octavian, Annina, Wirt, Vier Kinder, Kellner, Valzacchi

9 Muss jetzt partout zu ihr!... 10:06 Ihre hochfürstliche Gnaden Baron Ochs, Wirt, Kommissarius, Octavian, Die Feldmarschallin, Sophie

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Richard STRAUSS (1864-1949) Der Rosenkavalier

Richard Strauss was the foremost German operatic at the time of its première considered the story-line was composer after Wagner and one of the most significant immoral: this is only in its suggestiveness, no more. in this genre during the first two decades of the In May 1935 the newly appointed General Manager twentieth century. His Salome (1905) and of the Metropolitan Opera House in New York, Herbert Elektra (1909) initially shocked conservative opera Witherspoon, died of a heart attack in the theatre: his audiences with their supposedly obscene treatment of assistant Edward Johnson immediately took over. The biblical and classical subjects. His next opera Der former Canadian tenor would see the shift away from Rosenkavalier, to a libretto by Hugo von Hoffmansthal the established European performers towards the ever- (their first collaboration), was a marked change in both increasing introduction of home-bred American singers, character and musical language. It was almost as if a fact accelerated in part by the entry of the United Strauss, now aged 47, had turned away from the raw States into the Second World War in December 1941. intensity and dramatic fervour of the two earlier operas By the time of Johnson’s last season in 1949-50 this to a more conservative look back to the end of the change was now an accepted fact. The General eighteenth century with a scenario set at the time of the Manager’s last season opened with a performance of Empress Maria Theresa of Austria. Der Rosenkavalier on 21st November 1949, a The new opera was a triumph at its Dresden performance televised by the ABC. It is the sound track première on 26th January 1911 and moved into the of that performance which forms the basis of this repertoire of the world’s principal operas where it is has distinguished recording. remained. Within the first year Der Rosenkavalier was Overseeing the musical performance was the given in Berlin, and Milan and two years later Hungarian-born conductor Fritz Reiner (1888-1863) London and New York. Strauss employs a huge who, after studying in his birthplace Budapest, spent the orchestra of 112 instruments, including nineteen of years 1914-24 working in Dresden. Here he got to know them for an on-stage ensemble in the third act, but the and observe Strauss at work before himself conducting opera exemplifies the composer’s desire to write a his works. Moving to the United States to become ‘Mozart’ opera in which the blending of innocent conductor of the Cincinnati Symphony Orchestra from youthful lovers is contrasted with high and low aspects 1922 until 1931, Reiner also taught conducting at the of Viennese life. Curtis Institute in Philadelphia. The conductor returned Interestingly, Strauss composed the three principal to opera during the 1930s with engagements in rôles for three sopranos and . (The rôle of Octavian Philadelphia, London and San Francisco between 1932 can be and is now regularly sung by a mezzo-soprano.) and 1938 as well as guest conducting in the concert hall. The tenor voice is given slight attention excepting the A spell as music director of the Pittsburgh Symphony small part of the Italian Tenor in Act One. The rôle of Orchestra (1938-48) was followed by his memorable the Feldmarschallin is one of the most challenging Met début directing Salome in February 1949. Reiner interpretatively in the German repertoire. Furthermore, would continue to conduct primarily the Mozart-Strauss Strauss stated the woman was only 35 years old. Those repertory in this house for the next five seasons in a total of the young lovers Octavian and Sophie are in their late of 145 performances, although he would also take teens and that of the Marschallin’s country-bred cousin charge of Carmen (a work later recorded), Falstaff and Ochs, still a man in his lusty prime. Critics of the opera the United States première of Stravinsky’s The Rake’s 8.110277-79 6 110277-79 bk Rosenkav 21/10/2003 3:10 pm Page 11

