Stehe still!/Stand still!

Im Treibhaus/In the Greenhouse [Hothouse]

Schmerzen/Anguish [Pain]

Träume/Dreams

Der Tannenbaum/The Fir Tree

An die ferne Geliebte (To the Distant Beloved)

Text: Alois Jeitteles (1794-1858)

Music: Beethoven Op. 98

When Beethoven set these six songs he created the very first, and still only, true song cycle; other composers wrote cycles, but the individual songs weren’t musically interconnected. Lehmann remains the only woman to have sung this cycle. This was the final set of songs of the amazing  7 March 1948 recital. And we don’t even have all the songs that she sang on this recital! A really demanding program for anyone, and at her age, it’s remarkable. This track demonstrates Lehmann and Ulanowsky’s concentration and dedication to their art and craft. Lehmann didn’t use a score or other memory aids and thus it isn’t perfect, but it demonstrates what’s better: the spontaneity of live performance.

CD 4 Track 2

Als Luise die Briefe…(As Luise  Burned the Letters…)

Text: Gabriele von Baumberg (1768-1839)

Music: Mozart K. 520

Lehmann and Ulanowsky opened their 27 February 1949 Town Hall program with this song. The following 16 songs are from this recital. One can hear the crackling flames in the piano part and Lehmann performs a passionate miniature operatic scene.

CD 4 Track 3

Abendempfindung (Evening Sentiment)

Text: Joachim Campe (1746-1818)

Music: Mozart K. 523

This is one of Mozart’s greatest and most complex Lied creations. Not a strophic composition, Mozart found just the right melody for each verse. Lehmann sings it with both lyricism and pathos.

CD 4 Track 4

Dans un bois solitaire (In a Solitary Forest)

Text: Antoine Houdar de La Motte (1672-1731)

Music: Mozart K. 308

Lehmann is able to imbue this song with shades of meaning perhaps unimagined by La Motte or Mozart. Putting it across to the “live” audience provides added impetus.

CD 4 Track 5

Die Verschweigung (Concealment)

Text: Christian Weisse (1726-1804)

Music: Mozart K. 518

A strophic and tuneful Mozart song, its little jest at the end of each strophe provides Lehmann with the opportunity to make it suggestive each in its own way. This, accomplished on 27 February 1949 (her 61st birthday), provides yet another example of her acting genius.

CD 4 Track 6

Dein blaues Auge (Your blue Eyes)

Text: Klaus Groth (1819-1899)

Music: Brahms Op. 59 No. 8

One of the less-performed, but still beautiful Lieder of Brahms, it offers many opportunities to Lehmann the painter in tone: though low in register, the word “gesund” at the end of the first strophe, sounds not just healthy, but vigorous.

CD 4 Track 7

Komm’ bald (Come Soon)

Text: Klaus Groth (1819-1899)

Music: Brahms Op. 97 No. 5

Brahms could write wonderful tunes and we hear them in abundance in this song. When Lehmann sings “blüht” und “blühen” she’s able to infuse these words with a feeling of blossoming that’s quite amazing. But no matter how she emphasizes a word or a consonant within a word, the molten lava of her legato never is lost.

CD 4 Track 8

Bitteres zu sagen denkst du (You Mean to Say something Bitter)

Text: Daumer

Music: Brahms Op. 32 No. 7

Does the piano part suggest a rocking boat mentioned in the words? It’s such an integral part of the whole Lied that we hardly notice it. But Ulanowsky was not a self-effacing pianist and thus the important duet between the piano and voice. There’s obvious trust between the two artists, reflecting the conversation element of this song.

CD 4 Track 9

Schön war, dass ich dir weihte (Beautiful was my Consecrated Gift to You)

Text: Daumer

Music: Brahms Op. 95 No. 7

This seldom-performed song takes on an urgent importance in Lehmann’s interpretation, especially in the coda section.

CD 4 Track 10

Am Sonntagmorgen (On Sunday Morning)

Text: Anon., Italian, trans: Paul Heyse (1830-1914)

Music: Brahms Op. 49 No. 1

The title might suggest something joyous, but there is anguish in this song, which Lehmann emphasizes with the bitter laugh of “gelacht.”

CD 4 Track 11

Der Gang zum Liebchen (The Way to the Beloved)

Text: Anon., Czech, trans: Josef Wenzig (1807-1876)

Music: Brahms Op. 48 No. 1

The pianist becomes the star of this song with dance-like interludes (but in the minor), mirroring the mood of the poet/singer, who doesn’t sound very frightened that she’ll lose the beloved.

CD 4 Track 12

Der Tod,  das ist die kühle Nacht (Death is the Cool Night)

Text: Heine

Music: Brahms Op. 96 No. 1

Lehmann recorded this in the studio in 1935, but this “live” performance has more languor and spaciousness. Her vocal estate actually seems freer as she easily manages the range of a 10th. As for interpreting this Lied: Does the song of love outlast life and death, or is the peace and darkness of death more important than love?

CD 4 Track 13

Liebestreu (Love’s Constancy)

Text: Robert Reinick (1805-1852)

Music: Brahms Op. 3 No. 1

I’m always amazed when I remember that this was the first of Brahms’ Lieder that he allowed to be published. It’s so perfect. The canon that begins in the piano and is taken up by the voice has a kind of manic quality that emphasizes the passions involved. Lehmann and Ulanowsky use every opportunity afforded them to reveal all the angst between mother and daughter. But is the mother scolding? Or just hoping that she can offer wise counsel?

CD 4 Track 14

Frühlingstrost (Spring Comfort)

Text: Max Gottfried von Schenkendorf (1783-1817)

Music: Brahms Op. 63 No. 1

Another lesser-known Brahms Lied that demands a lot of the pianist as well as the singer. The elaborate, complicated piano part often exists independent of the vocal line. Notice the melismas on the word at the end of the strophes and the weight, prominence and love-feeling with which Lehmann imbues “Geliebter.”

CD 4 Track 15

Der Kuss (The Kiss)

Text: Ludwig Hölty (1748-1776) [Edited by J. Voss]

Music: Brahms Op. 19 No. 1

In this brief Lied we move from the first kiss, through its resulting fire (what a shocking outburst by Lehmann on “zuckend”) and then to the longed for cooling (the sweetly sung “Kühlung.”)

CD 4 Track 16

O wüsst’ ich doch den Weg zurück (Ah! if I but Knew the Way Back)

Text: Klaus Groth (1819-1899)

Music: Brahms Op. 63 No. 8

This introspective song has a memorable melody and moves effortlessly through many (mostly major) keys until the “öder Strand” at which point hope seems lost. Lehmann’s flexibility with the tempo (mirrored exactly by Ulanowsky) adds to the lost or wandering thought of the poem.

CD 4 Track 17

Wie froh und frisch (How Happy and Fresh)

Text: Johann Ludwig Tieck (1773-1853)

Music: Brahms Op. 33 No. 14 [Magelone Lieder]

This is the point in the cycle of songs where the hero’s boat is saved and he rejoices. The piano part mirrors the storm-driven waves and Lehmann in her excitement, changes and forgets many words, but keeps the sweep of the song in tact. She fills the appropriate moments with exhilaration and eagerness. This is the last song we have from the 27 February 1949 Town Hall recital.

CD 4 Track 18

Bruno Walter speaks about Lotte Lehmann in a message to the London Wagner Society. In tracks 19-23 he accompanies her at the piano.

Performance styles change. When we remember that Bruno Walter was born in 1876, it will help us understand his particular technique of piano accompaniment heard here in 1949. There is some recorded evidence of piano soloists of Walter’s era rolling chords and often choosing to avoid having both hands in sync. But one of the musical elements most associated with the late Romantic style, namely rubato, was not one of Walter’s approaches here. He actually reins in Lehmann, who was inclined to be free with rhythms and tempos.

The songs that Walter and Lehmann chose to perform in this high school auditorium in Los Angeles include songs that Lehmann had sung and recorded many times. Their historic interest comes from this point at which she sang them and the fact that, until this CD set, none of this particular recital has been heard by other than the original audience! The lifetime of association with these songs is heard in Lehmann’s complete immersion in their poetry. There is authority here!

CD 4 Track 19

Freudvoll und leidvoll (Joyful and Sorrowful) see the notes for CD 1 Track 4

CD 4 Track 20

Das Veilchen (The little Violet)

Text: Goethe

Music: Mozart K. 476

Mozart added the last two lines, but otherwise followed Goethe’s words and images closely. I love the tripping shepherdess music heard after the first strophe. Lehmann sang this often and could make a real art work out of this light-hearted song.

CD 4 Track 21

An die Musik (To Music)

Text: Franz von Schober (1796-1882)

Music: Schubert D. 547

This song is almost an anthem for the Lieder-lover. For Lehmann it was the single encore she chose for her New York farewell recital and her emotion got the better of her and she couldn’t finish the last line. In this live performance only a few years before that famous event, she is in complete control.

CD 4 Track 22

Anakreons Grab, see CD 1 Trans 26

CD 4 Track 23

Botschaft (Message)

Text: Daumer

Music: Brahms Op. 47 No. 1

Lehmann recorded this Brahms Lied in 1937, but had sang it on concerts as early as 1929 and it remained a staple of her recital programs including her Santa Barbara farewell recital of 1951. This is the only performance recorded with Bruno Walter. The exaggeration of the “doubtful condition” of the beloved appealed to the aspect of Lehmann’s personality which enjoyed the silly or facetious.

CD 4  Track 24

Freiheit die ich meine (Freedom that I Mean)

Text: Max Gottfried von Schenkendorf (1783-1817)

Music: Karl Groos (1798-1861)

At first I found it difficult to understand why Lehmann, so fierce an anti-Nazi, would choose to sing Freiheit die ich meine: the Third Reich published it in various collections.  But it was a “national” and military song (or choral piece) going back to 1815 for the words and 1818 for the melody. Michael Fischer, the Freiburg-based song expert, wrote that there is no clear political/ideological point of view in the words. Even though the Nazi’s used the song, it could equally have been sung by the resistance.

The date, venue and pianist of this recording by Lehmann are unknown.

CD 4 Track 25

At the age of 80 Lehmann reads one of her own poems, which seems an appropriate one for this album of her singing.

CD 4 Track 26

Lehmann speaks about her own musical and personal life in an interview for her 80^th birthday.

CD 4 Track 27

Gesang Weylas (The Song of Weyla)
Text: Mörike
Music: Wolf 1888 Mörike Songs

It’s impossible to leave such an embarrassment of Lehmann riches without her singing. Though it’s not in chronological order, her 30 June 1941 recording of Gesang Weylas has extra importance for Lehmann. The mythical island that the poet invents became the name of Lehmann’s novel of 1937 “Orplid mein Land” and the name she chose for her Santa Barbara home: Orplid. Strangely, this fine recording was never released as a 78 and only rare LPs offered the song.

