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¤ fi˛ª|Ãú¤‹Eµ€¡IÉ¿0 111100 bk ESchumann3 EU 11/10/06 12:28 Page 5 MOZART: Exsultate jubilate: J. STRAUSS II: Die Fledermaus: HEUBERGER: Der Opernball: Tracks 1, 2, 5, 7 and 8 with orchestra conducted by 8.111100 1 Alleluia 2:24 9 Mein Herr Marquis 3:24 & Im chambre séparée 2:45 Georg Byng GREAT SINGERS • SCHUMANN Recorded on 19th May 1926; Recorded on 11th November 1927; Recorded on 11th June 1938; ADD Bb 8401-1 (HMV DA 845) Bb12008-1 (HMV E 545) OEA 6362-1 (HMV DA 1651) Tracks 3, 4, 6, 12, 13 and 18 with orchestra conducted by Lawrence Collingwood MOZART: Il re pastore: J. STRAUSS II: Die Fledermaus: KREISLER: Sissy: 2 L’amerò, sarò costante 4:24 0 Spiel’ ich die Unschuld vom Lande 3:24 * Ich glaub’ das Glück 3:40 Track 9 with orchestra conducted by Carl Alwin with Marjorie Heyward, violin Recorded on 6th September 1929; Recorded on 20th November 1935; Elisabeth Recorded on 7th June 1926; BV 614-3 (HMV E 545) OEA 2804-3 (HMV DA 1455) Tracks 10 and 11 with the Vienna State Opera Cc 8380-5 (HMV DA 1011) Orchestra conducted by Carl Alwin ZELLER: Der Vogelhändler: JOSEF STRAUSS:: SCHUMANN MOZART: Le nozze di Figaro: ! Wie mein Ahn’l zwanzig Jahr 3:23 ( Sphärenklänge 3:38 Tracks 14-17, 20 and 21 with orchestra conducted 3 Non so più 3:27 Recorded on 6th September 1929; Recorded on 23rd June 1934; by Walter Goehr Recorded on 1st February 1927; BV 612-3 (HMV DA 6037) OWX 764-2 (HMV DA 1395) Bb 9871-1 (HMV DA 844) Track 19 with orchestra conducted by Leo Rosenek Aria Recordings ZELLER: Der Vogelhändler: BENATZKY: MOZART: Le nozze di Figaro: @ Wie mein Ahn’l zwanzig Jahr ) Ich muss wieder einmal in Grinzing sein 3:24 4 Venite, inginocchiatevi 3:13 ‘Nightingale Song’ 3:30 Recorded on 8th June 1938; Track 1: sung in Latin 1926-1938 Recorded on 1st February 1927; Recorded on 17th February 1930; OEA 6354-1 (HMV DA 1651) Tracks: 2-8 sung in Italian Bb 9873-1 (HMV DA 844) Bb 18667-2 (HMV E 552) Tracks 9-11, 13-21: sung in German SIECZYNSKI: Track 12: sung in English MOZART: Le nozze di Figaro: ZELLER: Der Obersteiger: ¡ Wien, du Stadt meiner Traüme 3:25 5 Voi che sapete 3:43 # Sei nicht bös’ 3:28 Recorded on 25th November 1936; MOZART Recorded on 19th May 1926; Recorded on 17th February 1930; OEA 3932-1A (HMV DA 1541) Cc 8377-3 (HMV DB 946) Bb 18665-2 (HMV E 552) MOZART: Le nozze di Figaro: ZIEHRER: Der Landstreicher: J. STRAUSS II 6 Deh vieni, non tardar 3:49 $ Sei gepriesen du lauschige Nacht 3:11 Recorded on 4th February 1927; Recorded on 11th March 1937; Cc 8378-3 (HMV DB 1011) OEA 4683-2A (HMV DA 1557) BERTÉ MOZART: Don Giovanni: ZIEHRER: Der Fremdenführer: 7 Batti, batti, o bel Masetto 3:45 % O Wien, mein liebes Wien 3:12 Recorded on 19th May 1926; Recorded on 11th March 1937; ZELLER Cc 8404-1 (HMV DB 946) OEA 4684-1A (HMV DA 1557) MOZART: Don Giovanni: BERTÉ: Das Dreimäderlhaus: ZIEHRER 8 Vedrai carino 3:24 ^ Was macht glücklich 3:29 Recorded on 7th June 1926; Recorded on 25th November 1936; Bb 8504-1 (HMV DA 845) OEA 3931-1A (HMV DA 1541) HEUBERGER 8.111100 5 6 8.111100 111100 bk ESchumann3 EU 11/10/06 12:28 Page 2 Elisabeth Schumann (1888-1952) When at last Elisabeth Schumann did work with he had to send a persuasive letter before she would sign. delightful whistling: the bird imitation she learnt from Flower Maiden in Parsifal. Thus the first and last Arias by Mozart, J. Strauss II, Berté, Zeller and Ziehrer Strauss, it was touring Switzerland in performances of Thus, in the autumn of 1919, Elisabeth Schumann her pet canary when she was a child. professional rôles of her life happened both to be minor Don Giovanni and Die Zauberflöte. He was so thrilled began in Vienna the most successful and happiest part Elisabeth Schumann was engaged by the Vienna Wagner ones.) She had recently been made not only Elisabeth Schumann was born in Germany in 1888 of of her life, she progressed to rôles such as Aennchen, with her voice that he asked her if she would consider of her operatic career. Her husband was to join her there State Opera until 1938. During this time she undertook Honorary Member of the Vienna State Opera but also musical parents. Her father, Alfred Schumann, was Mignon, Marzelline, Cherubino and Susanna. The one singing Salome: the youthfulness and silvery quality some months later, but at first she felt quite miserable more engagements abroad than at any other time in her the first female Honorary Member of the Vienna cathedral organist and music teacher in the town of which really turned her