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MOZART: Exsultate jubilate: J. STRAUSS II: : 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 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: : 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 . 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 but also musical parents. Her father, Alfred Schumann, was , 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 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 , 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 , 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 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 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, , 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 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. The audience was a royal one: was the unhappiest of Elisabeth Schumann’s marriages performed. She made friends with an elderly usher, only gave one performance, which was not a success.) engagements abroad, for which she often lacked understanding of the true art of singing….Micaëla’s aria King George V and Queen Mary were attending their and ended in divorce after six years. Thus her operatic who always managed to find her a seat in a corner It was during the time that he was coaching her for this confidence. in the third act was rendered absolutely perfectly by first German-language opera since the war, and they career had come to an end, just by chance, with no somewhere. In the interval she would discuss the rôle, in 1912, that they fell in love with one another. A Her contract with Hamburg was to run out in the Frau Schumann….Yet the aria awakened no response. enjoyed it so much that they requested a repeat glamourous farewell performance such as that of Mimì performance with him animatedly. By then she knew scandalous affair followed, culminating in the summer of 1919, and she had already signed up with Let us hope that soon there will be true Viennese going performance. on her last night in Hamburg. When Covent Garden that she wanted to be a singer. conductor being whipped in public by the outraged Dresden. Now the thought of leaving her new husband to the opera house again, and then the time will come In the spring of 1932 Elisabeth Schumann began a asked her after the war to sing some more Mozart rôles, Elisabeth Schumann’s early singing training was husband, and the two lovers eloping. They thus broke was so appalling to her that, with the help of an for Elisabeth Schumann, one of the most original and love affair with a dermatologist, Dr Hans Krüger. For she turned them down: a plump lady in her late fifties with teachers in Dresden and then Berlin, where she their contracts with Hamburg, and Klemperer was not acquaintance who was on the Dresden Court Opera charming artists we have ever had.’ over a year she kept it secret from her husband until her should not be seen cavorting around the stage as a became engaged to Walther Puritz, a student of allowed to return. Schumann was forgiven and taken committee, she managed to wriggle out of her new The exceptionally high standard of music-making, wish for a divorce led her to confess. Once she was young maidservant. architecture. By 1909 Puritz was working in Hamburg back gladly after the affair was over. She was also contract, and word got around in the theatre world that singing under Strauss, and once again working with her again free she did not, however, immediately wed her During the war, in New York, she sang very little. where his fiancée sometimes came to visit him. On one reconciled to her husband, and in 1914 her only child she was available. Richard Strauss pounced. He had friend and exact contemporary , with new lover: after two failed marriages she was cautious. She gave a few recitals but concentrated mostly on such occasion, when she was feeling particularly was born. always wanted Elisabeth Schumann to join him at the whom she had worked in Hamburg, soon brought back Krüger was a homely man who did not like her frequent teaching. In the autumn of 1945 she began singing confident, she walked into the Hamburg Stadttheater Richard Strauss did not hear Elisabeth Schumann Berlin Opera, and now he was going to the Vienna State her enthusiasm. long tours, and she too missed him terribly on such many recitals in Europe again, mostly in England which one morning and asked for an audition. Within half an sing until 1917, six years after the Rosenkavalier Opera to be joint musical director with Franz Schalk. Once Alwin had taken up his post with the State occasions. The result was that she began to go abroad she grew to love so much that she decided to make her hour the Hamburg Opera were drawing up a contract première, but he had had such marvellous reports about He sent a telegram offering her a job there. Carl Alwin Opera and he and his wife had found a lovely flat in the rather less, and by 1936 she was singing the barest permanent home in London. Sadly, she died suddenly in for her. her singing that he recommended her to the was adamant his wife should not turn down such a Stallburg above the famous Spanish Riding School, minimum at the Opera. April 1952, only a few days before she was due to leave She began her operatic career there in the autumn in New York, where she was prestigious offer, but the director of the Hamburg