110779 bk Tauber3 EU 23/04/2004 03:00pm Page 5 HEUBERGER: Der Opernball: ¡ Herr Chevalier (Finale: Act 2 Part 1) 4:10 ADD & Im chambre séparée 3:02 with Lotte Lehmann (Soprano) GREAT SINGERS • TAUBER Rec. 17th March 1931 Grete Merrem-Nikisch (Soprano) 8.110779 Mat. Be9424; Cat. 0-4990 Karin Branzell (Mezzo-soprano) Waldemar Stägemann (Bass) FRIML: Rose Marie: Berlin State Opera Orchestra * O Rose Marie, ich liebe dich 3:59 Frieder Weissmann (Conductor) Rec. 7th March 1927 Rec. 17th December 1928 Mat. xxB7679; Cat. 0-8310 Mat. xxB8266; Cat. 0-8734 Also available: Richard ( Über die Prärie 3:40 ™ Genug damit, genug (Finale: Act 2 Part 2) 3:47 TAUBER Rec. 7th March 1927 with Lotte Lehmann (Soprano) Mat. xxB7680; Cat. 0-8310 Grete Merrem-Nikisch (Soprano) Karin Branzell (Mezzo-soprano) J. STRAUSS: Die Fledermaus: Waldemar Stägemann (Bass) Operetta Arias ) Dieser Anstand so manierlich 3:55 Berlin State Opera Orchestra with Vera Schwarz (Soprano) Frieder Weissmann (Conductor) Rec. 29th October 1928 Rec. 17th December 1928 Mat. xxB8205; Cat. 177070 Mat. xxB8267; Cat. 0-8734 Die Fledermaus Die lustige Witwe All tracks with orchestral accompaniment Tracks 1, 2, 6, 12, conducted by Erich W. Korngold Tracks 3-5, conducted by Anton Paulik Der Zigeunerbaron Tracks 7-11, conducted by Hermann Weigert Tracks 13, 15, 18, 19, conducted by Ernst Hauke Tracks 14, 17, 20, 21, 22 conducted by Frieder Weissmann Rose Marie Track 16, unknown conductor Paganini 8.110729 8.110739 Zigeunerliebe Der Opernball Recorded 1921 -1932 8.110779 5 6 8.110779 110779 bk Tauber3 EU 23/04/2004 03:00pm Page 2 Richard Tauber Vienna. There he braved the displeasure of the State at the composer’s retreat at Bad Ischl to work on Acoustical Recordings 1921-1926 9 Schönes Italien 2:18 Opera management to sing Armand in the new operetta Paganini. First performed in Vienna in October 1925, Rec. 21st October 1925 Operetta Arias Frasquita, which proved irresistible to the ambitious the première lacked Tauber owing to prior J. STRAUSS: Eine Nacht in Venedig: Mat. xxB7245; Cat. Rxx80386 young tenor. During the show’s initial 195-performance commitments in Berlin (these included Eine Nacht in 1 Sei mir gegrüsst, du holdes Venezia 2:58 From his earliest career in opera, and for more than prestigious début at the Neues Stadt-Theater in run Tauber was chronologically the fourth tenor to Venedig and a short season at the State Opera followed Rec. January 1924 0 Gern hab’ ich die Frau’n geküsst 3:15 two decades to his last, protracted association with his Chemnitz, as Tamino in Die Zauberflöte and a few assume the rôle created by Hubert Marischka and the by a tour with that Company to Sweden) and was a Mat. xxB6914; Cat. Rxx80861 Rec. 21st October 1925 own Old Chelsea from 1943 onwards, Richard Tauber days later he sang Max in Der Freischütz, an opening opportunity provided him with a break from Mozart, near-fiasco. When later re-staged at the Johann Strauss- Mat. xxB7246; Cat. Rxx8039 and operetta were inextricably linked. Indeed to this which virtually overnight secured him a five-year Puccini and Verdi and, more importantly, his fortuitous Theater with Tauber as the legendary violinist, 2 Treu sein, das liegt mir nicht 2:47 day, with editions of his recordings on LP and of his contract with the Dresden Royal Opera. first link with the Hungarian Franz Lehár, at that time however, the show which gave the world a second Rec. January 1924 ! Niemand liebt dich so wie ich 4:11 films on video in mind, that affinity has been Tauber was first contracted to Dresden from the undisputed doyen of Viennese light opera, not to ‘Tauberlied’ with Gern hab’ ich die Frau’n geküsst, Mat. xxB6915; Cat. Rxx80862 with Carlotta Vanconti (Soprano) repeatedly reaffirmed, the unflagging demand for August 1913 to the end of July 1918, an association mention an early ‘theme-song’ with Hab’ein blaues proved a resounding success. 11th January 1926 Tauber software bearing overall testament to his which would last, notwithstanding various contractual Himmelbett. Tauber’s subsequent Lehár creations included J. STRAUSS: Der Zigeunerbaron: Mat. xxB7418; Cat. Rxx80446 essentially Viennese, operetta-orientated personality, interruptions and appearances in opera and operetta at The pre-Lehár Tauber was also temperamentally Friederike (1928), Das Land des Lächelns (1929), both 3 Entreelied des Barinkay - Als flotter Geist 3:13 optimistic, outgoing and exuberant, yet unassailable in the Berlin (from 1919) and Vienna State Operas and inclined towards the promotion of other works of first given in Berlin, and the Berlin première of Schön Rec. 25th November 1924 Electrical Recordings 1927-1932 its musicality. An excellent pianist, Tauber was an elsewhere, until 1926. Soon renowned as that rare operetta and during 1923 alone, in Vienna, his ist die Welt (1931) and Giuditta, the composer’s