Siegfried (Excerpts)

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Great Opera Recordings ADD 8.110091-92 Also available: WAGNER 2 CDs Siegfried (Excerpts)

Lauritz Melchior Heinrich Tessmer Albert Reiss Friedrich Schorr London Symphony Orchestra Vienna State Opera Orchestra Orchestra of the Royal Opera, Covent Garden Robert Heger Albert Coates 8.110211-13 Karl Alwin (Recorded 1928-32) 8.110091-92 16 110091-92 bk SiegfrdX EU 2/08/2004 11:28am Page 2

Ward Marston

Great Opera Recordings 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 Richard 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, WAGNER 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 (1813-1883) 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 Siegfried 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 (Excerpts) in 1932. In the past, Ward Marston has produced records for a number of major and specialist record companies. Now Siegfried ...... Lauritz Melchior (Tenor) he is bringing his distinctive sonic vision to bear on works released on the Naxos Historical label. Ultimately his Mime (CD 1: tracks 1-7, 16) ...... Heinrich Tessmer (Tenor) goal is to make the music he remasters sound as natural as possible and true to life by ‘lifting the voices’ off his Mime (CD 1: tracks 8-10) ...... Albert Reiss (Tenor) old 78 rpm recordings. His aim is to promote the importance of preserving old recordings and make available the Wanderer (Wotan) (CD 1: tracks 6-7; 11-12) ...... Friedrich Schorr (Bass-Baritone) works of great musicians who need to be heard. Wanderer (Wotan) (CD 2: tracks 4-6) ...... Emil Schipper (Baritone) Wanderer (Wotan) (CD 2: tracks 7-8) ...... Rudolf Bockelmann (Bass-Baritone) Fafner and Alberich ...... Eduard Habich (Bass) Waldvogel ...... Nora Gruhn (Soprano) Erda ...... Maria Olszewska (Contralto) Brünnhilde ...... Florence Easton (Soprano)

London Symphony Orchestra • Robert Heger, conductor (CD 1: tracks 1-7, 11-12, 15-16; CD 2: 9-10)

London Symphony Orchestra • Albert Coates, conductor (CD 1: tracks 8-10, 13-14; CD 2: 1-2, 7-8)

Vienna State Opera Orchestra • Karl Alwin, conductor (CD 2: 3-6)

Orchestra of the Royal Opera, Covent Garden • Robert Heger, conductor (CD 2: 11-15) 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 Recorded by HMV 1929-1932 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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Producer’s Note CD 1 79:04

In the early days of electrical recording, it would have been logistically and fiscally unthinkable to produce Act I 52:06 complete Wagner operas on disc. Nevertheless, extended excerpts were feasible and, between 1925 and 1932, the Gramophone Company gradually assembled a substantial catalogue of Wagner operatic highlights. The excerpts Scene 1 Scene 3 from Siegfried, contained in this two disc set, were made over a period of four years in two cities and three venues. 1 Prelude 3:55 8 Fühltest du nie im finstren Wald 4:24 Three conductors contributed to the project together with an impressive roster of prominent Wagnerian singers (Mime, Siegfried) including not one but three Wotans and two Mimes. At the time, these changes in cast and conductor were likely 2 Zwangvolle Plage! 3:37 9 Nothung! Nothung! Neidliches Schwert! 7:09 considered inconsequential since these excerpts were sold not as one set but as four separate albums. Today, it (Mime) (Siegfried, Mime) seems only natural to combine these recordings into one set. This, however, has presented quite a challenge since 3 Hoiho! Hoiho! Hau’ ein! Hau’ ein! 3:38 0 Hoho! Hoho! Hahei!... Schmiede, mein Hammer each individual recording possesses its own particular sonority and ambiance. The 1930 and 1931 sides, conducted (Siegfried, Mime) (Siegfried, Mime) 5:11 by Robert Heger, are extremely well recorded with plenty of resonant bass from the orchestra. The singers are, 4 Als zullendes Kind zog ich dich auf 8:00 however, too close to the microphone which at times produces a harshness that is almost impossible to tame (Mime, Siegfried) Rec. 16th-17th May 1929, Queen’s Hall, London without degrading the sound of the orchestra. There is also some distortion that is especially noticeable in the inner 5 Soll ich der Kunde glauben 3:52 Mats. CR 2197/2200; Cats. HMV D 1690/1 grooves of each side which I have attempted to minimize as much as possible. The 1929 sides, with Albert Coates (Siegfried, Mime) Lauritz Melchior, tenor conducting, are also well recorded and contain less distortion. They possess a more natural balance between Albert Reiss, tenor singers and orchestra but tend to yield a higher level of surface noise. The four sides made in Vienna in 1928 are Scene 2 London Symphony Orchestra the most problematic by far. They are afflicted with considerable distortion and are slightly unstable in pitch. 6 Heil dir, weiser Schmied 4:02 Albert Coates, conductor Additionally, the second and third sides contain an extremely prominent 50hz hum which, thanks to computerized (Wanderer, Mime) notch filtering, I was able to effectively attenuate. The 1932 recording of the final scene with Melchior and Easton 7 Dein Haupt pfänd ich 8:19 contains perhaps the finest sound of all. The orchestra is well balanced and there is plenty of space surrounding (Mime, Wanderer) Act II 26:47 those two magnificent voices. All of these recordings have been remastered from pristine mid-1930s U. S. Victor pressings which are exemplary for their quiet surfaces. A variety of styli have been used to achieve the cleanest Rec. May 1931, London Scene 1 sonic reproduction with the least distortion. A judicious amount of CEDAR de-clicking and de-crackling Mats. 2B 529, 528, 531-34, 525, 527 ! In Wald und Nacht 4:49 algorithms has been applied but not so much as to compromise the sound of the original recording. Cat. DB 1713 and DB 1578/81 (Alberich, Wanderer) Lauritz Melchior, tenor @ Deine Hand hieltest du vom Hort? 4:37 Ward Marston Heinrich Tessmer, tenor (Alberich, Wanderer) Friedrich Schorr, bass-baritone London Symphony Orchestra Rec. 21st May 1931, London Robert Heger, conductor Mats. 2B 554/5; Cat. HMV DB 1582 Eduard Habich, baritone Friedrich Schorr, bass-baritone London Symphony Orchestra Robert Heger, conductor