Wenn ich in deine Augen seh’ (When I look into your eyes) and Ich will meine Seele tauchen (I want to dip my soul)

Text: Heine

Music: Schumann Op. 48

Lehmann recorded Schumann’s complete Dichterliebe (Poet’s Love) in the studio with Bruno Walter, the pianist. Though we only have the following five excerpts from a 1943 Town Hall recital of the same cycle, it’s a joy to hear Paul Ulanowsky, piano. His style of playing is more modern than Bruno Walter’s and he allows Lehmann more interpretive options. And Lehmann is always more spontaneous with an audience. Listen to her abandon as she immerses herself in these songs. This first track offers two of the songs sung without pause.

CD 3 Track 2

Und wüßten’s die Blumen, die kleinen (And if the blooms, the small ones, knew)

See track 1 for details. Notice to the anger in Lehmann’s voice as she sings the word “zerrissen.”

CD 3 Track 3

Das ist ein flöten und geigen (There is a playing of flute and fiddles)

See track 1 for details.

CD3 Track 4

Die alten bösen Lieder (The old angry songs)

See track 1 for details. This is the last song of Dichterliebe and we have the chance to hear just how bitter Lehmann can sound (Wißt ihr, warum der Sarg wohl/So groß und schwer mag sein?) and how poetic Ulanowsky can play (the postlude).

CD 3 Track 5

An eine Quelle (To a spring)

Text: Matthias Claudius (1740-1815)

Music: Franz Schubert (1797-1828) D. 530

From a Town Hall recital given 10 February 1946 we have the following twelve songs, beginning with An eine Quelle. Lehmann’s pianist is Ulanowsky. Schubert’s music mirrors the text and Lehmann sings with complete conviction and yet, simply.

CD 3 Track 6

Der Tod und das Mädchen (Death and the Maiden)

Text: Claudius

Music: Schubert D. 531

One hears Ulanowsky’s complete control of the introduction: the striding beats of death. Lehmann colors her voice to sound almost adolescent in the grip of death. But listen to dark tone she uses to sing death’s words.

CD 3 Track 7

Der Jüngling und der Tod (The youth and death)

Text: Joseph von Spaun (1788-1865)

Music: Schubert D. 545

This Lied very naturally follows Der Tod und das Mädchen on the recital, but in this case the youth is begging for death.  The difference is reflected in the lighter tone in Lehmann’s voice.

CD 3 Trans 8

Auflösung (Dissolution)

Text: Johann Mayrhofer (1787-1836)

Music: Schubert  D. 807

Lehmann summons up, at the age of 58, all her considerable Wagnerian strengths, to sing one of the most powerful performances one can hear of this demanding song. The final mutterings in her lowest register sound something between threatening and fearful.

CD 3 Trans 09

Die Forelle (The Trout)

Text: Christian Schubart (1739-1791)

Music: Schubert D. 550

This is one of Schubert’s most famous songs because of his use of the tune in the variation movement from his well-known quintet. This 10 February 1946 Town Hall performance demonstrates Ulanowsky’s rippling, watery arpeggios and provides Lehmann with just the opportunity she enjoys to tell a story in song.

CD 3 Track 10

Dass sie hier gewesen! (That She was Here!)

Text: Friedrich Rückert (1788-1866)

Music: Schubert D. 775

The exotic opening chords presage her perfume on the East winds and Lehmann keeps the volume low, indicating a kind of inside information that only she possesses.

CD 3 Track 11

Der Wanderer (The Wanderer)

Text: Georg Philipp Schmidt von Lübeck (1766-1849)

Music: Schubert D. 489

We are presenting several Schubert songs on this set that Lehmann never recorded. Among the greatest is Der Wanderer, which was one of the few songs that was successful in Schubert’s own lifetime and is found in his technically demanding Wanderer Fantasy (Fantasy in C major) for piano. This deeply felt Lehmann performance, a radio broadcast from the stage of New York’s Town Hall, eclipses for me all other performances. The words receive a high level of understanding and acting genius from Lehmann, and the completely unified support for her interpretation by Ulanowsky offers us a Gesamtkunstwerk for all time.

CD 3 Track 12

Schwanengesang (Swansong}

Text: Johann Senn (1792-1857)

Music: Schubert D. 744

This Schwanengesang has no relationship to the set of Schubert songs of the same name, so the first words of the poem (Wie klag’ ich’s aus…) are often used to delineate this fine song. Part of the same 1946 Town Hall recital, we hear Lehmann, the subtle actress.

CD 3 Track 13

Die Kränze (The Wreaths)

Text: Georg Daumer (1800-1875)

Music: Brahms Op. 46 No. 1

Another Lied from the 1946 Town Hall recital, Lehmann sings with an opulent tone only lightened for the “Grazienschritte.”

CD 3 Track 14

Es träumte mir (I dreamed)

Text: Daumer

Music: Brahms Op. 57 No. 3

This sophisticated Brahms song intertwines the piano and voice and provides yet another example of the complete musical understanding that existed between Lehmann and Ulanowsky. The Lehmann catch-breath allowed her to emphasize the sadness upon the first repetition of “Es sei ein Traum.”

CD 3 Track 15

Frühlingslied (Spring Song)

Text: Emanuel von Geibel (1815-1884)

Music: Brahms Op. 57 No. 3

This song evokes both the Springtime of its title and an autumnal feeling of the “Altes Herz” that longs to once more enjoy the feelings of youth. Listen to the care that Lehmann takes with each word, even making “Lerchenton” especially warble.

CD 3 Track 16

Willst du, dass ich geh’? (Do you wish me to go?)

Text: Karl von Lemcke (1831-1913)

Music: Brahms Op. 71 No. 4

This is the final song that we have from the amazing 10 February 1946 Town Hall performance of Lehmann and Ulanowsky. We feel the wind howling down in the piano introduction. By the end, it’s clear that the loved one has already found enough favor that the question is moot. In the middle, Lehmann’s involvement seems fanatic and frantic, but can be reined back for the almost whispered singing of “Horch, wie klingt’s herauf vom See / Wild und weh….” And note how warm she can murmur the words “Traut und warm….”

CD 3 Track 17

Ave Maria (Hail Mary)

Music: Charles Gounod (1818-1893) 1853 and J.S. Bach (1650-1785)

Gounod set his Ave Maria melody above the C major Prelude of Bach’s Well-Tempered Clavier and did it so well that many listeners don’t notice! Lehmann recorded this at various times in her life, as early as 1928. This test pressing comes from a recording session on 30 June 1947 with the RCA Victor Chamber Orchestra conducted by Richard Lert.

CD 3 Track 18

Neue Liebe, neues Leben (New Love, New Life)

Text: Goethe

Music: Beethoven Op. 75 No. 2

Lehmann and Ulanowsky performed this and the following songs on their 7 March 1948 Town Hall recital. Despite her 60 years, one hears Lehmann really excited to tell us of the intense emotions of love, and in this particular song, new life. At her tempo, the breakneck accompaniment sounds almost unplayable, but somehow Ulanowsky manages it. Lehmann never recorded this in a studio, so this live performance is especially important and in its day preserved in an extra way because it was distributed by the Armed Forces Radio or VOA.

CD 3 Track 19

Schilflied (Reed Song)

Text: Nikolaus Lenau (1802-1850)

Music: Felix Mendelssohn Op. 71 No. 4

This is a convincing performance: both artists are in deep harmony yet again, with Ulanowsky in complete accord with Lehmann’s every subtle nuance. When she repeats the words at the end I feel their reluctance to let this song finish.

CD 3 Trans 20

Frage (Question)

Text: Felix Mendelssohn; misattributed to Johann Voss (1751-1826)

Music: Felix Mendelssohn Op. 9 No. 1

Though Lehmann takes a few rubati, generally this sweet song just moves at its leisurely pace with sincerity demonstrated at each thought.

CDF 3 Track 21

Der Mond (Mein Herz ist wie die dunkle Nacht) (The Moon)

Text: Emanuel von Geibel (1815-1884)

Music: Felix Mendelssohn Op. 86 No. 5

This is another example of a beautiful overlooked Mendelssohn song. Good poetry, lovely melody and the two melding into a satisfying Lied. Note the many rubati (faster and slower) that Lehmann takes and how smoothly and musically Ulanowsky is always right there with her. And how well she paints the opening serene landscape for us!

CD 3 Track 22

Lieblingsplätzchen (Favorite little Spot)

Text: Friederike Robert (1795-1832)

Music: Felix Mendelssohn Op. 99 No. 3

The artists establish a genial peace in this unpretentious song. But note how Lehmann changes her voice color when giving the “message” of the song.

CD 3 Track 23

Die Gruss (Leise zieht durch mein Gemüt)  (The Greeting)

Text: Heine

Music: Felix Mendelssohn Op. 19 No. 5

Many other composers have also set these same words successfully and Lehmann makes this simple strophic song, which has become almost a folk song in Germany, into something of great merit.

CD 3 Track 24

Pagenlied (Wenn die Sonne lieblich schiene) (Page Song)

Text: Josef von Eichendorff (1788-1857)

Music: Felix Mendelssohn Op. posth.

This is another of Mendelssohn’s elf-like songs which both Lehmann and Ulanowsky handle with ease. They perform most of the song piano or even pianissimo.

CD 3 Track 25

Die Liebende schreibt (The beloved writes)

Text: Goethe

Music: Felix Mendelssohn Op. 86 No. 3

This is one of Mendelssohn’s most sophisticated and successful songs. Perhaps the sonnet structure of Goethe’s poem brought out the best in Mendelssohn. Lehmann’s sincerity in tone and warmth, draws the listener in to the details of the poem.

CD 2 Tracks 1 and 9

Ständchen (Serenade)

Text: Adolf Friedrich, Graf von Schack (1815 – 1894)

Music: Richard Strauss Op. 17 No. 2

The most popular of the Lieder of Strauss, and one Lehmann’s favorites, she included Ständchen on many recitals and we have it in studio recordings with the original piano accompaniment as well as this live version as an encore to the 1938 Town Hall Recital.

We can also enjoy the lush orchestration and Lehmann’s opulent voice in this same song in the RCA Magic Key program of 3 April 1938, with Frank Black conducting the NBC orchestra. Note her famous expressive breath just before the end at “der Nacht.”

In both recordings, we note that Lehmann follows her own advice, enjoying the “sweet secrecy” of the poem and its “glowing desire.” Listen to the way that she relishes the words “von uns’ren Küssen träumen.”

