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Home , Astrid Varnay, Eleanor Steber, Gerhard Stolze, Hans Braun (baritone), Hans Duhan, Hermann Uhde

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her in his arms, reproaching her for bringing their @ Ortrud comes forward, declaring the swan to be happiness to an end. She begs him to stay, to witness her Elsa’s brother, the heir to Brabant, whom she had repentance, but he is adamant. The men urge him to bewitched with the help of her own pagan gods. WAGNER stay, to lead them into battle, but in vain. He promises, Lohengrin kneels in prayer, and when the white dove of however, that Germany will be victorious, never to be the Holy Grail appears, he unties the swan. As it sinks defeated by the hordes from the East. Shouts announce down, Gottfried emerges. Ortrud sinks down, with a the appearance of the swan. cry, while Gottfried bows to the king and greets Elsa. Lohengrin Lohengrin leaps quickly into the boat, which is drawn ! Lohengrin greets the swan. Sorrowfully he turns away by the white dove. Elsa sees him, as he makes his towards it, telling Elsa that her brother is still alive, and sad departure. She faints into her brother’s arms, as the G WIN would have returned to her a year later. He leaves his knight disappears, sailing away into the distance. AN DG horn, sword, and ring for Gottfried, kisses Elsa, and G A F SS moves towards the boat. L E Keith Anderson O N W

Mark Obert-Thorn

Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of specialist labels, including Pearl, Biddulph, Romophone and Music & Arts. Three of his transfers have been 195 ing nominated for Gramophone Awards. A pianist by training, his passions are music, history and working on projects. 3 Record He has found a way to combine all three in the transfer of historical recordings. Obert-Thorn describes himself as a ‘moderate interventionist’ rather than a ‘purist’ or ‘re-processor,’ unlike those who apply significant additions and make major changes to the acoustical qualities of old recordings. His philosophy is that a good transfer should not call attention to itself, but rather allow the performances to be heard with the greatest clarity. Wolfgang Windgassen • Eleanor Steber There is no over-reverberant ‘cathedral sound’ in an Obert-Thorn restoration, nor is there the tinny bass and piercing mid-range of many ‘authorised’ commercial issues. He works with the cleanest available 78s, and Hermann Uhde • Astrid Varnay consistently achieves better results than restoration engineers working with the metal parts from the archives of the Bayreuth Festival Chorus and Orchestra modern corporate owners of the original recordings. His transfers preserve the original tone of the old recordings, maximising the details in critical upper mid-range and lower frequencies to achieve a musical integrity that is Joseph Keilberth absent from many other commercially released restorations.

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king, and demanding, as was his right before the 5 He tells her to put aside her doubts; he loves her contest, that the knight declare his name and rank, and is of noble origin. She is still afraid that he may accusing him of sorcery. leave her, imagining him summoning the swan to take him away, and urging him with greater vehemence to Great Opera Recordings @ There is general wonder at the secret which the reveal to her his secret. They are interrupted by knight keeps, but support for him. Telramund and his four supporters. Elsa seizes the Richard knight’s sword and hands it to him, and he strikes # The king and nobles have confidence in the knight. Telramund dead. The others seek mercy, while Elsa WAGNER Elsa, alone, is approached by Telramund, who offers to sinks down, fainting. (1813-1883) wound her husband slightly, thus breaking any magic power he might have, and securing his fidelity to her. 6 The knight tells the nobles who had helped The knight, aware of what has been said, orders Telramund to