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VICTORBRAUN HANS SOHN ‚Distributed ee HELGA DERNESCH VICTORBRAUN HANS SOHN ‚Distributed by Polygram Distribution, Inc. Ü MAY RESULT IN CRIMINAL REPRODUCTION PROHIBITED 137 N.V. St., 10019. West 55thNewYork,|ZED IS PROSECUTION. BY LAW AND | er er a Inc. Classics, Polygram of division a OSA 1438 .. 2 ve Aiaen Tina un Ar ®r u BZ; fe Sup tb ö R Dr Er a1 £ j = wo Kick, y “ . je . — (ea een lei UN Ber n Fra Aral Alsıa ee; b een ge ann a a De er Ar u ae . Sina We: Andere ” k M!68 £ Ian Ei at la und ME I af re a ur 2% tech ne Teer Kriiik, zu pe ae EL, ai 2 0 Poll „er Var wsihh S . Meder en 1100 | ur arten ie 333 i or E air 2 ni) Arche FR re DRAKE: BT a KT ü ‚ dert ee A Eye ‘ % ja ri, & P i ng‘ N ee Era Rn rd j s Ruf a Au Auch si r u du aichr j "ud N [ie > rer Dr Well helznte be I are ia Fr Fl } E fe - En { Yu ward je etuehe Im 08 :p ine nl Hei > | ar he ea ent zum BE N, rt 3 5 u . x ar h kr} no f a2 Li gu WERTEN r\ ‘ ‚ie! Ahle ir) ar A i } i ’ u TET Fo F #7 PER | rH ER IPHI er TIPPEN Br = % ? ne PrasE re . | R De; . z ö ; . h " h 4 = Zannhänser waguer Libretto by Richard Wagner CAST Count Hermann of Thuringia (The Landgrave) ............ur2e20r0nnnnnnenennr Hans Sotin Elizabeth}. hisniece.......:20000002sssussosesnensstnenenennnnnennnnn sn nam nennen anna nna nn Helga Dernesch “TannhauserilHeinrich).a2. 2 \...ececessnssseissaisneansnseunanknnennsnnnen nen ankeere Rene Kollo Wolfram von-Eschenbach=...-..R.........::.....02000:200suatsaanasannansassaneneatnnnn Victor Braun Walter von der Vogelweide ......f.......uununnnnsnnsnsnnsnnnsnnnssnnnnnnnsnnnnnnnnnnnnnnnnn Werner Hollweg Minstrel Knights (Minnesingers) Heinrich den. Schreiber 22.014 veseanasssenses se snetenuecennsaunnsnenunnu san ann raten Kurt Equiluz Bitarolf 0 Se unsassssussauesunuasensunezgunsuehsushähektete Manfred Jungwirth Beinmar.von Zwetar: ...2......u00&@früusnssanunconsunnnsonnnunnasananasonansunnunnonncseouser Norman Bailey Venus; 9g0ddBss:OTLIOVe ......02cteceentetesasssnsnunensssnensssnstnlusensonnhanuenensondennene Christa Ludwig A shepherd boy Members of the a ee Vienna Boye Chair Vienna State Opera Chorus (under the direction of Wilhelm Pitz and Norbert Balatsch) The Vienna Boys’ Choir and The Vienna Philharmonic Orchestra conducted by GEORG SOLTI TIMINGS Side 1 — 21:05 2 — 21:55 3 — 25:20 4 — 28:00 5 — 30:00 6 — 16:20 7 — 26:05 8 — 18:15 GEORG SOLTI (Cont.) After the war, however, Solti lost no time in returning to conducting, and in 1946 was appointed Musical Director of the Bavarian State Opera in Munich. This was the beginning of a continuous 25-year period as musical director of an opera house; from Munich in 1952 he was appointed Artistic and Musical Director of the Frankfurt Opera, and in 1961, he became Musical Director of the Royal Opera House, Covent Garden. During these twenty-five years, Georg Solti has established himself as one of the world’s outstanding conductors both in symphonic repertoire and in opera. During his years at Munich, he appeared as guest conductor in Vienna, Berlin, Paris, Rome, and Buenos Aires and in 1952 made his U.S. debut in San Francisco. He took the Frankfurt Opera to Paris, and to the Maggio Musicale in Florence. In 1959, he made his first appearance at Covent Garden, to conduct a series of performances of Der Rosenkavalier which were so successful that he was invited to become Musical Director of the Royal Opera. Since taking up this post, Solti has brought the London Opera House to a pinnacle of artistic achievement, directing a large number of highly successful new productions including Wagner’s Ring cycle, Tristan und Isolde and Die Meistersinger, Mozart’s Cosi fan Tutte, Don Giovanni, Le Nozze di Figaro and Die Zauberflöte, Salome and Die Frau Ohne Schatten by Richard Strauss, and Schoenberg’s Moses and Aaron. In 1970, he took the Royal Opera Company to Berlin and Munich on their first major European tour. During his period as Musical Director at Covent Garden, Solti has also been much in demand as an orchestral conductor. He has conducted with great success most of the world’s finest orchestras, including the Vienna Philharmonic, the London Symphony, the New York Philharmonic, and the London Philharmonic. Now, after 25 years, DAVIDSON Photo: he wishes to change the balance of his musical life from the Opera House to the concert hall; and although he will spend one month each year directing a new production at Covent Garden his three most recent appointments are with three of the world’s great symphony orchestras. RENE KOLLO In 1969, he became the Musical Director of the Chicago Symphony Orchestra; in 1971, he commenced his appointment as Principal Guest Rene Kollo was born in 1937, into a family with a considerable musical Conductor of the London