Favorite vocal recitals on CD or DVD

[Tsaraslondon]

This recital was recorded live at concerts in 1979 and 1980. The Bellini and Donizetti items at least are superb, with Ricciarelli spinning out the elegiac phrases with great feeling. Her handling of the rectative before Giulietta's Oh, quante volte is also wonderfully expressive, with Ricciarelli alive to the meaning of every word. The versimo items suit her less well vocally, but she is always thoroughly inside the music. A fuller review on my blog.

[Tsaraslondon]

Sylvia Sass recorded three recitals for Decca between 1977 and 1981 and this twofer brings all three recitals together. The first recital had one side of Puccini and one of Verdi and announced an exciting soprano of uncommon dramatic flare and ability, though the second, consisting of arias by Bellini, Ponchielli and Verdi was not quite so successful. her tendency to exaggerate dynamic extremes has become something of a habit and she over-dramatises to the extent that some of her effects, especially in Lady Macbeth's arias, verge on the comical rather than the dramatic.

In some ways, I actually find the last recital of songs by Liszt and Bartók the most satisfactory. Wonderfully supported by András Schiff, she gives superbly dramatic performances of these songs, but, possibly because she is singing with piano, works within a smaller dynamic range, more suited to Lieder.

A fascinating set, which I revieved on my blog a few years ago.

[Tsaraslondon]

This 1981 recital is, I think, one of Sass's most successful recital records. The Mad Scene from Lucia di Lammermoor is sung, I imagine, as written, which means no interpolated top Ebs and no extended cadenza with flute, which will no doubt put many off, but I rather like its modesty in terms of vocal display. She certainly gets to the heart of the character.

The Willow Song and Ave Maria from Otello are also very fine, with Sass perfectly conveying the apprehension in the former and repose of the latter, with a beautifully floated top note at the end. The arias from Un Ballo in Maschera also go well, but Pace, pace from La Forza del Destino doesn't get off to a great start, with Sass coming in with an unlovely, overloud first note, ignoring Verdi's instruction for a messa di voce. Things improve after that, but I'd count this the least successful item on the disc. Nonetheless, an enjoyable recital.
 

[Tsaraslondon]

A thoroughly enjoyable and enertaining collection from the charming Brazilian soprano, which I reviewed more extensively on my blog.

[Tsaraslondon]

A treaaurable collection of recordings by the great Tito Schipa. So many favourites here including duets with Toti Dal Monte and the wonderful Cherry Duet from L'amico Fritz with Mafalda Favero.

[Tsaraslondon]

Songs and duets by Bach, Weber, Cornelius, Reger, Busoni, Richard Strauss, Richard Trunk and Johann Seauss II.

These are very early recordings, made before Schwarzkopf had met Walter Legge. At this time her stage roles would have been Zerbinetta and Sophie but, even so, there are occasions here when I rather wish her accompanist and then mentor, Michael Raucheisen had chosen slightly lower keys. Still enough of the personality of the singer she was to become is here to make this a fascinating document.

[Florestan]

A treaaurable collection of recordings by the great Tito Schipa. So many favourites here including duets with Toti Dal Monte and the wonderful Cherry Duet from L'amico Fritz with Mafalda Favero.

Simply one of the best operatic recordings ever assembled on disc. Desert island stuff.

[Tsaraslondon]

An interesting collection of broadcast recordings, dating from 1941 to 1952. The prize is, without doubt, Schwarzkopf's sensational singing of Korngold's Glück das mir verblieb but all are worth hearing. A fuller review on my blog.

[Tsaraslondon]

Not the whole disc. Just the operatic items that appear as fillers, both recorded in 1947 and originally issued on 78s, when Schwarzkopf was still Sophie. The sparkling duet from Hänsel und Gretel was recorded in London with the Philharmonia under Josef Krips and the Presentation of the Silver Rose in Vienna with the Vienna PO under Karajan. Both singers are superb and Schwarzkopf at this time sounds like the perfect Sophie, her voice soaring out in the high lying phrases.

[Tsaraslondon]

Just the final three tracks, which are all transfers from 78s, recorded in 1946 and 1948.

Die Entführung aus dem Serail - Welcher Kummer ... Traurigkeit - VPO - Josef Krips
- Martern aller Arten - VPO - Herbert von Karajan
Die Zauberflöte - Ach, ich fühls (in English) - Philharmonia Orch - Warwick Braithwaite

The voice was light and girlish when these recordings were made, but still recogisable and the artistry is evident from the first note.

[Tsaraslondon]

More early Schwarzkopf recordings from the days when she was still considered a light coloratura, and only in the Beethoven arias, origially issued as fill-ups for Karajan's 1955 Philharmonia Beethoven cycle do we hear the voice of the more mature artist.

The Bach, Handel and Mozart items were all recorded between 1947 and 1950, with the voice at its lightest and freshest, even up to a clear and sweet top D in Handel's Sweet Bird. The outer movements of Bach's Jauchzet Gott are taken rather fast and sound a little hectic, but the slower middle section is deeply felt and very beautiful. So too is the gently lulling Schafe, können sicher weiden. Mozart's Exsultate Jubilate is brilliantly done, with Schwarzkopf introducing some lovely tonal shading in the final Allelujah.

