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Elisabeth Schwarzkopf Zum 100 SWR2 MANUSKRIPT ESSAYS FEATURES KOMMENTARE VORTRÄGE SWR2 Musikstunde Elisabeth Schwarzkopf zum 100. Geburtstag Von Norbert Beilharz Sendung: Montag 02. Januar 2017 9.05 – 10.00 Uhr Redaktion: Ulla Zierau Bitte beachten Sie: Das Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des Urhebers bzw. des SWR. Mitschnitte auf CD von allen Sendungen der Redaktion SWR2 Musik sind beim SWR Mitschnittdienst in Baden-Baden für € 12,50 erhältlich. Bestellungen über Telefon: 07221/929-26030 Kennen Sie schon das Serviceangebot des Kulturradios SWR2? Mit der kostenlosen SWR2 Kulturkarte können Sie zu ermäßigten Eintrittspreisen Veranstaltungen des SWR2 und seiner vielen Kulturpartner im Sendegebiet besuchen. Mit dem Infoheft SWR2 Kulturservice sind Sie stets über SWR2 und die zahlreichen Veranstaltungen im SWR2-Kulturpartner-Netz informiert.Jetzt anmelden unter 07221/300 200 oder swr2 2 SWR2 Musikstunde mit Norbert Beilharz Elisabeth Schwarzkopf zum 100. Geburtstag SWR 2, 02. Januar – 05. Januar 2017 - 9h05 – 10h00 Signet Musikstunde EXTRA …in dieser Woche möchten wir Ihnen Sendungen vorstellen, die sonst nur abends in SWR2 laufen, wie z.B. Mittwochs 21.03.: „Musik Kommentiert Klassiker“. Aus dieser Reihe haben wir eine Sendung von Norbert Beilharz zum 100. Geburtstag von Elisabeth Schwarzkopf aus ausgewählt aus dem Jahr 2015. Der Autor hat einige Filme über Schwarzkopf gedreht. Dafür sind zahlreiche bis dahin unveröffentlichte Interviews mit der damals 82-jährigen Sängerin in ihrem Haus in der Nähe von Zürich entstanden. Franz Schubert, Liebe schwärmt auf allen Wegen, Lied Elisabeth Schwarzkopf, Sopran Gerald Moore, Klavier M0-034861 (006) = 1.30 EMI classics 565860-2 Kurzinterview Elisabeth Schwarzkopf kam am 9. Dezember 1915 zur Welt. Sie war voll Energie, voll Kampfbereitschaft in der Kunst, voll Kritik im Gesang. In der zweiten Hälfte des 20. Jahrhunderts wurde Schwarzkopf zur berühmtesten Sängerin ihres Landes, Deutschlands entschiedene Position gegenüber Maria Callas. Die eine die Wiederverkörperung des Belcanto, Bellini, Donizetti, Rossini, die Verdi- und Puccini-Tragödin. Die andere eine führende Mozart- und Richard Strauss-Primadonna auf den Bühnen der Welt. Allein bei den Salzburger Festspielen 17 Jahre in Folge von 1947 bis 1963. Geboren wurde Elisabeth Schwarzkopf in Jarotschin in Oberschlesien, dem heutigen Polen, ihrer eigentlichen Heimat. Dann kam Berlin. Interview Elisabeth Schwarzkopf war geprägt von einer großen Naturverbundenheit. Wandern in den österreichischen Alpen. Zu diesem reinen Glück kam es erst spät: Lernen, fast erbarmungslose Disziplin gegen sich und gegen andere, auf die Spitze getrieben durch ihren Ehemann Walter Legge, den Columbia/His masters voice - Produzenten. Ich habe das Gefühl, Frau Schwarzkopf wollte die harte erzieherische Knute ihres Gatten im Rücken ,- aber vorher mit ihren geliebten 3 Eltern und nachher im schweizerischen Zumikon und im Vorarlberger Schruns fühlte sie sich wohler. Ihr Mann war 1979 in Paris gestorben. Sie unterrichtete, sie wanderte , sie fotografierte die Blumen in ihren Gärten. Sie wurde die genuine Sängerin der vier letzten Lieder von Strauss. Das erste : Frühling, ein Gedicht von Hermann Hesse. Richard Strauss: Frühling aus den vier letzten Liedern Elisabeth Schwarzkopf, Sopran Philharmonia Orchestra Leitung: Otto Ackermann M0-410068 (001) = 3.24 Naxos 8.111145 Das war das erste der vier Letzten Lieder von Richard Strauss: Frühling nach einem Gedicht von Hermann Hesse. Otto Ackermanndirigierte das Philharmonia Orchestra. Als Blumenmädchen debutierte Elisabeth Schwarzkopf 1938 im Parsifal in Berlin an der Deutschen Oper. Und dort sang sie unter dem Intendanten Wilhelm Rode über vierzig - wenn zunächst auch ziemlich kleine - Rollen und, typisch für eine Anfängerin, in Mozarts "Nozze di Figaro" die