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Great Recordings ADD 8.110250-51 Also available: 2 CDs WAGNER Die Walküre Acts I and II

Lotte Lehmann Marta Fuchs

Vienna Philharmonic Orchestra

8.110872-75 Orchestra Bruno Seidler-Winkler

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Great Opera Recordings Producer’s Note The sources for the present transfers were U.S. Victor discs from the 1930s, the most quiet pressings on which these Richard recordings were available. The best portions of the best sides from four “Z”-type shellac pressings were used for Act I, while Act II came from three “Gold” label copies (its earliest form of issue in America). WAGNER The original recordings were quite well engineered for their time, but their reissue history has had mixed (1813-1883) results. A recent, much-acclaimed restoration of Act I was pitched a semitone sharp and did not join several of the sides correctly, while EMI’s transfer of Act II cut music from the original recording in order to squeeze it onto a single CD. For these transfers, I have taken care to pitch each side accurately (the sides were recorded at a Die Walküre notably lower speed than the Berlin sides), and Act II is presented complete as recorded, with the small cuts in Acts I and II Wotan’s narrative and the Todesverkündingung scene that were present on the original release. Sieglinde ...... Lotte Lehmann (soprano) Brünnhilde ...... Marta Fuchs (soprano) Mark Obert-Thorn Brünnhilde (CD 2, track 14) ...... Ella Flesch (soprano) Fricka ...... Margarete Klose (mezzo-soprano) Siegmund ...... Lauritz Melchior () Wotan ...... Hans Hotter () Wotan (CD 2, tracks 14 and 15) ...... Alfred Jerger (baritone) Hunding ...... Emanuel List ()

Vienna Philharmonic Orchestra • Bruno Walter Orchestra • Bruno Seidler-Winkler

Act I recorded 20th to 22nd June, 1935 in the Musikvereinsaal, Vienna Matrices: 2VH 94-1, 95-2, 96-2, 97-1, 98-3A, 99-2, 100-1, 101-1, 102-2, 103-2, 104-2A 105-2, 106-1A, 107-1, 108-1, 109-1 First issued as HMV DB 2636 through 2643

Act II recorded *19th and **20th September, 1938 in Berlin; ***November, 1938 in Berlin and ****22nd June, 1935 in the Musikvereinsaal, Vienna Matrices: **2RA 3260-3, 3262-2, 3263-2, 3264-2, 3265-2 and 3261-2 (Scene 1); ***3461-1, 3462-2, 3463-1, 3464-2 and 3465-2 (Scene 2); ****2VH 110-2, 111-1 and 112-1 (Scene 3); *2RA 3256-2, 3257-3, 3258-2 and 3259-3 (Scene 4); ****2VH 113-2A and 114-2 (Scene 5) The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best First issued as HMV DB 3719 through 3728 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 (The brief passages of Wotan and Brünnhilde in the closing scene of Act II in the field of historical recordings. are sung by Alfred Jerger and Ella Flesch) 8.110250-51 2 11 8.110250-51 110250-51 bk WalkureEC 24/06/2003 12:45 Page 10

Scene 3 Scene 5 CD 1 73:41

8 Siegmund tries to calm Sieglinde, who feels guilt at # The scene grows dark with thunderclouds. Act I Act II her conduct. He promises to put an end to her shame by Siegmund looks at Sieglinde, now sleeping peacefully, killing Hunding, whose horn can be heard far off. kisses her and draws his sword, hurrying away to Scene 1 Scene 1 encounter Hunding. Sieglinde wakes and calls in fear 1 Prelude 3:18 # Prelude 1:53 9 Sieglinde urges him to escape, imagining for Siegmund. (Orchestra) (Orchestra) Siegmund’s fate, torn in pieces by Hunding’s dogs. $ Hunding is heard calling for Siegmund, whom he 2 Wes Herd dies auch sei, hier muß ich rasten 8:12 $ Nun zäume dein Roß, reisige Maid! 2:19 0 She hears the sound of Hunding’s horn and falls, knows as Wehwalt. The men meet in combat, but (Wotan, Brünnhilde) fainting. Siegmund sits, supporting her head. Brünnhilde appears, guarding Siegmund with her 3 Einen Unseligen labtest du 4:03 shield. At this point Wotan is seen over Hunding, and (Siegmund, Sieglinde) % Der alte Sturm, die alte Müh’! 4:44 Scene 4 Siegmund’s sword breaks against Wotan’s spear. (Wotan, Fricka) Brünnhilde withdraws in fear and Hunding kills Scene 2 ! Brünnhilde emerges from the cave, leading her Siegmund. At this Brünnhilde takes Sieglinde onto her 4 Müd am Herd fand ich den Mann 4:30 ^ So ist es denn aus mit den ewigen Göttern 2:58 horse, and tells Siegmund that he will die, his body to horse and rides away with her. (Fricka) be taken by her to Valhalla, to be with gods and heroes, 5 Friedmund darf ich nicht heißen 6:33 and with his father Wotan and his daughters. % At the command of Wotan Hunding falls dead. In (Sieglinde, Hunding, Siegmund) anger Wotan storms out, ready to deal with Brünnhilde. @ Siegmund will not leave Sieglinde, but Brünnhilde 6 Ein trauriges Kind rief mich zum Trutz 3:17 tells him that he will be killed by Hunding. This he Keith Anderson (Siegmund) refuses to believe, but she tells him that his sword is now powerless. He inveighs against the maker of the 7 Ich weiss ein wildes Geschlecht 5:22 sword and makes to kill Sieglinde, but Brünnhilde stops (Hunding) him, promising to change the outcome of the battle, as she goes. Scene 3 8 Ein Schwert verhieß mir der Vater 6:59

9 Der Männer Sippe saß hier im Saal 5:29 (Siegmund, Sieglinde)

0 Winterstürme wichen dem Wonnemond 2:57 (Siegmund)

! Du bist der Lenz 7:41

@ Siegmund heiß ich und Siegmund bin ich! 3:27 (Sieglinde, Siegmund)