take the body before the king. He calls Lohengrin Telramund and Ortrud to leave his sight. He asks Elsa Elsa’s attendants to prepare her to appear before the Opera in Three Acts whether she doubts him, but she denies any such idea. king, and sadly withdraws, prepared to reveal his Libretto by the Composer The couple approach the king and together they go up identity to her in the royal presence. the steps of the cathedral, although Elsa sees Ortrud’s threatening glance, before they enter for the wedding Scene 3 Lohengrin ...... Wolfgang Windgassen (tenor) ceremony. Elsa of Brabant ...... Eleanor Steber (soprano) 7 The scene is the same as that of the opening, a Friedrich von Telramund ...... Hermann Uhde (baritone) grove by the River Scheldt. The nobles of Brabant Ortrud, his wife ...... Astrid Varnay (soprano) CD 3 gather, prepared to follow the king in battle. Henry the Fowler, King of Germany ...... Josef Greindl (bass) Telramund’s men bring in his corpse and lay it before Herald ...... Hans Braun (baritone) Act III the king. Elsa enters, pale and troubled, unable to Noble 1 ...... Gerhard Stolze (tenor) answer the king’s greeting. Noble 2 ...... Josef Janko (tenor) 1 Prelude Noble 3 ...... Alfons Herwig (baritone) The Prelude suggests the wedding celebrations. 8 The knight enters, alone, and armed as on his first Noble 4 ...... Theo Adam (bass) arrival. He will not follow the king in battle, but Scene 1 uncovers the body of Telramund, explaining the reason Bayreuth Festival Chorus for his action. He then accuses Elsa of breaking her Wilhelm Pitz, Chorus Master 2 The king and nobles escort the knight to the bridal word by seeking to know his name and origin. Bayreuth Festival Orchestra chamber, and Elsa is brought there by her women. The Joseph Keilberth, Conductor king blesses them, and the couple is left alone. 9 He describes the distant castle of Monsalvat and the temple of the Holy Grail, given to the purest to guard by Recorded in July-August 1953 in the Festspielhaus, Bayreuth 3 The two declare their love for each other, alone an angel, with powers revived each year by a dove from First issued as Decca LXT 2880 through 2884 together for the first time. Elsa recalls her dream and heaven, and explains how the knights of the Grail are takes pleasure in her name on her husband’s lips. invincible in their journeys to right the wrongs of the Reissue Producer and Restoration Engineer: Mark Obert-Thorn world, only so long as they remain unrecognised. Once 4 They embrace, and the knight looks out on the their identity is known, they must return. He himself is garden, comparing the fragrance of the flowers to the such a knight, the son of Parsifal, Lohengrin. magic that binds him to her. Elsa, however, still wants to learn her husband’s identity. 0 Elsa sinks down, in distress, but Lohengrin seizes 8.110308-10 2 11 8.110308-10 110308-10 bk LohengrinEU 13/01/2005 03:29pm Page 10

Ortrud, who cannot understand her failure. The seek pardon from her husband for them both. CD 1 78:14 ! Durch Gottes Sieg ist jetzt dein Leben mein 3:45 victorious knight and Elsa are carried out in triumph. (Lohengrin, Chorus, The King, Elsa, Ortrud, 5 Ortrud expresses her gratitude, but sows in Elsa the Act I 65:44 Friedrich) Act II seeds of doubt, as they enter the building. Telramund emerges, praising his wife’s cunning and hoping for his 1 Prelude 10:10 Act II 12:30 Scene 1 enemies’ downfall. (Orchestra) Scene 1 @ It is night in Antwerp. In the palace there is music Scene 3 Scene 1 @ Erhebe dich, Genossin meiner Schmach! 8:04 and rejoicing, while Telramund and Ortrud, in paupers’ 2 Hört! Grafen, Edle, Freie von Brabant! 4:40 (Friedrich, Ortrud) clothing, sit by the door of the cathedral, staring into the 6 The people assemble, as the trumpets sound (Herald, Brabantines, The King, Saxons) night. He is banished and must leave before morning, morning. The doors of the palace open, with a royal # Was macht dich in so wilder Klage doch vergeh’n? blaming his wife for his misfortune, but Ortrud is fanfare. Nobles and citizens gather before the cathedral. 