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Scene 2 CD 2 72:26 cave and the sword he used that he had forged himself. ! Brünnhilde greets the sun, after her long sleep, and # Dass der mein Vater nicht ist 5:27 He asks the old man to tell him the way to the rock he seeks to know who it is that has wakened her. (Siegfried) Act II (Continued) 7:58 seeks, but the Wanderer urges patience. Spellbound, Siegfried tells her how he came through the $ Du holdes Vöglein! 3:38 fire and reveals to her his name. She thanks the gods, (Siegfried) 1 Da lieg auch du, dunkler Wurm! 4:35 7 Siegfried threatens him, anxious to continue his greeting the world and the earth, now her long sleep is (Siegfried) quest, which this strange man, with his broad-brimmed over. Siegfried joins her in an expression of their joy. Rec. 17th May 1929, Queen’s Hall, London 2 Heil! Siegfried erschlug nun den schlimmen Zwerg hat and one eye, is obstructing. She tells him how she has loved him. Siegfried thinks Mats. CR 2401/2; Cat. HMV D 1692 (Waldvogel, Siegfried) 3:23 he sees his mother, but Brünnhilde tells him his mother Lauritz Melchior, tenor 8 The Wanderer blocks Siegfried’s path, but when he has not returned for him. London Symphony Orchestra Rec. 17 and 22 May 1929, Queen’s Hall, London uses his spear against the sword, Nothung, it is now the Albert Coates, conductor Mats. CR2403/4; Cat. HMV D 1693 spear that breaks, and with it Wotan’s power. The @ She promises him her knowledge, for it was for him Lauritz Melchior, tenor Wanderer can no longer stand in Siegfried’s way, and that she struggled and strove, but Siegfried cannot yet % Haha! Da hätte mein Lied 4:23 Nora Grubn, soprano suddenly disappears. The light of the flames becomes understand. She looks at her horse and her weapons that (Fafner, Siegfried, Waldvogel) London Symphony Orchestra more evident and Siegfried goes on, blowing his horn, no longer protect her. Burning with love, Siegfried tries Albert Coates, conductor the fire soon engulfing the whole scene. Siegfried to embrace her, but she leaps away from him, a maiden Scene 3 climbs the rocky height. untouched by gods. ^ Wohin schleichst du eilig und schlau 3:53 (Alberich, Mime, Siegfried) Act III 64:21 Scene 3 # Reminded of her love for him, she understands that she will lose her wisdom. Rec. 21st May 1931, London 3 Prelude 2:17 9 The flames grow less, as Siegfried reaches the Mats. 2B 556/7; Cat. HMV DB 1583 summit, where Brünnhilde sleeps, with her horse Grane $ Brünnhilde tries to keep Siegfried away from her, Lauritz Melchior, tenor Scene 1 by her. He looks at the scene in wonder, seeing the but in the end gives way to his love and her own Heinrich Tessmer, tenor 4 Wache, Wala 1:52 horse and Brünnhilde’s shining armour, raising her feelings. Eduard Habich, bass (Wanderer) shield to reveal her, as she sleeps. London Symphony Orchestra 5 Stark ruft das Lied 8:29 % Now they both feel the rapture of love, as she bids Robert Heger, conductor (Erda, Wanderer) 0 He is in wonder at her beauty and with his sword he farewell to Valhalla and willingly sees the twilight of (note: Habich sings both Fafner and Alberich) 6 Dir Unweisen ruf ich ins Ohr 3:32 cuts her free from the shackles that bind her. He the gods, herself united with Siegfried for ever. (Wanderer) trembles, thinking that now perhaps he has learned fear, and calls on his mother for help. He seeks to wake Keith Anderson Rec. 1928, Vienna Brünnhilde, kissing her as she sleeps. She opens her Mats. CK2939, 2899/2900, 2938 eyes. Cats. HMV DB 1533/4 Emil Schipper, baritone Maria Olszewska, contralto Vienna State Opera Orchestra Karl Alwin, conductor