Philharmonic; and at the beginning of 1972, tradition — his grandfather had been a prolific writer of operettas. he takes over the Musical Directorship of l’Orchestre de Paris. In future, The dominant family interest in lighter music influenced the young therefore, Solti’s activities will be concentrated on three great musical Rene Kollo to try his luck in the world of show business, after a period centres — although by no means confined to those centres; for example, of experimentation during schooldays, forming a band and playing in 1971, he conducted the Chicago Symphony Orchestra on an jazz in pubs. extensive Eurpean tour, during which the orchestra played at the However, with the help of the money he earned on the stage, he started Edinburgh and Antwerp Festivals, in Scandinavia, Germany, Vienna, studying classical voice technique in Berlin in 1959, continuing up to Milan, Paris and London. 1965 — one of his teachers was Elsa Varena, who helped to awaken his Solti’s recordings are a testament to his wide knowledge and passionate interest in Wagner. For a time he toyed with the idea of musicianship and it is in this sphere that further distinction has been becoming a conductor, but on completion of his studies he was signed added to his outstanding career. He has been making records for up to the Braunschweig Opera, and a further engagement took him to London for over twenty years and will shortly be celebrating his silver Düsseldorf, where he still appears in between commitments abroad. jubilee with the company; and we are immensely proud of this long and The critics were quick to single out his exceptional talent and his happy association. He is the only conductor to have been honoured artistic integrity, and in 1969 he sang the part of the Steuermann in eight times with the French Academie du Disque Award of the Grand The Flying Dutchman at Bayreuth, winning immediate international Pirx du Disque Mondiale: for his recordings of Das Rheingold (1959), acclaim. He followed this up the following year with performances of Tristan und Isolde (1961), Salome (1963), Siegfried (1964), Erik in the same opera, and Parsifal in Vienna in 1971. Götterdämmerung (1965), Die Walküre (1966), Elektra (1967), and Der Rosenkavalier (1969). Invitations from all over Europe have followed: from the Munich State Over the ten years of his tenure of the Musical Directorship at Opera to sing Eisenstein in Die Fledermaus, from La Scala for the part Covent Garden, Solti’s outstanding services to music in Britain have of Matteo (Arabella) from Bologna for Narraboth (Salome), and from with a number of public honours. He has been Venice for Parsifal. Herbert von Karajan has asked him to sing in a Photo: ALTAFFER been acknowledged made a Doctor of Music of Leeds University, and was recently awarded farewell performance of Verdi’s Requiem with the Orchestre de Paris, a C.B.E. This great honour was followed up in the Queen’s Birthday and also in a production of Fidelio in Berlin. GEORG SOLTI made an honorary Knight of the Honours List for 1971, when Solti was The evolution of Mr. Kollo’s career from operetta to opera — and to just at the time that the maestro was British Empire-the award coming such intensely emotional and philosophical opera as Wagner’s — is very his final triumphant new production at the Royal Opera Georg Solti was born in Budapest, and studied piano, composition working with Toscanini was an inspiration to the young conductor. conducting unusual and the experience he has gained from such a transition has and conducting under Ernst von Dohnänyi, Bartök, Kodäly and Weiner. House of Tristan und Isolde. given him a very broad outlook. He has a great respect for the classic Ironically, Solti’s meeting with Toscanini also led to a temporary Solti’s recording of Siegfried was described by one of Britain’s Shortly after completing his studies he made his first concert change of course: just before the outbreak of war, Solti went to American musicals like Oklahoma, which he considers just as demanding principal critics as “the finest record... of opera that we have had so appearances as a soloist; at the time, it seemed that he might make a Switzerland to see Toscanini conduct at the Lucerne Festival, and a in their way as grand opera, and he is fully aware of the dangers to the this ace was trumped by the Maestro himself with his Der highly successful career as a pianist. But Solti was determined to be a planned two-week visit turned into a six-year stay. As a war refugee, far”; and voice inherent in trying to master both techniques. His own career is a Rosenkavalier, of which the Times said: “I could truthfully report that conductor, and he was given an appointment with the Budapest Opera.
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