3 Dank, König, dir, dass du zu richten kamst! 6:44 (Ortrud, Friedrich) 4:26 unwilling to leave with her enemy triumphant. (Friedrich, All The Men, Herald) 7 The herald proclaims the banishment of Telramund, # He reproaches her for the loss of his honour and a fate the people think well deserved. He goes on to Scene 2 reputation, since she had told him that she had seen Elsa issue the royal proclamation of the knight as the 4 Seht ihn! Sie naht, die hart Beklagte 3:37 drowning her brother. Protector of Brabant, to marry that day, but then follow (All The Men, The King, Elsa) CD 2 71:49 the king in his wars. This has popular support, but four of Telramund’s followers question the king’s decision 5 Einsam in trüben Tagen 9:49 Act II 71:49 CD 2 and offer to help Telramund in his accusation of sorcery (Elsa, All The Men, The King, Friedrich) against the knight. Scene 1 (continued) Scene 1 (continued) 6 Wer hier in Gotteskampfe zu streiten kam 5:32 1 Du wilde Seherin! wie willst du doch 7:01 Scene 4 (Herald, All The Men, Friedrich, Elsa, Ladies, (Friedrich, Ortrud) 1 Ortrud claims that the knight’s victory was through First Chorus, Second Chorus) magic, and this spell can be broken if Elsa is persuaded 8 Four pages announce the bridal procession, which Scene 2 to ask the knight his name. Telramund agrees with her moves from the women’s quarters towards the Scene 3 2 Euch Lüften, die mein Klagen 3:43 plan. cathedral. 7 Nun sei bedankt, mein lieber Schwan! 4:14 (Elsa, Ortrud, Friedrich) (Lohengrin, Men and Women, The King) Scene 2 9 Ortrud emerges from the procession and steps in 3 Wer ruft? Wie schauerlich und klagend 4:15 front of Elsa, questioning the right of the mysterious 8 Zum Kampf für eine Magd zu steh’n 7:10 (Elsa, Ortrud) 2 Elsa appears on the balcony of the women’s knight and protesting her husband’s former reputation (Lohengrin, Elsa, Men and Women) quarters, overlooking the square, and thanks the breezes and renown. She challenges Elsa to discover the name 4 Entweihte Götter, helft jetzt meiner Rache! 4:09 for bringing her happiness. She is observed by and origin of her husband and the origin of his magic 9 Nun hört! Euch, Volk und Edlen, 2:17 (Ortrud, Elsa) Telramund and Ortrud, who tells her husband to power. mach’ ich kund withdraw, while she deals with Elsa. (Lohengrin, All The Men, Friedrich, The King) 5 Wie kann ich solche Huld dir lohnen 8:15 0 The king and Saxon nobles emerge from the palace, (Ortrud, Elsa, Friedrich) 3 Ortrud calls out to Elsa in humble tones, and is together with the knight, greeted by the people. Elsa 0 Nun höret mich und achtet wohl 7:46 invited, out of pity, to enter. explains to the knight Ortrud’s accusation, and he (Herald, All The Men, Lohengrin, Friedrich, Scene 3 promises to defeat her. The King, Elsa, Ortrud, Ladies) 6 Im Früh’n versammelt uns der Ruf 5:15 4 As she waits for admittance, Ortrud prays to her (Chorus) gods to grant her revenge. Elsa joins her, promising to ! Telramund now comes forward, appealing to the 8.110308-10 10 3 8.110308-10 110308-10 bk LohengrinEU 13/01/2005 03:29pm Page 4

7 Des Königs Wort und Will’ tu’ ich euch kund 8:06 Scene 2 Synopsis seemed to see a noble knight, carrying a golden horn at (Herald, Chorus, Four Nobles, Friedrich, 3 Das süsse Lied verhallt; wir sind allein 8:01 his side and leaning on his sword, one who will defend Four Pages) (Lohengrin, Elsa) CD 1 her. Telramund rejects the indignity of calling any witness, and the king decrees that the matter shall be Scene 4 4 Atmest du nicht mit mir die süssen Düfte 5:24 Act I settled by mortal combat, a decision to which both 8 Gesegnet soll sie schreiten 5:37 (Lohengrin, Elsa) parties assent. Elsa chooses as her champion the knight (Chorus) 1 Prelude she has seen in her trance, to whom she will give her 5 Höchstes Vertrau’n hast du mir schon zu danken The Prelude to Lohengrin includes the Grail motif, hand in marriage and on whom she will bestow all her 9 Zurück, Elsa! Nicht länger will ich dulden 6:04 (Lohengrin, Elsa) 8:14 which appears, vanishes, and then returns once more. lands. (Ortrud, Elsa, Pages, Men, Women, Ladies) 6 Weh’, nun is all’ unser Glück dahin! 