with an old relative: perhaps she will see him again, as beauty as he by hers. He presents the rose to her, she drives in the Prater, in the afternoon. Octavian takes scented, which she receives in the happiness of new his leave. The Marschallin has let Octavian go without love. even kissing him and she sends the footmen after him, but they are too late. She now gives the red morocco 5 The servants have ranged themselves on each side jewel case to the little Black Boy, telling him that the and Sophie hands the rose to Marianne, while the silver rose it contains must be given to Count Octavian. servants place chairs for the three of them and withdraw. They sit. Sophie claims already to know Octavian from her study of the Almanach: she knows he CD 2 is seventeen and knows his full name as well as his nick-name, Quinquin. Octavian is captivated by her Act II innocent charm and her intentions for her imagined future. 1 The second act is set in the house of Herr von Faninal. There are central doors leading to an 6 The sound of her father’s return with the Baron antechamber, doors to the right and left, a large window interrupts their conversation. They rise, as Faninal leads and chairs against the wall on each side. the Baron in, followed by his three servants, his bastard son, the Almoner and the Chasseur. Faninal presents to 2 Faninal is saying goodbye to his daughter Sophie, Sophie her future husband, who snubs Marianne and reminding her of the importance of the day. Her duenna weighs up Sophie’s charms, behaving, as she thinks, Marianne is watching at the window and the Major- like a horse-dealer. The Baron pays no further attention domo reminds Faninal that he must be away, according to Sophie, but tells Faninal of Octavian’s father’s to etiquette, before the silver rose is brought. He leaves, supposed indiscretion and his own pride in his bastard in order to fetch Baron Ochs, his future son-in-law. son, employed as his body-servant. Marianne, Marianne reports what is happening in the street, as impressed by a nobleman, tries to assure Sophie of the Faninal drives away. advantage of the match. The Major-domo escorts the Baron’s servants away, with most of the other servants. 3 Sophie prays, as she waits. The voices of couriers announce the approach of Octavian and Marianne sees 7 Happy with the wine and coarsely boasting of his the two carriages drawing near, the first empty and the nobility, Ochs turns his attention to Sophie, unaware of second carrying the Rosenkavalier, the Rose-Bearer, the irony of Octavian’s barbed compliment, seeing in Octavian. him a future ambassador. He tries to make Sophie sit on his lap, and she angrily draws away from him. Faninal is 4 Octavian, dressed in white and silver, enters, pleased with the Baron’s easy manners, while Octavian holding in his hand the silver rose. He is followed by his is enraged. The Baron continues his open, uncouth footmen, his Hungarian retinue and the couriers, clad in attempts at flirtation, with similar reactions from the white leather and with green ostrich feathers. A black others. Sophie breaks away from him and Octavian servant carries Octavian’s hat and another footman angrily crushes the glass he is holding. Marianne runs to carries the morocco jewel-case. Faninal’s servants pick up the broken fragments, commenting on the follow. Octavian, blushing with embarrassment, Baron’s easy, aristocratic manners. The Major-domo, approaches Sophie, who is equally disconcerted by his ushers in the Notary, with his clerk. 11 8.110277-79 110277-79 bk Rosenkav 21/10/2003 3:10 pm Page 10

0 The Marschallin suggests that Octavian, whose advantage, whatever the law says, since Sophie Faninal miniature she shows him, might do him this service. must pay for the honour of marrying into the nobility. Ochs detects the similarity between the portrait and the The Flautist starts to play again and the Singer supposed Mariandel, and the Marschallin explains that continues his song, while the Baron interrupts, banging the girl’s parentage is as he suspects. the table and refusing to understand the situation. The Marschallin graciously thanks and dismisses the Singer ! Octavian at last makes his escape, slamming the and the Flautist, while the Notary withdraws to a corner little door in the Baron’s face, as he admits those of the room, alarmed at the Baron’s behaviour. waiting outside. Footmen enter, allowing the Marschallin to retire behind a screen, with her maid. $ The Marschallin gently complains that the The Notary, Head Cook, followed by a Milliner, a Hairdresser has made her look old and tells the Major- Scholar with a large book and a Vendor of animals, with domo to allow her visitors to leave. Valzacchi and small dogs and a monkey, enter. The intriguer Annina seize the opportunity of offering their services Valzacchi, accompanied by Annina, makes his way in, to the Baron, to watch his young wife, and he accepts, followed by a noble Widow, with her three daughters, now bringing forward his servant to show the all in mourning. The Major-domo leads in the Singer Marschallin the silver rose in the jewel-case, which he and the Flautist. The French Milliner and the orphans now is to leave for Count Octavian to deliver. The rehearse their requests, with others of those present. The Baron and his entourage leave and the servants close the Marschallin emerges from behind the screen and sits door, as they go. before the dressing-table, presenting the Notary to the Baron and giving money to the youngest of the orphans. % The Marschallin, left alone, muses on the injustice The Scholar is pushed aside by Valzacchi, who offers that lies behind the Baron’s proposed marriage and her the Marschallin, in strongly accented German, a own earlier fate, marrying an older man as she left her scandal-sheet with reports of the latest gossip, to be convent school and now soon to be an old woman, as rejected. The Flautist starts to play, while the orphans she can see so clearly. express their thanks and with their mother take their leave. An anxious Hairdresser enters and sets to his ^ Octavian returns, now wearing his riding clothes work, with his assistant. The Marschallin is handed a and boots, sensing in the Marschallin’s sadness her note by the Major-domo, which the Hairdresser’s anxiety at his possible discovery. She tries to calm his assistant, with her assent, now uses to cool the curling ardour, only too aware of the transitory nature of their tongs of his trade. love and her beauty. He weeps.

