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Deutsche Nationalbibliografie 2010 T 02
Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2010 T 02 Stand: 17. Februar 2010 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main, Berlin) 2010 ISSN 1613-8945 urn:nbn:de:101-ReiheT02_2010-8 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie Katalogisierung, Regeln für Musikalien und Musikton-trä- auf der Sachgruppenübersicht angegeben, entsprechend ger (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD -
Chronology 1916-1937 (Vienna Years)
Chronology 1916-1937 (Vienna Years) 8 Aug 1916 Der Freischütz; LL, Agathe; first regular (not guest) performance with Vienna Opera Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Miller, Max; Gallos, Kilian; Reichmann (or Hugo Reichenberger??), cond., Vienna Opera 18 Aug 1916 Der Freischütz; LL, Agathe Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Gallos, Kilian; Betetto, Hermit; Marian, Samiel; Reichwein, cond., Vienna Opera 25 Aug 1916 Die Meistersinger; LL, Eva Weidemann, Sachs; Moest, Pogner; Handtner, Beckmesser; Duhan, Kothner; Miller, Walther; Maikl, David; Kittel, Magdalena; Schalk, cond., Vienna Opera 28 Aug 1916 Der Evangelimann; LL, Martha Stehmann, Friedrich; Paalen, Magdalena; Hofbauer, Johannes; Erik Schmedes, Mathias; Reichenberger, cond., Vienna Opera 30 Aug 1916?? Tannhäuser: LL Elisabeth Schmedes, Tannhäuser; Hans Duhan, Wolfram; ??? cond. Vienna Opera 11 Sep 1916 Tales of Hoffmann; LL, Antonia/Giulietta Hessl, Olympia; Kittel, Niklaus; Hochheim, Hoffmann; Breuer, Cochenille et al; Fischer, Coppelius et al; Reichenberger, cond., Vienna Opera 16 Sep 1916 Carmen; LL, Micaëla Gutheil-Schoder, Carmen; Miller, Don José; Duhan, Escamillo; Tittel, cond., Vienna Opera 23 Sep 1916 Die Jüdin; LL, Recha Lindner, Sigismund; Maikl, Leopold; Elizza, Eudora; Zec, Cardinal Brogni; Miller, Eleazar; Reichenberger, cond., Vienna Opera 26 Sep 1916 Carmen; LL, Micaëla ???, Carmen; Piccaver, Don José; Fischer, Escamillo; Tittel, cond., Vienna Opera 4 Oct 1916 Strauss: Ariadne auf Naxos; Premiere -
110744-45Bk Leider
Frida Leider (1888-1975) Frida Leider (1888-1975) ADD A Vocal Portrait: CD 1 - Acoustic Recordings A Vocal Portrait: CD 2 - Electrical Recordings GREAT SINGERS • LEIDER German Grammophon, 1921-1926 72:43 Electrola, HMV 1927-1943 78:24 8.110744-45 1 WEBER: OBERON: Ozean, du Ungeheuer 7:41 0 Schmerzen 2:35 1 MOZART: DON GIOVANNI: WAGNER: TRISTAN UND ISOLDE: Mats. 605as and 606 1/2 as; Cat. 65625 Mat. 680as; Cat. 65746 Or sai chi l’onore 3:57 Liebesnacht (abridged) 2 WAGNER: RIENZI: Gerechter Gott! 4:44 ! Träume 4:13 rec. 8 May 1928; Mat. CR2010; Cat. D1547 with Lauritz Melchior, tenor Mat. 679as; Cat. 65704 Mat. 681as; Cat. 65746 2 GLUCK: ARMIDE: Ah! si la liberté 4:19 Mats. CLR5612, CLR5613, Cc16620, Cc16621; 3 WAGNER: DER FLIEGENDE @ VERDI: IL TROVATORE: rec. 11 May 1928; Mat. CR2012 II; Cat. D1547 Cat. D1723 and D1724 Frida HÖLLANDER: Senta’s Ballade 4:25 Tacea la notte placida 3:01 3 BEETHOVEN: FIDELIO: 0 Isolde! Tristan!...Doch es rächte 8:03 Mat. 887az; Cat. 72978 Mat. 23be; Cat. 72975 Abscheulicher, wo eilst du hin? 8:24 rec. 13 September 1929 4 WAGNER: TANNHÄUSER: # VERDI: IL TROVATORE: rec. 8 May 1928; Mats. Cc12956 and ! O sink hernieder 4:34 LEIDER Dich, teure Halle 3:05 D’amor sull’ali rosee 3:37 Cc12957; Cat. D1497 rec. 6 May 1929 Mat. 598as; Cat. 65627 Mat. 763az; Cat. 72975 4 SCHUBERT: Erlkönig 3:55 @ Soll ich lauschen? 4:13 5 WAGNER: DIE WALKÜRE: $ VERDI: AIDA: Ritorna vincitor 4:50 rec. November 1943; Mat. -
Frida Leider