3:55 Scene 1 6 The herald calls for Elsa’s champion to come 0 Heil! Heil dem König! 3:14 (Lohengrin, Elsa) forward, calling out once more, but with no response. (Brabantines, The King, Elsa, Lohengrin, 2 The scene is a grove by the River Scheldt near Elsa kneels down in prayer, and suddenly shouts are The King’s Train) Scene 3 Antwerp. Under the Judgement Oak sits King Henry, heard from the river, where a knight approaches, in a 7 Heil, König Heinrich! 8:34 his nobles around him. A herald calls on the nobles and boat drawn by a swan. ! O König! Trugbetörte Fürsten! Haltet ein! 5:15 (All The Men, The King, Four Nobles) citizens of Brabant. They greet their king, who rises and (Friedrich, The King and Men, Ladies, Boys) addresses them, calling on them to join him in fighting Scene 3 8 Macht Platz, macht Platz dem Helden 6:02 the Hungarians. He then turns to the local dissension @ Welch ein Geheimnis muss 4:08 von Brabant! among them, calling on Count Friedrich von Telramund 7 The knight steps from the boat, thanking the swan der Held Bewahren? (Chorus, The King, Lohengrin, The King’s Men, to explain matters to him. for his service, while those assembled wonder at the (The King and Men, Ladies, Boys, Friedrich, Ladies) sight. The knight greets the king. Ortrud, Lohengrin, Elsa) 3 Count von Telramund recounts his position as 9 In fernem Land, unnahbar eu’ren Schritten 6:17 guardian to the deceased Duke’s children, Elsa and 8 He tells him he has been sent to fight for a maiden # Mein Held entgeg’ne kühn dem Ungetreuen! 6:46 (Lohengrin, The King, Men, Women) Gottfried, and the disappearance of the latter, while out in distress. He asks Elsa if she will trust him, marry him, (The King, Saxon and Brabantine Nobles, walking with his sister. Elsa had admitted her guilt in but never ask his name or origin. Lohengrin, Friedrich, Elsa, Ladies, Boys, Men) 0 Mir schwankt der Boden! Welche Nacht! 5:12 the matter, and Telramund had renounced his right to (Elsa, Lohengrin, The King, Men, Women, Ladies) marriage with her, marrying instead the Friesian 9 The knight then declares Elsa’s innocence, calling princess Ortrud. Ortrud steps forward and bows to the for combat. Nobles try to persuade Telramund to ! Mein lieber Schwan! 4:50 king. Telramund goes on to charge Elsa with the murder withdraw, but he refuses, and the ground is prepared for (Lohengrin, The King, Men, Women) of her brother and to suggest the existence of a secret the trial of strength. lover, with whom she has plotted to rule Brabant. The CD 3 69:30 @ Fahr’ heim! Du stolzer Helde! 3:50 king hangs his shield on the oak-tree, a sign that the trial 0 The herald commands that the combat should take (Ortrud, Chorus, Lohengrin, Elsa) will begin. The men draw their swords and the herald place without interference, admonishing the two Act III 69:30 summons Elsa. combatants, who declare their resolve to fight for justice. The king prays for truth to prevail, joined by the 1 Prelude 3:11 Scene 2 company, except for Ortrud, who has confidence in the (Orchestra) martial prowess of her husband. The trumpet sounds 4 Elsa enters, an image of innocence and purity. The and combat begins. Scene 1 king questions her, and she sadly denies her guilt. 2 Treulich geführt, ziehet dahin (Wedding March) ! The knight fells Telramund, but spares his life, (Ladies, Men, Women) 5:59 5 She goes on to tell of her dream, in which she embracing Elsa, to the general delight of all, except 8.110308-10 4 9 8.110308-10 110308-10 bk LohengrinEU 13/01/2005 03:29pm Page 8