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CD 2 70:22 @ Siegmund tells her his real name and that of his 2 She insists that he stop trying to protect Siegmund, father. To prove his identity he grasps the sword, which that he cast aside Brünnhilde and undo the magic power Act II (concluded) he names Nothung (Need) and pulls it out from the tree. of the sword. With the sword as a bridal gift, he wants to take her Scene 1 (concluded) Scene 3 away at once, but she now reveals her own name and 3 Wotan is forced to agree to the death of Siegmund, 1 Nichts lerntest du, wollt’ ich dich lehren 6:09 8 Raste nun hier, gönne dir Ruh! 4:03 tells him that she is his twin sister. Siegmund takes her to protect Fricka’s honour, as Brünnhilde is heard (Wotan, Fricka) in his arms in delight. returning. 9 Hinweg! Hinweg! Flieh die Entweihte! 4:14 2 Was verlangst du? 2:28 Act II Scene 2 (Wotan, Fricka, Brünnhilde) 0 Horch, o horch! Das is Hundings Horn! 4:26 (Siegmund, Sieglinde) Scene 1 4 Brünnhilde asks Wotan what he wants her to do. 3 Deiner ew’gen Gattin heilige Ehre 2:40 (Fricka) Scene 4 # Motifs of the sword, love and rapture are heard in 5 He complains of his powerlessness and ! Siegmund! Sieh auf mich! 8:25 the Prelude. predicament. Brünnhilde seeks to know the cause of his Scene 2 sorrow. 4 Schlimm, fürcht’ ich, schloß der Streit 1:18 @ Du sahest der Walküre sehrenden Blick 8:04 $ Wotan, standing on a rocky outcrop, commands his (Brünnhilde, Siegmund) daughter Brünnhilde to ensure Siegmund’s victory over 6 Wotan tells her how he had wanted power and love 5 O heilige Schmach! 3:16 Hunding. As she goes, Brünnhilde tells Wotan of the and how Alberich, wanting only power, had made the Scene 5 approach of his wife, Fricka. ring. Wotan had stolen it and used it to pay those who 6 Als junger Liebe Lust mir verblich 8:41 # Zauberfest bezähmt ein Schlaf 4:38 built Valhalla. Erda had warned him not to keep the (Siegmund, Sieglinde) % Fricka is angry. Hunding has sought her help as the ring, and foretold the end of the gods. He had followed 7 So nimm meinen Segen, Niblungen-Sohn! 7:27 guardian of marriage and this she has promised him, her deep into the earth and compelled her, by magic, to (Brünnhilde, Wotan) $ Wehwalt! Wehwalt! 2:48 with vengeance on the Volsungs. Wotan proposes that give him her knowledge. She bore him nine daughters, (Hunding, Siegmund, Sieglinde, Brünnhilde, the Volsungs, Siegmund and Sieglinde, should be the Valkyries, who bring together the bodies of fallen Wotan) allowed their way, even if they are brother and sister, a heroes to defend Valhalla. Erda, however, had foreseen happier union than that of Sieglinde and Hunding. danger, if Alberich were to recover the ring. Wotan, % Geh hin, Knecht! Knie vor Fricka 1:47 bound by his oath, cannot take the ring back himself, (Wotan) ^ Fricka denounces Wotan, accusing him of setting but needs the help of a free hero, who, in spite of the all divine laws at nothing after begetting the Volsungs. gods, can recover the ring for him. Nevertheless he has The Valkyries that he had begotten were bad enough, proved impotent, as Fricka has shown, with Siegmund but the Volsungs are mere mortals. dependent on him for protection but now to be abandoned. He wants an end, when Alberich has a son. CD 2 Now a woman is bearing Alberich a child.

1 Wotan tells her that he needs a hero free from the 7 Then let the Nibelung’s son take Valhalla and rule gods and the laws of the gods to accomplish his ends, over it. Brünnhilde asks what he wants her to do. He which he himself cannot undertake, by the terms of his tells her that, thanks to Fricka, she must see that oath. Fricka argues that Siegmund is not independent, Siegmund is defeated. He storms out, leaving as Wotan has given him a sword. Brünnhilde stupefied at his command. She draws back into a cave, as Siegmund and Sieglinde draw near.