CD 2 Track 2

Therese

Text: Gottfried Keller (1819-1890)

Music: Johannes Brahms (1833-1897) Op. 86 No. 1

Lehmann loved this song and included it among her encores in her “all-Wolf” 1938 Town Hall recital. The youthful admirer encounters an older woman who teases him over his innocence. At the end: what does he hear? Probably something as mysterious as “the way to understand a woman.”

CD 2 Track 3

Vergebliches Ständchen (Futile Serenade)

Text: Anton Zuccalmaglio (1803-1869)

Music: Brahms Op.84 No. 4

Brahms liked this creation and its details, and we appreciate the sprightly accompaniment for the girl and the shift to the minor for the freezing night. This is another Brahms encore among the Wolf songs of the 1938 Town Hall recital. Notice the way that Lehmann savored the chance to be both the boy and the girl, especially enjoying the girl’s rejection of the lad at the end. But she does sing the last words in a way that will encourage the lad to return another time.

CD 2 Track 4

Heimkehr vom Feste (Returning Home from the Banquet)

Text: Heinrich Seidel (1842-1906)

Music: Leo Blech (1871-1958)

Blech was conductor by trade, and a personal friend of Lehmann. She often sang this song as a  “final” encore. She’d sung it as early as 1920 on a program with other soloists in the Großer Saal (Great Hall) of the Vienna Philharmonic, and tried to record it in 1926. So it may come as no surprise to find it as an encore on the 1938 Town Hall recital of Wolf songs. Lehmann’s story-telling and her own fun with the light song are infectious.

CD 2 Tracks 5 and 7

Zueignung (Dedication)

Text: Hermann von Gilm zu Rosenegg (1812-1864)

Music: Strauss Op. 10 No. 1

This is one of Lehmann’s favorite encores and she recorded it with piano successfully in the studio. Here’s a chance to hear her perform it as an encore, “live” on the 1938 Town Hall recital. Lehmann really does follow her own advice and sings each “thank you” with a different emotion.

The second recording of Zueignung on this CD has the technical finesse of a recording studio, a good orchestra and Lehmann in effulgent, glorious voice, with Frank Black conducting the NBC Orchestra for the Magic Key of 3 April 1938,  “Army Salute Day” (General Malin Craig of the Joint Chiefs of Staff was Lehmann’s co-star!)

CD 2 Track 6

Vissi d’arte (I lived for Art)

Text: Luigi Illica and Giuseppe Giacosa

Music: Giacomo Puccini (1858-1924)

Though Lehmann commercially recorded this, it was in German as Nur der Schönheit, so it’s especially enjoyable to hear this in the original Italian and with a decent orchestra. This is a Magic Key broadcast of 3 April 1938, with Frank Black conducting the NBC Orchestra. In Act II Tosca sings this famous aria in which she questions God for allowing her to exchange her self-respect for her lover’s freedom. Lehmann is dramatic in this performance, but not over-the-top.

CD2 Track 7, see CD 2 Track 5

CD 2 Track 8

Traum durch die Dämmerung (Dreaming in the Twilight)

Text: Otto Bierbaum (1865-1910)

Music: Strauss Op. 29 No. 1

Strauss is able to capture the dream-like feeling of the poetry that also works well in an orchestrated version that we hear on this Magic Key broadcast of 3 April 1938, with Frank Black conducting the NBC Orchestra. Lehmann recorded and sang this song often, always abiding by her admonition that “there should be no hurrying but neither should there be any dragging, only a quiet ambling toward the lovely goal.”

CD 2 Track 9 see CD 2 Track 1

CD 2 Track 10

Das Mädchen spricht  (The Girl Speaks)

Text: Otto Gruppe (1804-1876)

Music: Brahms  Op. 107 No. 3

Ernö Balogh is Lehmann’s pianist on this radio broadcast from 1938. While listening to this song, we can join the young girl as she “questions” the swallow for information that she needs.

CD 2 Track 11

Wiegenlied (Cradle Song)

Text: Anonymous

Music: Schubert Op. 98 No. 2, D. 498

This is not the more-famous Brahms Lullaby. Lehmann recorded Schubert’s Wiegenlied commercially, but this “live” 1938 radio broadcast version has a warmth and loving quality not found in the studio. The pianist is Ernö Balogh.

CD 2 Track 12

Gretel

Text: Carl Busse (1872-1918)

Music: Hans Pfitzner (1869-1949) Op. 11 No. 5

Though Lehmann recorded Gretel in the studio, this live radio broadcast performance for an audience has special energy. Notice how wild Lehmann gets at the final cry, which she didn’t do quite so much on the commercial recording. Ernö Balogh was the pianist.

CD 2 Track 13

None But the Lonely Heart

Text: originally Goethe; unknown translation

Music: Tchaikovsky (1840-1893) Op. 6 No. 6

The beautiful melody of Tchaikovsky’s None But the Lonely Heart was originally inspired by Goethe’s poem Nun wer die Sehnsucht kennt translated into Russian by Lev Aleksandrovich Mey (1822-1862). It’s interesting that Lehmann didn’t revert to the original Goethe words, but again, it may have been politic to avoid German when possible and this English translation works well. The NBC Orchestra is called the Victory Orchestra on the broadcast; Lehmann was announced as “die geliebte Lehmann.”  Nathaniel Schilket conducts on this RCA Magic Key broadcast of 18 September 1939.

None but the lonely heart
Can know my sadness
Alone and parted
Far from joy and gladness
Heaven’s boundless arch I see
Spread out above me
Oh what a distance drear to those
That loved me
None but the lonely heart
Can know my sadness
Alone and parted
Far from joy and gladness
Alone and parted far
From joy and gladness
My senses fail
A burning fire
Devours me
None but the lonely heart
Can know my sadness

CD 2 Track 14

The Star (A fragment from Plato)

Text: Charles Fletcher Lummis (1859-1928)

Music: James Rogers (1857-1940)

The songs of the American composer James Rogers had been previously recorded by many singers including Louise Homer, Ernestine Schumann-Heink, Geraldine Farrar, and John McCormack. The Star, which Lehmann sings in quite good English, had been recorded as early as 1917 by Frances Alda and later by many others. This performance is from the RCA Magic Key program of 18 September 1939 with the NBC Orchestra conducted by Nathaniel Schilket.

Star of me…

Watching the mother skies…

Where thine elder sisters be…

Would I were heav’n…

With all its eyes on thee…

CD 2 Track 15

Die junge Nonne (The Young Nun)

Text: Jackob Nikolaus, Reichsfreiherr von Craigher de Jachelutta (1797-1855)

Music: Schubert  Op. 43 No. 1; D. 828

This test pressing is from the Columbia recording session that Lehmann sang on 4 March 1941. In her interpretation, Lehmann is a very forceful, forthright and powerful, but devoted, nun. She’s able to paint the opening storm with her consonants and vocal color, but delineate that as different from the emotional storm she’s overcome.

CD 2 Track 16

Doppelgänger

Text: Heinrich Heine (1797-1856)

Music Schubert  D. 957 No. 13

Heine’s poem inspired Schubert to one of his darkest creations. The sinister atmosphere drew from Lehmann one of her most unsettling and chilling interpretations. This is a test pressing from a Columbia recording session of 4 March 1941.

CD 2 Track 15

Liebesbotschaft (Love’s Message)

Text: Ludwig Rellstab (1799-1860)

Music: Schubert (from Schwanengesang) D. 957 No. 1

Lehmann recorded this with Ulanowsky for Columbia on 19 March 1941, but it was only released on a Japanese LP decades later. This is a test pressing of that delightful studio recording in which Lehmann’s light-hearted happiness sings forth.

CD 2 Track 18

Aufträge (Messages)

Text: Christian L’Egru (fl. 1850)

Music: Robert Schumann (1810-1856) Op. 77 No. 5

Lehmann recorded Aufträge with Ulanowsky for Columbia on 26 June 1941. This is a test pressing from that session. There are a lot of notes for the pianist and a lot of words for the singer: they make the most of their tasks. Whether ripples in the brook or the flight of a dove, we are witnesses to it all. And listen to the fermata that Lehmann beautifully sings on the “du” at the end.

CD 2 Track 19

Morgengruss (Morning greeting)

Text: Heine

Music: Felix Mendelssohn (1809-1847) Op. 47 No. 2

Lehmann and Ulanowsky recorded Morgengruss for Columbia on 26 June 1941, that strangely has never been released on lp or CD. This is a test pressing from that session.

Though Mendelssohn songs had never been as widely-performed as his contemporary Robert Schumann, Lehmann’s obvious conviction and enjoyment of these Lieder is apparent.  Of course, there is the added political dimension: Lehmann sang these songs in America when the racial laws of Nazi Germany had forbidden them. But even today, Mendelssohn songs are not well represented in the standard recital. It is difficult to explain why. They include melody that’s well suited to the words, and always with Mendelssohn’s understanding of the voice.

CD 2 Track 20

Venetianisches Gondellied (Venetian Gondola Song)

Text: Ferdinand Freiligrath (1810-1876); based on a text in English by Thomas Moore (1779-1852).

Music: Felix Mendelssohn Op. 57 No. 5

Lehmann and Ulanowski recorded this on 30 June 1941 for Columbia. This is a test pressing. The rocking music in the piano is just right for the romantic tryst or flight via gondola. Every ebb and flow of Lehmann’s musicality is exactly met by Ulanowsky. Note how Lehmann almost whispers “das Boot ist bereit.”

CD 2 Track 21

Neue Liebe (In dem Mondenschein) (New Love)

Text: Heine

Music: Felix Mendelssohn Op. 19 No. 4

This is a test pressing of Neue Liebe that Lehmann and Ulanowsky recorded on 30 June 1941. Mendelssohn is in his pixie mood, except for the last lines, when it becomes mysterious for a bit. Lehmann and Ulanowsky take this at a break neck speed, but it captures the thrill of the riding elves.

CD 2 Track 22

Der Nußbaum (The Nut Tree)

Text: Julius Mosen (1803-1867)

Music: Schumann Op. 25 No. 3

This is a test pressing of Der Nußbaum that Lehmann and Ulanowsky recorded for Columbia on 30 June 1941. They seem to sway together with the branches of the tree. Note how softly Lehmann sings at the end, as if she doesn’t want to disturb the dreaming.

CD 2 Track 23

Wonne der Wehmut (Joy of Melancholy)

Text: Goethe

Music: Beethoven Op. 83 No. 1

This test pressing of Wonne der Wehmut is from Lehmann and Ulanowsky’s Columbia recording session of 30 June 1941. From such a simple poem Beethoven crafted a moving song that Lehmann sings with honest pathos.

CD 2 Track 24

Andenken (Remembrance)

Text: Friedrich von Matthisson (1761-1831)

Music: Beethoven WoO 136

On 30 June 1941 Lehmann and Ulanowsky recorded Andenken. We’re lucky to have this test pressing because the recording hasn’t seen the lp or CD releases that one would expect. Simple and straightforward, the artists match the intention of the words and the beauty of the melody. Nothing is overdone or extraneous.

