110200-02 Bk Tristan EC 28|04|2003 5:01 PM Page 12

Home , Bayreuth Festival, Gota Ljungberg, Karl Elmendorff, Lucrezia Bori, Robert Radford, Rudolf Bockelmann

110200-02 bk Tristan EC 28|04|2003 5:01 PM Page 12

Great Opera Recordings ADD 8.110200-02 Also available: WAGNER 3 CDs Tristan und Isolde Nanny Larsen-Todsen • Gunnar Graarud • Rudolf Bockelmann • Ivar Andrésen Chorus and Orchestra of Bayreuth Festival • Karl Elmendorff

(Recorded in 1928)

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Ward Marston

Great Opera Performance 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 (1818-1892) served as re-recording engineer for the Franklin Mint’s Arturo Toscanini issue and BMG’s Sergey Rachmaninov recordings, both winners of the Best Historical Album Grammy. Born blind in 1952, Ward Marston has amassed tens of thousands of opera classical records over the past four Tristan und Isolde decades. Following a stint in radio while a student at Williams College, he became well-known as a reissue producer in 1979, when he restored the earliest known stereo recording made by the Bell Telephone Laboratories in 1932. Opera in three acts, 1865 In the past, Ward Marston has produced records for a number of major and specialist record companies. Now he Abridged Bayreuth Festival Recording is bringing his distinctive sonic vision to bear on works released on the Naxos Historical label. Ultimately his goal is to make the music he remasters sound as natural as possible and true to life by ‘lifting the voices’ off his old 78 rpm recordings. His aim is to promote the importance of preserving old recordings and make available the works of great musicians who need to be heard. Isolde ...... Nanny Larsen-Todsen Tristan ...... Gunnar Graarud Brangäne ...... Anny Helm Kurwenal ...... Rudolf Bockelmann König Marke ...... Ivar Andrésen Melot ...... Joachim Sattler Ein Junger Seemann ...... Gustav Rodin Ein Hirt ...... Hans Beer

Bayreuth Festival Orchestra and Chorus • Karl Elmendorff Recorded: August 1928 by English Columbia in the Bayreuth Festival Theatre on 38 sides Matrices: WAX 3934/42, 3970, 3943/46, 3971/ 82, 3947/49, 3983/84, 3950/52, 3985, 3953, 3986/87 Catalogue: LCX 64/83 The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings.