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Synopsis away. (1813-1883) Die Walküre CD 1 6 He tells of his continuing misfortune and how his recent attempt to help a maiden had ended in disaster. Richard Wagner began his great tetralogy Der Ring des so seriously. In addition the first act, almost a full drama Act I Nibelungen in 1848 and did not hear it performed in its in itself, here receives by far its finest representation on 7 Hunding tells him that the battle in which he has entirety until 1876. At first he envisaged a single music record. Scene 1 been involved was one that his own kinsmen were drama named Siegfrieds Tod, which eventually became Even in acoustic days, HMV did its best to bring concerned in and that he will avenge them the following Götterdämmerung, but by 1851 he realised that he had Die Walküre to gramophone listeners. Extensive 1 In the Prelude thunder is heard and through it day. He sends Sieglinde to prepare his drink, but as she the material for a much larger project. Most of the excerpts were recorded with such illustrious occasional horn-calls. The storm is coming to an end as goes she directs Siegmund’s gaze towards the ash-tree. libretto was written in 1851-52 and the prologue, Das Wagnerians as the conductor , the bass- the curtain rises. Hunding follows his wife, taking his weapons. Rheingold, was composed in the following two years. baritone Clarence Whitehill and the bass Robert Wagner then busied himself with the composition of Radford. With the coming of electrical recording in 2 The scene is Hunding’s house, built around an ash- Scene 3 perhaps the finest segment of his epic, Die Walküre, in 1925, more than two hours of the opera was recorded tree. Siegmund, the son of Wotan, comes in, exhausted 1854-56. Parts of the first and third acts were heard in piecemeal in London and Berlin with Göta Ljungberg and drops down by the hearth. Sieglinde enters from an 8 Siegmund has no weapon, but his father had concert in Vienna on 26th December 1862, at the as Sieglinde, as Brünnhilde, Emmi Leisner inner room and is surprised to see a stranger. He does promised him one in time of need. He cries out ‘Wälse’, , and the whole opera was as Fricka, as Siegmund and Friedrich not answer her question but asks for water. He drinks his father’s name, as far as he knows it, and sees light performed for the first time on stage in on 26th Schorr as Wotan. Some of those excerpts, mostly and looks fixedly at her, seeking to know who she is. shining from the ash-tree. The fire dies down and June 1870. Finally it was heard in its proper place, as conducted by Coates and , have still not been She tells him that she is the wife of Hunding and soon Siegmund is left in darkness. the second evening of The Ring, at the Festspielhaus in surpassed. Nevertheless, by the early 1930s the he forgets the battle from which he has escaped, weary on 14th August 1876. It reached New York in electrical recording technique had been further refined and weaponless, but unscathed. He drinks the mead she 9 Sieglinde returns. She has drugged her husband and 1877 and London in 1882. and it was hoped to record the whole of Die Walküre in offers him and soon he finds himself strangely attracted shows Siegmund a sword, embedded in the ash-tree. While it is occasionally possible to wince at the Berlin, with Bruno Walter conducting the State Opera by her. She tells him how the kinsmen had gathered there for a pretentious quality of Wagner’s dialogue, and to wish Orchestra. We can guess at the probable cast: Lotte feast, when an old man had come in. He looked angrily, that the poet in him had been more self-critical and less Lehmann, Leider, Leisner, Lauritz Melchior, Schorr 3 Knowing himself the bearer of ill-fortune, he makes with his one eye, at the men there, but smiled at her, long-winded, the musical and dramatic importance of and Emanuel List. But these plans were overtaken by to leave, but Sieglinde prevents him, telling him of her plunging his sword into the tree for the use of the one Die Walküre is so self-evident that it needs no political events. Early in 1933 the Nazis took power in own unhappy life. who could remove it. No-one succeeded, and Sieglinde justification today. Drawing on the old Nordic and and Jewish artists such as Walter, Schorr and realised who the old man was, and now hopes that Teutonic myths, Wagner fashioned gods and heroes List were immediately under threat. Walter was Scene 2 Siegmund will be the one to take the sword and avenge who are all too human, so that it is impossible not to feel virtually railroaded out of Berlin, his birthplace and the her. They embrace. sympathy with their dilemmas. Die Walküre deals with city where he had been educated; Schorr, already a 4 As they gaze at each other, Hunding returns. one of the deepest-seated social taboos, incest, and favourite in Britain and America, cut Germany from his Sieglinde explains the stranger’s presence and Hunding 0 The door opens and they are seen in the moonlight: presents us with one of the greatest tragic characters in schedule; and List was dismissed from the Berlin State offers the stranger the traditional hospitality. As they sit winter has gone and spring has come, to join with love. all Western drama, in the shape of the tortured god Opera. The location for the recordings was shifted to down to eat, Hunding notices the likeness between Wotan. As always with Wagner, there are purple Vienna, where Walter now had his main European base, Siegmund and Sieglinde. ! For Sieglinde Siegmund is spring and light and patches – the love duet of Act 1, Brünnhilde’s Battle and the Vienna Philharmonic – then, as now, the love. They declare their love for each other, and Cry, the Ride of the Valkyries, Wotan’s Farewell and world’s greatest orchestra – was retained. In 1935 the 5 In reply to Hunding’s questions Siegmund tells him Sieglinde notices that Siegmund seems like her own the Magic Fire Music – and yet the heart of Die Walküre whole of Act 1 and parts of Act 2 were taken down. that his name is Woeful (Wehwalt) and explains how he reflection, his voice an echo of hers and his eyes like her is the most conversational and least sensational section, Melchior and Lehmann managed to sound astonishingly used to wander through the woods with his father, father’s. She asks him his real name and that of his Act 2. And the key to it is the impassioned argument youthful, even though the soprano was in the 26th year whom he calls Wolfe: his mother had been killed, his father. between Wotan and his wife Fricka. Not the least merit of her operatic career; and if List did not quite live up to twin sister abducted and finally his father had gone of this historic recording is that it takes the second act his reputation, he gave a sterling performance as 8.110250-51 8 5 8.110250-51 110250-51 bk WalkureEC 24/06/2003 12:45 Page 6