EVA RIEGER ie hochdramatische Sopranistin Frida Leider (1888–1975) wurde neben ihren Triumphen mit DVerdi- und Mozartrollen als „die“ Brünnhilde, „die“ Isolde ihrer Zeit gefeiert, ob in Berlin, London, Chicago, New York, Mailand, Paris oder Bayreuth. Die erste Biographie über die Sängerin stützt sich auf umfangreiche Archivrecherchen und geht auf Frida Leiders herausragende gesangliche Fähigkeiten eben- Frida Leider so ein wie auf die Problematik der Kunstausübung im totalitären NS-Regime. Sängerin im Zwiespalt ihrer Zeit Frida Leider sang unter Dirigenten wie Wilhelm Furt- wängler, Erich Kleiber, Bruno Walter, Sir John Barbirolli und Sir Thomas Beecham – und in Bayreuth, dem kulturellen Aushängeschild der Nationalsozialisten. Die Sängerin erschütterte das Publikum durch ihre ver- tiefte künstlerisch-geistige Ausdeutung der Wagner- schen Rollen, während der „Führer“ Wagners Werk und Leider Frida Leben lediglich für sein Weltbild instrumentalisierte. | Als „jüdisch Versippte“ ließ Bayreuth Frida Leider schließlich fallen, ihre Karriere zerbrach. Nach dem Krieg gab es in der Musikkultur keine „Stunde null“ – Opfer, Angepasste wie Widerständler dachten nur da- ran, zu musizieren und die Vergangenheit zu vergessen. Eva Rieger, Musikwissenschaftlerin und Buchautorin RIEGER EVA (bekannt durch Biographien über Nannerl Mozart und Minna Wagner), bis 2000 Professorin an der Universität Bremen, lebt in Vaduz und Zürich. ISBN 978-3-487-08579-1 OLMS 9783487 085791 www.olms.de Rieger_Frida_Leider 16.12.16 11:00 Seite 1 Eva Rieger Frida Leider Rieger_Frida_Leider 16.12.16 11:00 Seite 2 Rieger_Frida_Leider 16.12.16 11:00 Seite 3 Eva Rieger Frida Leider Sängerin im Zwiespalt ihrer Zeit Unter Mitarbeit von Peter Sommeregger Mit einem Vorwort von Stephan Mösch Georg Olms Verlag Hildesheim · Zürich · New York 2017 Rieger_Frida_Leider 16.12.16 11:00 Seite 4 Umschlagbild: Frida Leider als Brünnhilde in Die Walküre von Richard Wagner, Hamburg 1922 Das Werk ist urheberrechtlich geschützt. -
Boston Symphony Orchestra Concert Programs, Season 127, 2007
Levine Music Director James | Haitink Conductor Emeritus Bernard | Seiji Music Director Laureate Ozawa | O S T t SYAAP ON 2007-2008 SEASON WEEK 6 Table of Contents Week 6 15 BSO NEWS 23 ON DISPLAY IN SYMPHONY HALL 25 BSO MUSIC DIRECTOR JAMES LEVINE 28 THE BOSTON SYMPHONY ORCHESTRA 31 IN DEFENSE OF MAHLER'S MUSIC — A I925 LETTER FROM AARON COPLAND TO THE EDITOR OF THE "NEW YORK TIMES" 37 THIS WEEK'S PROGRAMS 41 FROM THE MUSIC DIRECTOR Notes on the Program 45 Alban Berg 59 Gustav Mahler 73 To Read and Hear More. Guest Artist 77 Christian Tetzlaff 83 SPONSORS AND DONORS 96 FUTURE PROGRAMS 98 SYMPHONY HALL EXIT PLAN 99 SYMPHONY HALL INFORMATION THIS WEEK S PRE-CONCERT TALKS ARE GIVEN BY JOSEPH AUNER OF TUFTS UNIVERSITY program copyright ©2007 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photograph by Peter Vanderwarker ravo Boston Symphon A Sophisticated South Shore Residential Destination (888) 515-5183 •WaterscapeHingham.com Luxury Waterfront Townhomes in Hingham URBAN RDSELAND +-#' The path to recovery. McLean Hospital U.S. Newsji World Report ^^ ... ««&"-« < - " ••- ._ - -~\\ \ The Pavilion at McLean Hospital Unparalleled psychiatric evaluation and treatment Unsurpassed discretion and service Belmont, Massachusetts 6 1 7/855-3535 www.mclean.harvard.edu/pav/ McLean is the largest psychiatric clinical care, teaching and research affiliate Partners, of Harvard Medical School, an affiliate of Massachusetts General Hospital HEALTHCARE and a member of Partners HeahhCare. ft REASON #78 bump-bump bump-bump bump-bump A regular heartbeat is something most people take for granted. But if you're one of the millions afflicted with a cardiac arrhythmia, the prospect of a steadily beating heart is music to your ears. -