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watching Mime approach and Mime welcomes him, Scene 1 Scene 2 ! Heil dir, Sonne! 4:47 asking him if he has learned fear, but Siegfried tells him 7 Kenntest du mich, kühner Spross 4:29 (Brünnhilde) he found no teacher. In spite of his seemingly friendly 4 There is thunder and lightning, as Wotan (Wanderer, Siegfried) @ O Siegfried! Siegfried! 12:37 words, his thoughts, audible to Siegfried, express his approaches a cave at the foot of the rock where 8 Zich hin! 5:39 (Brünnhilde, Siegfried) hatred for the boy, to Mime’s consternation. Mime Brünnhilde lies. He calls on Erda, goddess of fate, to (Wanderer, Siegfried) # Ewig war ich 3:29 offers Siegfried the draught he has prepared, adding, in awake and rise from the depths. (Brünnhilde, Siegfried) his thoughts, his intention of taking Siegfried’s sword Rec. 22nd May 1929, Queen’s Hall, London $ Dich lieb ich 2:43 and the treasure. Mime claims that Siegfried has not 5 Erda slowly rises from the depths of the earth, Mats. CR 2405/6; Cat. HMV D 1694 (Brünnhilde, Siegfried) understood him and urges him further to drink, adding waking. Wotan tells her he has come to seek her advice; Lauritz Melchior, tenor % Ob jetzt ich dein? 4:10 that the drink will soon render him insensible, so that he has wandered long and far, but she knows more than Rudolf Bockelmann, bass-baritone (Brünnhilde, Siegfried) Mime can chop his head off and gain possession of the he does. She tells him to seek counsel from her London Symphony Orchestra ring. He is again astonished that Siegfried has heard his daughters, the Norns, spinners of fate, but it is Erda’s Albert Coates, conductor Rec. 29th May 1932, London murderous thoughts. Siegfried strikes him dead with his wisdom that Wotan seeks. She tells him to seek out Mats. 2B 2896/2902; Cat. HMV DB 1710/3 sword, while Alberich, from his hiding-place, laughs. Brünnhilde, the Valkyrie, that she bore for him. He Scene 3 Florence Easton, soprano inveighs against the Valkyrie, sleeping and only to be 9 Selige Öde auf sonniger Höh’! 3:26 Lauritz Melchior, tenor CD 2 wakened by a mortal, and Erda is angry at Brünnhilde’s (Siegfried) Orchestra of the Royal Opera, Covent Garden fate. He seeks to know about the end of the gods, and 0 Das ist kein Mann! 6:51 Robert Heger, conductor 1 Siegfried throws Mime’s body into the cave, and Erda tells him that he is no longer a god. (Siegfried) drags the dragon’s to cover the mouth of the cave, both to guard the treasure. Tired, he stretches out under the 6 Wotan wills her wisdom at an end; Siegfried must Rec. 12th May 1930, London linden-tree. He tells the bird of his loneliness, with no be his heir, possessor of the ring and safe from Alberich, Mats. CR 2498/2500; Cats. HMV D 1836/7 brother or sister, no father and no mother, his only since he does not know fear. Siegfried will wake Lauritz Melchior, tenor companion an ugly dwarf. From the bird he seeks Brünnhilde and she, with her knowledge, will save the London Symphony Orchestra counsel and a companion. world. He orders Erda back, now to eternal sleep, and Robert Heger, conductor she disappears again into the depths of the earth. 2 He bids the bird sing and is told of a wonderful woman, who sleeps on a high rock, surrounded by Scene 2 flames; if Siegfried wakens her, Brünnhilde will be his. He asks the bird what this feeling is in his heart and the Dawn is breaking, and the Wanderer sees Siegfried bird tells him that it is love. He asks if he will be able to approaching. Siegfried, following the forest-bird, pass through the fire, and the bird tells him that one who enters. The bird suddenly stops in its course, fluttering does not know fear can accomplish this. He asks how he about, as it sees the Wanderer, before quickly shall find the rock, and the bird flies off, leading the disappearing into the background. Siegfried is about to way, Siegfried following. continue his journey, when the Wanderer asks him where he is going. Siegfried tells him he is looking for a Act III rock surrounded by fire, and on the rock a woman, whom he is to wake. In answer to the Wanderer’s 3 The Prelude recalls the wandering of Wotan, bound further questions, he tells him that a bird had brought by the agreements he has made and fated to wander. him there and that he could understand the bird because of the blood of the dragon that he had killed. He explains how Mime had brought him to the dragon’s 8.110091-92 12 5 8.110091-92 110091-92 bk SiegfrdX EU 2/08/2004 11:28am Page 6