into a star was that of Sophie in were just what he wanted for the rôle. When she and lost in a city struggling with the aftermath of the life. Spurred on by her husband, she went on a concert Philharmonic Society. She was fully expecting to sing Merseburg, where they lived; her mother, Emma the Hamburg première of Der Rosenkavalier in protested, he promised to scale down the orchestration war, and filled by a miscellany of people who had been tour of the United States with Richard Strauss, sang, at the Opera again in the spring of 1938, after she had Schumann, had a lovely though untrained singing voice February 1911. Throughout her career this rôle was her to make sure it would not drown her, and make other washed up by its tide. among other places, in England, Italy, Spain, Romania, been to Philadelphia to teach at the Curtis Institute and and performed locally in oratorios. At an extremely most famous, for which she will always be alterations to the score if necessary; but she sensibly Once again her début was as Sophie in Der Hungary, Greece, Germany, France, North Africa, then on a concert tour of France and North Africa. The early age their daughter possessed an unusual musical remembered. turned the offer down, knowing that it might ruin her Rosenkavalier. The applause, however, was not as Argentina and at numerous opera festivals such as those day she left her home for that concert tour was 12th talent and a pretty singing voice. Alfred Schumann was There quickly followed two exciting events: in voice for ever. rapturous as at the Met, and she wondered whether she in Salzburg and Munich. At Covent Garden, where she March 1938, the day Hitler marched into Austria. She determined to develop these, and he gave the child a June she was married to Walther Puritz, and in April After another love affair, with a répétiteur at the would ever be able to sing to the liking of the Viennese, sang in the seasons from 1924 to 1931, she was knew that life in her beloved Vienna could never be the good grounding in piano-playing and music theory. 1912 she created the rôle of Albertine in the world Hamburg Opera, Elisabeth Schumann was divorced who traditionally lived and breathed opera. Her next especially famous for her Sophie, and Mozart rôles such same again, and she was leaving behind Krüger, who Her first visit to the opera was to see Tannhäuser première of Busoni’s Die Brautwahl. from her husband in 1918 and lost custody of her son, a performance was as Micaëla in Carmen, after which she as Susanna and Zerlina. In May 1930 she was also very was Jewish and therefore in great danger. A week later when she was seven years old. She was spellbound: the By this time Otto Klemperer was conducting at the blow from which she suffered terribly. By the spring of had a write-up which to some extent explained the successful as Adele in Die Fledermaus, in which rôle the reports of anti-Semitic atrocities from Vienna made combination of music and theatre seemed to her quite Hamburg Opera. After Elisabeth Schumann’s success 1919 she was married to a new young conductor at the lameness of the audience: ‘Elisabeth Schumann is the she could show how Viennese she had become. This her realise that she could never return there and that she magical. By the time she was ten she was visiting the as Cherubino, he had the idea of coaching her in the Opera, Carl Alwin, a brilliant pianist who could play finest of artists, exactly to the taste of the Viennese was the first time that the operetta had been staged at the had to do all in her power to help Krüger escape. They opera regularly, but without her parents’ knowledge: rôle of Octavian, in which he thought her boyishness whole Wagner scores from memory, and an adoring public. However, the latter is not seen to be at present in Royal Opera House: the conductor, Bruno Walter, had succeeded in emigrating to the United States in the after she had been put to bed she would creep out of the would come out beautifully: an extraordinary idea, husband who was much more ambitious for his wife the opera house, which has been taken over by a quite finally managed to persuade the board of directors to autumn of that year, after getting married in England. It house and run to the Tivoli, where visiting operas were considering the unsuitability of her voice type. (She than she was herself, constantly urging her to accept differently orientated audience showing no allow a performance.
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