Opera Elisabeth Schumann really began to enjoy Viennese life When Elisabeth Schumann sang at the Vienna State New York. of 1909 with the part of the Shepherd Boy in engaged for the 1914-15 season. Her début was as was causing problems: he wanted to keep her so much as, increasingly, the public grew to love her. To judge Opera on 1st November 1937, she had no idea that it Tannhäuser, the first opera she had heard as a child. Sophie, with which she created a sensation. The other that he gave her no leave for the guest performances in by the recordings of Viennese songs and arias on this was for the last time. (Her rôle on that last night was a © Joy Puritz She sang so enchantingly that she became a box office rôles performed by her in that season were Musetta, Vienna needed to show her metal before being compact disc, she was born to sing in the Viennese draw even in such a tiny rôle. With the help of her new Papagena, Marzelline, Gretel, a Rhinedaughter in engaged. So Strauss took the unprecedented step of style: they are full of vitality and exuberance, warmth teacher, Alma Schadow, who became the great teacher Götterdämmerung and a Flower Maiden in Parsifal. offering her a contract without guest performances. Still and tenderness, just as she was herself; there is even her 8.111100 2 3 8.111100 4 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. The audience was a royal one: was the unhappiest of Elisabeth Schumann’s marriages performed. She made friends with an elderly usher, only gave one performance, which was not a success.) engagements abroad, for which she often lacked understanding of the true art of singing….Micaëla’s aria King George V and Queen Mary were attending their and ended in divorce after six years. Thus her operatic who always managed to find her a seat in a corner It was during the time that he was coaching her for this confidence. in the third act was rendered absolutely perfectly by first German-language opera since the war, and they career had come to an end, just by chance, with no somewhere. In the interval she would discuss the rôle, in 1912, that they fell in love with one another. A Her contract with Hamburg was to run out in the Frau Schumann….Yet the aria awakened no response. enjoyed it so much that they requested a repeat glamourous farewell performance such as that of Mimì performance with him animatedly. By then she knew scandalous affair followed, culminating in the summer of 1919, and she had already signed up with Let us hope that soon there will be true Viennese going performance. on her last night in Hamburg. When Covent Garden that she wanted to be a singer. conductor being whipped in public by the outraged Dresden. Now the thought of leaving her new husband to the opera house again, and then the time will come In the spring of 1932 Elisabeth Schumann began a asked her after the war to sing some more Mozart rôles, Elisabeth Schumann’s early singing training was husband, and the two lovers eloping. They thus broke was so appalling to her that, with the help of an for Elisabeth Schumann, one of the most original and love affair with a dermatologist, Dr Hans Krüger. For she turned them down: a plump lady in her late fifties with teachers in Dresden and then Berlin, where she their contracts with Hamburg, and Klemperer was not acquaintance who was on the Dresden Court Opera charming artists we have ever had.’ over a year she kept it secret from her husband until her should not be seen cavorting around the stage as a became engaged to Walther Puritz, a student of allowed to return. Schumann was forgiven and taken committee, she managed to wriggle out of her new The exceptionally high standard of music-making, wish for a divorce led her to confess. Once she was young maidservant. architecture. By 1909 Puritz was working in Hamburg back gladly after the affair was over. She was also contract, and word got around in the theatre world that singing under Strauss, and once again working with her again free she did not, however, immediately wed her During the war, in New York, she sang very little. where his fiancée sometimes came to visit him. On one reconciled to her husband, and in 1914 her only child she was available. Richard Strauss pounced. He had friend and exact contemporary Lotte Lehmann, with new lover: after two failed marriages she was cautious. She gave a few recitals but concentrated mostly on such occasion, when she was feeling particularly was born. always wanted Elisabeth Schumann to join him at the whom she had worked in Hamburg, soon brought back Krüger was a homely man who did not like her frequent teaching. In the autumn of 1945 she began singing confident, she walked into the Hamburg Stadttheater Richard Strauss did not hear Elisabeth Schumann Berlin Opera, and now he was going to the Vienna State her enthusiasm. long tours, and she too missed him terribly on such many recitals in Europe again, mostly in England which one morning and asked for an audition. Within half an sing until 1917, six years after the Rosenkavalier Opera to be joint musical director with Franz Schalk. Once Alwin had taken up his post with the State occasions. The result was that she began to go abroad she grew to love so much that she decided to make her hour the Hamburg Opera were drawing up a contract première, but he had had such marvellous reports about He sent a