Richard WAGNER (1813-1883) through the ring and storm Valhalla, to become ruler of hears a bird sing again and throws the reed away, taking Siegfried (Excerpts) the world. Wotan calmly answers that Alberich’s his horn, which he plays. ambitions do not worry him. He tells Alberich of Siegfried forms the third part of Wagner’s “stage- Wagnerian singers of the time recorded large ‘chunks’ Siegfried, who knows nothing of the ring, and of % The horn-call rouses Fafner, who emerges slowly festival plays in three days with a preliminary evening”, from Wagner opera. (It was not until the days of tape Mime’s cunning plot. from his cave, then stops, looking at Siegfried. The Der Ring des Nibelungen. The composer had begun this recording during the 1950s that complete performances latter, unperturbed, asks Fafner to teach him how to fear cycle in 1848, but broke off composition in 1857 of Wagner operas were preserved for posterity.) It was @ Mime is the only one seeking the ring, while and then taunts him, and, seizing his sword, attacks him. between Acts 2 and 3 of Siegfried, resuming in 1869. astonishing, however, just how much was achieved with Siegfried is his own master, to do or die: the hero is After a brief combat, Siegfried pierces Fafner to the The première took place in the Festspielhaus, Bayreuth singers of the calibre of Frida Leider, Florence Austral, approaching, if Fafner is warned, he might give up the heart. As the dragon dies, he tells of the accursed gold on 16th August 1876 under Hans Richter. Florence Easton, Maria Olszewska, Lauritz Melchior, ring. He calls out to Fafner, waking the dragon in his and how he killed his brother Fasolt and now he, the last At the start of this part of the trilogy, Sieglinde has Friedrich Schorr and many others. What we have here is cave. Fafner, however, will not listen to the warning, of the giants, is dying. He warns Siegfried of the danger died giving birth to her son, Siegfried. The child has a fairly representative selection of the ‘plum’ parts of since fate will dictate the outcome. Wotan goes and from the one who brought him there. Siegfried pulls his been raised by the dwarf Mime, brother of Alberich. Siegfried, made during the years 1928 and 1932. Alberich, swearing revenge, hides among the rocks. sword out of the mortal wound and feels the giant’s Mime is visited by Wotan, disguised as the Wanderer, The Danish-born Lauritz Melchoir (1890-1973) blood on his hand burning like fire. Siegfried puts his who tells him of a sword (called Nothung) that will be was originally a baritone, making his official début in Scene 2 hand to his lips, to soothe the pain, and now understands forged by a young hero. In the forest nearby the dragon Copenhagen in 1912. Six years later he essayed the the song of the bird, which tells him to seek in Fafner’s Fafner (formerly a giant) lives, guarding the Ring and tenor title rôle of Tannhäuser before a further period of It is dawn, as Mime and Siegfried approach cave the Nibelung’s gold, the Tarncap, and the ring, the treasure. Mime endeavours to mend the broken study resulted in his noteworthy Covent Garden début Fafner’s cave, where Mime tells Siegfried he is to learn which will give him power over the whole world. sword so that the young Siegfried can kill the dragon in 1924 as Siegmund in Die Walküre. For the ensuing the necessary lesson of fear and goes on to describe the Siegfried thanks the bird for his counsel, as he enters the and thus allow him to take the treasure for himself. The quarter century he was the foremost Wagner tenor of his terrible dragon. Siegfried has no apprehension and cave. young man questions Mime about his parentage and time, with a career that extended throughout Europe and suggests how the dragon should be killed. Mime asks then welds the various pieces of the broken sword into a North America. He also sang heroic Italian and some him if he is yet afraid, but Siegfried thinks nothing of all Scene 3 whole. Fafner is then killed and in doing so, Siegfried French rôles. His untiring vocal stamina allied to a this lesson, rejecting Mime’s professed love for him. burns his finger on the dragon’s blood. Siegfried hears robust physique was ideally suited to heroic Wagnerian Mime tells him that in the daylight the dragon will come ^ Mime returns, looking around to make sure that the song of the woodbird who explains the story of the roles. After leaving the stage in 1950 he appeared in a out to drink at the spring, and Siegfried tells Mime to Fafner is dead. At the same time Alberich appears, Ring and that of Brünnhilde, asleep on a rock number of Hollywood films. At the age of seventy he stay by the spring, in that case: if he does not, he can be preventing Mime entering the cave. The two quarrel as surrounded by fire. In addition the young warrior learns sang Siegmund in a broadcast concert performance of gone. Mime hopes the two, Fafner and Siegfried, may to who shall have the treasure, one claiming to have of Mime’s treachery and promptly kills him before the first act of Die Walküre in Copenhagen. kill each other, as he goes away into the forest. been the creator of the ring, and the other of the setting off to find Brünnhilde. The god Wotan, having Originally trained to be an actor, a profession he Tarncap. Mime suggests they should share the treasure, previously told Erda that he longs only for the end to all followed in Hamburg during the years 1889-97, Berlin- # Siegfried, stretched out under a linden-tree, is glad but Alberich angrily rejects the proposal. They are his problems, attempts to bar the youngster’s progress born tenor Albert Reiss (1870-1940) later studied that Mime is not his father: Mime’s son would look like surprised to see Siegfried emerging from the cave, with but his spear is shattered by Siegfried’s sword. Passing singing in his home city before making his début as him, but he wonders what his own father and mother the Tarncap and the ring, which Mime thinks he can through the flames the young man awakens Brünnhilde Ivanov in Lortzing’s Zar und Zimmermann in 1897. were like, and if all human mothers die if they bear a soon take from him. and claims her as his bride. The concluding music here This was followed by engagements in Poznán, son. He longs to see his own mother. is a joyous and passionate love duet. Wiesbaden and Munich during the years 1898 and Siegfried does not understand what use these things The legendary HMV impresario Fred Gaisberg 1901. His American career comprised his engagements $ In the stillness of the morning he hears the singing are to him, but resolves to keep them as symbols of his (1873-1951) realised, following the emergence of at the Metropolitan Opera in New York between 1901 of the birds and asks again about his mother. Mime had fight against Fafner, although he still has not learned electrical recording in 1925, that Wagner sung in and 1920. He also appeared at Covent Garden during told him that there was a way of understanding the song how to fear. He puts the Tarncap in his girdle and the German was an important requirement that needed to be the 1902-05 and 1924-28 seasons. In 1910 he created of birds. He tries out the way he has been told, by ring on his finger. The voice of the bird is heard again, fulfilled. During the 1920s and 1930s the finest the rôles of Nick in Puccini’s La fanciulla del west and making a reed-pipe and imitating the birds, but the warning him not to trust Mime, whose thoughts he will sound from the hastily fashioned reed is not good. He be able to read through the dragon’s blood. He stands 8.110091-92 6 11 8.110091-92 110091-92 bk SiegfrdX EU 2/08/2004 11:28am Page 10