1945, however, that he joined the Company, singing Opera Company at the Edinburgh Festival in 1952, the Richard WAGNER (1813–1883) German and Italian rôles in addition to Tarquinius in year in which he also first conducted at the Bayreuth Lohengrin Britten’s The Rape of Lucretia and John Sorel in Festival. Keilberth conducted the Ring cyle in the years Menotti’s The Consul. In 1947 Braun was a member of 1952-56 in addition to Lohengrin in 1953-54, The legends, which eventually resulted in the operas must not ask him to reveal his identity. The villainous the Vienna Company which visited Covent Garden in Tannhäuser in 1954-55, and Der fliegende Höllander in Tannhäuser and Lohengrin, came to the notice of Ortrud is determined to find the name of Elsa’s husband London, and he returned as a guest in 1948-49 to sing 1955-56. He was a much-admired interpreter of Wagner while he was in Paris in 1841. In the summer of and demands she ask the forbidden question. Having the Count in Figaro and Melot in Tristan, and again in Bruckner, Pfitzner, Richard Strauss and Wagner. His 1845 the composer returned to the Lohengrin story, slain Telramund in self-defence, the Knight announces 1953, as Orest in Elektra under Erich Kleiber. He also reading of Die Meistersinger was made at the re- briefly told in Wolfram von Eschenbach’s poem he is Lohengrin, the son of Parsifal, a Knight of the sang in Italy and Spain. The Herald was his single rôle opening of the renovated Staatsoper building in Munich Parzival, and in fuller detail in an anonymous Holy Grail at Montsalvat in Spain. At the end the swan, at Bayreuth. in 1963. thirteenth-century German poem entitled Lohengrin and which had been transformed by Ortrud’s witchcraft, is The German conductor Josef Keilberth (1908- The overall view of this whole enterprise is of the a French epic Le Chevalier au Cygne. Having drafted a restored as Gottfried. 1968) joined his city’s Opera House in 1925 as a superbly smooth and dignified interpretation of prose scenario for a possible opera after returning to Wagner’s part in the Dresden revolt of 1849 repetiteur following studies in his birth place, later Lohengrin by Wolfgang Windgassen, the clear-toned Dresden on 3rd August, Wagner then set about obliged him to flee the Saxon state. Furthermore, the becoming chorus-master. He was appointed Elsa of Eleanor Steber, the finely characterized and constructing the poem which he completed by 27th intended première was removed from the schedule of Generalmusikdirecktor in 1935, a post he held for five cleanly sung Telramund of Hermann Uhde, the November. By 1846 he began composition on the work, the Court Opera. At the composer’s request, Lohengrin years. In 1940 he was selected as conductor of the superlative singing of the choral forces (trained by starting with the Third Act first, then the First, and then was first produced at the Court Theatre in Weimar on Deutsche Philharmonie in Prague. He was in charge of Wilhelm Pitz) and Josef Greindl benevolent as the the Second (which was completed by 30th July), finally 28th August 1850 under the direction of Liszt, while the Staatsoper in Dresden from 1945 to 1949 but also King. On the distaff side, the powerful and dramatically finishing with the opening Prelude for the opera, the Wagner had taken refuge in Switzerland. The orchestra conducted regularly at the Staatsoper in Berlin between intense Ortrud of Astrid Varnay, it must be said, is at whole complete draft being finished on 29th August. comprised 38 players, and the initial reception was 1948 and 1951. Joining the Staatsoper in Munich in times a trial with her wide vibrato. Nevertheless, Josef (He had realised from the beginning that the middle act muted, with the opera not taken up elsewhere. It was 1951, he was made Generalmusikdirecktor the Keilberth controls the whole with a steady almost would prove the most problematic.) The work was eventually given in Vienna in 1861, and later seen in following year, a position he held until his death in 1968 reverential hand in the accepted Wagnerian manner. finished in full score by 28th April 1848. Six months London, Milan and St Petersburg. Thereafter it has whilst conducting a performance of Tristan. He later the composer conducted a concert performance of remained among