telegram offering her a job there. Carl Alwin Opera and he and his wife had found a lovely flat in the rather less, and by 1936 she was singing the barest permanent home in London. Sadly, she died suddenly in for her. her singing that he recommended her to the was adamant his wife should not turn down such a Stallburg above the famous Spanish Riding School, minimum at the Opera. April 1952, only a few days before she was due to leave She began her operatic career there in the autumn Metropolitan Opera in New York, where she was prestigious offer, but the director of the Hamburg Opera Elisabeth Schumann really began to enjoy Viennese life When Elisabeth Schumann sang at the Vienna State New York. of 1909 with the part of the Shepherd Boy in engaged for the 1914-15 season. Her début was as was causing problems: he wanted to keep her so much as, increasingly, the public grew to love her. To judge Opera on 1st November 1937, she had no idea that it Tannhäuser, the first opera she had heard as a child. Sophie, with which she created a sensation. The other that he gave her no leave for the guest performances in by the recordings of Viennese songs and arias on this was for the last time. (Her rôle on that last night was a © Joy Puritz She sang so enchantingly that she became a box office rôles performed by her in that season were Musetta, Vienna needed to show her metal before being compact disc, she was born to sing in the Viennese draw even in such a tiny rôle. With the help of her new Papagena, Marzelline, Gretel, a Rhinedaughter in engaged. So Strauss took the unprecedented step of style: they are full of vitality and exuberance, warmth teacher, Alma Schadow, who became the great teacher Götterdämmerung and a Flower Maiden in Parsifal. offering her a contract without guest performances. Still and tenderness, just as she was herself; there is even her 8.111100 2 3 8.111100 4 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. The audience was a royal one: was the unhappiest of Elisabeth Schumann’s marriages performed. She made friends with an elderly usher, only gave one performance, which was not a success.) engagements abroad, for which she often lacked understanding of the true art of singing….Micaëla’s aria King George V and Queen Mary were attending their and ended in divorce after six years. Thus her operatic who always managed to find her a seat in a corner It was during the time that he was coaching her for this confidence. in the third act was rendered absolutely perfectly by first German-language opera since the war, and they career had come to an end, just by chance, with no somewhere. In the interval she would discuss the rôle, in 1912, that they fell in love with one another. A Her contract with Hamburg was to run out in the Frau Schumann….Yet the aria awakened no response. enjoyed it so much that they requested a repeat glamourous farewell performance such as that of Mimì performance with him animatedly. By then she knew scandalous affair followed, culminating in the summer of 1919, and she had already signed up with Let us hope that soon there will be true Viennese going performance. on her last night in Hamburg. When Covent Garden that she wanted to be a singer. conductor being whipped in public by the outraged Dresden. Now the thought of leaving her new husband to the opera house again, and then the time will come In the spring of 1932 Elisabeth Schumann began a asked her after the war to sing some more Mozart rôles, Elisabeth Schumann’s early singing training was husband, and the two lovers eloping. They thus broke was so appalling to her that, with the help of an for Elisabeth Schumann, one of the most original and love affair with a dermatologist, Dr Hans Krüger. For she turned them down: a plump lady in her late fifties with teachers in Dresden and then Berlin, where she their contracts with Hamburg, and Klemperer was not acquaintance who was on the Dresden Court Opera charming artists we have ever had.’ over a year she kept it secret from her husband until her should not be seen cavorting around the stage as a became engaged to Walther Puritz, a student of allowed to return. Schumann was forgiven and taken committee, she managed to wriggle out of her new The exceptionally high standard of music-making, wish for a divorce led her to confess. Once she was young maidservant. architecture. By 1909 Puritz was working in Hamburg back gladly after the affair was over. She was also contract, and word got around in the theatre world that singing under Strauss, and once again working with her again free she did not, however, immediately wed her During the war, in New York, she sang very little. where his fiancée sometimes came to visit him. On one reconciled to her husband, and in 1914 her only child she was available. Richard Strauss pounced. He had friend and exact contemporary Lotte Lehmann, with new lover: after two failed marriages she was cautious. She gave a few recitals but concentrated mostly on such occasion, when she was feeling particularly was born. always wanted Elisabeth Schumann to join him at the whom she had worked in Hamburg, soon brought back Krüger was a homely man who did not like her frequent teaching. In the autumn of 1945 she began singing confident, she walked into the Hamburg Stadttheater Richard Strauss did not hear Elisabeth Schumann Berlin Opera, and now