killed his brother, taking the form of a dragon and him tremble. Siegfried knows nothing of this, but Mime the Broom maker in Humperdinck’s Königskinder, both Toscanini in 1935 before retiring in 1938. For a period guarding the treasure. Mime asks a third question as to will take him to Fafner, who will teach him. Mime first given in New York. Returning to Germany, Reiss he was married to the contralto Maria Olszewska. what race lives above. The Wanderer tells him that gods admits that he cannot mend the sword and Siegfried worked first at the Berlin Volksoper (1919-25) and later Schipper’s heroic voice was much admired in Wagner. live in the cloud-covered heights and their ruler is takes the broken pieces, files them down and heats the the Berlin Civic Opera until his retirement. He was a First studying languages at Dresden University, the Wotan, in Valhalla. He has a spear and on it are the forge until it is glowing hot. Mime now realises that it is much admired David and Mime. baritone Rudolf Bockelmann (1892-1958) later moved decrees that make the Nibelungs and giants subject for Siegfried who will kill him, but resolves, nevertheless, The German tenor Heinrich Tessmer worked to singing. His début was in in 1920 as the Herald in ever to the gods. Mime’s questions were nothing, but to use Siegfried to kill the dragon Fafner and then to try primarily in Germany, particularly Dresden, during the Lohengrin, and this was followed by periods in Leipzig now Mime too must wager his head against three to take the ring from him. 1920s through to the mid-1950s. He also appeared at (1921-26), Hamburg (1926-32; 1946-51) and Berlin questions from the Wanderer. He asks first the name of Covent Garden singing David in Die Meistersinger von (1932-44). He also enjoyed a prolific association at the the family that has been the object of Wotan’s anger, 9 Siegfried, who now knows the name of the sword, Nürnberg in 1932 and Vasek in The Bartered Bride in Bayreuth Festival where he sang regularly between although he loves them. Mime answers correctly that it Nothung, sings to it, as he forges it anew, describing 1939, both under Beecham. He was a member of the 1928 and 1942 where he was a much admired baritone. is the family of the Volsungs, Siegmund and Sieglinde, what he is doing, how he felled a tree in the forest, Dresden Staatsoper during their Covent Garden visit in Concurrently Bockelmann also appeared at Covent and their offspring Siegfried. The Wanderer asks what which now blazes in the forge. Mime makes ready a 1936. Garden (1929-30; 1934-38) and Chicago (1930-32), in sword Siegfried must use to kill Fafner, and is told that drugged drink to give Siegfried after the combat with The Hungarian-born baritone Freidrich Schorr addition to engagements in Amsterdam, Brussels, it is Nothung. Mime rashly continues with the story of Fafner, while the hero happily continues his work. (1888-1953) studied in Vienna. His first appearance, as Milan, Munich, Rome and Vienna. After retirement Nothung, broken by the spear of Wotan, but to be the Steersman in Tristan und Isolde, occurred while from the stage he taught in Hamburg (1946-55) and mended by a clever smith and used by a childish hero 0 Enjoying his task, Siegfried bids his hammer strike visiting Chicago in the spring of 1912, with his formal Leipzig (1955-58). Regarded as the only real rival to for Mime’s own profit. and continues his song, while Mime is busy with his début later that year as Wotan in Graz, where he would Schorr in Wagnerian rôles, he was married to the The Wanderer’s third question as to who will join own plans. He takes the sword, now made whole again, remain the next four seasons. He then moved to Prague soprano Maria Weigand. together again the broken sword Mime cannot answer; and strikes the