the composer’s most performed appeared in Britain with the visiting Hamburg State Malcolm Walker the Finale of the First Act. works. Lohengrin was the last opera in which the composer Lohengrin has been popular with film-makers since could bring himself to make use of the more 1902, the year when a three-minute silent sequence was conventional operatic expression; the stage is alive with used in a black and white film. A fifty-minute silent crowded scenes and awkward-looking trumpet-players, German adaptation appeared in 1916 when live singers the chorus contributes much onlooker’s comment, and and orchestral forces were used to accompany there are occasional ensembles for solo voices. The screenings. In 1947 a more expanded Italian-language opera was conceived as a drama in historical terms film was directed by Max Calandri and ran for more between Christianity and Paganism. Lohengrin than a hundred minutes. It employed a cast of actors represents the former, Ortrud (Wagner’s own creation) miming to a separate cast of singers for the soundtrack. and her husband Telramund the latter. Heinrich is the The Bayreuth Festival, Wagner’s own creation, was historical Henry the Fowler, King of Saxony and 75 years old in 1951. The opera house re-opened its champion of German unity against the invading doors, after closure since 1944, on 29th July 1951 with a Hungarians. Elsa of Brabant is accused of the abduction performance of Beethoven’s Choral Symphony under and murder of her brother Gottfried, heir to the Brabant Wilhelm Furtwängler (1886-1954). The occasion was Kingdom. Her defender, a mysterious Knight, arrives in recorded by EMI who were also to record Herbert von the swan-drawn boat, defeats her accuser Telramund, Karajan (1908-1989) in Die Meistersinger von egged on by Ortrud, and claims Elsa as his bride. She Nürnberg and the Ring cycle under producer Walter 8.110308-10 8 5 8.110308-10 110308-10 bk LohengrinEU 13/01/2005 03:29pm Page 6

Legge and engineer Robert Beckett. The new artistic Hoffmann, and Florestan. His first foray in the Austrian and Hungarian parentage, Astrid Varnay (b. 1951 until 1957 where his rôles included Gunther, directors of the Festival, Wagner’s grandsons, Wieland Wagnerian Heldentenor rôles was as Siegmund in 1918). Her father was the Austrian singer Alexander Klingsor, Donner, Titurel and the Dutchman. He sang (1917-1966) and Wolfgang (b. 1919), were also 1950-51. He appeared in the reopening season at the Varnay (1889-1924) who later became stage manager at with the visiting Munich Company at Covent Garden in approached by EMI’s British rival, the Decca Record Bayreuth Festival in 1951, continuing there until 1970. the Stockholm and Oslo opera houses. Studying first 1953 and appeared with the resident London Company Company, through its German partner, Teldec, to record He sang all the principal rôles during those years, even with her mother, the coloratura Maria Yavor, and as Telramund, the four Hoffmann villains (sung in Parsifal and the Ring cycle under Hans if his voice was on the light side for such assignments. Hermann Weigert, whom she married in 1944, she faultless English) and Gunther between 1954 and 1960. Knappertsbusch. Decca sent the producer John Culshaw He sang in Milan (1952), Paris (1954), Covent Garden made an unheralded short notice début without any His New York début was as Telramund in 1955, and and engineer Kenneth Wilkinson to undertake their (1955-56), at the Metropolitan (1957) and in San rehearsal, replacing an indisposed Lotte Lehmann, as during his years there he sang sixty performances of recordings, making use of Teldec’s equipment. When Francisco (1970). He was an admired Otello, also Sieglinde in Die Walküre at the Metropolitan Opera in twelve rôles, including Amfortas, the Grand Inquisitor the two companies returned to Britain, it was found singing Adlor (Euryanthe), the title rôle in Rienzi and New York in December 1941. Six days later she and the title part in Wozzeck (in English) in its United