Richard Strauss (1864 - 1949)
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Erna Schlüter, Gusta Hammer, Annelies Kupper
Robert Hager, Peter Markwort
Chor der Hamburgischen Staatsoper
Philharmonisches Staatsorchester Hamburg
dir: Eugen Jochum
Acanta - Membran (2012) 233494 ADD 2 CDs
Recorded: June 1944
(Very good mono sound)
[cue & flac; cover, inlays, booklet & disc scans]
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Review
"First, the sound here is extraordinarily good for a recording made in Hamburg during the dark days of June 1944; it must have been committed to metal tape as few allowances have to be made in comparison with good mono recordings of the 50’s and there is no audible distortion at high volume.
Second, the although the average collector might wonder who the singers are, s/he may be assured that they are major voices entirely up to the demands of their roles; the listener is immediately struck by the strength, precision and immediacy of the singing of the Five Maids, amongst whom probably only Maria von Ilovsay is known and remembered today – she was a famous Erda. However, the standard of singing from all concerned is phenomenal, prompting yet again speculation regarding what has happened to voices and vocal training in more recent years. Provincial German orchestras are, in contrast better than ever but the Hamburg band here is first rate.
I am generally no great fan of Eugen Jochum but his conducting here is superb, bringing out both the hysteria and lyricism of this extraordinary score; climactic points such as the slaughter by Orest of Klytemnestra and Aegisth are thrilling.
Erna Schlüter would perhaps have had a bigger career had she not thrown in her lot with her Nazi masters; as it stands she remains one of the greatest exponents of the eponymous role I have heard on disc. Her sound is rather mature and grainy but she is secure, passionate and powerful and her cackles in track 10 are terrifying. Annelies Kupper also had a major voice and makes a vibrant, animated Chrysothemis, more positive than is sometimes the case; she is especially moving in her expression of her desire for a husband and children. Gusta Hammer’s rich contralto is apt for the portrayal of Klytemnestra and she sings beautifully, if not quite with the trenchant sense of haunted suffering which the greatest portraits convey. In contrast to another reviewer, I love Robert Hager’s deep, weighty bass as Orest and find his gloomy, gnomic utterances to be very effective; the Recognition Scene is especially touching when he exclaims, "Die Hunde auf dem Hof erkennen mich und meine Schwester nicht.” The Aegist was a Mime specialist and he makes that unattractive character a craven, hysterical first cousin to Strauss’ Herod in “Salome”. The instantly recognisable Gustav Neidlinger – forever associated with Alberich – makes much of his few phrases as the Tutor.
There are two standard cuts as sanctioned by the composer; otherwise this is very high on the list of recommendable recordings and all devotees of the opera will want to hear it."
Ralph Moore - www.amazon.com
Robert Hager, Peter Markwort
Chor der Hamburgischen Staatsoper
Philharmonisches Staatsorchester Hamburg
dir: Eugen Jochum
Acanta - Membran (2012) 233494 ADD 2 CDs
Recorded: June 1944
(Very good mono sound)
[cue & flac; cover, inlays, booklet & disc scans]
Review
"First, the sound here is extraordinarily good for a recording made in Hamburg during the dark days of June 1944; it must have been committed to metal tape as few allowances have to be made in comparison with good mono recordings of the 50’s and there is no audible distortion at high volume.
Second, the although the average collector might wonder who the singers are, s/he may be assured that they are major voices entirely up to the demands of their roles; the listener is immediately struck by the strength, precision and immediacy of the singing of the Five Maids, amongst whom probably only Maria von Ilovsay is known and remembered today – she was a famous Erda. However, the standard of singing from all concerned is phenomenal, prompting yet again speculation regarding what has happened to voices and vocal training in more recent years. Provincial German orchestras are, in contrast better than ever but the Hamburg band here is first rate.
I am generally no great fan of Eugen Jochum but his conducting here is superb, bringing out both the hysteria and lyricism of this extraordinary score; climactic points such as the slaughter by Orest of Klytemnestra and Aegisth are thrilling.
Erna Schlüter would perhaps have had a bigger career had she not thrown in her lot with her Nazi masters; as it stands she remains one of the greatest exponents of the eponymous role I have heard on disc. Her sound is rather mature and grainy but she is secure, passionate and powerful and her cackles in track 10 are terrifying. Annelies Kupper also had a major voice and makes a vibrant, animated Chrysothemis, more positive than is sometimes the case; she is especially moving in her expression of her desire for a husband and children. Gusta Hammer’s rich contralto is apt for the portrayal of Klytemnestra and she sings beautifully, if not quite with the trenchant sense of haunted suffering which the greatest portraits convey. In contrast to another reviewer, I love Robert Hager’s deep, weighty bass as Orest and find his gloomy, gnomic utterances to be very effective; the Recognition Scene is especially touching when he exclaims, "Die Hunde auf dem Hof erkennen mich und meine Schwester nicht.” The Aegist was a Mime specialist and he makes that unattractive character a craven, hysterical first cousin to Strauss’ Herod in “Salome”. The instantly recognisable Gustav Neidlinger – forever associated with Alberich – makes much of his few phrases as the Tutor.
There are two standard cuts as sanctioned by the composer; otherwise this is very high on the list of recommendable recordings and all devotees of the opera will want to hear it."
Ralph Moore - www.amazon.com