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Producer’s Note CD 1 58:56 4 O sink’ hernieder, Nacht der Liebe 5:05 Tristan, Isolde In the field of historic recording, great emphasis is often placed upon the fine points of technical restoration and Act One which reissue of an item sounds best. With all this discussion, one may easily forget that there are some old records 1 Prelude 10:07 5 Einsam wachend in der Nacht 2:27 that actually sound wonderful without any knob turning or computerized enhancement. Such is the recording of Brangäne Wagner’s Tristan und Isolde presented here. The balance between the singers and orchestra is nearly perfect and Scenes One and Two only at the ends of some of the longer sides can one discern slight distortion. One must be grateful to Columbia for 2 Westwärts schweift der Blick 8:32 6 Lausch’, Geliebter! 4:10 recording this set in the warm and vibrant acoustics of the Bayreuth theatre rather than in the acoustically dead Voice of a Young Sailor, Isolde, Brangäne, Tristan, Isolde studios where they recorded their French and Italian operas. The singing and conducting in this set is on such a high Tristan, Kurwenal, Chorus level that one inevitably feels disappointment that so much of the music was not recorded. Yet, considering the fact 7 Doch unsere Liebe, heißt sie nicht 9:10 that no complete Wagner opera recordings were ever made during the 78rpm era, one can only applaud Columbia Abridged from end of the sailor’s second song Tristan und Isolde? (abridged) for recording as much of Tristan as they did. The strange part is that these abridgements seem not to have been until “Darf ich die Antwort sagen?” Tristan, Isolde, Brangäne made with any thought toward continuity. In fact, there is no logic to them at all. At first, I thought that these cuts might have been recorded on sides that had simply not been issued. My research did not, however, turn up any such Scene Three Scene Three evidence. In order to fill in some of the gaps in Act III, I have included, here, the Act III excerpts recorded by His 3 Weh’! Ach wehe! Dies zu dulden! 15:10 8 Der öde Tag zum letzten Mal! 12:08 Master’s Voice in London and Berlin. These ten sides are equally as compelling as the Columbia Bayreuth set and Isolde, Brangäne Kurwenal, Tristan, Melot, Marke are a must for any serious Wagner collector. In remastering old recordings for public consumption, it is always my goal to locate sources which will provide Scene Four (beginning abridged) 9 O König, das kann ich dir nicht sagen 8:43 the cleanest sonic reproduction together with the least amount of background surface noise. When I began working 4 Begehrt, Herrin, was ihr wünscht 8:13 Tristan, Isolde, Melot on this project, I had planned on using several sets of American Columbia pressings since I knew them to have Tristan, Isolde quieter surfaces than those produced by Columbia in Europe. To my great surprise, however, I soon found that this CD 3 79:15 would be impossible. I noticed that thirteen of the American Columbia sides were actually re-recordings and not 5 War Morold dir so wert 9:57 pressed from the original masters. With the help of several English collectors, I located two sets of pressings in Tristan, Isolde Act Three (Excerpts) perfect condition and was pleased to find that none of the sides had been dubbed. This transfer was made, therefore, 1 Prelude and Shepherd’s pipe solo 6:53 from a combination of the best American and European pressings. Scene Five The HMV Act III excerpts posed a different set of challenges. Since this set was recorded over two years and 6 Tristan! Isolde! Treuloser Holder! 6:56 Scene One multiple sessions in two cities, the playback speed and sonic perspective varies noticeably from side to side. I have Isolde, Tristan, Chorus, Brangäne, Kurwenal 2 Kurwenal! He! Sag’ Kurwenal! 2:07 adjusted the speed of each side to achieve constant pitch and have attempted to match the sound between sides as The Shepherd, Kurwenal, Tristan much as possible. A perfect condition set of mid-1930s American Victor discs was used for this transfer. These CD 2 70:34 were infinitely quieter than English pressings which sounded like bacon and eggs frying in a pan. Various stylus 3 Das Schiff! Siehst du’s noch nicht? 4:29 sizes were also used to obtain the cleanest reproduction of the music. Act Two Tristan, Kurwenal 1 Prelude 1:51 Ward Marston Scene Two Scene One 4 So bange Tage 4:18 2 Hörst du sie noch? (abridged) 10:52 Isolde Isolde, Brangäne Scene Three Scene Two 5 Tod denn alles 4:03 3 Isolde! Geliebte! Tristan! Geliebter! 16:08 Marke, Brangäne Tristan, Isolde 6 Mild und leise, wie er lächelt 7:24 Isolde 8.110200-02 10 3 8.110200-02 110200-02 bk Tristan EC 28|04|2003 5:01 PM Page 4