anvil, breaking it in two, now holding (1916-18), Cologne (1918-23) and Berlin (1923-32). The bass Eduard Habich (1880-1960) studied at his life now must be at the mercy of the one who will Nothung on high. His début at the Metropolitan in New York took place in the Raff Conservatorium in Frankfurt-am-Main, forge Nothung, the one who is fearless. The Wanderer February 1924 and over the next twenty years he would making his début in 1904 in Coblenz. This was leaves, smiling, while Mime sinks down on his stool in sing over 350 performances of some eighteen rôles, followed by years in Posen, Halle, Düsseldorf before a fear. most often the principal Wagnerian rôles. He also sang 25 years period at the Berlin Imperial and State Operas Act II at Covent Garden, Bayreuth (1925-31) and San (1910-35). His first Bayreuth rôle was Klingsor in Scene 3 Francisco (1931-38). Schorr’s noble and impressive Parsifal in 1912, followed by Kurwenal in Tristan und The Prelude suggests the depth of the dark forest, voice, allied to excellence diction and fine stage Isolde during 1927. His Covent Garden début was in Shuddering, Mime looks towards the forest, now lit by Fafner’s cave, and contains, near the end, the motif presence, made him the most significant Wagnerian 1923 and five years later he appeared in Amsterdam. by an accursed light that seems to approach, Fafner of Alberich’s hatred. baritone singer of his time. His American appearances were confined to the coming for him. With a cry, he collapses behind the First studying law and completing his degree in his Metropolitan Opera in New York between 1935 and anvil. Siegfried comes cheerfully in, looking around for Scene 1 native Vienna, the bass Emil Schipper (1882-1957) 1937. Habich was a much admired exponent of Mime, and when he sees him asks why he is hiding studied singing in Milan and made his début as Beckmesser. After retiring he taught in Berlin. behind the anvil. He asks about the sword. Mime recalls ! Outside Fafner’s cave Alberich is watching, in the Telramund in Lohengrin at the German Theatre, The contralto Maria Olszewska (1892-1969) was that only the one who has never known fear will forge forest and the night. He is aware of a light, although it is Prague. The year 1911 was spent in Linz, followed by born Maria Berchtenbreiter. Studying at Munich the sword and resolves to teach Siegfried this lesson, still night. In a ray of moonlight he sees the Wanderer, periods at the Vienna Volksoper (1912-16) and Munich University she made her operatic début in Krefeld in thereby saving his own life. Siegfried asks what fear is. whom Alberich recognises, angrily bidding him away. (1916-22). His European career embraced Madrid, 1915 as the Page in Tannhäuser before a period in Mime tells him that his mother has said that he must Wotan tells him that he comes only to watch, since he Barcelona, Brussels, Paris, Buadpest and Covent Hamburg between 1917-20, where she created the part learn what fear is, before going out into the world. cannot, as Alberich reminds him, break his agreement Garden (1924-30, singing Wotan). He also sang in of Brigette in Korngold’s Die tote Stadt. Her first with Fafner, who had been given the ring and other Chicago and Boston (1922-23 and 1928) before singing Viennese engagement at the State Opera occurred in 8 Mime talks of the terrors of the darkness in the treasure in return for the release of the goddess Freia. Agamemnon in Gluck’s Alceste (1930) at Salzburg, also 1921, followed by two seasons in Munich. Her forest, strange noises and mysterious lights that make Alberich threatens Wotan with his plans to seize power appearing as Kurwenal in Tristan und Isolde under European career encompassed Brussels, Covent Garden 8.110091-92 10 7 8.110091-92 110091-92 bk SiegfrdX EU 2/08/2004 11:28am Page 8