Frida Leider Debütierte 1915 in Halle/Saale, Es Folgten Engagements in Rostock, Königsberg Und Hamburg
Leider, Frida Mailänder Scala jeweils komplette Ring-Zyklen in italie- nischer Sprache. Im Pariser Palais Garnier wurde sie ab 1930 beinahe alljährlich zum Mittelpunkt der Wagner- Aufführungen. Ab 1928 eroberte sie sich beginnend mit Chicago auch die Vereinigten Staaten: Tourneen der dor- tigen Oper, später auch der Metropolitan Opera New York, führten sie auch nach Boston, Baltimore, San Fran- cisco und in weitere Städte. Am bedeutendsten Opern- haus Südamerikas, dem Teatro Colón in Buenos Aires, feierte sie 1931 große Erfolge als Brünnhilde und Isolde. Auch bei den Bayreuther Festspielen war sie von 1928 an regelmäßig engagiert, und von 1933 bis 1937 gab es keine Ring-Zyklen ohne ihre Mitwirkung. Gastspiele führten sie in viele europäische Musikzentren wie Wien, Prag, Brüssel, Amsterdam, Monte Carlo u.a. Nach Kriegsbeginn 1939 reduzierten sich ihre Auftritte im Ausland auf wenige Gastspiele in Italien und der Schweiz. Orte und Länder Frida Leider debütierte 1915 in Halle/Saale, es folgten Engagements in Rostock, Königsberg und Hamburg. Ab Frida Leider, um 1935. 1924 war sie festes Ensemblemitglied an der Staatsoper Berlin.1927 und 1928 gastierte sie an der Mailänder Sca- Frida Leider la, 1924, 1925 und 1927 an der Waldoper Zoppot (heute Ehename: Frida Anna Deman Sopot in Polen). Von 1928 bis 1938 trat sie sie jeden Som- mer bei den Bayreuther Festspielen auf, von 1924 bis * 18. April 1888 in Berlin, 1938 jedes Jahr am Royal Opera House Covent Garden † 4. Juni 1975 in Berlin, in London. Von 1928 bis 1932 war sie zusätzlich am Opernhaus von Chicago engagiert sowie 1933 und 1934 Opern- und Liedsängerin, Regisseurin, Gesangslehrerin. -
Symposium Records Cd 1229
SYMPOSIUM RECORDS CD 1229 The Harold Wayne Collection – Volume 32 EDYTH WALKER & HELENE WILDBRUNN Both of the artists in this volume sang across the contralto-mezzo to soprano divide; both are examples of the best Wagnerian singing in the period following Wagner's death and both followed careers predominantly in the German-speaking part of Europe. From the point of view of collectors, of each there is also a paucity of records. Edyth Walker's records were made at the very beginning of the century, at a time when the lower female voice did not reproduce particularly well, and, in addition, the repertoire she selected was not of the most popular. Helene Wildbrunn's career in the studio commenced in the difficult times of the end of Great War, with the ensuing unrest and inflation, and may well have been closed by the rise of Frida Leider. EDYTH WALKER was born in Hopewell in the United States in 1867. Her voice showed great promise and she studied with the famous teacher Orgeni in Dresden. She also took lessons from Marianne Brandt. After a concert in Leipzig she made her début in Berlin in 1894 singing the role of Fidés in Meyerbeer's opera Le Prophète. Her 1894 success was sufficient for her to be engaged at the Imperial Opera in Vienna. She first sang there in 1895 and in 1896 sang Magdalena in the Viennese première of Kienzl's Der Evangelimann. Most of her roles in Vienna were small and in the contralto-mezzo range. Apparently she and Mahler - he came to Vienna two years after her - did not get on very well with each other. -
'The Ring in Australia' by Peter Bassett