CD 2 Track 25

Wiegenlied (Cradle Song or Lullaby)

Text: First strophe from Des Knaben Wunderhorn; second: Georg Scherer (1824-1909)

Music: Brahms Op. 49 No. 4

This test pressing is from the Columbia recording session of 30 June 1941. Though this song is so often sung that it can become cliché, Lehmann, who sang it frequently, brings a freshness to it as if just discovering it. Ulanowsky is the pianist.

CD 2 Track 26

Ständchen (Serenade)

Text: Franz Kugler (1808-1853)

Music: Brahms Op. 106 No. 1

This test pressing is from the very successful Columbia session of 30 June 1941. Both Lehmann and Ulanowsky seem to enjoy themselves and the ambience of young love that they’re able to bring about.

CD 2 Track 27

Auf Flügeln des Gesanges (On Wings of Song)

Text: Heine

Music: Felix Mendelssohn Op. 34 No. 2

This test pressing was recorded by Lehmann and Ulanowsky on 2 July 1941. The best known of Mendelssohn’s songs, it still packs a punch when sung with the intensity and attention to detail that Lehmann brings. Notice her fun with “kichern und kosen.”

CD 2 Track 28

Sehnsucht nach dem Frühlinge (Longing for Springtime)

Text: Christian Overbeck (1755-1821)

Music: Wolfgang Amadeus Mozart (1756-1791) K. 596

On this Columbia test pressing recorded by Lehmann and Ulanowsky on 9 July 1941, this children’s song is treated with all the care of any Lied they attempt. Though many of this sessions songs have appeared on CD, this has not.

CD 2 Track 29

Warnung/Warning

Text: Folk poetry

Music: Mozart K. 433

A Columbia test pressing that Lehmann and Ulanowsky recorded on 9 July 1941; obviously a good day for both of them. No more than two takes were ever recorded! In this fun song, Lehmann seems to really believe that the young girls need to be locked up, to keep them from being “nibbled” by voracious men. You can almost hear Lehmann savoring something when she sings “schmeckt so gut.”

CD 2 Trans 30

Der Engel (The Angel)

Text: Mathilde Wesendonck (1828-1902)

Music: Richard Wagner (1813-1883) 1862

Der Engel and the following Im Treibhaus are from Wagner’s set of songs called Wesendonck Lieder, to the words of the wife of one of his patrons. Wagner was simultaneously writing Tristan und Isolde and called these songs “studies” for that opera. This and the following test pressing come from the Columbia studio recording session of 9 July 1941. Lehmann and Ulanowsky have a feeling for both the sumptuousness of the music and the detail of text.

CD 2 Track 31

Im Treibhaus (In the Greenhouse)

(see Track 30)

1. EKLIPSE: EKRCD 25 Richard Strauss: Der Rosenkavalier Act III; conducted by George Sebastian; 18 Oct 1945; San Francisco Opera (454)

2. OPERA D’ORO: OPD-8002 Wagner: Ring: Collected Highlights: Lehmann sings CD1 Track 3: “Schläfst du, Gast?” (232) and Track 5: “Du bist der Lenz” (239)

3. Opus Kura (Japanese): OPK 2033/4; Wagner: Walküre Act I & II: Walter/Lehmann/Melchior/VPO. (229-246)

4. Guild Historical: GHCD 2215/7 Wagner: Die Walküre/Metropolitan Opera/1940/ Schorr/Flagstad/Melchior/Lehmann/Branzell (448)

5. Legato Classics: LCD-133-1 Wagner: Die Walküre Act II Reiner (433)

6. Minerva: MN-A34 Wagner: Die Walküre, Act II-Reiner (433)

7. NAXOS Historical Imortal Performances: 8.110034-36; R. Strauss: Der Rosenkavalier; 7 Jan 1939 Live Broadcast of the Metropolitan Opera (444); 5 Aug 1948 Live Lieder Recital: Los Angeles Philharmonic/Eugene Ormandy, Hollywood Bowl; Commentary by Jack Little; with Paul Ulanowsky piano; (461)

7.01 Immortal Performances: IPCD 1023-3;  R. Strauss: Der Rosenkavalier; 7 Jan 1939 Live Broadcast of the Metropolitan Opera (444); two interviews with Lehmann, plus other non-Lehmann Rosenkavalier historic recordings.

8. EMI CLASSICS: Références: CHS 7 64487 2; R. Strauss: Der Rosenkavalier (Abridged); Lehmann/Schumann/Mayr/Olszewska/Heger; Lieder:  (212); Mit deinen blauen Augen (118); Morgen (124); Traum durch die Dämmerung (155); Ständchen (156)

9. EMI Great Recordings of the Century: CDH 7 61020 2; Wagner: Die Walküre (1.AKT). Walter (229)

10. OPERA D’ORO: OPD-1221; Strauss: Der Rosenkavalier (abridged); (212-228)

11. LYS: 326-327 Strauss: Der Rosenkavalier; Live broadcast from the Metropolitan Opera “complete” (438)

12. Music & Arts: CD-1048: Wagner: Die Walküre; Act II (San Francisco, 1936) (433)

13. Pearl: GEMM CDS 9365: Strauss-Rosenkavalier (212)

14. EMI CLASSICS: Références: CDH 7 64255 2; Wagner: Die Walküre (2. AKT); Walter (242-?)

15. DANACORD: DACOCD317-318; LAURITZ MELCHIOR ANTHOLOGY VOL. 4; (Act 1 & 2) (229-?)

16. Pearl: GEMM CD 9500: LAURITZ MELCHIOR WAGNER/VERDI/LEONCAVALLO; Die Walküre Act 2 (433)

17. Preiser: Lebedige Vergangenheit: 89189: Lotte Lehmann: 1. Mozart: Figaros Hochzeit: Heil’ge Quelle, reier Triebe: (106); 2. Mozart: Die Zauberflöte: Ach, ich fühl’s (189); 3. von Weber: Oberon: Ozean, du Ungeheuer (083-084); 4. Beethoven: Fidelio: Komm, Hoffnung (103-104); 5. Wagner: Tannhäuser: Dich, teuer Halle (169); 6. Wagner: Tannhäuser: Almächt’ge Jungrau (170); 7. Wagner: Lohengrin: Einsam in trüben Tagen (172); 8. Wagner: Lohengrin: Euch Lüften die mein Klagen (171); 9. Wagner: Die Walküre: Du bist der Lenz (177a); 10. Wagner: Tristan und Isolde: MIld und leise (177b); 11. Gounod: Faust: Es war ein König in Thule (175); 12. Godard: Jocelyn: Am stillen Zufluchsort (086); 13. Giordano: Andrea Chenier: Von Blut gerötet (085); 14. Puccini: La Bohème: Man nennt mich jetzt Mimi (150); 15. Puccini: Turandot: Die ersten Tränen (082); 16. Strauss: Ariadne auf Naxos: Sie atmet leicht (111-112); 17. Strauss: Der Rosenkavalier: Die Zeit, sie ist ein sonderbar Ding (105); 18. Korngold: Das Wunder der Heliane: Ich ging zu ihm (107-108)

18. Prima Voce: Nimbus Records: Lehmann in Opera: NI7873: 1. Weber: Oberon: Ozean du Ungeheuer: (026-027); 2. Weber: Der Freischütz: Wie nahte mir der Schlummer…Alles pflegt: (007-008); 3. Mozart: Marriage of Figaro: Porgi Amor (in German): (018); 4. Mozart: Marriage of Figaro: Crudel, perché finora (In German): with Heinrich Schlusnus: (036); 5. Mozart: Marriage of Figaro: Deh vieni, non tardar (in German): (019); 6. Mozart: Don Giovanni: La chi darem (in German): with Heinrich Schlusus: (039); Nicolai: The Merry Wives of Windsor: Nun eilt herbei…ha, ha, ha, er wird mir glauben: (029); 8. Thomas: Mignon: Connais-tu le pays? (in German): (016); 9. Thomas: Mignon: Elle est là, près de lui (in German): (021) 10. Wagner: Tannhäuser: Dich teure Halle: (003); 11. Wagner: Tannhäuser: Allmächt’ge Jungfrau: (004); 12. Wagner: Lohengrin: Du ämerste kannst wohl nie ermessen: (005); 13. Wagner: Die Walküre: Der Männer Sippe: (041); 14. Wagner: Die Meistersinger: Gut’n Abend, Meister…doch starb eure Frau: with Michael Bohnen: (009-010); 15. Wagner: Die Meistersinger: O Sachs, mein Freund (040); 16. Tchaikovsky: Eugen Onegin: Letter Scene (in German): (015)

19. Vocal Archives: Liederabend – Lotte Lehmann – Schumann: VA 1158: Robert Schumann: Bruno Walter, piano 1-8. Frauenliebe und Leben (324-331); 9-24. Dichterliebe (371-378)

20. Pearl: GEMM CD 9410: Lotte Lehmann Sings Wagner/Richard Strauss: 1. Offenbach: Tales of Hoffmann: Elle a fui (in German) (204); 2. Wagner: Die Walküre: Du bist der Lenz (1930): (177a); 3. Wagner: Tristan und Isolde: Mild und Leise: (177b); 4. d’Albert: Die toten Augen: Psyche Wandelt: (206); 5. Richard Strauss: Der Rosenkavalier: Die Zeit die ist ein… (105); 6. Richard Strauss: Ariadne auf Naxos: Sie atmet Leicht…In den schönen Feierkleiden: (111-112); 7. Richard Strauss: Arabella: Er ist der richtige (210); 8. Richard Strauss: Arabella: Ich weiss nicht: (211); 9. Richard Strauss: Mein Elemer!…Wie sagt die Zdenka (208-209); 10. Giordano: Andrea Chenier: Maddalena’s Aria, Act III (in German) (085); 11. Richard Wagner: Wesendonck Lieder: Träume (152); 12. Richard Wagner: Wesendonck Lieder: Scherzen (151); 13. Richard Strauss: Ständchen (156); 14. Richard Strauss: Traum durch die Dämmerung (155); 15. Richard Strauss: Cäcilie (044); 16. Richard Strauss: Morgen (with violin and piano) (124); 17. Richard Strauss: Mit deinen blauen Augen (with violin and piano) (118); 18. Franz Lehar: Eva: Waltz Song: So war meine Mutter (spoken dialogue)…Wär es auch nichts als ein Augenblick (109); 19. Meyer-Helmund: The Magic Song: Wenn dein ich denk (Zauberlied) (110); 20. Ketelbey: Sanctuary of the Heart (in German) (with chorus) (164)