Appendix 1 lovers. The King questions Tristan, reproaching him for fateful love potion that is causing such misery. 3 this betrayal of trust. 9 Tristan replies obliquely that he Weaving in and out of consciousness, Tristan again Excerpts from Act III of Tristan und Isolde no longer feels himself to be a creature of this world and supposes he can see the ship approaching and at last a invites Isolde to join him in the sunless land of his birth. lively tune is heard from the shepherd. Kurwenal Tristan ...... Walter Widdop She agrees, Tristan kisses her, but Melot, incensed by watches as, in the distance, Isolde steps ashore and he Isolde ...... Gota Ljungberg the frustration of his own love for her, attacks Tristan hastens to meet her. ! In agitated anticipation of her Kurwenal ...... Howard Fry (tracks 8, 9) who falls wounded into the arms of Kurwenal. arrival at the castle, Tristan rips the bandages from his Kurwenal ...... Charles Victor (tracks 10, 12) wound and struggles to greet her as she hurries to him. Kurwenal ...... Edward Habich (track 13) With her name on his lips, he dies in her arms. 4 & @ Marke ...... Ivar Andrésen CD3 Unable, to revive him, Isolde falls insensible to the Brangäne ...... Genia Guszalewicz ground. Ein Hirt ...... Kennedy McKenna Act III The shepherd tells Kurwenal that he can see a Melot ...... Marcel Noë Tristan’s castle at Kareol in Brittany. second ship approaching and the helmsman confirms that King Marke and others are aboard. # Brangäne Recorded in London and Berlin by His Master’s Voice on 10 sides 1 & 7 An elegiac prelude introduces the act, and a arrives and when Melot appears Kurwenal kills him. He London matrices: CR 1537 (18 October 1927); CR 1557/56 (24 October 1927); view of Tristan who is lying unconscious under a lime also attacks the King’s retainers but, sustaining a fatal CR 1539/38 (18 October 1927); CR 1470/71 (24 August 1927) tree in the courtyard of his castle, tended by Kurwenal. wound, dies beside his master, Tristan. 5 The King Berlin mats: CWR 1327/28 (9 November 1927) A shepherd is heard playing a sad tune on his pipe. 2 & grieves over the deaths; he has travelled to Kareol in London mat: CR 612 (August 1926) • Cat. D 1413/17 8 He soon appears, asking Kurwenal about Tristan; he order to surrender Isolde (whom he also believes to be London Symphony Orchestra • Albert Coates (tracks 7, 12) is abruptly told to return to his watch and, should he see dead) to Tristan, but now they lie lifeless at his feet. As Berlin State Opera Orchestra • Leo Blech (track 13) Isolde’s ship approaching the coastline, to play instead a Isolde wakes, Brangäne tells her that she has revealed London Symphony Orchestra • Lawrence Collingswood cheerful melody. No vessel is yet in sight, so the sad the truth about the love potion to the King,who forgives tune continues. Soon Tristan wakes and asks his servant his intended bride. 6 & $ It is to no avail and in her 7 Prelude (Shepherd’s pipe solo not recorded) 4:22 Scene Three where he is 9 and how he came there. On being told mystical farewell, Isolde, disregarding all else, wishes # Kurwenal! Hör’! Ein zweites Schiff! 6:47 that Isolde has been summoned to join him, he only to join Tristan in death. Her hope is fulfilled as she Scene One Brangäne, Kurwenal, Marke, Melot deliriously imagines that she is nearby and orders sinks slowly on to her lover’s body. 8 Kurwenal! He! Sag’ Kurwenal! 6:51 Kurwenal to find her ship, but the shepherd’s sad music The Shepherd, Kurwenal, Tristan $ Mild und leise, wie er lächelt 4:47 is again heard. 0 Tristan recalls its theme from his Keith Anderson Isolde sorrowful childhood when he was orphaned, and in his 9 Hei nun! Wie du kam’st? 2:54 wild confusion he begins to blame himself for the Kurwenal, Tristan Appendix Two 0 Bist du nun tot? 8:16 Tristan, Kurwenal % The Motifs and Their Function in the Opera Explained and Illustrated by Ernest Newman Scene Two 8:27 ! O diese Sonne! Ha, dieser Tag! 2:46 Tristan, Isolde Recorded in 1928 and included in the Columbia abridged Bayreuth set Mats. WAX 4276/7 @ Ha! Ich bin’s, ich bin’s, süßester Freund! 4:49 Note: these sides were not included in the Isolde American edition 8.110200-02 4 9 8.110200-02 110200-02 bk Tristan EC 28|04|2003 5:01 PM Page 8