their respective labours were fraught with problems. the Emperor in Die Frau ohne Schatten. He was a sound replaced Helen Traubel as Brünnhilde. She would States stage première. A much admired and respected EMI eventually released their Meistersinger but only musician, capable of much sensitive singing, who paced continue to sing at the Met until 1958, but returned performer, Uhde died on stage in Copenhagen during the Third Act from Die Walküre, Decca releasing himself in technically demanding singing rôles. In 1972 again in 1974, giving 158 performances in a total of 24 Bentzon’s Faust III in October 1965. Parsifal only. Years later Götterdämmerung would he became opera director in Stuttgart. His standing as rôles over nineteen seasons. In May 1948 she first sang The German bass Josef Greindl (1912-1993) was eventually be issued, but not by Decca or Teldec. EMI the leading Heldentenor of his time is preserved on a rôles in the Italian repertory, including Aida, Gioconda born in Munich in 1912 and studied singing with the did not return to Bayreuth after 1951, Decca in 1953 variety of recordings. and Tosca, in Mexico City. Her European début at bass Paul Bender and the soprano Anna Bahr- and 1955 only. Virginia-born soprano Eleanor Steber (1914- Covent Garden was as Brünnhilde in Siegfried in Mildenberg. His début took place with a semi- The Decca project for 1953 was to be Lohengrin in 1990) made her formal début as Senta in Der fliegende November 1948. Varnay would return in 1951, 1958-59 professional performance of Weber’s Der Freischütz in a new production by Wolfgang Wagner. There would Holländer in Boston at the age of 22. After success in and 1974, also singing Isolde. She appeared in the re- 1935, followed by a professional one the following year be one final dress rehearsal and four performances in the Metropolitan Opera Auditions of the Air, she made opening season at Bayreuth in 1951, continuing every in Krefeld as Hunding. He sang in Düsseldorf between which to make the recording. Following their 1951 her first appearance at the opera house as Sophie in Der year until 1968, singing the principal soprano rôles (and 1938 and 1942 before moving to Berlin. Engaged first experiences, Culshaw and Wilkinson were again in Rosenkavalier in December 1940. Renowned as an some mezzo rôles from 1962). She also appeared in at the city’s Staatsoper, Greindl moved to the Städtische charge of the recording. Having recorded the rehearsal outstanding Mozartian through her singing of all Florence (1951), Paris (1956) and Milan (1957). It was Oper in 1949. His first appearance at the Bayreuth and the first performance on 23rd July, however, Teldec principal soprano rôles, she also was much admired in in the Strauss and Wager repertoire that she is best Festival was in 1943 and he returned regularly during decided their engineers would record the final three the French, German and Italian repertoires. Steber also remembered but she was much admired in Italian rôles. the seasons 1951 to 1970, singing all the principal bass performances. The upshot was that the balance appeared in the title rôle of Arabella (1955) and as Despite a less than perfect vocal technique, Varnay was rôles in addition to Hans Sachs, the rôle with which he employed by the two sets of engineers differed and the Marie in Wozzeck (1959) in the Met’s first productions a committed actress and compelling stage performer as made his London début in 1963. He also sang in New finished edited master-tape comprised sections of in addition to the memorable creation of the title rôle of can be heard in this recording. York and Milan. Greindl was a fine Mozartian and a Decca’s and Teldec’s respective versions. Samuel Barber’s Vanessa (1958). Her European The Bremen born German baritone, Hermann much-admired Boris Godunov in addition to appearing The title rôle in this recording of Lohengrin is sung appearances were confined to Edinburgh (1947, with Uhde (1914-1965), undertakes the part of Telramund. in