and Milan, whilst she also sang in both Central and Paris. Her début was with the Moody-Manners Opera Synopsis that in his heart he really loves him, as a young bird South America and Chicago (1928-32). Her New York Company in London in 1903 as Shepherd Boy in loves its mother. Siegfried, though, has seen animals in début was as Brangäne in Tristan und Isolde in 1933. Tannhäuser, her American one with the Henry Savage CD 1 the forest and asks where the woman is who is his After retirement she taught at the Vienna Conservatory Opera Company. She sang regularly at the Berlin mother. Mime claims to be both mother and father to from 1947. As a performer she possessed an Imperial Opera (1907-13), Hamburg (1914-16), Act I him, but he has seen his reflection and knows he in no outstanding voice and a positive dramatic presence. Chicago (1915-16) and the Metropolitan, New York way resembles Mime. He asks where his true parents Daughter of the German-born, British-naturalised (1917-29). It was at this last that she created the part of Prelude are. Mime declares that he is no relation to Siegfried, conductor Hermann Grunebaum (1872-1954), soprano Lauretta in Puccini’s Gianni Schicchi in 1918. In 1927 but found Sieglinde in the forest, about to give birth to a Nora Gruhn (1905-2001) studied in Munich before she appeared in the title rôle of Turandot at Covent 1 The Prelude to Act I reflects the thoughts of the child, and sheltered her out of pity. She died and Mime making her début at Kaiserslautern in 1928, followed by Garden and Brünnhilde and Isolde in 1932, in addition Nibelung Mime. looked after the child. In answer to Siegfried’s question, appearances in Cologne (1930-31). She sang at Covent to Tosca with Sadler’s Wells Opera. Easton returned to he tells him that his mother said that the child must be Garden between 1929-32, where her rôles included New York in 1936 to sing Brünnhilde in Die Walküre. Scene 1 called Siegfried and that her name was Sieglinde. Rosina in Rossini’s Il barbiere di Siviglia and Adele in A versatile artist with a repertoire of over eighty rôles, Die Fledermaus, in addition to appearing at Sadler’s she was able to learn quickly and often replaced ailing 2 Mime sits by the forge in his cave in the forest, 5 Siegfried doubts the truth of Mime’s story, but is Wells Opera between 1932 and 1936 and 1945-48. A colleagues. She retired to Montreal before moving to hammering out a sword and complaining about his told that the sword was left him by his mother. He much admired Hansel, a rôle she is thought to have sung New York where she died. endless labour. He can make swords strong enough for orders Mime to repair immediately the broken sword, on more than four hundred occasions, Gruhn also sang The two conductors, Albert Coates and Robert giants, but Siegfried breaks them in two like children’s threatening him. With it he will go forth into the world, Lady Felicia in the first English performances of Wolf- Heger, were both highly experienced interpreters of toys, but if he could join together the blade of the great happy and free, and never come back. He dashes out Ferrari’s I quattro rusteghi in 1946. Wagner’s music and contributed extensively to the sword Nothung, Siegfried would be able to kill the into the forest, leaving Mime calling after him, before The English-born soprano Florence Easton (1882- Wagnerian discography during the years 1920-40. dragon giant Fafner, and then Mime could gain returning to the anvil and musing on the impossibility of 1955) spent her childhood in Canada before moving to possession of the ring. He continues his work and his mending the sword and letting Siegfried deal with London to study at the Royal College of Music and later Malcolm Walker complaint. Fafner.