Synopsis prepared a love potion instead of a poison: before long it Richard WAGNER (1813-1883) takes potent effect and Tristan and Isolde declare their Tristan und Isolde CD1 passionate love while Brangäne watches, appalled at the result of her deceit. Kurwenal’s return brings them both The story of Tristram and Yseult is one of the most speed for him. The music was begun in 1856, the poem Act I suddenly back to reality and as they begin to understand potent and enduring legends of the Nordic, Teutonic was written the following year and the score was ready At sea, on the deck of Tristan’s ship. what the potion has done, the crowd acclaims King and Anglo-Saxon peoples, so potent that it even became by the end of 1859. Wagner made some changes to the Marke and his domain of Cornwall. grafted on to the Arthurian cycle of legends when story as he received it from his main literary source, 1 An extended prelude introduces a number of Tristram or Tristan (originally Drostan or Drystan) was Gottfried von Strassburg’s thirteenth-century epic significant motifs which will be heard again during the said to be one of the Knights of the Round Table. It says Tristan. In particular he made Tristan and Isolde fall in drama. CD2 much for the success of the opera Tristan und Isolde love even before they became stricken by the love that since its première in Munich on 10th June 1865, the potion. There were one or two interesting undertones to 2 Isolde is on board Tristan’s ship travelling from Act II tale of the tragic lovers has been indissolubly associated the Munich première. The lovers were sung by a real- Ireland to Cornwall, where she is to marry King Marke, A summer night in King Marke’s castle in Cornwall. with the name of Richard Wagner. Even before that life husband and wife, Ludwig and Malwina Schnorr Tristan’s uncle. A sailor sings a plaintive song about a première, however, the opera had been sending out von Carolsfeld, and the opera was conducted by Hans forsaken lover, hearing which Isolde bursts into a 1 After a short prelude King Marke’s garden is shock-waves, as the famous Prelude with its von Bülow, whose wife Cosima was already under rebellious tirade against the weakness of her own people revealed. The King, himself has just left on a hunting extraordinary harmony – the very first sound to be heard Wagner’s thrall and had borne him a child, Isolde who have been overcome by their enemies. Tristan’s expedition and the horns are heard in the distance. 2 has become known as the ‘Tristan chord’ – had been (supposedly Bülow’s daughter), on the day of the first comapnion Kurwenal is seen standing at the stern of the Isolde listens to the sounds of the night, oblivious to performed in three major cities and the entire score had orchestral rehearsal. Soon her liaison with him would ship. After the sailor’s song has been heard again, Brangäne’s concern that the hunt is still within hearing; been in print since 1860. For reasons which seem become the scandal of the musical world. Brangäne calls for Tristan to attend her mistress, which the maid warns her mistress that she should beware of inexplicable today, it was thought unstageable: a Recording Wagner’s music dramas was first taken he declines to do. A second request is also rejected, this Melot, a treacherous friend of Tristan, who has première scheduled at the Vienna Court Opera in 1861 seriously by His Master’s Voice (the Gramophone time by Kurwenal who scornfully relates how Tristan organized the King’s night-time expedition as a ploy to was aborted after 77 rehearsals. Undoubtedly the action Company) in the early 1920s. Extensive excerpts in murdered Morold, the man to whom Isolde was catch the lovers unawares. Isolde dismisses Brangäne’s was steamy by nineteenth-century standards of English, involving the brilliant conductor Albert Coates previously betrothed. 3 Incensed by Kurwenal’s warning and orders her to extinguish the lighted torch, morality; but in addition the advanced harmonic and the great bass Robert Radford, as well as other response, Isolde tells Brangäne how she recognised which will be the signal for Tristan to join her in the thinking that was in evidence on every page appalled English-speaking singers, were recorded even in the Tristan when he came to her in disguise and sought help garden. Brangäne refuses and rues the outcome of her traditionalists as much as it excited the avant-gardists. acoustic era, when the vital orchestral element was after the murder. She wanted to kill him then but, earlier deception in substituting potion for poison. Significantly Tristan und Isolde took nine years to perforce rather muffled, but as each 78rpm disc was restrained by his mysterious gaze, finally spared his life. Isolde, aware of nothing but the power of love, herself achieve its second production, seventeen years to reach considered as an entity, sessions were rather laissez- Now she wishes she had been more courageous, curses extinguishes the torch, awaits Tristan’s arrival and London and a further four to achieve a New York faire and there was no attempt to maintain a cohesive him and determines to avenge Morold’s death with sends Brangäne to keep watch for the return of the hunt. première. cast – in the excerpts from The Valkyrie, Radford as poison. 4 As the ship reaches land, Isolde demands to 3 Tristan hastens in and the lovers greet each other, 4 Wagner had been acquainted with the medieval Wotan even had to interact with three different speak to Tristan under the pretext of pardoning his sharing their feelings in a prolonged “Hymn to the legend for years, and it is strange that no other Brünnhildes. The advent of electrical recording in 1925 crime, and he finally joins her. She tells him that she Night”. 5 Their ardent expressions of love are composer had tackled it, although Schumann had brought the possibility of achieving some semblance of recognised his murder disguise but that now she truly interrupted only by Brangäne’s admonition as she keeps contemplated an opera on the subject and it had been Wagner’s orchestra, and HMV was quickly into action, will take revenge. 5 Refusing his offer of a sword with vigil in a nearby tower. 6 Emotions intensify, lightly satirised in Donizetti’s delectable L’Elisir producing a number of important Wagnerian excerpts in which to kill him, Isolde calls Brangäne whom she has Brangäne is again heard briefly, as the duet continues, d’amore. In his work, Wagner was influenced by the 1926, sung in German. So the firm’s executives were instructed to prepare a draught of poison; as Tristan 7 rising unrestrainedly towards an ecstatic climax. 8 A writings of Schopenhauer and by a purely biographical extremely put out when the following year they lost the drinks, Isolde snatches the cup from him and empties it horrified scream is heard from the maid as the King, factor – when he first became obsessed with the project auction for the right to record at the holy-of-holies, the herself. 6 Unknown to either of them, Brangäne has Kurwenal, Melot and their friends rush in to surprise the in 1854, he had a guilty love for the married Mathilde Bayreuth Festspielhaus, to their deadly rivals at The Wesendonck. In order to complete Tristan he laid aside Columbia Graphophone Company. work on his Ring tetralogy and composed at unusual To its credit, Columbia rejected the HMV system of 8.110200-02 8 5 8.110200-02 110200-02 bk Tristan EC 28|04|2003 5:01 PM Page 6