@ The Italian Singer sings his song of love. The & The Marschallin tells Octavian how time, Baron’s loutish Body-Servant enters, carrying a red inexorably, runs on, bringing change; some day he will morocco jewel-case, followed by the Baron’s Almoner, leave her for a younger woman and she herself will a diminutive and rough-looking hedge-priest, and by his accept that. Chasseur, in ill-fitting livery, looking more like a dung- cart driver. They quarrel for precedence. * Octavian continues to deny such a possibility, but the Marschallin insists on the truth of what she says. # The Baron lays down to the Notary the terms of his proposed marriage, to his necessary financial ( Now she will go to church and then drive to lunch 8.110277-79 10 110277-79 bk Rosenkav 21/10/2003 3:10 pm Page 7

Progress. The final decade of Reiner’s career was spent Glyndebourne (1955), at the last of these singing and with the Chicago Symphony Orchestra whose playing later recording Cherubino. A gifted and attractive he raised to the highest international standard, performer she continued to appear at the Met until 1961 exemplified by a series of recordings, including singing in almost four hundred performances, including definitive readings of the principal orchestral works of Carmen on 75 occasions. Her Hollywood career Richard Strauss, together with scenes from Elektra and included The Chocolate Soldier and Going my Way. She Salome. Fritz Reiner was a strict disciplinarian with a also sang in a revival of The King and I at the Lincoln miniscule beat, a musician whose mastery of orchestral Center in 1964. After her retirement from singing Risë balance and excellent sense of line and architecture Stevens became involved in the management side at the made him a remarkable conductor. Met in addition to being appointed President of the Virginia-born soprano Eleanor Steber (1914- Mannes College of Music. She recorded extensively, 1990) made her formal début as Senta in Der fliegende primarily for Columbia and RCA Victor. Holländer in Boston at the age of twenty. After success This performance of Der Rosenkavalier in in the Metropolitan Opera Auditions of the Air, she November 1949 marked the Met début of the German made her first appearance at the opera house as Sophie soprano Erna Berger (1900-1990). Born in Dresden in December 1940. Renowned as an outstanding where she also studied before making her début at the Mozartian by her singing of all principal soprano rôles, Staatsoper as the First Boy in Die Zauberflöte in 1925. Steber also appeared in the title rôle of and Although her career was mainly spent in Germany, Marie in in the Met’s first productions in principally in Berlin but also Bayreuth (1929-33), addition to the memorable creation of the title rôle of Berger also sang at Salzburg: her interpretation of ’s . Her European appearances Zerlina in both 1953 and 1954 are preserved on disc. were confined to Edinburgh (1947 with the Her appearances at Covent Garden in 1934-35, 1938 Glyndebourne Company), Bayreuth (1953), Florence and 1949 were as Marcelline, Sophie, Gilda and the (1954) and Salzburg (1958). Steber, who remained with Queen of the Night, a rôle which she also memorably the Met until 1963, was a much admired performer recorded with Beecham in Berlin during 1937-38. After whose spontaneity, energy and versatility went hand in her Met début she also sang Gilda (later recorded on hand with a well-schooled and attractive voice. In later Naxos 8.110148-9) and the Queen of the Night in the years she appeared in musicals. She recorded ensuing two seasons. Her career continued until 1955 extensively, primarily for RCA Victor and Columbia. when she moved over to teaching singing exclusively. Mezzo-soprano Risë Stevens was born in 1913 in Her voice retained its youthful freshness and girlish New York City, where she later studied, making her quality throughout her career. She recorded extensively début in The Bartered Bride in 1931. After further for Polydor, EMI and RCA Victor. studies she sang in Prague in 1936 and later Vienna, The Viennese-born, later naturalised, American Cairo and Buenos Aires. Her first appearance with the Emanuel List (1886-1967) was originally a member of Met was on tour in November 1938 as Octavian but she a vocal quartet which appeared in vaudeville in America returned to Europe to sing Dorabella and Cherubino at and Europe before studying singing seriously in New the 1939 Glyndebourne Festival. Restricted to America York. His operatic début took place in Vienna in 1922. during the war years Stevens consolidated her career at His subsequent European career encompassed Berlin the Met in addition to opera performances in Chicago (1925-1933), London (1925 and 1934-36), Salzburg and San Francisco. She returned to Europe with (1931-35), and Bayreuth (1933) before he moved to appearances in Paris (1949), Milan (1954) and America. Following his Met début in December 1933, 7 8.110277-79 110277-79 bk Rosenkav 21/10/2003 3:10 pm Page 8