Hunding, but logistical and budgetary problems made it successful. He can also be heard on record records but can be heard on some radio recordings. through Troppau (now Opava), Prague and to difficult to complete Act 2 – even in those days really accompanying the violinists Adolf Busch and Ginette reach the in Munich in 1937. He good Wagner singers were not numerous – and only in Neveu. Margarete Klose (1899-1968), whose real first name was to be a valued member of the company for 35 years 1938 was the rest of it undertaken in Berlin, under the was Frida, studied in her native Berlin, first at the but after the war he had a truly international career, vastly experienced leadership of Bruno Seidler- Lotte Lehmann (1888-1976) was born in Perleberg Klindworth-Scharwenka Conservatory and then with especially in the great Wagnerian bass-baritone rôles, Winkler. We can see his hand in the casting: he always and studied in Berlin with a variety of teachers her future husband Walter Bültemann. She made a late appearing many times at Bayreuth. From 1961 he had his ear to the ground and was able to engage a first- including Mathilde Mallinger. From 1909 she sang at début at in 1927 and progressed through Kassel worked as an opera producer, while continuing his rate group of young artists who probably cost HMV the Stadttheater in Hamburg and from 1914 she was and to reach the Berlin State Opera in 1931, singing career until 1985. He has a large number of (through its affiliate Electrola) relatively little. This was associated with the Vienna Court/State Opera, where remaining there until 1961 apart from the years 1949-55 recordings to his credit, including the first complete to be the only major studio project involving Marta she won particular acclaim in the of Richard when she was at the Municipal Opera. She made guest studio Ring under Solti and many superb Lieder Fuchs, whose career was wrecked by the war; Strauss, taking part in the premières of Ariadne auf appearances in , London, Vienna, Rome and performances, as well as a memorable account of Margarete Klose was an outstanding Fricka; Melchior, Naxos (revised version, 1916) and Die Frau ohne but did not sing in America until the 1950s. She sang at Bach’s Cantata No.82. the finest Heldentenor of that or any time, returned as Schatten (1919). In 1924 she was in the première of Bayreuth from 1936 to 1942. Regarded as one of the Siegmund; and a controversial choice was made for Intermezzo in , and from that year she was a foremost mezzo-sopranos of her time, she recorded for Emanuel List (1888-1967), whose real name was Wotan. The reigning exponent in Germany, with Schorr regular guest at , famed for her a variety of labels and appeared on a number of Fleissig, was Viennese. He trained as a tailor but sang in off the scene, was , but Seidler- Marschallin in . In 1930 she made complete opera sets. choirs and in a vocal quartet which toured as far as Winkler chose Hans Hotter, a gentle giant from the her American début in Chicago and from 1934 she was Australasia. In 1914, after appearing in a variety show Bavarian State Opera who had not yet sung the rôle on at the Metropolitan in New York. After the Anschluss in Lauritz Melchior (1890-1973) was a boy chorister and in London, he moved to New York, gaining experience stage. Hotter was to be the leading Wotan of the next 1938 she moved to America. Her operatic repertoire made his adult début in his native Copenhagen in 1913, in the Yiddish theatres there. In 1921 he returned to two decades and it is fascinating to hear his was wide, taking in both lyric and dramatic rôles, and in as a baritone. Madame Charles Cahier later suggested Vienna and began singing in opera at the Volksoper, but interpretation in embryo. Acts 1 and 2 were made later years she acquired a reputation as a Lieder singer, that he was really a tenor and in 1917 he began to study from 1923 he made his career in Berlin, first at the available as separate sets on the premium red label, continuing as a recitalist for six years after her last again with the tenor Vilhelm Herold, making a new Municipal Opera and then at the State Opera. In the whereas the piecemeal abridged 1920s set had been put appearance at the Met in 1945. She wrote a number of début as Tannhäuser the following year. Further studies 1930s he commuted between Europe and America, and out on the cheaper black label. A complete Act 3 was books, including a novel, and after her retirement was with various teachers followed before he made a from 1933 to 1950 was a member of the Metropolitan not available until 1945, when American Columbia famed as a teacher. Her warm, distinctive tone can be sensational Covent Garden début in 1924. From then on company in New York. He then returned to the issued it with Artur Rodzinski conducting. heard on a myriad of records, including an abridged set he appeared virtually every year in London and was Municipal Opera in Berlin until 1952, when he retired of Der Rosenkavalier. regarded as the finest Wagnerian tenor of his era, to his native city. Bruno Seidler-Winkler (1880-1960) was born in although he also sang Italian rôles such as Radames and Berlin, studied the piano at the Stern Conservatory there Marta Fuchs (1898-1974) was born in and Otello. From 1924 to 1931 he sang at Bayreuth and Bruno Walter (1876-1962) was a Berliner, trained at with Ernst Jedliczka and became a child prodigy. He studied there as well as in Munich and Milan. She from 1926 at the Metropolitan in New York, where he the Stern Conservatory. Equally at home in the opera was also a member of the Domchor and played the started as a mezzo-soprano and sang in the concert hall remained until 1950. A huge, jolly man, he was in house, in the concert hall or at the piano, he was a violin well enough to lead a theatre orchestra. He was until 1928, when she made her operatic début at demand all over Europe up to World War II but then protégé of Gustav Mahler and a propagandist for recording for Deutsche Grammophon by the turn of the . In 1930 engaged her for the Saxon settled in America. He appeared in films and musicals Mahler’s works. In his heyday this great humanist was century and was the company’s pioneering musical State Opera in Dresden, where she moved up to become as well as opera and made a vast number of records. second only to Toscanini as a box-office draw. He spent director, making sets of and Carmen in one of Germany’s leading dramatic sopranos, singing at his last years in America. His Walküre performance is 1908. He conducted in Chicago from 1923 to 1925 and Bayreuth from 1933 to 1942. From 1935 she also sang Hans Hotter (born 1909) comes from Offenbach. He especially valued because he left so few opera was in charge of the Berlin Radio Orchestra from 1925 at the Berlin State Opera. In 1936 she visited London studied at the Hochschule in Munich with a view to recordings. to 1933. After that he taught at the Berlin Hochschule. with the Dresden company and she made guest becoming an organist and choirmaster, but from 1929 From 1935 to 1944 Seidler-Winkler recorded appearances in and Paris. After the war she he pursued a career as a concert singer and from 1930 extensively for Electrola as conductor and accompanist returned to Stuttgart to live, making occasional operatic combined it with an operatic career, progressing Tully Potter – his series of Lieder with was particularly appearances there until 1952. She made relatively few 8.110250-51 6 7 8.110250-51 110250-51 bk WalkureEC 24/06/2003 12:45 Page 6