21. Naxos Historical: 8.110250-51: Wagner: Die Walküre Acts I & II (229-246)

22. Eklipse: EKR CD 35: Lotte Lehmann Santa Barbara Farewell 1951 (468)

23. Sony Classical: Masterworks Portrait: Songs and Waltzes from Vienna (though it includes orchestra portions conducted by Bruno Walter and the Columbia Symphony, we only list Lehmann selections): 2. Dostal: Heut’ macht die Welt Sonntag für mich (368); 3. Leopoldi: Wien, sterbende Märchenstadt (364); 4. Benatzky: Ich muss wieder einmal in Grinzing sein! (367); 6. Arnold: Da drausen in der Wachau (362); 7. Stolz-Rubitschek: Im Prater blüh’n wieder die Bäume (363); 9. Mendelssohn: Auf Flügeln des Gesanges (349); 10. Sieczynski: Wien, du Stadt meine Träume (361); 12. Anon.: C’est mon ami (369a); 13. Anon.: Maman dites-moi (369b); 14. Anon.: La mère Michel (370b)

24. EMI: Great Recordings of the Century: CDH 7 61042 2: Opera Arias: Lotte Lehmann: 1. Beethoven: Fidelio: Komm, O Hoffnung (103); 2. Weber: Der Freischütz: Wie nahte mir der Schlummer (143); 3. Weber: Oberon: Ozean du Ungeheuer (083-084); 4. Nicolai: Merry Wives of Windsor: Nun eilt herbeit! (190); 5. Wagner: Lohengrin: Euch Lüften (171); 6. Wagner: Tannhäuser: Allmächt’ge Jungfrau (170); 7. Wagner: Tristan und Isolde: Mild und Leise (177-178); 8. Richard Strauss: Der Rosenkavalier: Da geht er hin (218); 9. Richard Strauss: Ariadne auf Naxos: Sie atmet leicht…es gibt ein Reich (111-112); 10. Richard Strauss: Arabella: Mein Elemer (208); 11. Korngold: Die Tote Stadt: Der erste, der Lieb’ mich gelehrt (062-063); 12. Korngold: Das Wunder der Heliane: Ich ging zu ihm (107-108); 13. Johann Strauss: Die Fledermaus: Klinge der Heimat (186); 14. Lehar: Eva: So war meine Mutter…War es auch nichts als ein Augenblick (109)

25. Les Introuvables du Chant Wagnérian: EMI Classics CMS 7 64008 2 (4 discs): we only list the portion that involves Lehmann: 11. Wagner: Lohengrin: Euch Lüften (171)

26. Lotte Lehmann with Kiepura/Tauber: Pearl: GEMM CD 9409: 1. Puccini: Tosca: Ah! Que gli occhi (in Italian) with Jan Kiepura (101); Puccini: Tosca: Vissi d’arte (in German) (149); 3. Puccini: Tosca: Amaro sol per te (in Italian) with Jan Kiepura (102); 4. Puccini: Madame Butterfly: Entrance of Butterfly with chorus (192); 5. Puccini: Madame Butterfly: Un bel di vedremo (in German) (200); 6. Puccini: La Bohème: Si, chiamo mi Mimi (in German) (150); 7. Puccini: Turandot: Del pianto in German (082) 8. Johann Strauss: Die Fledermaus: Mein Herr was dächten… (187); 9. Johann Strauss: Die Fledermaus: Klänge der Heimat (Czardas) (156); 10. Johann Strauss: Die Fledermaus: Herr Chevalier, ich grüsse Sie (135-136); 11. Johann Strauss: Der Zigeunerbaron: Er ist Baron (138); 12. Johann Strauss: Der Zigeunerbaron: Finale Act II (137); 13. Godard: Jocelyn: Berceuse (086); 14. Jensen: O lass’ dich halten (087); 15. Jensen: Murmelndes Lüftchen (088); 16. von Eulenberg: Rosenlieder (song cycle): a. Monatsrose b. Wilde Rose c. Weisse und rote Rose d. Rankende Rose; e. Seerose (077-079); 17. Werner: Heidenröselein (080)

27. Minerva: Lotte Lehmann: Her Early Recordings (1914-1917); MN-A10: 1. Wagner: Lohengrin: Einsam in treuben Tagen (001); 2. Wagner: Lohengrin: Euch Lüften, die mein Klagen (002); 3. Wagner: Tannhäuser: Dich teuer Halle (003); 4. Wagner: Tannhäuser: Allmächt’ge Jungfrau (004); 5. Wagner: Lohengrin: Du Ärmste kannst wohl nie ermessen (005); 6. Weber: Der Freischütz: Alles pflegt schon längst der Ruh’ (008); 7. Gounod: Faust: Es war ein König in Thule (011); 8. Gounod: Faust: Er liebt mich (012); 9. Puccini: La Bohème: Man nennt mich jetzt Mimi (014); 10. Puccini: Madame Butterfly: Über das Meer (023); 11. Tchaikovsky: Eugen Onegin: Sag, bist als Schutzgeist du gesendet (Ich schrieb’ an Sie) (015); 12. Thomas: Mignon: Kennst du das Land (016); 13. Puccini: Madame Butterfly: Eines Tages sehen wir (017); 14. Mozart: Marriage of Figaro: Heil’ge Quelle (018); 15. Mozart: Marriage of Figaro: O säume länger nicht (019) 16. Bizet: Carmen: Ich sprach, dass ich furchtlos mich fühle (020) 17. Thomas: Mignon: Dort bei ihm ist sie jetzt (021); 18. Weber: Der Freischütz: Wie nahte mir der Schlummer (022); 19. Massenet: Manon: Folget dem Ruf, so lieblich zu hören…Nützet die schönen, jungen Tage (024) 20. Wagner: Die Walküre: Du bist der Lenz (025)

28. Grammofono 2000: Lotte Lehmann: The International Repertoire: AB 786.31: 1. Wagner: Lohengrin: Einsam in trüben Tagen (001); 2. Wagner: Lohengrin: Euch Lüften, die mein Klagen (002); 3. Wagner: Tannhäuser: Dich teure Halle (003); 4. Wagner: Tannhäuser: Allmächt’ge Jungfrau (004); 5. Wagner: Lohengrin: Du Ärmste kannst wohl nie ermessen (005); 6. Weber: Der Freischütz: Alles pflegt schon längst der Ruh’ (008); 7. Gounod: Faust: Es war ein König in Thule (011); 8. Gounod: Faust: Er liebt mich (012); 9. Puccini: La Bohème: Man nennt mich jetzt Mimi (014); 10. Puccini: Madame Butterfly: Über das Meer (023); 11. Tchaikovsky: Eugen Onegin: Sag, bist als Schutzgeist du gesendet (Ich schrieb’ an Sie) (015); 12. Thomas: Mignon: Kennst du das Land (016); 13. Puccini: Madame Butterfly: Eines Tages sehen wir (017); 14. Mozart: Marriage of Figaro: Heil’ge Quelle (018); 15. Mozart: Marriage of Figaro: O säume länger nicht (019) 16. Bizet: Carmen: Ich sprach, dass ich furchtlos mich fühle (020) 17. Thomas: Mignon: Dort bei ihm ist sie jetzt (021); 18. Weber: Der Freischütz: Wie nahte mir der Schlummer (022); 19. Massenet: Manon: Folget dem Ruf, so lieblich zu hören…Nützet die schönen, jungen Tage (024) 20. Wagner: Die Walküre: Du bist der Lenz (025)

29. Great Operas at the Met: Strauss: Der Rosenkavalier: MET 515-CD; 2 CD set with many excerpts: CD 1: Track 3. Act I: Hat Sie schon einmal mit einmen Kavalier (226); Track 10-11: …Marie Theres’! Hat mir’s gelobt…ist ein Traum, kann nicht wirklich sein (Finale) (213)

30. Lotte Lehmann: Opern, Operetten, und Schlager: Weltbild History: 701920: 1. Puccini: Tosca: Nur der Schönheit (149); 2. Puccini: Tosca: Qual’ occhio al mondo (sung in Italian) (101); 3. Puccini: Tosca: Amaro sol per te (sung in Italian) (102); 4. Nicolai: Merry Wives of Windsor: Nun eilt herbei, Witz, heit’re Laune (190); 5. d’Albert: Die toten Augen: Psyché wandelt durch Säulenhallen (206); 6. Korngold: Die tote Stadt: Glück, das mir verblieb (062); 7. Strauss: Der Rosenkavalier: O sei er gut Quinquin…Die Zeit, die ist ein sonderbar Ding; (105); 8. Wagner: Tannhäuser: Dich teure Halle (169); 9. Wagner: Lohengrin: Einsam in trüben Tagen (172); 10. Johann Strauss: Zigeunerbaron: Ein Fürstenkind (137); 11. Johann Strauss: Die Fledermaus: Czardas: Klänge der Heimat (186); 12. Lehár: Eva: So war meine Mutter (spoken dialogue)…Wär es auch nichts als ein Augenblick (109); 13. Lehár: Die lustige Witwe: Ich hol’ dir vom Himmel das Blau (148); 14. Trad.: Es waren zwei Königskinder (168); 15. Trad.: Es stiess ein Jäger voll in sein Horn (167); 16. May: Der Duft, der eine schöne Frau begleitet (146); 17. Rosen: Wenn du einmal dein Herz verschenkst (147); 18. Rotter-Stransky, Ralton: Eine kleine Liebelei (115).