List continued to appear in that house, giving over three The rôle of the Italian Tenor is sung by Giuseppe di hundred performances in seventeen rôles until 1950. Stefano (b. 1921) whose voice is the exact type with the His other American engagements included San requisite fervour of delivery Strauss had in mind when Francisco, Chicago and Buenos Aires in the years 1935- composing the short rôle. The singer had made his Met 37. His rich resonant voice was well suited to all the début as the Duke in in February 1948 and main Wagnerian bass rôles in addition to other German would continue there regularly until 1952. His career operas including Baron Ochs for which he was much took him to all the principal opera houses world-wide admired. He also sings Hunding in Act One of Die and his many recordings, often with Maria Callas, Walküre with Lehmann and Melchior (Naxos 8.110250- continue to enjoy much popularity. 51). Malcolm Walker

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Synopsis tells Octavian of her dream of her husband’s return and her fears that he might find them together. Now she CD 1 really hears what she thinks is his return. The sound they can hear must be her husband, returned. Act 1 5 Realising it is another visitor, she tells Octavian to 1 The Introduction sets the scene, as the curtain rises hide again, behind the bed-curtains, the only possible on the bedroom of the Princess, the Feldmarschallin, hiding-place. wife of the Field Marshal. There is a four-poster bed and next to it a Chinese screen, with some clothes lying 6 Meanwhile the servants seem to be preventing the behind it. The room contains a little table and some intrusion of the newcomer, whom she now recognises chairs, and there is a sofa with a sword in its sheath as her cousin Baron Ochs. Before he comes in, Octavian lying on it. Central folding doors lead to the has disguised himself as a maid and tries to escape, as antechamber and there is also a small door in the wall. the Baron bursts in, pushing the servants aside. Of The furnishings include armchairs and a dressing-table. course Her Grace will receive me, he declares, and is The bed-curtains are half drawn and morning sunlight momentarily distracted by the pretty chambermaid, the illuminates the room. The window is half open and the disguised Octavian. The Baron, his eyes constantly singing of birds can be heard from the garden. turning towards the supposed chambermaid, reminds the Marschallin of the letter he had sent her, which she 2 The Princess is reclining on the bed and the young had put aside unread. He plans to marry the daughter of nobleman Octavian is kneeling on a footstool, half a recently ennobled Herr Faninal, having, as he assures embracing her. He praises her beauty, which none but her coarsely, blue blood enough for both of them. The he knows, and he goes on to muse on his desire for her, Marschallin tries to find reasons for sending Octavian, his thirst and burning, his very being lost in her. He now masquerading as the serving-girl Mariandel, out of wishes that there were no day and draws the curtains to. the room, but she is frustrated by the Baron.