Barbarina, den Cherubino, die Susanna, bevor sie, ausgehend von Wien und Salzburg, die weltberühmte Gräfin dieses Werks wurde, die sie unter Karl Böhm, Josef Krips, Herbert von Karajan sang. Vorher,1943, wurde sie durch Karl Böhm an die Wiener Staatsoper engagiert. Das Engagement konnte sie nicht sofort antreten. Da war einmal die finstere Zeit des Nationalsozialismus. Schwarzkopfs Vater, ein durch die Nazis entlassener Gymnasialdirektor, riet seiner Tochter ebenso wie der Intendant Rode, Parteimitglied zu werden. Sie wurde es unter Zwang. Interview Da war zum anderen die Krankheit . Elisabeth Schwarzkopf erkrankte schwer an der Lunge und war vom Herbst 43 bis zum Februar 44 in Tatranska Polianka in der tschechischen Hohen Tatra. Dort lernte sie einen jungen Offizier aus dem Schwäbischen kennen, aus Geislingen an der Steige. Der war die große Liebe ihres Lebens. Und er hieß Hans Erich Schrade. Ansonsten war Olga Marie Elisabeth Friederike sehr prüde, preußisch distanziert. Aber dieses Mal litt die junge Sängerin nicht nur auf der Bühne sondern am Leben. Gute Voraussetzungen, Liebe zu spiegeln. Meine Frage: ja, --- war es nicht auch schön mit ihm? Die Antwort. Na ja, --- wir haben uns nur einmal geküßt. Sein Name, sein Bild, - alles tot und verschollen. Nichts scheint uns näher, schmerzlicher als das große 4 Rondo der Fiordiligi aus dem 2. Akt von Mozarts "Cosi fan tutte".: die Zerrissenheit aus dem Spiel mit der Liebe und aus der Verzweiflung in der Liebe. Wolfgang Amadeus Mozart , „Cosi fan tutte“, Rondo der Fiordiligi, 2.Akt Elisabeth Schwarzkopf, Sopran Philharmonia Orchestra Leitung: Karl Böhm M0-034857 (051) = 7.05 EMI 769330-2 Karl Böhm und das Philharmonia Orchestra begleiteten Elisabeth Schwarzkopf in der Arie der Fiordiligi aus dem zweiten Akt von Mozarts Cosi fan tutte und erinnerten an Schwarzkopfs große Liebe in der Hohen Tatra. Ausgerechnet als leichtfertige Zerbinetta hatte sie in Wien einst vorgesungen. Interview Karl Böhm, der Schwarzkopf nach Wien geholt hatte, begründete ihre Weltkarriere.Nach Wien, ab 1948, lebte Schwarzkopf mit ihrem Mann, Walter Legge, in London und sang wie in Wien die großen Rollen des Repertoires. Auch Puccinis Mimi, auch Verdis Violetta. Herbert von Karajan, für den Schwarzkopfs Ehemann Walter Legge das Philharmonia Orchestra gegründet hatte, - blieb kein Freund bis ans Ende. Schwarzkopf sang in Salzburg Mozarts und Strauss' Hauptrollen von 1947 bis 1963. Karajan als Festspielchef engagierte sie ab 1964 nicht mehr. Das Große Festspielhaus in Salzburg hatte er mit ihr als Marschallin im Rosenkavalier 1960 eröffnet. Paul Czinner drehte einen höchst manipulierten Film danach. Und Schwarzkopf war die Weltopern-Marschallin. Interview Aber die Beziehung Schwarzkopf-Legge-von Karajan war zerbrochen. Bei Giorgio Strehlers Entführung plauderte man sachlich über die Gräben hinweg. Herbert von Karajan aber wußte genau,wen er in Elisabeth Schwarzkopf als Grande Dame der Oper besaß: eine der intelligentesten und musikalisch reifsten Persönlichkeiten der Opernbühne, eine bedeutende Schauspielerin, eine der schönsten Frauen unter den Künstlerinnen der Welt. Nun gut, es ist aber noch etwas Anderes: dieses gedeckte und gleichzeitig schimmernde Timbre der Stimme, die bis zum Verlöschen ebenmäßige Legato-Kultur,d as Charisma der Erscheinung. Elisabeth Schwarzkopf hat die Ariadne von Richard Strauss - Hugo von Hofmannsthal nie auf der Bühne gesungen. Aber Herbert von Karajan wollte 5 im Aufnahmestudio keine expressiv große sondern eine seelisch leuchtende Stimme: Richard Strauss „Ariadne“, Monolog der Elektra „Es gibt ein Reich“ Elisabeth Schwarzkopf Philharmonia Orchestra Leitung: Herbert von Karajan M0-409718 (019) = 5.58 EMI 555176-2 Herbert von Karajan und das Philharmonia Orchestra begleiteten Elisabeth Schwarzkopfs Monolog der Elektra: " Es gibt ein Reich, wo alles rein ist. Es hat auch einen