31. Lotte Lehmann: Complete 1941 Radio Cycle: Eklipse: EKR CD 18: 2 CDs: (450)

32. The Met Centenarians: Lotte Lehmann: MET 703: 1. Beethoven: Fidelio: Komm’ Hoffnung (103); 2. Wagner: Tannhäuser: Dich teure Halle (169); 3. Wagner: Lohengrin: Einsam in trüben Tagen (172); 4. Wagner: Die Meistersinger: O Sachs, mein Freund (066); 5. Wagner: Die Walküre: Hinweg! Hinweg! (243); 6. Thomas: Mignon: Kam ein armes Kind von fern (185); 7. Massenet: Werther: Werther, Werther…nicht kann ich mir’s verhehlen (202-203); 8. Strauss: Der Rosenkavalier: O sei er gut Quinquin…Die Zeit, die ist ein sonderbar Ding (105); 9. Puccini: Tosca: Nur der Schönheit (149); 10. d’Albert: Die toten Augen: Psyché wandelt durch Säulenhallen (206); 11. Korngold: Die tote Stadt: Glück, das mir verblieb (062); 12. May: Der Duft, der eine schöne Frau begeitet (146); 13. Beethoven: Zärtliche LIebe (Ich liebe dich) (261); 14. Schubert: Der Lindenbaum (295); 15. Schumann: Die Kartenlegerin (251); 16. Brahms: Botschaft (265); 17. Brahms: Der Tod, das ist die kühle Nacht (253); 18. Marx: Selige Nacht (267); 19. Wolf: Anakreons Grab (255); 20. Wolf: In dem Schatten meiner Locken (256)

33. Lotte Lehmann Sings 26 Lieder – Recorded between 1928-1941; Claremont: CD GSE 78-50-57; 1. Schumann: Der Nussbaum (117); 2. Schumann: Aufträge (119a); 3. Schumann: Du bist wie eine Blume (154); 4. Schumann: Widmung (153); 5. Bach (Stölzel): Bist du bei mir (162); 6. Schubert: Der Erlkönig (174); 7. Wolf: Frühling übers Jahr (281); 8. Wolf: In der Frühe (283); 9. Wolf: Auf ein altes Bild (282); 10. Wolf: Heimweh (288); 11. Wolf: Auch kleine Dinge (284); 12. Wolf: Peregrina I (286); 13. Strauss: Ständchen (353); 14. Strauss: Morgen (351); 15. Strauss: Allerseelen (350); 16. Zueignung (352); 17. Brahms: Wie bist du, meine Königin (314); 18. Brahms: Wir wandelten (315); 19. Brahms: An die Nachtigall (312); 20. Brahms: Erlaube mire, fein’s Mädchen (316a); 21. Brahms: Da unten im Tale (316b); 22. Brahms: Feinslibechen, du sollst mir nich barfuss geh’n (311); 23. Brahms: Die Mainacht (310); 24. Brahms: Sonntag (317a); 25. Brahms: O liebliche Wangen (317b); 26. Brahms: Auf dem kirchhofe (313)

34. Lotte Lehmann: Lieder by Schubert, Brahms, Wolf, Wagner & Strauss: Romophone 81032-2; CD1: 1-19: Schubert: Die schöne Müllerin: 1. Das Wandern (379a); 2. Wohin? (379b); 3. Halt! (380a); 4. Danksagung an den Bach (380b); 5. Am Feierabend (387); 6. Der Neugierige (388); 7. Morgengruss (381a); 8. Des Müllers Blumen (381b); 9. Tränenregen (382); 10. Mein! (384a); 11. Pause (383); 12. Mit dem grünen Lautenbande (384b); 13. Der Jäger (389a); 14. Eifersucht und Stoltz (389b); 15. Die liebe Farbe (385); 16. Die böse Farbe (386); 17. Trock’ne Blumen (390); 18. Der Müller und der Bach (391); 19 Des Baches Wiegenlied (392); 20. Schubert: Der Doppelgüanger (321); 21. Schubert: Die junge Nonne (318); 22. Schubert: Liebesbotschaft (322); 23. Strauss: Allerseelen (350); 24. Strauss: Morgen (351); 25. Strauss: Zueignung (352); 26. Strauss: Ständchen (353); CD2: 1. Brahms: Die Mainacht (310); 2. Brahms: Feinsliebchen, du sollst mir nicht barfuss geh’n (311); 3. Brahms: An die Nachtigall (312); 4. Brahms: Aud dem Kirchhofe (313); 5. Brahms: Wie bist du meine Königin (314); 6. Brahms: Wir wandelten (315); 7. Brahms: Erlaube mir fein’s Mädchen (316a); 8. Brahms: Da unten im Tale (316b); 9. Brahms: Sonntag (317a); 10. Brahms: O liebliche Wangen (317b); 11. Brahms: Wiegenlied (347); 12. Brahms: Ständchen (348); 13. Wagner: Der Engel (355); 14. Wagner: Im Treibhaus (359); 15. Wagner: Schmerzen (354); 16. Wagner: Träume (358); 17. Wolf: Verborgenheit (343); 18. Wolf: Zur Ruh’, zur Ruh’ (344); 19. Wolf: Gesang Weylas (345); 20. Wolf: Wer tat deinem Füsslein weh? (360); 21. Sieczynski: Wien, du Stadt meiner Träume (361); 22. Arnold: Da draussen in der Wachau (362); 23. Stolz: Im Prater blüh’n wieder die Bäume (363); 24. Leopoldi: Wien, sterbende Märchenstadt (364); 25. Benatsky: Ich muss wieder einmal in Grinzing sein (367); 26. Dostal: Heut’ macht die Welt Sonntag für mich (368)

34.01 NAXOS Historical: Lotte Lehmann Lieder Recordings Vol. 5: 1. Schubert: Der Doppelgüanger (321); 2. Schubert: Die junge Nonne (318); 3. Schubert: Liebesbotschaft (322); 4. Strauss: Allerseelen (350); 5. Strauss: Morgen (351); 6. Strauss: Zueignung (352); 7. Strauss: Ständchen (353); Schubert: Die schöne Müllerin: 8. Das Wandern (379a); 9. Wohin? (379b); 10. Halt! (380a); 11. Danksagung an den Bach (380b); 12. Am Feierabend (387); 13. Der Neugierige (388); 14. Morgengruss (381a); 15. Des Müllers Blumen (381b); 16. Tränenregen (382); 17. Mein! (384a); 18. Pause (383); 19. Mit dem grünen Lautenbande (384b); 20. Der Jäger (389a); 21. Eifersucht und Stoltz (389b); 22. Die liebe Farbe (385); 23. Die böse Farbe (386); 24. Trock’ne Blumen (390); 25. Der Müller und der Bach (391); 26. Des Baches Wiegenlied (392);

35: Lotte Lehmann: The Complete Victor Recordings (1935-40): Romophone 81013-2; CD1: 1. Mozart: An Chloë (247); 2. Mozart: Der Verschweigung (248); 3. Schubert: Ungeduld (249); 4. Schubert: Im Abendrot (250); 5. Schumann: Die Kartenlegerin (251); 6. Schumann: Waldesgespräch (252); 7. Brahms: Der Tod, das ist die kühle Nacht (253); 8. Brahms: Therese (254a); 9. Brahms: Meine Liebe ist grün (254b); 10. Wolf: Anakreons Grab (255); 11. Wolf: In dem Schatten meiner Locken (256); 12. Balogh: Do not chide (257); 13. Gretchaninoff: My native land (258a); 14. Worth: Midsummer (258b); 15. Sodero: Fa la nanna, bambin (259); 16. Cimara: Canto di primavera (260); 17. Beethoven: Ich liebe dich (261); 18. Trad.: Schlafe, mein süsses Kind (262); 19. Hahn: D’une prison (263); 20. Gounod: Vierge d’Athènes (264); 21. Pfitzner: Gretel (266); 22. Marx: Selige Nacht (267); 23. Wolf: Stochenbotschaft (268); 24. Wolf: Der Gärtner (269a); 25. Wolf: Du denkst mit einem Fädchen mich zu fangen (269b); 26. Franz: Für Musik (270a); 27. Franz: Gute Nacht (270b); 28. Jensen: Lehn’ deine Wang’ (271); 29. Schubert: Gretchen am Spinnrade (274); 30. Schubert: Wiegenlied (Schlafe, schlafe) (275); 31. Schumann: Du bist wie eine Blume (273a); 32. Schumann: Frühlingsnacht (273b); CD2: 1. Schumann: Alte Laute (272); 2. Brahms: Botschaft (265); 3. Brahms: Das Mädchen spricht (276a); 4. Mein Mädel hat einen Rosenmund (276b); 5. Sjøberg: Visions (Tonerna) (277); 6. Calcott: Drink to me only (278); 7. Wolf: Gebet (279); 8. Wolf: Nun lass uns Frieden schliessen (280); 9. Wolf: Frühling übers Jahr (281); 10. Wolf: Alf ein altes Bild (282); 11. Wolf: In der Frühe (283); 12. Wolf: Auch kleine Dinge (284); 13. Wolf: Und willst du deinen Liebsten sterben sehen (285); 14. Wolf: Peregrina I (286); 15. Wolf: Der Knabe und das Immlein (287); 16. Wolf: Heimweh (288); 17.-21. Schumann Duets: 17. Er und Sie (289); 18. So wahr die Sonne scheinet (290a); 19. Unterm Fenster (290b); 20. Familien-Gemälde (291); 21. Ich denke dein (292); 22-32.: Schubert: Winterreise (selections): 22. Die Nebensonnen (293); 23. Die Post (294a); 24. Der stürmische Morgen (294b); 25. Der Lindenbaum (295); 26. Der Wegweiser (296); 27. Die Krähe (297); 28. Das Wirtshaus (298); 29. Täuschung (299a); 30. Mut! (299b); 31. Im Dorfe (300a); 32. Rückblick (300b)

36. Lotte Lehmann: The Complete RCA Victor Recordings (1947-49): Romophone 81033-2; 1. Schubert: Ständchen (Leise flehen meine Lieder) (393); 2.-9.: Brahms: Zigeunerlieder; 2. He Zigeuner (395a); 3. Hochgetürmte Rimaflut (395b); 4. Wisst ihr, wann mein Kindchen (396a); 5. Lieber Gott, du weisst (396b); 6. Braunder Bursche (397a); 7. Röslein dreie in der Reihe (397b); 8. Kommt mir manchmal in den Sinn (398a); 9. Rote Abendwolken (398b); 10. Schubert: An den Mond (Geuss, lieber Mond) (399); 11. Schubert: An die Musik (400); 12. Brahms: Feldeinsamkeit (401); 13. Brahms: Der Kranz (402a); 14. Brahms: Der Schmied (402); 15. Trad.: O come all ye faithful (404); 16. Gruber: Stille Nacht (Ger. & Eng.) (405); 17. Schubert: Der Jüngling an der Quelle (407a); 18. Schubert: An die Nachtigall (407b); 19. Schubert: Die Männer sind mèchant (408); 20. Schubert: Nacht und Träume (409); 21. Schubert: Der Erlkönig (394); 22. Berlin: God bless America (410); 23. Molloy: The Kerry Dance (411); 24. Schumann: Träumerei (as a vocalise) (412); 25. Brahms: Wiegenlied (in Eng.) (413); 26. Hahn: L’enamourée (414); 27. Hahn: Infidèlité (415); 28. Duparc: La vie anterieure (416); 29. Paladilhe: Psyché (417); 30. Strauss: Die Zeitlose (418a); 31. Wozu noch Mädchen (418b); 32. Strauss: Du meines Herzens Krönelein (419)