The RING in Australia Wagner arrived in Australia (metaphorically speaking) on 18 August 1877, one year after the first Bayreuth Festival, when Lohengrin was performed at the Prince of Wales Theatre, Melbourne by William Lyster’s Royal Italian and English Opera Company. Melbourne in those days was the largest, most prosperous and most cosmopolitan of colonial cities, courtesy of the gold rush. The 1877 opera season also included Aida which was, at the time, Verdi’s latest opera. Lohengrin on the other hand was thirty years old and had long been surpassed by Tristan, Meistersinger, and the entire Ring, and yet how avant-garde it must have seemed to those Melbourne audiences. It was sung in Italian, with the principal singers coming from Europe and the United States. The music was under the direction of Alberto Zelman who, lacking a copy of Wagner’s orchestral score, simply took a piano version and orchestrated it himself. Zelman had arrived in Australia six years earlier from Trieste via India and, although he had conducted operas in northern Italy, it seems that he had never actually seen or heard a Wagner production. On his arrival in Sydney, he had joined the Cagli-Pompei Royal Italian Opera Company and toured the Australasian colonies, eventually coming under Lyster’s management. His son, by the way – also called Alberto Zelman – founded the Melbourne Symphony Orchestra. Soon after the Lohengrin performances, a local resident Emil Sander wrote to Wagner to inform him of this noteworthy event – a fact recorded by Cosima in her diary. The entry for 21 October 1877 reads: ‘He receives a letter from a theatre director in Melbourne, according to which Lohengrin last month made its ceremonious entry there, too.’ The following day, Wagner replied to Sander as follows: My very dear Sir, I was delighted to receive your news, and cannot refrain from thanking you for it. -
ARSC Journal Readers Will Be Better Able to Assess Its Potential Useful Ness Through a Description of the Work Than They Would from the Reviewers' Opinions
Book Reviews 189 by band personnel. Be aware, however, that this is purely a collection of data: there are no photographs or narrative descriptions of the bands (with the exception of a few notes on obscure musicians), and there is no listing of the instrume~talists involved in the recording sessions. A bibliography or references for background reading on the individual bands would have been helpful for non-initiates. Lamentably, the utility of this well-documented work is limited by the lack of indexes - of composers and lyricists as well as song titles. (Index listings of arrangers and film or show titles would also be useful.) The compiler admits to this shortcoming in his preface, but argues that assembling indexes was prohibitive due to the resulting requirements of effort, finance, and space, and he expresses the hope that one of his readers will undertake the task. This will be a necessary undertaking if the discogra phy is ever to be a usable reference tool, for individually searching the huge collection by hand is impractical. Much of the material listed here consists of little-known or even obscure songs from the entertainment factories of Nazi Germany. It is fascinating to trace the recording histories of these bands, as one tries to read between the lines to recognize how the repertoires changed to adapt to changing fashions and politics. Some groups still recorded numbers by Jewish artists in the early years of the Third Reich (though often for foreign distribution only), and some turned out kitsch or even openly propa gandistic recordings. -