Namen: Totenreich." Subtilität des Gesangs und Tiefe der Wortausdeutung wird Ereignis in der Musik von Richard Strauss mit und durch den Text von Hugo von Hofmannsthal. Und das gilt entschieden für einen großen Meister des Lieds: Hugo Wolf. Interview Elisabeth Schwarzkopfs lebenslanger Einsatz für das "Kunstlied" ist Legende. Zumal ihr Mann Walter Legge die Londoner Hugo Wolf Gesellschaft mit begründet hat: ein Lebens - Kunsteinsatz war vorgegeben. Gipfel davon sind Liederabende, ausschließlich Hugo Wolf gewidmet. Interview Hugo Wolf: Lied der Mignon Elisabeth Schwarzkopf, Sopran Gerald Moore, Klavier M0-064227 (017) = 6.24 EMI 567990-2 Das Lied der Mignon " Kennst du das Land, wo die Zitronen blühn" aus Goethes "Wilhelm Meister". Am Klavier war Gerald Moore. Wort und Ton in einer Übereinstimmung, die den Komponisten beim Wort und den Dichter beim Klang nimmt. Wie in Schuberts Lied "Auf dem Wasser zu singen". Mit Edwin Fischer am Flügel. 6 Interview Schwarzkopf zu Schubert, Strauss, Wolf Franz Schubert, Auf dem Wasser zu singen Elisabeth Schwarzkopf, Sopran Edwin Fischer, Klavier M0-120604 (010) = 3.18 EMI 747326-2 Zum Schluß eine Geschichte, die Elisabeth Schwarzkopf hier wie alles vorige zum ersten Mal erzählt. Und es ist eine Geschichte -sozusagen - des Hörfunks. Über Mozarts Zauberflöte: als Aufnahme eine Inkunabel. Schwarzkopf sang 1953 in Rom unter Herbert von Karajan die Pamina: die Feuer-und die Wasserprobe zusammen mit Nicolai Gedda als Tamino. Gerd Nachbauer von der Schubertiade in Hohenems und Chef eines von ihm gegründeten Elisabeth-Schwarzkopf-Museums hat nicht nur diese Aufnahme bereit gestellt sondern auch einige späten Erkenntnisse befestigt: Elisabeth Schwarzkopf war keine National-Sozialistin,- was immer international behauptet wird. Sie war die bedeutendste deutsche Sängerin von internationalem Format. Neben ihrem unverwechselbaren Timbre war sie eine Kämpferin gegen jede Art von Lüge. In Tönen wie im Leben. Interview Wolfgang Amadeus Mozart, Zauberflöte, Ausschnitt Rom 1953 Elisabeth Schwarzkopf, Sopran Nicolai Gedda, Tenor Giuseppe Taddei, Bariton Ein Orchester / Leitung: Herbert von Karajan HUN Production HUND CD 335 = 6.13 .
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  • Wolf Interview Salzburg English
    “I Will Never Get Away from this Period…” An Interview with Thomas Hampson on Hugo Wolf and His Epoch from the program book Hugo Wolf und Seine Zeit Salzburg Festival 2003 Program book: http://hampsongfoundation.org/hugo-wolf-and-his-time/ You are dedicating two lieder recitals in Salzburg to Hugo Wolf, the centennial of whose death is one of the most important musical anniversaries we are celebrating in 2003. What motifs and thoughts guided you when planning the program? Originally I conceived a five‐part series, which in addition to the Hugo Wolf Marathon and my own solo recital would have included an orchestral concert, the Italienisches Liederbuch,and a symposium, but we were only able to realize the first two of those projects. Although the marathon should be devoted entirely to Hugo Wolf’s oeuvre, I wanted to introduce an aspect into my lieder recital that would go beyond Wolf. Initially, I had thought of another theme, which would have perhaps been even more fun: Wolf and the world of opera, the opera composers of his day, especially those from Vienna, whose works he heard and reviewed. It would have posed the question: What did these composers achieve in the genre of the lied—I was thinking of Julius Bittner and Karl Goldmark, for example. But eventually I had to admit that their lieder were simply not of the same quality as Wolf’s. The evening would have fallen apart and wouldn’t have been satisfactory for the Salzburg Festival, which can’t be concerned with a primarily academic notion, a lecture course, but must be about art.
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