3 Siegfried comes cheerfully in from the forest. He is Scene 2 leading a bear, jokingly provoking it to attack Mime, who cowers in fear. Siegfried sets the bear free and it 6 Wotan, in the guise of the Wanderer, comes out of trots back to the wood. He had sought a friend in the the forest. He wears a long blue cloak, carrying a spear forest, sounded his horn and been joined by the bear. as a staff. On his head is a wide-brimmed hat. He seeks Mime has forged a sword for Siegfried, who takes the Mime’s hospitality, which the latter is unwilling to give. offered weapon, looking at it critically. He strikes the The Wanderer offers to stake his life on being able to anvil with it and the sword breaks in pieces. He abuses answer Mime’s questions, if he fail; if he succeed, he Mime for his bad craftsmanship. claims hospitality.

4 Mime reproaches Siegfried for his ingratitude. 7 Mime, anxious to defeat the unwanted guest, asks Mime has looked after him, as he explains in his so- what race lives in the depths of the earth, and the called nursing song, but is only hated in return. Wanderer tells him the Nibelungs, who were forced by a magic ring to provide a rich treasure for Alberich, who Siegfried admits that he has learned much from sought to rule the world with it. To the second question Mime, but never to like him. In fact he cannot stand as to the race living on the surface of the earth, the him, always recognising the evil in him and preferring Wanderer answers that it is the giants; the giants Fasolt animals to him. Mime tries to come near him, saying and Fafner took the Nibelungs’ treasure and Fafner then 8.110091-92 8 9 8.110091-92 110091-92 bk SiegfrdX EU 2/08/2004 11:28am Page 8

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Producer’s Note CD 1 79:04

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Ward Marston

London Symphony Orchestra • Robert Heger, conductor (CD 1: tracks 1-7, 11-12, 15-16; CD 2: 9-10)

London Symphony Orchestra • Albert Coates, conductor (CD 1: tracks 8-10, 13-14; CD 2: 1-2, 7-8)

Vienna State Opera Orchestra • Karl Alwin, conductor (CD 2: 3-6)

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Great Opera Recordings ADD 8.110091-92 Also available: WAGNER 2 CDs Siegfried (Excerpts)

8.110091-92 Richard ADD AXOS Historical 2 CDs WAGNER Playing h DISC PROHIBITED. BROADCASTING AND COPYING OF THIS COMPACT TRANSLATIONS RESERVED. UNAUTHORISED PUBLIC PERFORMANCE, RIGHTS IN THIS SOUND RECORDING, ARTWORK, TEXTS AND ALL (1813-1883)

Siegfried ...... Lauritz Melchior In the early days of electrical recording, it would have been Mime ...... Heinrich Tessmer logistically and economically Mime ...... Albert Reiss unthinkable to produce complete W Wanderer (Wotan) ...... Friedrich Schorr Wagner operas on disc. Nevertheless, AGNER: Siegfried (Excerpts) Wanderer (Wotan) ...... Emil Schipper extended excerpts were feasible and, between 1925 and 1932, the Wanderer (Wotan) ...... Rudolf Bockelmann Gramophone Company gradually Fafner and Alberich ...... Eduard Habich assembled a substantial catalogue of Waldvogel ...... Nora Gruhn Wagner operatic highlights. The ‘plum’ parts of Siegfried contained in Erda ...... Maria Olszewska this two disc set were made over a Brünnhilde ...... Florence Easton period of four years in two cities and three venues. Three conductors London Symphony Orchestra contributed to the project together Vienna State Opera Orchestra with an impressive roster of prominent Orchestra of the Royal Opera, Covent Garden Wagnerian singers (including not one but three Wotans and two Mimes) led Conducted by Robert Heger • Albert Coates • Karl Alwin by Lauritz Melchior, the foremost AGNER: Siegfried (Excerpts) Recorded 1929-32 Wagnerian tenor of his time. W CD 1 79:04 CD 2 72:26 1-0 Act I 52:06 1-2 Act II (continued) 7:58 MADE IN !-^ Act II 26:47 3-% Act III 64:21 THE EU

Producer and Audio Restoration Engineer: Ward Marston 8.110091-92

www.naxos.com

Adetailed artist and track list can be found in the booklet Cover Image: Lauritz Melchior as Siegfried (date unknown) AXOS Historical (Private Collection) N