last Mat. xxB7089; Cat. Rxx80239 even better, if largely frustrated, conductor, while as a thing among tenors, a musician, he was ever in demand appearances in lighter works included Korngold’s Eine work, first given at the Vienna State Opera, in 1934. LEHÁR: Die lustige Witwe: singer of classical music, a specialist in Mozart opera as a stand-in for indisposed colleagues and his Nacht in Venedig as well as local ‘creations’ in Oscar The Tauber discography also offers definitive versions KÁLMÁN: Gräfin Mariza: @ Ballsirenenwalzer - Lippen schweigen 3:19 and German lieder, he remains a model unsurpassed. (essentially lyric tenor) repertoire, over sixty operas by Straus’s Die Perlen der Cleopatra and Bacchusnacht. of Lehár songs from works he did not create, including 4 Mein lieber Schatz 4:24 Rec. 5th January 1932 In a typical Tauber concert programme of the more than forty composers, was remarkable in its In 1924 he sang in the first (unsuccessful) performances both the waltz and the soprano air Vilja from the earlier with Carlotta Vanconti (Soprano) Mat. Be9699; Cat. 0-4501 1930s Mozart and operetta were given equal billing, diversity. In 1915 he sang Bacchus in Strauss’s of Ralph Benatzky’s first operette Das Märchen von Lehár landmarks Die lustige Witwe and Zigeunerliebe. Rec. 24th November 1924 with the inevitable Lehár Dein ist mein ganzes Herz Ariadne at 48 hours’ notice, after one piano run- Florenz, at Charlottenburg, and later that year, in During the early period of electrical recording Mat. xxB7088; Cat. Rxx 80234 # Vilja-Lied 3:07 because his audiences expected it. During his midlife through with the composer, and by the time he made Vienna, at the Theater an der Wien, whilst conducting which preceded the era of the film-musical, Tauber the Rec. 26th January 1932 the tenor was based in London where he won fame his earliest records (June 1919) critical acclaim performances of Kálmán’s Herbstmanöver in his spare populist and pioneer of crossover was also quick to 5 Grüss mir mein Wien 4:16 Mat. Be9750; Cat. 0-4510 both on stage and on screen through a small clutch of throughout Europe and a reputation as a fast learner time, first made the aquaintance of his future spouse, the capitalise on extracts from operettas and shows of wider Rec. 25th November 1924 operetta-style cult films, while scores of best-selling had preceded him. vivacious, Hanover-born soprano Carlotta Vanconti provenance. In this area among his first efforts were Im Mat. xxB7094; Cat. Rxx80233 LEHÁR: Zigeunerliebe: titles from operetta, shows and films recorded for Among tenors, the range of Tauber’s operatic (1892-1964), who had only recently made her début at chambre séparée from Richard Heuberger’s ever- $ Es liegt in blauen Fernen 4:02 Parlophone established him in popular perception as repertoire, albeit incompletely captured on shellac, that theatre in Gräfin Mariza. During their short-lived popular three-act operetta Der Opernball (1898) and LEHÁR: Frasquita: with Vera Schwarz (Soprano) the quintessential ‘romantic’ tenor, rivalled only by remains legendary, and the same might be said of his association (married only briefly, they divorced in German translations of both the title-song and the 6 Hab’ ein blaues Himmelbett 4:19 Rec. 29th October 1928 Gigli and McCormack in their own respective spheres. association with operetta. During the early twentieth 1926) Tauber and Vanconti recorded various duets, Indian Love Call from Rudolf Friml’s two-act Rose Rec. January 1924 Mat. xxB8206; Cat. 0-8815 Richard Denemy Tauber was born out of wedlock century, especially in Austria and other German- including two from Lehár’s Zarewitsch (Tauber sang in Marie, a major 1924 Broadway hit musical which had Mat. xxB6912; Cat. Rxx80859 to theatrical parents in the Austrian city of Linz on 16th speaking centres, operetta ranked on a par with opera, the première in 1927, with Vera Schwarz as his partner) an initial Broadway run of 557 performances and was % Wer nennt nicht die Liebe sein einziges Glück May 1891. Although always interested in singing he at and such Johann Strauss II staples as Die Fledermaus, and one from his first landmark success, the ‘operette- subsequently much revived and twice filmed by MGM, LEHÁR: Paganini: Rec. 27th June 1929 first showed no great inclination for it, and while his Eine Nacht in Venedig, and Der Zigeunerbaron were vorspiel’ Der Rastelbinder (1902). in 1936 and 1954. 7 Was ich denke, was ich fühle 4:45 Mat. Be8385; Cat. 0-4939 2:57 joint talents for piano and composition were nurtured already standard theatre repertory. Tauber first sang In 1924 Tauber struck up a friendship with Lehár with Carlotta Vanconti (Soprano) at the Conservatory of Frankfurt-am-Main, his burning the last-named at the Vienna Volksoper in December and in the summer of 1925, in between engagements at Rec.