piecemeal excerpts and made a determined effort to London-recorded first scene (without its cor anglais exclusively in Wagnerian rôles. She had successes at La progress when he volunteered for war service in 1914. give the Wagnerian record-buyer a coherent view of solo, so well played on the Bayreuth set), while Marcel Scala (1923-4), the Metropolitan in New York (1925- Further studies in London with Charles Victor and Dinh each drama. It was found too difficult to take down Noë takes the rôles of the Shepherd, the Steersman and 7), Bayreuth (1927-31) and all the major European Gilly led to his début as Radames in Leeds in 1923 with actual performances, so recordings were made when the Melot in Scene 3. Those who know the beautiful houses including Covent Garden (1927 and 1930). After the British National Opera Company. He was the Festspielhaus was not in use. Although, in the event, acoustic of Queen’s Hall will recognise it on the her retirement she taught singing and lived to a great outstanding British tenor of the interwar years, famed only extended excerpts from Parsifal were achieved in London sides. age. She recorded for several labels. equally for singing Wagner and Handel, and before 1927, virtually the whole of Tristan und Isolde was set HMV virtually stopped recording British singers, he down in 1928 – Acts 1 and 2 were done substantially Karl Elmendorff (1891-1962) was born in Düsseldorf Göta Ljungberg (pronounced Yerta Lyoongberry) made a number of superlative records. He died soon complete and only Act 3 was cut, a practice which was and studied philology before entering the Cologne (1893-1955) was also from Sweden, born at Sundsvall. after singing Lohengrin’s Farewell at the Proms. usual in those days anyway, in the interests of Conservatory in 1913. He conducted in Hagen, Aachen, At eight she sang for the Queen and after studies at the conserving the energies of singers and audience alike at Munich (the Bavarian State Opera, 1925-32), Royal Academy of Music in Stockholm with Gillis Rudolf Bockelmann (1892-1958) was from the end of a long evening. The greatest exponents of the Wiesbaden, Kassel, Berlin (the State Opera, 1938-41), Bratt, she joined the Royal Opera in 1918, singing Bodenteich near Celle. After studies in philology and title rôles, Lauritz Melchior and Frida Leider, were Mannheim, Dresden (the Saxon State Opera, 1941-5) Gutrune (Götterdämmerung) and Elsa (Lohengrin). A music at the University and Conservatory in Leipzig, he under contract to HMV, but a fine cast was assembled, and then, after denazification proceedings, Kassel again beautiful woman with a charismatic stage presence, in volunteered for war service and was wounded several including Rudolf Bockelmann, regarded as second only (1948-51) and finally Wiesbaden again. He was a 1924 she made a sensational début at Covent Garden as times. He made his début in Celle in 1920 and from to Friedrich Schorr as a Heldenbariton, and the regular conductor at Bayreuth (1927-42). His other Salome and thereafter she was an international star, 1921 to 1926 sang at the Leipzig Opera. His first season handpicked Bayreuth orchestra and chorus were major studio recording was the fine Bayreuth known especially for Wagner and Strauss rôles. In at Bayreuth was 1928 and he returned regularly until conducted magnificently by the underrated Karl Tannhäuser of 1930, but other superb opera recordings 1931-5 she was at the Metropolitan, New York, but by 1942. In the meantime he enjoyed a brilliant Elmendorff. The set was issued with a disc of musical were made during his Dresden period by German the mid-1930s it was clear that, like her contemporaries international career, mainly in Wagnerian rôles. His few exegesis by the doyen of Wagnerian criticism, Ernest Radio. Rethberg and Austral, she had ruined her voice with too recordings sadly included songs with a blatant Nazi Newman. many dramatic rôles. Luckily