3 They talk of their love. The distant tinkling of a bell 7 The Baron takes the opportunity of the appearance is heard, as servants approach. The small door opens of the Major-domo to invite Mariandel to supper with and a little Black Boy, dressed in yellow and hung with him, to the amusement of the Marschallin, who now silver bells, comes in, carrying chocolate on a silver observes the situation. salver. The Marschallin tells Octavian to hide and he takes his sword and hides behind the screen, as the boy 8 The Baron explains his philosophy of love, the girls sets the salver down and with a little bow takes his that appeal to him, season by season, and his unlimited leave. She laughs at her young lover for his carelessness appetite, now led on by Octavian, who feigns timidity. in leaving his sword lying on the sofa, rising now from her bed. They sit down together and Octavian rests his 9 Ochs seeks to engage the supposed maidservant for head in her lap, while she strokes his hair. his proposed wife, Sophie Faninal, suspecting good blood there and explaining that he always travels with 4 They exchange endearments and Octavian revels in one of his own bastard children as a servant. Ochs needs his good luck to be where he is, while the Field Marshal an emissary to carry the silver rose, symbol of his is away hunting in the Croatian forest. The Marschallin proposal, to his intended bride. 9 8.110277-79 110277-79 bk Rosenkav 21/10/2003 3:10 pm Page 16

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CMYK N 8.110277-79 Richard ADD AXOS Historical 3 CDs STRAUSS Playing (1864-1949) Time h broadcasting and copying of this compact disc prohibited. translations reserved. Unauthorised public performance, All rights in this sound recording, artwork, texts and

& Der Rosenkavalier 3:01:06 g 8.110277-79 (American Broadcasting Corporation Telecast 21st November 1949) 2003 Naxos Rights International Ltd. Octavian ...... Risë Stevens This acclaimed performance of Der Rosenkavalier opened the Die Feldmarschallin ...... Eleanor Steber Orchestra of the Metropolitan Opera, New York • Fritz Reiner

1949-50 season at the • Emanuel List • Erna Berger Steber Risë Stevens • Eleanor Baron Ochs ...... Emanuel List Metropolitan Opera in New Sophie ...... Erna Berger York and was televised live by Faninal ...... Hugh Thompson ABC. The sound track of the Annina ...... Martha Lipton transmission has been restored for this release. The inimitable Valzacchi ...... Peter Klein Fritz Reiner, whose mastery of Italian Singer ...... Giuseppe Di Stefano orchestral balance and excellent Marianne Leitmetzerin ...... Thelma Votipka sense of line and architecture Mahomet ...... Peggy Smithers made him one of the greatest Marschallin’s Major-domo ...... Emery Darcy conductors of the music of Richard Strauss, directs a Orphans . . Paula Lenchner, Maxine Stellman, Thelma Altman superb cast which includes two Milliner ...... Lois Hunt American-born singers, Eleanor Animal Vendor ...... Leslie Chabay Steber, who created the Hairdresser ...... Matthew Vittucci eponymous rôle in Barber’s Vanessa, and Risë Stevens, Chorus and Orchestra of the Metropolitan Opera, New York whose varied career included Conducted by Fritz Reiner Hollywood films and Broadway musicals. CD 1 67:24 CD 2 52:46 CD 3 60:56 Risë Stevens • Eleanor Steber • Erna Berger • Emanuel List

Orchestra of the Metropolitan Opera, New York • Fritz Reiner York Opera, New of the Metropolitan Orchestra 1-( Act I 65:44 1-$ Act II 52:04 1-% Act III 56:44 MADE IN ) Broadcast Commentary 1:41 % Broadcast Commentary 0:42 ^ Broadcast Commentary 4:11 CANADA

Archivist & Restoration Producer: Ward Marston 8.110277-79 www.naxos.com

A detailed track list can be found in the booklet

AXOS Historical Cover Image: Octavian presents the rose to Sophie von Faninal from N Der Rosenkavalier, design from a Lielig card (Mary Evans Picture Library)