37. Lotte Lehmann: Wolf, Duparc, Schubert, Brahms: RCA Victor 7809-2-RG: 1. Cimara: Canto de primavera (It) (260); 2. Sodero: Fa la nanna, bambin (It.) (259); 3. Gounod: Vierge d’Athènes (Fr.) (264); 4. Paladilhe: Psyché (Fr.) (417); 5. Duparc: La vie anterieure (Fr.) (416); 6. Hahn: Infidèlité (415); 7. Hahn: L’enamourée (Fr.) (414); 8. Hahn: D’une Prison (Fr.) (263); 9. Gretchaninoff: My native land (258a); 10. Worth: Midsummer (258b); 11. Sjøberg: Tonerna (Visions) (Eng.) (277); 12. Trad.: Drink to me only (278); 13. Balogh: Do not chide me (Eng.) (257); 14. Wolf: Nun lass uns Frieden schliessen (280); 15. Wolf: Und willst du deinen Liebsten sterben sehen (285); 16. Wolf: Der Knabe und das Immlein (287); 17. Trad.: Schlafe, mein süsses Kind (262); 18. Strauss: Die Zeitlose (418a); 19. Strauss: Wozu noch Mädchen (418b); 20. Strauss: Du meines Herzens Krönelein (419); 21. Brahms: Das Mädchen spricht (276a); 22. Brahms: Mein Mädel hat einen Rosenmund (276b); 23. Schumann: Waldesgespräch (252); 24. Schumann: Du bist wie eine Blume (273a); 25. Schumann: Frühlingsnacht (273b); 26. Schubert: Im Abendrot (250); 27. Schubert: Der Jüngling an der Quelle (407a); 28. Schubert: An die Nachtigall (407b); 29. Schubert: Nacht und Träume (409); 30. Schubert: An die Musik (400)

38. Lotte Lehmann in Concert: 1943-1950; Eklipse: EKR CD 20; 2 CD set; CD1: 1.-3. Live with San Francisco Symphony; 1. Schubert: Ständchen (451); 2. Brahms: Wiegenlied (451); 4. Wagner: Tristan und Isolde: Liebestod (451); 5. Haydn: She Never Told Her Love (452); 6. Schumann: Widmung (as Dedication in Eng.) (452); 7.-10. Live with Seattle Symphony Orchestra; 7. Schubert: Die junge Nonne (453.1a); 8. Schubert: Der jungling an der Quelle (453.1b); 9. Schubert: Der Erlkönig (453.1c); 10. Wagner: Träume (453.1d); 11.-16. Live with Hollywood Bowl Orchestra [15. & 16. encores with piano]; 11. Strauss: Allerseelen (461b); 12. Strauss: Traum durch die Dämmerung (461c); 13. Strauss: Morgen (461a); 14. Strauss: Zueignung (461d); 15. Schubert: Ständchen (461e); 16. Brahms: Wiegenlied (461f); 17. Mendelssohn: Auf Flügeln des Gesanges (464b); 18. Schubert: Ständchen (464a); CD2: Interview with Lotte Lehmann and Maria Jeritza (494)

39. Lotte Lehmann: Die Winterreise: Pearl: GEM 0033: Recorded for two different record companies on two different occasions: (293-300); and (301-309)

40. Schumann: Frauenliebe und -leben/Dichterliebe: CBS: MPK 44840; 1. -8. Frauenliebe und -leben (324-331); 9.-24. Dichterliebe (371-378)

41. Lotte Lehmann: Pearl: GEMM CDS 9234: 2 CD set: CD1: 1. Weber: Oberon: Ozean du Ungeheuer! (083-844); 2. Weber: Der Freischütz: Wie nahte mir der Schlummer…Leise, leise fromme Weise (143-144) 3. Beethoven: Fidelio: Komm, O Hoffnung (103-104); 4. Massenet: Manon: Folget dem Ruf…Nützet die schönen, jungen Tage (205); 5. Nicolai: Merry Wives of Windsor: Nun eilt herbei, Witz, heit’re Laune (190); 6. Mozart: Magic Flute: Ach, ich fühl’s, es ist verschwunden (189); 7. Puccini: Madame Butterfly: Über das Meer und alle Lande (192); 8. Wagner: Tannhäuser: Dich teuer Halle (169); 9. Wagner: Tannhäuser: Allmächt’ge Jungfrau (170); 10. Gruber: Stille Nacht, heilige Nacht (123); 11. Trad.: O du fröhliche (122); 12. Wagner: Die Walküre (238); 13. Wagner: Die Walküre (243); CD2: 1. Strauss: Der Rosenkavlier: Da geht er hin (218); 2. Schumann: Widmung (153); 3. Schumann: Du bist wie eine Blume (154); 4. Schumann: So wahr die Sonne scheinet (290a); 5. Schumann: Unterm Fenster (290b); 6. Schumann: Familien-Gemälde (291); 7. -14. Schumann: Frauenliebe und -leben; 7. Seit ich ihn gesehen (324); 8. Er, der Herrlichste von allen (325); 9. Ich kann’s nicht fassen, nicht glauben (326); 10. Du Ring an meinem Finger (327); 11. Helft mir, ihr Schwestern (328); 12. Süsser Freund, du blickest mich verwundert an (329); 13. An meinem Herzen, an meiner Brust (330); 14. Nun hast du mir den ersten Schmerz getan (331); 15.-30. Schumann: Dichterliebe; 15. Im wunderschönen Monat Mai (374a); 16. Aus meinen Tränen spriessen (374b); 17. Die Rose, die Lilie, die Taube, die Sonne (374c); 18. Wenn ich in deine Augen seh’ (371a); 19. Ich will meine Seele tauchen (371b); 20. Im Rhein, im heiligen Strome (377a); 21. Ich grolle nicht (377b); 22. Und wüssten’s die Blumen (375a); 23. Das ist ein Flöten und Geigen (375b); 24. Hör’ ich das Liedchen (375c); 25. Ein Jüngling liebt ein Mädchen (378a); 26. Am leuchtenden Sommermorgen (378b); 27. Ich hab’ im Traum geweinet (372a); 28. Allnächtlich im Traume (372b); 29. Aus alten Märchen winkt es (373); 30. Die alten, bösen Lieder (376)

42. The Young Lotte Lehmann: Preiser 89302: 3 CD set: CD1: 1. Weber: Der Freischütz: Wie nahte mir der Schlummer (022); 2. Weber: Der Freischütz: Alles pflegt schon längst der Ruh’ (008); 3. Wagner: Tannhäuser: Dich teure Halle (003); 4. Wagner: Tannhäuser: Allmächt’ge Jungfrau (004); 5. Wagner: Lohengrin: Einsam in trüben Tagen (001); 6. Wagner: Lohengrin: Euch Lüften, die mein Klagen (002); 7. Wagner: Lohengrin: Du Ärmste kannst wohl nie ermessen (005); 8. Gounod: Faust: Es war ein König in Thule (011); 9. Gounod: Faust: Er liebt mich (012); 10. Gounod: Faust: Auf eilet (013); 11. Wagner: Die Meistersinger: Gut’n Abend, Meister (009); 12. Wagner: Die Meistersinger: O Sachs, mein Freund (040); 13. Wagner: Die Walküre: Der Männer Sippe (041); 14. Wagner: Die Walküre: Du bist der Lenz (025); 15. d’Albert: Die toten Augen: Psyche wandelt… (033); 16. Strauss: Morgen (045); 17. Strauss: Cäcilie (044); CD2: 1. Mozart: Marriage of Figaro: Heil’ge Quelle (018); 2. Mozart: Marriage of Figaro: O säume länger nicht (019); 3. Weber: Der Freischütz: Und ob die Wolke (042); 4. Weber: Oberon: Ozean du Ungeheuer (026-027); 5. Lorzing: Undine: So wisse, dass in allen…(031-032); 6. Halevy: Die Jüdin: Er kommt zurück (047); 7. Bizet: Carmen: Ich sprach, dass ich furchtlos mich fühle (006); 8. Offenbach: Tales of Hoffman: Sie entfloh’ (043); 9. Götz: Der Widerspenstigen Zähmung: Es schweige die Klage (028); 10. Tchaikovsky: Eugen Onegin: Sag’, bist als Schutzgeist du gesendet (015); 11. Verdi: Othello: Sie sass mit Leide auf öder Heide (060); 12. Massenet: Manon: ‘s ist für ihn…Leb’ wohl mein liebes kleines Tischen (056); 13. Strauss: Der Rosenkavalier: Kann mich auch an ein Mädel erinnern (068); 14. Korngold: Die tote Stadt: Der Erste, der Lieb’ mich gelehrt (063); CD3: 1.

One of the other Lehmann-related sources has been Richard Caniell of Canada’s Immortal Performances. First, he completely re-worked the 1939 broadcast from the Met, of Rosenkavalier. This was an important performance because it includes a lot of material missing from the HMV recording of 1933. The Met performance has a good cast, including the young Risë Stevens, as Octavian. To me, the orchestra portions still sound boxy, but when Lehmann sings, it’s quite natural with plenty of detail. Lehmann’s diction is apparent, as is her complete command of the role. It’s worth the price just to hear the Marschallin sections. By the way, there are extensive “liner” notes with unusual photos, as well as two interviews (in English) with Lehmann and non-Lehmann Act III recordings from 1928. I was in email touch with Richard Caniell and in a P.S., Richard writes: “Immortal Performances was also the source for the Naxos release in 1998 when that company formed its Historical label around our work. Their issue of it was disastrously denigrated in its sound and this was one, of many such occurances, that led us to resign from the project. Anyone who has the Naxos set deserves apologies. I am glad, at last, to be finally associated with something listenable of this broadcast.”

The next project that Richard is working on is the “Dream Ring” which many Wagner and Lehmann fans will remember was released a few years back on the Guild label. The main draw was to combine various off-the-air performances of Die Walküre to meld a dream performance with Flagstad and Lehmann (among others). Let me here, quote Richard again: “[it] will be re-issued in improved sound as part of our re-mastered release of our Dream Ring under a grant by the Getty Foundation. Hope to see it emerge by April-end if not sooner.” On the CD sample he sent me, scenes from the first act really bounce strongly into the ear. Lehmann’s vitality and expressiveness once again assures me that the audience drove her to greater heights. Once again, I quote Richard: “The re-pitch of Act I and other improvements put Lehmann’s incomparable Sieglinde into still better focus…I’ve put a huge energy into re-mastering the Ring re-doing transitions, heightening the tone, balance and dynamics. Wonderful to get the chance to do it. As a non-profit society we could never have afforded to redo the whole thing; given the fact that those who had great interest in it had already purchased our Guild edition. Hats off to the Getty Foundation for making it possible.”

The final project that I know of from Immortal Performances is the 1935 Met broadcast of Lohengrin, which has a great cast that includes Lehmann, Melchior, Schorr, List, Marjorie Lawrence and Julius Huehn. The sound has never been enjoyable, so I’m looking forward to hearing what the new restoration has to offer.

The other Lehmann-related object of my attention is the just published book on Lehmann’s teaching called Lotte Lehmann in America: Her Legacy as Artist Teacher, with Commentaries from Her Master Classes by Kathy Brown.