she left a number of agenda. After the war he sang only in Hamburg and at Around the same time, HMV was assembling a set, Albert Coates (1882-1953) was born in St Petersburg; records which show her at her best. the smaller German theatres, retiring in 1957. recorded in two different cities, making up an even his father was English, his mother Russian. He studied bigger portion of Act 3. It was uneven in both the violin, cello and organ, also taking composition Gunnar Graarud (1886-1960) was born at Holestrand Ivar Andrésen (1896-1940) was born in Oslo and after performance and recording – three conductors were lessons from Rimsky-Korsakov. His other education near Oslo and studied engineering in Karlsruhe before thinking he was a tenor, studied in Stockholm with involved, the faithful Kurwenal was portrayed by three was received in England, including four years at being encouraged to take up singing seriously in Berlin. Gillis Bratt and Hjaldis Ingebjart, emerging as one of separate baritones and Sides 7 and 10 were difficult to Liverpool University, and the Conservatory in Leipzig, He made his début in 1919 at Kaiserslauten and sang all the best basses of his era. His début was made as the reproduce smoothly on the gramophones of the day – where he came under the influence of Arthur Nikisch. over Germany, including four seasons at Bayreuth. He King in Aida at Stockholm in 1919 and he remained a but at its best it burnt more brightly than the Columbia He conducted at the Leipzig Court Opera, the Elberfeld also guested at most of Europe’s major houses. From magnificent Verdi singer, while also making a set. In particular Albert Coates was capable of greater Opera, the Saxon Court Opera, the Mannheim Court 1929 to 1937 he was a member of the State Opera in reputation in Wagner and Mozart. From 1926 to 1934 incandescence than Elmendorff and the lovers were Opera and the Imperial Opera, St Petersburg (1910-18). Vienna, where he later taught singing at the Academy of he was the leading bass at Dresden. He then moved to interpreted by two legendary singers, the English tenor He then embarked on an international career, although Music. Best known for Wagner and Strauss, he was also the Berlin State Opera, where he had first appeared in Walter Widdop and the Swedish soprano Göta most of his many recordings were made in England. He a fine Handel singer. He recorded for a number of 1931. From 1927 to 1936 he sang at Bayreuth and from Ljungberg. King Marke was interpreted by the same ended his days in South Africa. labels. 1930 to 1932 he was at the Metropolitan in New York. singer as at Bayreuth, the black-voiced bass Ivar He also made guest appearances in London, Paris and Andrésen. It may help listeners to know that Howard Nanny Larsén-Todsen (1884-1982), who hailed from Walter Widdop (1892-1949) was born at Norland near other major cities. He died in Stockholm at the height of Fry sings Kurwenal up to ‘es kann nicht lang’ mehr Hagby in Sweden, studied at the Royal Conservatory in Halifax into a labouring family but soon became known his powers. His dark voice was captured on many fine säumen’, then Charles Victor (Widdop’s teacher) takes Stockholm before making her début at the Royal Opera for his voice and after studies with Arthur Hinchcliffe, a recordings of both opera and song. over from ‘O Wonne! Freude!’ and Eduard Habich there as Agathe in Der Freischütz in 1906. Later she pupil of Santley and Gustave Garcia, was just making Tully Potter assumes the character in Scene 3, mostly recorded in had further studies in Berlin and Milan. From 1916 she Berlin. Kennedy McKenna sings the Shepherd in the had an international career, from 1922 virtually 8.110200-02 6 7 8.110200-02 110200-02 bk Tristan EC 28|04|2003 5:01 PM Page 6

Ward Marston

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(Recorded in 1928)

8.110872-75

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