he was going to the Vienna State her enthusiasm. long tours, and she too missed him terribly on such many recitals in Europe again, mostly in England which one morning and asked for an audition. Within half an sing until 1917, six years after the Rosenkavalier Opera to be joint musical director with Franz Schalk. Once Alwin had taken up his post with the State occasions. The result was that she began to go abroad she grew to love so much that she decided to make her hour the Hamburg Opera were drawing up a contract première, but he had had such marvellous reports about He sent a telegram offering her a job there. Carl Alwin Opera and he and his wife had found a lovely flat in the rather less, and by 1936 she was singing the barest permanent home in London. Sadly, she died suddenly in for her. her singing that he recommended her to the was adamant his wife should not turn down such a Stallburg above the famous Spanish Riding School, minimum at the Opera. April 1952, only a few days before she was due to leave She began her operatic career there in the autumn Metropolitan Opera in New York, where she was prestigious offer, but the director of the Hamburg Opera Elisabeth Schumann really began to enjoy Viennese life When Elisabeth Schumann sang at the Vienna State New York. of 1909 with the part of the Shepherd Boy in engaged for the 1914-15 season. Her début was as was causing problems: he wanted to keep her so much as, increasingly, the public grew to love her. To judge Opera on 1st November 1937, she had no idea that it Tannhäuser, the first opera she had heard as a child. Sophie, with which she created a sensation. The other that he gave her no leave for the guest performances in by the recordings of Viennese songs and arias on this was for the last time. (Her rôle on that last night was a © Joy Puritz She sang so enchantingly that she became a box office rôles performed by her in that season were Musetta, Vienna needed to show her metal before being compact disc, she was born to sing in the Viennese draw even in such a tiny rôle. With the help of her new Papagena, Marzelline, Gretel, a Rhinedaughter in engaged. So Strauss took the unprecedented step of style: they are full of vitality and exuberance, warmth teacher, Alma Schadow, who became the great teacher Götterdämmerung and a Flower Maiden in Parsifal. offering her a contract without guest performances. Still and tenderness, just as she was herself; there is even her 8.111100 2 3 8.111100 4 8.111100 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 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 K Y M C

NAXOS Historical ELISABETH SCHUMANN: Aria Recordings 1926-1938 8.111100 from from are the are Time 72:12 Playing Playing Die Fledermaus Der Opernball Mein Herr Marquis Im chambre séparée Im chambre perfect illustration that Elisabeth to Schumann was an artist born Also style. Viennese sing in the lesser- from excerpts are featured by Zeller, works known Ziehrer and Berté, closes with and the disc songs. popular Viennese nostalgic Heuberger’s Heuberger’s A star member of the Vienna State Vienna of the A star member 1919 to 1938, Opera from rôles ranged Elisabeth Schumann’s Wagner, Mozart to widely from Viennese and Richard Strauss Her pure, operetta. voice silvery communicating and innate gift for legendary. with audiences were Full of vitality and exuberance, warmth and tenderness, favourites such as Strauss’ Johann and 2:24 4:24 3:13 3:45 3:24 3:27 3:28 3:40 3:38 3:25 3:49 2:45 3:40 3:43 3:24 1926-1938 Im chambre séparée Im chambre Non so più Deh vieni, non tardar Voi che sapete Voi Venite, inginocchiatevi Mein Herr Marquis Mein Herr Marquis Alleluia Sei nicht bös’ Batti, batti, o bel Masetto Vedrai carino Vedrai L’amerò, sarò costante Elisabeth Schumann (1888-1952) Schumann Elisabeth Ich glaub’ das Glück Sphärenklänge Sphärenklänge Mozart and Viennese Operetta Aria Recordings Aria Operetta Viennese and Mozart Wien,Traüme du Stadt meiner Ich muss wieder einmal in Grinzing sein ADD 8.111100 MOZART: Exsultate, jubilate: MOZART: pastore: Il re MOZART: di Figaro: Le nozze MOZART: di Figaro: Le nozze MOZART: di Figaro: Le nozze MOZART: Don Giovanni: MOZART: Don Giovanni: II:STRAUSS Die Fledermaus: II:STRAUSS Die Fledermaus:Spiel’ Lande ich die Unschuld vom ZELLER: Der Vogelhändler: Ahn’l zwanzig Jahr mein Wie ZELLER: Der Vogelhändler: (‘Nightingale Song’) Ahn’l zwanzig Jahr mein Wie ZELLER: Der Obersteiger: 3:26 3:23 3:30 MOZART: di Figaro: Le nozze ZIEHRER: Der Landstreicher:Sei gepriesen du lauschige Nacht ZIEHRER: Der Fremdenführer:O Wien, mein liebes Wien BERTÉ: Die Dreimäderlhaus: macht glücklich Was HEUBERGER: Der Opernball: KREISLER: Sissy: JOSEF STRAUSS: 3:11 3:12 3:29 BENATZKY: SIECZYNSKI: www.naxos.com 1 2 3 5 6 7 8 9 0 ! @ # 4 $ % ^ & * ( ) ¡ Producer and Audio Restoration Engineer: and Audio Producer Mark Obert-Thorn Holdridge,Special thanks to Lawrence Floris Juynboll, Lack, Peter Marston,Ward Puritz and James Seddon Joy released on Romophone Previously in the booklet list can be found A complete track image:Cover as Despina, Elisabeth Schumann Collection) 1926 (Private

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NAXOS Historical NAXOS 8.111100 ELISABETH SCHUMANN: Aria Recordings 1926-1938 Recordings Aria SCHUMANN: ELISABETH 111100 rr ESchumann 3 EU 8-10-2006 0:35 Pagina 1 0:35 3 EU 8-10-2006 rr ESchumann 111100