The Complete 78 RPM Recordings

The Complete 78 RPM Recordings

The Complete 78 RPM Recordings

The Complete 78 RPM Recordings:at our store, we stock over 2000 models, so if you see the manufacturer, but not the model, don't be shy - give us a call and we will be happy to check! This is an excellent supplement to the recent 31 CD set of Schwarzkopf's complete LP recitals, originally recorded for EMI. It gives us an opportunity to hear her in lesser known recordings, some of material we don't associate with her, such as Puccini arias. It also allows us to hear her in more youthful voice in selections of more characteristic work, such as Lieder of Hugo Wolf. Even in the period the album covers (1946-52), Schwarzkopf was already a major interpreter of Lieder and Mozart operas, so these earlier recordings are well worth having. In my opinion, she was one of the leading singers of the 20th century, without parallel as an interpreter of this repertory.The accompanying booklet contains helpful essays by Alan Sanders, in English and German, and André Tubeuf, in French. There are no texts or translations included, as is current nowadays, but it shouldn't be that difficult to hunt these down on the Internet. This omission should certainly not deter anyone from buying the album, which is otherwise a treasure.max 72% off,ultra-cheap deals,portland mallThe Complete 78 RPM Recordings
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Editorial Reviews

In 1946, the young Elisabeth Schwarzkopf made her first recording with the British producer Walter Legge in Vienna. He became her husband in 1953. All the recordings in this 5-CD collection date from the first six years of their professional and personal relationship, as Schwarzkopf, with the captivating freshness of her voice and finesse of her artistry, established herself as one of the leading sopranos of her time.

These recordings were made between 1946 and 1952 and were all were produced by the legendary Walter Legge, who became Schwarzkopf’s husband in 1953. He was a determining influence on her career, perhaps above all in her interpretations of the songs of Hugo Wolf, which feature prominently in this collection.

Schwarzkopf first met Legge in 1946, when the British producer visited Vienna (where the German-born soprano was based) to meet Herbert von Karajan and to scout for talent.

In 1976, the British music critic Edward Greenfield, who knew Elisabeth Schwarzkopf well, wrote in Gramophone: “If Elisabeth Schwarzkopf has established herself as a positive artist of unrivalled magnetism, she is the first to attribute to Walter Legge a dominant share in that success. ‘If I say I’m His Master’s Voice, people think I’m joking,’ she says, ‘but I’m not’. That first audition [in Vienna in 1946] proved at the very start that Schwarzkopf’s firm will could stand up to Legge’s insistence, that her all-demanding artistic standards could blossom from the most searching scrutiny, that their talents, and indeed their strong and vital personalities, were complementary.”

These recordings, all made in Vienna or London, feature: Operatic arias and duets by German (Beethoven, Humperdinck, Strauss), Austrian (Mozart), Italian (Verdi, Puccini) and French (Bizet, Charpentier) composers. Songs, notably by Wolf, Schubert and the Russian composer Nicolai Medtner. Appearances by such major artists as: conductors Herbert von Karajan, Karl Böhm amp; Joseph Krips; pianists Gerald Moore amp; Nicolai Medtner; soprano Irmgard Seefried, baritone Erich Kunz The Vienna Philharmonic and Philharmonia Orchestras

Schwarzkopf re-recorded a number of the items later in her career, with greater vocal richness and still more interpretative insight, but these recordings from the 78 era show her voice and artistry at their freshest. ü A number of items are reminders of her early prowess as a lyric coloratura soprano – for instance Konstanze’s arias from Mozart’s Die Entführung aus dem Serail, Johann Strauss’ Frühlingsstimmen and her assumption of the role of Sophie in Der Rosenkavalier (she later, of course, became celebrated as the Marschallin).

No less than 25 tracks in this set are released for the first time on CD.

Amongst these, these two Wolf lieder have never previously been released: Wolf: In dem Schatten meiner Locken Wolf: Wer tat deinem Füßlein weh?

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The Complete 78 RPM Recordings

The Complete 78 RPM Recordings:at our store, we stock over 2000 models, so if you see the manufacturer, but not the model, don't be shy - give us a call and we will be happy to check! This is an excellent supplement to the recent 31 CD set of Schwarzkopf's complete LP recitals, originally recorded for EMI. It gives us an opportunity to hear her in lesser known recordings, some of material we don't associate with her, such as Puccini arias. It also allows us to hear her in more youthful voice in selections of more characteristic work, such as Lieder of Hugo Wolf. Even in the period the album covers (1946-52), Schwarzkopf was already a major interpreter of Lieder and Mozart operas, so these earlier recordings are well worth having. In my opinion, she was one of the leading singers of the 20th century, without parallel as an interpreter of this repertory.The accompanying booklet contains helpful essays by Alan Sanders, in English and German, and André Tubeuf, in French. There are no texts or translations included, as is current nowadays, but it shouldn't be that difficult to hunt these down on the Internet. This omission should certainly not deter anyone from buying the album, which is otherwise a treasure.max 72% off,ultra-cheap deals,portland mallThe Complete 78 RPM Recordings