Hunding, but logistical and budgetary problems made it successful. He can also be heard on record records but can be heard on some radio recordings. through Troppau (now Opava), Prague and Hamburg to difficult to complete Act 2 – even in those days really accompanying the violinists Adolf Busch and Ginette reach the Bavarian State Opera in Munich in 1937. He good Wagner singers were not numerous – and only in Neveu. Margarete Klose (1899-1968), whose real first name was to be a valued member of the company for 35 years 1938 was the rest of it undertaken in Berlin, under the was Frida, studied in her native Berlin, first at the but after the war he had a truly international career, vastly experienced leadership of Bruno Seidler- Lotte Lehmann (1888-1976) was born in Perleberg Klindworth-Scharwenka Conservatory and then with especially in the great Wagnerian bass-baritone rôles, Winkler. We can see his hand in the casting: he always and studied in Berlin with a variety of teachers her future husband Walter Bültemann. She made a late appearing many times at Bayreuth. From 1961 he had his ear to the ground and was able to engage a first- including Mathilde Mallinger. From 1909 she sang at début at Ulm in 1927 and progressed through Kassel worked as an opera producer, while continuing his rate group of young artists who probably cost HMV the Stadttheater in Hamburg and from 1914 she was and Mannheim to reach the Berlin State Opera in 1931, singing career until 1985. He has a large number of (through its affiliate Electrola) relatively little. This was associated with the Vienna Court/State Opera, where remaining there until 1961 apart from the years 1949-55 recordings to his credit, including the first complete to be the only major studio project involving Marta she won particular acclaim in the operas of Richard when she was at the Municipal Opera. She made guest studio Ring under Solti and many superb Lieder Fuchs, whose career was wrecked by the war; Strauss, taking part in the premières of Ariadne auf appearances in Paris, London, Vienna, Rome and Milan performances, as well as a memorable account of Margarete Klose was an outstanding Fricka; Melchior, Naxos (revised version, 1916) and Die Frau ohne but did not sing in America until the 1950s. She sang at Bach’s Cantata No.82. the finest Heldentenor of that or any time, returned as Schatten (1919). In 1924 she was in the première of Bayreuth from 1936 to 1942. Regarded as one of the Siegmund; and a controversial choice was made for Intermezzo in Dresden, and from that year she was a foremost mezzo-sopranos of her time, she recorded for Emanuel List (1888-1967), whose real name was Wotan. The reigning exponent in Germany, with Schorr regular guest at Covent Garden, famed for her a variety of labels and appeared on a number of Fleissig, was Viennese. He trained as a tailor but sang in off the scene, was Rudolf Bockelmann, but Seidler- Marschallin in Der Rosenkavalier. In 1930 she made complete opera sets. choirs and in a vocal quartet which toured as far as Winkler chose Hans Hotter, a gentle giant from the her American début in Chicago and from 1934 she was Australasia. In 1914, after appearing in a variety show Bavarian State Opera who had not yet sung the rôle on at the Metropolitan in New York. After the Anschluss in Lauritz Melchior (1890-1973) was a boy chorister and in London, he moved to New York, gaining experience stage. Hotter was to be the leading Wotan of the next 1938 she moved to America. Her operatic repertoire made his adult début in his native Copenhagen in 1913, in the Yiddish theatres there. In 1921 he returned to two decades and it is fascinating to hear his was wide, taking in both lyric and dramatic rôles, and in as a baritone. Madame Charles Cahier later suggested Vienna and began singing in opera at the Volksoper, but interpretation in embryo. Acts 1 and 2 were made later years she acquired a reputation as a Lieder singer, that he was really a tenor and in 1917 he began to study from 1923 he made his career in Berlin, first at the available as separate sets on the premium red label, continuing as a recitalist for six years after her last again with the tenor Vilhelm Herold, making a new Municipal Opera and then at the State Opera. In the whereas the piecemeal abridged 1920s set had been put appearance at the Met in 1945. She wrote a number of début as Tannhäuser the following year. Further studies 1930s he commuted between Europe and America, and out on the cheaper black label. A complete Act 3 was books, including a novel, and after her retirement was with various teachers followed before he made a from 1933 to 1950 was a member of the Metropolitan not available until 1945, when American Columbia famed as a teacher. Her warm, distinctive tone can be sensational Covent Garden début in 1924. From then on company in New York. He then returned to the issued it with Artur Rodzinski conducting. heard on a myriad of records, including an abridged set he appeared virtually every year in London and was Municipal Opera in Berlin until 1952, when he retired of Der Rosenkavalier. regarded as the finest Wagnerian tenor of his era, to his native city. Bruno Seidler-Winkler (1880-1960) was born in although he also sang Italian rôles such as Radames and Berlin, studied the piano at the Stern Conservatory there Marta Fuchs (1898-1974) was born in Stuttgart and Otello. From 1924 to 1931 he sang at Bayreuth and Bruno Walter (1876-1962) was a Berliner, trained at with Ernst Jedliczka and became a child prodigy. He studied there as well as in Munich and Milan. She from 1926 at the Metropolitan in New York, where he the Stern Conservatory. Equally at home in the opera was also a member of the Domchor and played the started as a mezzo-soprano and sang in the concert hall remained until 1950. A huge, jolly man, he was in house, in the concert hall or at the piano, he was a violin well enough to lead a theatre orchestra. He was until 1928, when she made her operatic début at demand all over Europe up to World War II but then protégé of Gustav Mahler and a propagandist for recording for Deutsche Grammophon by the turn of the Aachen. In 1930 Fritz Busch engaged her for the Saxon settled in America. He appeared in films and musicals Mahler’s works. In his heyday this great humanist was century and was the company’s pioneering musical State Opera in Dresden, where she moved up to become as well as opera and made a vast number of records. second only to Toscanini as a box-office draw. He spent director, making sets of Die Fledermaus and Carmen in one of Germany’s leading dramatic sopranos, singing at his last years in America. His Walküre performance is 1908. He conducted in Chicago from 1923 to 1925 and Bayreuth from 1933 to 1942. From 1935 she also sang Hans Hotter (born 1909) comes from Offenbach. He especially valued because he left so few opera was in charge of the Berlin Radio Orchestra from 1925 at the Berlin State Opera. In 1936 she visited London studied at the Hochschule in Munich with a view to recordings. to 1933. After that he taught at the Berlin Hochschule. with the Dresden company and she made guest becoming an organist and choirmaster, but from 1929 From 1935 to 1944 Seidler-Winkler recorded appearances in Amsterdam and Paris. After the war she he pursued a career as a concert singer and from 1930 extensively for Electrola as conductor and accompanist returned to Stuttgart to live, making occasional operatic combined it with an operatic career, progressing Tully Potter – his series of Lieder with Karl Erb was particularly appearances there until 1952. She made relatively few 8.110250-51 6 7 8.110250-51 110250-51 bk WalkureEC 24/06/2003 12:45 Page 8