By the time of the Beethoven items, the voice has notably matured, becoming richer and more beautiful in the middle and lower registers. Ah, perfido! is surely one of the greatest performances recorded, brimming with drama and significance, but Leonore's Abscheulicher! is something of an inconclusive experiment. Karajan had wanted her to sing the role on stage, and she did briefly consider it, but wisely concluded the role wasn't for her. The performance is deeply felt, and the middle section has a wonderful innigkeit, but the role does sound a little too big for her. Nonetheless I enjoyed her beautifuly considered interpretation. Dennis Brain also contributes a wonderful horn solo.

[Pohjolas Daughter]

Not the whole disc. Just the operatic items that appear as fillers, both recorded in 1947 and originally issued on 78s, when Schwarzkopf was still Sophie. The sparkling duet from Hänsel und Gretel was recorded in London with the Philharmonia under Josef Krips and the Presentation of the Silver Rose in Vienna with the Vienna PO under Karajan. Both singers are superb and Schwarzkopf at this time sounds like the perfect Sophie, her voice soaring out in the high lying phrases.

Love the duet from der Rosenkavalier with Seefried.  Exquisite music and exquisite singing.

PD

[Tsaraslondon]

An interesting release of material discovered in the EMI vaults and released in 1990.

We start with a really lovely performance of Bach's Cantata, Mein Herze schwimmt im Blut, which is followed by surviving excerpts from a rehearsal for a performance of Bach's Mass in B Minor under Karajan, with Ferrier partnering Schwarzkopf in the Christe eleison and Et in unum Dominum. Schwarzkopf sings the Laudamus te.

A charming performance of Mozart's Nehmt meinen Dank comes next, recorded in 1955 with the Philharmonia under Alceo Galliera.

The Gieseking Kinderlieder were recorded as a favour to the great pianist, recorded at the same time they made their album of Mozart Lieder. Undemanding music perhaps, but Schwarzkopf characterises them brilliantly. I'm sure Gieseking was delighted.

Finally we have a live performance of Strauss's Vier lerzte Lieder with the Philharmonia under Karajan at the Royal Festival Hall in 1956. It is certainly interesting to hear Schwarzkopf singing them live, but I wouldn't place this above either of her two studio recordings under Ackermann and Szell. Inexplicably, Karajan places September last, which makes a less satifactory end, especially given the rather fast tempo he takes it at, though it has slowed down a bit by the end. (I assume the wonderful horn playing is by Dennis Brain.) Im Abendrot also starts out rather fast, but again has slowed down towards the end of the song. Schwarzkopf is in wonderful voice and has no trouble riding the orchestra, but it doesn't replace the recording she made ten years later with George Szell. For me it catches the autumnal glow of these songs like no other. The prize of this version would be Frühling, with Schwarzkopf's voice soaring out over the orchestra with a bit more ease than it does in 1965.

[Atriod]

Put this back in my heavy rotation, one of my favorites from the 2000s.

[Pohjolas Daughter]

Put this back in my heavy rotation, one of my favorites from the 2000s.

The only recording that I've heard of hers is of Hans Abrahamsen.  Reinbert De Leeuw's name is slightly familiar to me.  I suspect that I might have a recording of his as part of a boxed set of recordings from a Dutch festival.  Besides being a composer, I see that he was also a pianist and a conductor and a champion of modern music.

Do you have any favorite songs from this CD, Tsaras?

PD

[Tsaraslondon]

The only recording that I've heard of hers is of Hans Abrahamsen.  Reinbert De Leeuw's name is slightly familiar to me.  I suspect that I might have a recording of his as part of a boxed set of recordings from a Dutch festival.  Besides being a composer, I see that he was also a pianist and a conductor and a champion of modern music.

Do you have any favorite songs from this CD, Tsaras?

PD

I think you've got your posts mixed up. I didn't post the Hanningan CD, but I'd be interested to hear it.

[Pohjolas Daughter]

I think you've got your posts mixed up. I didn't post the Hanningan CD, but I'd be interested to hear it.

You're right!  Whoops!

PD

[Pohjolas Daughter]

Put this back in my heavy rotation, one of my favorites from the 2000s.

I'd be curious to hear your thoughts on this.  Earlier, I had goofed--thinking that TsarasLondon had posted it (pleas see my comments).  Thanks! 

PD

[Tsaraslondon]

Schwarzkopf was in superb form for this 1956 recital and it is very interesting to hear what she sounded like in front of a (very appreciative) live audience.

The recital is very well planned, starting off with the lovely Bist du bei mir, once attributed to Bach, then songs by Pergolesi, Handel and Gluck. Beethoven's Wonne der Wehmut leads us into a Schubert group, which in turn is followed by a Wolf group. It is notable here how much more vivid her performance of Kennst du das Land than the one recorded in the studio. In any case this song has always been a locus classicus of Schwarzkopf's art and I know of no other artist who captures so brilliantly its yearning intensity. Throughout the recital the audience sit in abosrbed silence, only breaking out into rapturous applause at the end of each group. However when she finishes with her Strauss group, they can't contain themselves any longer and they burst out clapping before Gerald Moore has finished the postlude to Hab's gesagt, blibt's nicht dabei.

The response triggers three encores and she finally finishses with a joyfully ecstatic performance of Schubert's Ungdeuld. It remains only to say that Gerald Moore is, as always, the perfect accompanist and he rapport the two artists enjoyed is apparent throughout.

One of my very favourite Schwarzkopf discs.

[Tsaraslondon]

More wonderful recordings from EMI's vaults. The Mozart finds her in fresher voice than the one she recorded later with Brendel and Szell, a recording that she herself had equivocal feelings about. A fuller review on my blog.