WAGNER Die Walküre Acts I and II
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 110250-51 bk WalkureEC 24/06/2003 12:45 Page 2 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. -
ARSC Journal
Sound Recording Reviews 103 mer Cw/Gladys Swarthout, RCAVSO, (SFSO, Mar. 4, 1942); Ravel: Alborada Dec. 9, 1952); Symphony in B-flat del gracioso (SFSO, Dec. 22, 1947); (SFSO, Feb. 28, 1950). Daphnis et Chloe - Suite No. 1 (SFSO, Apr. 3, 1946); La Valse (SFSO, Apr. 21, Vol. 5: Debussy: Images (SFSO, Apr. 3, 1941); Valse nobles et sentimentales 1951); La mer (BSO, July 19, 1954); (SFSO, Apr. 3, 1946). Nocturnes (BSO, Aug. 15, 1955); Sarabande (orch. Ravel; SFSO, Apr. 3, Vol. 11: Rimsky-Korsakov: 1946). Scheherazade (SFSO, Mar. 3-4, 1942); Sadko (SFSO, Mar. 3, 1945); Symphony Vol. 6: Liszt: Les preludes (BSO, Dec. 8, No. 2 (SFSO, Apr. 2, 1946). 1952); Saint-Saens: Havanaise (wl Leonid Kogan, BSO, Jan. 12-13, 1952); Vol. 12: R. Strauss: Ein Heldenleben Scriabin: Poeme d'extase (BSO, Dec. 8, (SFSO, Dec. 20, 1947, previously 1952). unissued); Tod und Verkltirung (SFSO, Jan. 23, 1960). Vol. 7: Delibes: Coppelia - Suite (BSO, Dec. 2-4, 1953); Sylvia - Suite (BSO, Dec, Vol. 13: Stravinsky: Petrouchka (BSO, 30-31, 1953); Gounod: Faust - Ballet Jan. 28, 1959); Le sacre du printempts Music (SFSO, Dec. 22, 1947). (BSO, Jan. 28, 1951). Vol. 8: Franck: Piece heroi:que (orch. Vol. 14: Tchaikovsky: Symphony No. 4 O'Connell; SFSO, Apr. 22, 1941); (BSO, Jan. 28, 1959); Symphony No. 5 Symphony in D minor (SFSO, Jan. 7, (BSO, Jan. 8, 1958); Symphony No. 6 1961); D'lndy: /star - Symphonic (BSO, Jan. 26, 1955). Variations (SFSO, Jan. 27, 1945). 2. Monteux, Doris G. It's All in the Music. Vol. 9: D'lndy: Fervaal - Prelude (New York, NY: Farrar, Straus and (SFSO, Jan. -
Naxos Historical Catalogue
Naxos Historical Catalogue Since its launch in 1997 Naxos Historical has become one of the leading providers of classic recordings and broadcasts from the first half of the last century. With access to an incredible wealth of vintage performances on mint-condition 78s and the restorative expertise of some of today’s leading historic sound engineers, Naxos Historical is in the privileged position of being able to transform the legendary recordings of the past into remarkable digital sound, using today’s most advanced audio engineering technology. Celebrated performances by some of the most extraordinary and enduring musical talents of the last century are the focus of Naxos Historical’s ‘Greats’ series. Their names alone conjure up images of past musical glories that remain benchmarks of recording history, among them Beecham, Björling, Caruso, Casals, Gigli, Flagstad, Heifetz, Horowitz, Kreisler, Menuhin, Rachmaninov, Rubinstein and Toscanini. Harnessing the latest transcription technology, these and many other giants of the concert platform step into the spotlight once again, their awesome legacies shining brighter than ever in brand new digital restorations. For collector and newcomer alike, Naxos Historical continues in its commitment to providing a treasure trove of the performances that have shaped recording history. And at the famous Naxos price, the classical music enthusiast really can’t go wrong. Restoring the treasures of the past… Turning aged 78s into fresh-sounding CDs is an intricate task performed for Naxos by some of the world’s leading specialist producer-engineers, among them Ward Marston and Mark Obert-Thorn, two of the most experienced and accomplished figures in their field whose names alone have become hallmarks of quality.