Synopsis away. Richard Wagner (1813-1883) Die Walküre CD 1 6 He tells of his continuing misfortune and how his recent attempt to help a maiden had ended in disaster. Richard Wagner began his great tetralogy Der Ring des so seriously. In addition the first act, almost a full drama Act I Nibelungen in 1848 and did not hear it performed in its in itself, here receives by far its finest representation on 7 Hunding tells him that the battle in which he has entirety until 1876. At first he envisaged a single music record. Scene 1 been involved was one that his own kinsmen were drama named Siegfrieds Tod, which eventually became Even in acoustic days, HMV did its best to bring concerned in and that he will avenge them the following Götterdämmerung, but by 1851 he realised that he had Die Walküre to gramophone listeners. Extensive 1 In the Prelude thunder is heard and through it day. He sends Sieglinde to prepare his drink, but as she the material for a much larger project. Most of the excerpts were recorded with such illustrious occasional horn-calls. The storm is coming to an end as goes she directs Siegmund’s gaze towards the ash-tree. libretto was written in 1851-52 and the prologue, Das Wagnerians as the conductor Albert Coates, the bass- the curtain rises. Hunding follows his wife, taking his weapons. Rheingold, was composed in the following two years. baritone Clarence Whitehill and the bass Robert Wagner then busied himself with the composition of Radford. With the coming of electrical recording in 2 The scene is Hunding’s house, built around an ash- Scene 3 perhaps the finest segment of his epic, Die Walküre, in 1925, more than two hours of the opera was recorded tree. Siegmund, the son of Wotan, comes in, exhausted 1854-56. Parts of the first and third acts were heard in piecemeal in London and Berlin with Göta Ljungberg and drops down by the hearth. Sieglinde enters from an 8 Siegmund has no weapon, but his father had concert in Vienna on 26th December 1862, at the as Sieglinde, Frida Leider as Brünnhilde, Emmi Leisner inner room and is surprised to see a stranger. He does promised him one in time of need. He cries out ‘Wälse’, Theater an der Wien, and the whole opera was as Fricka, Walter Widdop as Siegmund and Friedrich not answer her question but asks for water. He drinks his father’s name, as far as he knows it, and sees light performed for the first time on stage in Munich on 26th Schorr as Wotan. Some of those excerpts, mostly and looks fixedly at her, seeking to know who she is. shining from the ash-tree. The fire dies down and June 1870. Finally it was heard in its proper place, as conducted by Coates and Leo Blech, have still not been She tells him that she is the wife of Hunding and soon Siegmund is left in darkness. the second evening of The Ring, at the Festspielhaus in surpassed. Nevertheless, by the early 1930s the he forgets the battle from which he has escaped, weary Bayreuth on 14th August 1876. It reached New York in electrical recording technique had been further refined and weaponless, but unscathed. He drinks the mead she 9 Sieglinde returns. She has drugged her husband and 1877 and London in 1882. and it was hoped to record the whole of Die Walküre in offers him and soon he finds himself strangely attracted shows Siegmund a sword, embedded in the ash-tree. While it is occasionally possible to wince at the Berlin, with Bruno Walter conducting the State Opera by her. She tells him how the kinsmen had gathered there for a pretentious quality of Wagner’s dialogue, and to wish Orchestra. We can guess at the probable cast: Lotte feast, when an old man had come in. He looked angrily, that the poet in him had been more self-critical and less Lehmann, Leider, Leisner, Lauritz Melchior, Schorr 3 Knowing himself the bearer of ill-fortune, he makes with his one eye, at the men there, but smiled at her, long-winded, the musical and dramatic importance of and Emanuel List. But these plans were overtaken by to leave, but Sieglinde prevents him, telling him of her plunging his sword into the tree for the use of the one Die Walküre is so self-evident that it needs no political events. Early in 1933 the Nazis took power in own unhappy life. who could remove it. No-one succeeded, and Sieglinde justification today. Drawing on the old Nordic and Germany and Jewish artists such as Walter, Schorr and realised who the old man was, and now hopes that Teutonic myths, Wagner fashioned gods and heroes List were immediately under threat. Walter was Scene 2 Siegmund will be the one to take the sword and avenge who are all too human, so that it is impossible not to feel virtually railroaded out of Berlin, his birthplace and the her. They embrace. sympathy with their dilemmas. Die Walküre deals with city where he had been educated; Schorr, already a 4 As they gaze at each other, Hunding returns. one of the deepest-seated social taboos, incest, and favourite in Britain and America, cut Germany from his Sieglinde explains the stranger’s presence and Hunding 0 The door opens and they are seen in the moonlight: presents us with one of the greatest tragic characters in schedule; and List was dismissed from the Berlin State offers the stranger the traditional hospitality. As they sit winter has gone and spring has come, to join with love. all Western drama, in the shape of the tortured god Opera. The location for the recordings was shifted to down to eat, Hunding notices the likeness between Wotan. As always with Wagner, there are purple Vienna, where Walter now had his main European base, Siegmund and Sieglinde. ! For Sieglinde Siegmund is spring and light and patches – the love duet of Act 1, Brünnhilde’s Battle and the Vienna Philharmonic – then, as now, the love. They declare their love for each other, and Cry, the Ride of the Valkyries, Wotan’s Farewell and world’s greatest orchestra – was retained. In 1935 the 5 In reply to Hunding’s questions Siegmund tells him Sieglinde notices that Siegmund seems like her own the Magic Fire Music – and yet the heart of Die Walküre whole of Act 1 and parts of Act 2 were taken down. that his name is Woeful (Wehwalt) and explains how he reflection, his voice an echo of hers and his eyes like her is the most conversational and least sensational section, Melchior and Lehmann managed to sound astonishingly used to wander through the woods with his father, father’s. She asks him his real name and that of his Act 2. And the key to it is the impassioned argument youthful, even though the soprano was in the 26th year whom he calls Wolfe: his mother had been killed, his father. between Wotan and his wife Fricka. Not the least merit of her operatic career; and if List did not quite live up to twin sister abducted and finally his father had gone of this historic recording is that it takes the second act his reputation, he gave a sterling performance as 8.110250-51 8 5 8.110250-51 110250-51 bk WalkureEC 24/06/2003 12:45 Page 4