Schoenberg’s Moses und Aron in the first German by the German tenor Wolfgang Windgassen (1914- the Glyndebourne Company), Bayreuth (1953), Studying as a bass in his native city, it was here that he performances in 1959. After retiring he taught singing 1974). Born in Annemasse in Switzerland, he studied Florence (1954) and Salzburg (1958). She remained made his début as Titurel in Parsifal in 1936. He then in Saarbrücken. with his father, the tenor Fritz Windgassen (1883-1963) with the Met until 1963, and was a much-admired spent two further seasons there before moving to Hans Braun sings the rôle of the Herald. Born in and at the Stuttgart Conservatorium with Maria Ranzow performer whose spontaneity, energy and versatility Freiburg (1938-40), Munich (1940-43) and The Hague Vienna in 1917, as a child he sang in the Wiener and Alfons Fischer. His mother, also a singer, was Vally went hand in hand with a well-schooled and attractive (1942-44). He was then conscripted into the German Sängerknaben before studying with two famous von der Osten, sister of the soprano Ester van der Osten. voice. Her London début was on the concert platform in Army and was later captured by American forces. He Viennese singers Hermann Gallos and Hans Duhan. His He made his début as Alvaro in La forza del destino at 1964. In later years she appeared in musicals and resumed his career in 1947, singing first in Hanover, début took place in early 1938 in Königsberg as the Pforzheim in 1941. Four years later he joined the concerts, in addition to teaching. and then Hamburg (1947-50), Vienna (1950-51), and Count in Figaro. This was followed by engagements in Company in Stuttgart where he would continue until his returning to Munich (1951-60). His first Salzburg Bremerhaven, Saarbrücken and the Deutsches retirement in 1972. He sang initially in the Italian The rôle of the evil and manipulative Ortrud is sung Festival appearance was in 1949 when he created Creon Opernhaus, Berlin. His first Viennese appearance was repertoire eventually taking on Tamino, Max, by the American soprano, later mezzo-soprano, of in Carl Orff’s Antigonae. Uhde sang at Bayreuth from as a guest at the Staatsoper in 1939. It was not until 8.110308-10 6 7 8.110308-10 110308-10 bk LohengrinEU 13/01/2005 03:29pm Page 6

Mark Obert-Thorn

8.110308-10 12 NAXOS Historical Windgassen • Steber • Keilberth 8.110308-10 Time Playing 2:22:37 of his time. No less Act III 69:30 @ - CD 31 69:30 ential conducting of Josef ential conducting of r olfgang Windgassen, the leading ve eilberth, interpreter admired a much elramund of Hermann Uhde, elramund the This 1953 recording,This 1953 Anglo- a joint German enterprise, for is outstanding and dignified smooth the superbly of Lohengrin by interpretation W Heldentenor Elsa the clear-toned are praiseworthy of Eleanor Steber, the finely sung characterised and cleanly T forces singing of the choral superlative Wilhelm the legendary(trained by almost Pitz) and the attentive re K of Bruckner, Pfitzner, Strauss Richard and Wagner. Richard (1813 – 1883) (1813 WAGNER Act II (continued) 71:49 Lohengrin # - 1 CD 2 71:49 Recorded July to August1953 August1953 to July Recorded in the Festspielhaus, Bayreuth ADD Act IAct II 65:44 12:30 8.110308-10 Bayreuth Festival Chorus • Wilhelm Pitz,Chorus Chorus • Festival Master Bayreuth ! # www.naxos.com Reissue Producer and Restoration Engineer:Reissue Producer Mark Obert-Thorn Collection) photo: Potter Cover Windgassen (Tully Wolfgang Bayreuth Festival Orchestra • Joseph Keilberth, • Joseph Orchestra Festival Bayreuth Conductor - - Lohengrin Windgassen ...... Wolfgang Elsa of Brabant...... Eleanor Steber Telramund Friedrich von ...... Hermann Uhde Ortrud ...... Varnay Astrid Henry the Fowler ...... Greindl Josef Herald ...... Hans Braun ...... Noble 1...... Stolze Gerhard Noble 2...... Janko Josef Noble 3...... Herwig Alfons Noble 4...... Adam Theo 1 @ CD 1 78:14

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NAXOS Historical WAGNER: Lohengrin 8.110308-10