CD 2 70:22 @ Siegmund tells her his real name and that of his 2 She insists that he stop trying to protect Siegmund, father. To prove his identity he grasps the sword, which that he cast aside Brünnhilde and undo the magic power Act II (concluded) he names Nothung (Need) and pulls it out from the tree. of the sword. With the sword as a bridal gift, he wants to take her Scene 1 (concluded) Scene 3 away at once, but she now reveals her own name and 3 Wotan is forced to agree to the death of Siegmund, 1 Nichts lerntest du, wollt’ ich dich lehren 6:09 8 Raste nun hier, gönne dir Ruh! 4:03 tells him that she is his twin sister. Siegmund takes her to protect Fricka’s honour, as Brünnhilde is heard (Wotan, Fricka) in his arms in delight. returning. 9 Hinweg! Hinweg! Flieh die Entweihte! 4:14 2 Was verlangst du? 2:28 Act II Scene 2 (Wotan, Fricka, Brünnhilde) 0 Horch, o horch! Das is Hundings Horn! 4:26 (Siegmund, Sieglinde) Scene 1 4 Brünnhilde asks Wotan what he wants her to do. 3 Deiner ew’gen Gattin heilige Ehre 2:40 (Fricka) Scene 4 # Motifs of the sword, love and rapture are heard in 5 He complains of his powerlessness and ! Siegmund! Sieh auf mich! 8:25 the Prelude. predicament. Brünnhilde seeks to know the cause of his Scene 2 sorrow. 4 Schlimm, fürcht’ ich, schloß der Streit 1:18 @ Du sahest der Walküre sehrenden Blick 8:04 $ Wotan, standing on a rocky outcrop, commands his (Brünnhilde, Siegmund) daughter Brünnhilde to ensure Siegmund’s victory over 6 Wotan tells her how he had wanted power and love 5 O heilige Schmach! 3:16 Hunding. As she goes, Brünnhilde tells Wotan of the and how Alberich, wanting only power, had made the Scene 5 approach of his wife, Fricka. ring. Wotan had stolen it and used it to pay those who 6 Als junger Liebe Lust mir verblich 8:41 # Zauberfest bezähmt ein Schlaf 4:38 built Valhalla. Erda had warned him not to keep the (Siegmund, Sieglinde) % Fricka is angry. Hunding has sought her help as the ring, and foretold the end of the gods. He had followed 7 So nimm meinen Segen, Niblungen-Sohn! 7:27 guardian of marriage and this she has promised him, her deep into the earth and compelled her, by magic, to (Brünnhilde, Wotan) $ Wehwalt! Wehwalt! 2:48 with vengeance on the Volsungs. Wotan proposes that give him her knowledge. She bore him nine daughters, (Hunding, Siegmund, Sieglinde, Brünnhilde, the Volsungs, Siegmund and Sieglinde, should be the Valkyries, who bring together the bodies of fallen Wotan) allowed their way, even if they are brother and sister, a heroes to defend Valhalla. Erda, however, had foreseen happier union than that of Sieglinde and Hunding. danger, if Alberich were to recover the ring. Wotan, % Geh hin, Knecht! Knie vor Fricka 1:47 bound by his oath, cannot take the ring back himself, (Wotan) ^ Fricka denounces Wotan, accusing him of setting but needs the help of a free hero, who, in spite of the all divine laws at nothing after begetting the Volsungs. gods, can recover the ring for him. Nevertheless he has The Valkyries that he had begotten were bad enough, proved impotent, as Fricka has shown, with Siegmund but the Volsungs are mere mortals. dependent on him for protection but now to be abandoned. He wants an end, when Alberich has a son. CD 2 Now a woman is bearing Alberich a child.

1 Wotan tells her that he needs a hero free from the 7 Then let the Nibelung’s son take Valhalla and rule gods and the laws of the gods to accomplish his ends, over it. Brünnhilde asks what he wants her to do. He which he himself cannot undertake, by the terms of his tells her that, thanks to Fricka, she must see that oath. Fricka argues that Siegmund is not independent, Siegmund is defeated. He storms out, leaving as Wotan has given him a sword. Brünnhilde stupefied at his command. She draws back into a cave, as Siegmund and Sieglinde draw near.

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Scene 3 Scene 5 CD 1 73:41

8 Siegmund tries to calm Sieglinde, who feels guilt at # The scene grows dark with thunderclouds. Act I Act II her conduct. He promises to put an end to her shame by Siegmund looks at Sieglinde, now sleeping peacefully, killing Hunding, whose horn can be heard far off. kisses her and draws his sword, hurrying away to Scene 1 Scene 1 encounter Hunding. Sieglinde wakes and calls in fear 1 Prelude 3:18 # Prelude 1:53 9 Sieglinde urges him to escape, imagining for Siegmund. (Orchestra) (Orchestra) Siegmund’s fate, torn in pieces by Hunding’s dogs. $ Hunding is heard calling for Siegmund, whom he 2 Wes Herd dies auch sei, hier muß ich rasten 8:12 $ Nun zäume dein Roß, reisige Maid! 2:19 0 She hears the sound of Hunding’s horn and falls, knows as Wehwalt. The men meet in combat, but (Wotan, Brünnhilde) fainting. Siegmund sits, supporting her head. Brünnhilde appears, guarding Siegmund with her 3 Einen Unseligen labtest du 4:03 shield. At this point Wotan is seen over Hunding, and (Siegmund, Sieglinde) % Der alte Sturm, die alte Müh’! 4:44 Scene 4 Siegmund’s sword breaks against Wotan’s spear. (Wotan, Fricka) Brünnhilde withdraws in fear and Hunding kills Scene 2 ! Brünnhilde emerges from the cave, leading her Siegmund. At this Brünnhilde takes Sieglinde onto her 4 Müd am Herd fand ich den Mann 4:30 ^ So ist es denn aus mit den ewigen Göttern 2:58 horse, and tells Siegmund that he will die, his body to horse and rides away with her. (Fricka) be taken by her to Valhalla, to be with gods and heroes, 5 Friedmund darf ich nicht heißen 6:33 and with his father Wotan and his daughters. % At the command of Wotan Hunding falls dead. In (Sieglinde, Hunding, Siegmund) anger Wotan storms out, ready to deal with Brünnhilde. @ Siegmund will not leave Sieglinde, but Brünnhilde 6 Ein trauriges Kind rief mich zum Trutz 3:17 tells him that he will be killed by Hunding. This he Keith Anderson (Siegmund) refuses to believe, but she tells him that his sword is now powerless. He inveighs against the maker of the 7 Ich weiss ein wildes Geschlecht 5:22 sword and makes to kill Sieglinde, but Brünnhilde stops (Hunding) him, promising to change the outcome of the battle, as she goes. Scene 3 8 Ein Schwert verhieß mir der Vater 6:59

9 Der Männer Sippe saß hier im Saal 5:29 (Siegmund, Sieglinde)

0 Winterstürme wichen dem Wonnemond 2:57 (Siegmund)

! Du bist der Lenz 7:41

@ Siegmund heiß ich und Siegmund bin ich! 3:27 (Sieglinde, Siegmund)

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Great Opera Recordings Producer’s Note The sources for the present transfers were U.S. Victor discs from the 1930s, the most quiet pressings on which these Richard recordings were available. The best portions of the best sides from four “Z”-type shellac pressings were used for Act I, while Act II came from three “Gold” label copies (its earliest form of issue in America). WAGNER The original recordings were quite well engineered for their time, but their reissue history has had mixed (1813-1883) results. A recent, much-acclaimed restoration of Act I was pitched a semitone sharp and did not join several of the sides correctly, while EMI’s transfer of Act II cut music from the original recording in order to squeeze it onto a single CD. For these transfers, I have taken care to pitch each side accurately (the Vienna sides were recorded at a Die Walküre notably lower speed than the Berlin sides), and Act II is presented complete as recorded, with the small cuts in Acts I and II Wotan’s narrative and the Todesverkündingung scene that were present on the original release. Sieglinde ...... Lotte Lehmann (soprano) Brünnhilde ...... Marta Fuchs (soprano) Mark Obert-Thorn Brünnhilde (CD 2, track 14) ...... Ella Flesch (soprano) Fricka ...... Margarete Klose (mezzo-soprano) Siegmund ...... Lauritz Melchior (tenor) Wotan ...... Hans Hotter (baritone) Wotan (CD 2, tracks 14 and 15) ...... Alfred Jerger (baritone) Hunding ...... Emanuel List (bass)

Vienna Philharmonic Orchestra • Bruno Walter Berlin State Opera Orchestra • Bruno Seidler-Winkler

Act I recorded 20th to 22nd June, 1935 in the Musikvereinsaal, Vienna Matrices: 2VH 94-1, 95-2, 96-2, 97-1, 98-3A, 99-2, 100-1, 101-1, 102-2, 103-2, 104-2A 105-2, 106-1A, 107-1, 108-1, 109-1 First issued as HMV DB 2636 through 2643

Act II recorded *19th and **20th September, 1938 in Berlin; ***November, 1938 in Berlin and ****22nd June, 1935 in the Musikvereinsaal, Vienna Matrices: **2RA 3260-3, 3262-2, 3263-2, 3264-2, 3265-2 and 3261-2 (Scene 1); ***3461-1, 3462-2, 3463-1, 3464-2 and 3465-2 (Scene 2); ****2VH 110-2, 111-1 and 112-1 (Scene 3); *2RA 3256-2, 3257-3, 3258-2 and 3259-3 (Scene 4); ****2VH 113-2A and 114-2 (Scene 5) The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best First issued as HMV DB 3719 through 3728 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 (The brief passages of Wotan and Brünnhilde in the closing scene of Act II in the field of historical recordings. are sung by Alfred Jerger and Ella Flesch) 8.110250-51 2 11 8.110250-51 110250-51 bk WalkureEC 24/06/2003 12:45 Page 12

Great Opera Recordings ADD 8.110250-51 Also available: 2 CDs WAGNER Die Walküre Acts I and II

Lotte Lehmann Marta Fuchs Margarete Klose Lauritz Melchior Hans Hotter

Vienna Philharmonic Orchestra Bruno Walter

8.110872-75 Berlin State Opera Orchestra Bruno Seidler-Winkler

(Recorded in 1935 and 1938) 8.110250-51 12 N

8.110250-51 Richard ADD AXOS Historical 2 CDs WAGNER Playing h DISC PROHIBITED. BROADCASTING AND COPYING OF THIS COMPACT TRANSLATIONS RESERVED. UNAUTHORISED PUBLIC PERFORMANCE, RIGHTS IN THIS SOUND RECORDING, ARTWORK, TEXTS AND ALL (1813-1883)

2003 HNH International Ltd. Time Die Walküre 2:24:03 8.110250-51 Acts I and II Sieglinde ...... Lotte Lehmann In the early 1930s HMV planned to record the complete Die Walküre with Brünnhilde ...... Marta Fuchs Bruno Walter in Berlin, exploiting Fricka ...... Margarete Klose recent refinements in the electrical Siegmund ...... Lauritz Melchior recording technique. However when the Nazis came to power, Jewish artists, Wotan ...... Hans Hotter including Walter, were immediately W © Hunding ...... Emanuel List under threat. The location of the 2003 HNH International Ltd.

recording was shifted to Vienna. In AGNER: Vienna Philharmonic Orchestra 1935 the whole of Act 1 and parts of Act 2 were taken down. Melchior, the Bruno Walter finest Heldentenor of that or anytime, and Lehmann managed to sound Die Walküre Berlin State Opera Orchestra astonishingly youthful, while Hotter was to become the leading Wotan of the Bruno Seidler-Winkler next two decades. Logistical and Die Walküre budgetary problems made it difficult to Recorded in 1935 in Vienna and in 1938 in Berlin complete Act 2 and only in 1938 was Act I first issued as HMV DB 2636 through 2643 the rest of it undertaken in Berlin,

AGNER: under the vastly experienced Act II first issued as HMV DB 3719 through 3728 leadership of Bruno Seidler-Winkler. W CD 1 73:41 CD 2 70:22 1-3 Act I, Scene 1 15:33 1-3 Act II, Scene 1, part 2 11:16 4-7 Act I, Scene 2 19:42 4-7 Act II, Scene 2 20:41 8-@ Act I, Scene 3 26:32 8-0 Act II, Scene 3 12:43 #-^ Act II, Scene 1, part 1 11:54 !-@ Act II, Scene 4 16:29 MADE IN #-% Act II, Scene 5 9:13 E.C.

Producer and Audio Restoration Engineer: Mark Obert-Thorn 8.110250-51 Special thanks to Michael Gray www.naxos.com A complete track list can be found in the booklet Cover Image: Valkyrie by Carl E. Doepler AXOS Historical (Art Archive / Richard Wagner Museum, Bayreuth / Dagli Orti) N