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Artists’ Passings 2012

As we enter 2013, it’s appropriate to remember the many great artists we lost this past year. Some of them gave mightily to opera and art song: Elliott Carter, Dietrich Fischer-Dieskau (there’s a page devoted to him on this site), Dave Brubeck, Ruggiero Ricci, Richard Adler, Ravi Shankar, Zvi Zeitlin, Eduard Khil, Jacques Barzun, Hans Werner Henze, Roman Totenberg (chairman of the string department of the Music Academy of the West, where Lehmann was a founding member, in 1947), Edward Shanbrom, Marvin Hamlisch, Maurice Sendak, Evelyn Lear, Grigory Frid, Nan Merriman (who had been coached by Lehmann), Jonathan Harvey, Gloria Davy, Paavo Berglund, Alexis Weissenberg, Maurice André, Gustav Leonhardt, Mihaela Ursuleasa, Charles Rosen, Galina Vishnevskaya, Lisa della Casa, and Richard Rodney Bennett.

MasterClass Gesang Weylas Edited

When I began the Lotte Lehmann Foundation I knew that it would gain in respect, prestige and effectiveness if I assembled a group of artists who were well-known in the world of art song.  But I couldn’t use stationery with no advisors on it, so I approached personal friends in the field. The very first to reply positively were   composer Dan Welcher, pianist/conductor Natalie Limonick, Juilliard teacher Fred Fehleisen, and interviewees such as Elly Ameling [who later withdrew after disagreeing with CyberSing and even sending in her recording to trick us!], Marilyn Horne, Dalton Baldwin, who had worked with Lehmann when she coached Souzay and finally, Thomas Hampson. Now armed with stationery that included these names I approached other specialists in the world of song and was amazed at the wonderfully prompt replies of acceptance. I thank them all so much. Below you’ll find the list of advisors and thereafter a bio for each of them. I’ll make comments to bring their bios up-to-date. The asterisks denote those I didn’t  bring onto the Advisor Board. Many of these people were legends to me and it was really exciting to be in touch with them. They were often forthcoming and helpful. Several kept in active touch and I’ll reflect this in their individual bios.
Olaf Bär
*Thomas Bagwell
Juliane Banse
Steven Blier
Barbara Bonney
Phyllis Bryn-Julson
Grace Bumbry
Violet Chang
Hugues Cuénod
Mary Dibbern
Fred Fehleisen
Nicolai Gedda
Christine Goerke
Nathan Gunn
Thomas Hampson
Barbara Hendricks
Wolfgang Holzmair
Marilyn Horne
Jorma Hynninen
Graham Johnson
Warren Jones
Judith Kellock
*Carol Kimball
Jennifer Larmore
Natalie Limonick
Lotfi Mansouri
Carol Neblett
Birgit Nilsson
Marni Nixon
Kurt Ollmann
J.J. Penna
*Troy Peters
Christoph Prégardien
Derek Lee Ragin
Frederica von Stade
Nathalie Stutzmann
Dan Welcher
Robert White
Edith Wiens

Olaf Bär

Olaf Bär is considered to be one of the foremost Lieder interpreters of his generation and regularly appears in the world’s greatest recital venues. He has made major recital tours of Australia and Japan and has given recitals in New York, San Francisco, Washington and Philadelphia, in addition to many international festivals including Salzburg. He is currently one of the most frequent recitalists at the Wigmore Hall in London. Future recital venues include Barcelona, Dublin, Brussels, Munich, Toronto, Washington, Siena, Genova, Stockholm, Istanbul, Madrid and Vienna’s Musikverein. Bär is equally at home in the concert hall and opera house. His concert repertoire covers music from the baroque to the twentieth century including Mahler’s Kindertotenlieder, Bach’s St Matthew Passion and many of the cantatas, Britten’s War Requiem, the Brahms Requiem, and Haydn’s Creation. He has appeared with many of the world’s finest orchestras and conductors including the London Symphony Orchestra under Michael Tilson Thomas and the Orchestra of La Scala, under Riccardo Muti. His work in Opera includes appearances at the Royal Opera House, Covent Garden (Harlekin in Ariadne auf Naxos and Papageno), at La Scala, Milan (Papageno), at the Aix-en-Provence Festival (Harlekin/Gugliemo), in Frankfurt (Gugliemo), at the Vienna State Opera (Harlekin, Olivier/Capriccio), the Netherlands Opera (Count/Figaro), and the title role in Don Giovanni at Glyndebourne, as well as many principal roles at the Semper Oper in Dresden.

Early in 1997, Olaf Bär made his highly successful American operatic debut as Papageno in Chicago, and has also appeared more recently as a guest artist in Dresden, performing as Marcello, Germont Pere and as the Count/Figaro (with Colin Davis). Olaf Bär’s success at the Vienna Festival in May, in Schubert’s Alfonso e Estrella led to a return invitation to sing Dr Falke in 1999. His other operatic appearances included the Count /Figaro in Rome, Wolfram in Dresden and Don Giovanni in Verona.

His recordings of opera and concert repertoire include performances in Ein Deusches Requiem and Die Zauberflöte with Roger Norrington and the London Classical Players, a disc of Bach Cantatas with Peter Schreier and the Scottish Chamber Orchestra, and both the Durufle and Faure Requiems. All are available on EMI Classics.

In the summer of 1985 Olaf Bär made his first Lieder record for EMI Classics, a programme of Schumann’s Dichterliebe and Liederkreis. Since then, under his exclusive contract for Lieder with EMI Classics, he has recorded much of the most important Lieder repertoire, including Schubert’s Die schöne Müllerin, (which won a Gramophone award) Winterreise and Schwanengesang, Schumann’s Liederkreis and Kerner-Lieder Op. 35, and a disc of songs by Brahms. His accompanist in all of these recitals was the late Geoffrey Parsons.

Bär has also joined forces with the Swedish mezzo soprano Anne Sophie von Otter to record Wolf’s Spanisches Liederbuch, again recorded with Geoffrey Parsons. The songs are performed in an order devised by Bär himself, and the recording was released by EMI Classics in June 1995. EMI Classics issued a recording featuring Olaf Bär in August, September and October 1995. First, a disc of Brahms’ Liebesliederwalzer, Op.52, and Neue Liebeslieder, Op.65, and Schumann’s Spanische Liebeslieder, Op.138. For this Bär was joined once again by Anne Sophie von Otter, as well as soprano Barbara Bonney, tenor Kurt Streit and the pianists Helmut Deutsch and Bengt Forsberg. This was followed by a recital of Liebeslieder and a collection of Lieder written by German composers primarily known for their operas, once again in partnership with Helmut Deutsch.

In August 1996 EMI Classics released a new recording of Wolf’s Italienisches Liederbuch on which Bär is joined not only by Helmut Deutsch, but also by the soprano Dawn Upshaw. In November ’96 this was followed by a Christmas album, Weihnachten in Deutschen Lied and in January 1997, a compilation of Schumann Lieder, Romances and Ballades, both recorded with the accompanist Helmut Deutsch. In November 1997 EMI Classics released a collection of Brahms Lieder, Op 63, 71, 72 and 94, together with Four Serious Songs Op 121, accompanied by the pianist Helmut Deutsch. Other recordings have included a disc of Schumann Lieder, Op 25 & 27, with the soprano Juliane Banse and the accompanist Helmut Deutsch, released in April 1998.

Dalton Baldwin has accompanied the greatest art song performers of our time. His legendary years as Gérard Souzay’s pianist are well documented in recordings. Mr. Baldwin has also accompanied Elly Ameling, Jessye Norman, and the late Arleen Auger. Presently teaching at Westminster Choir College in Princeton, New Jersey, Mr. Baldwin finds time to travel around the world teaching art song master classes. He knew Lehmann personally and visited Lehmann’s home in Santa Barbara, California, with Souzay. On 19 December 2001 Mr. Baldwin celebrated his 70th birthday with a grand musical party in New York City; it was on this occasion that the Lotte Lehmann Foundation presented him with its first annual World of Song Award.

Violet Chang

International mezzo soprano and philanthropist Violet Chang has performed Lieder with such eminent pianists as Erik Werba and Dalton Baldwin. Her performances in Europe and Asia were hailed as landmark events. At this point, Violet Chang travels widely and among other things, promotes the Lehmann Foundation’s CyberSing.

Nicolai Gedda

Nicolai Gedda is perhaps the most versatile tenor of the 20th Century. Performing opera and song, he has sung in nine languages and in a vast repertoire that includes more than 60 opera roles. He has made more than 200 recordings over his 40 year career and has appeared at all of the major opera centers with the most prestigious conductors and colleagues.

Barbara Hendricks

Barbara Hendricks, soprano, is equally at home in opera, recital, jazz and popular song; her recordings have sold all over the world and received many accolades. Born in Arkansas, Ms. Hendricks studied at Juilliard with Jennie Tourel. Acclaimed as one of the leading recitalists of her generation, she has appeared at every major music center in Europe, Japan and North America and has also toured extensively in the Soviet Union.

Baritone, Wolfgang Holzmair holds a Diploma from the Vienna University of Economics. He studied singing at the Vienna Academy of Music with Prof. Hilde Rässel-Majdan and Lied with Erik Werba, winning prizes at several international vocal competitions. After engagements in Bern and Gelsenkirchen Mr. Holzmair appeared at many major opera houses such as Vienna, Lyon, Berlin, Leipzig, Lisbon, London, Munich among others. In 1993 he made his debut at the Salzburg Festival, and has been a guest at numerous important festivals.Mr. Holzmair has performed with orchestras such as Vienna Symphony, Berlin Philharmonic, Concertgebouw Amsterdam, Cleveland Orchestra, San Francisco Symphony, Israel Philharmonic, English Chamber Orchestra, Concentrus Musicus, Chamber Orchestra of Europe conducted by N. Harnoncourt, R. Norrington, S. Ozawa, K. Nagano, C. v. Dohnanyi, R. Chailly and F. Welser-Möst. He has numerous CD-recordings to his credit: Lieder by Beethoven, Schubert, Schumann, Mendelssohn, Brahms, Wolf, Eisler and Weill. He is presently a guest professor at the Royal College of Music in London.

Marilyn Horne

Marilyn Horne recently retired from a career as the world’s most famous coloratura mezzo soprano. Almost single-handedly she restored Rossini operas to prominence. Her recordings of this repertoire would be sufficient to ensure her name in history, but she has also recorded many other operas and art songs to critical acclaim. She is head of the vocal department of the Music Academy of the West, where she was a student of Lehmann. Ms. Horne has established her own foundation which supports young artists performing classical songs in recital.

Jorma Hynninen, Finnish baritone, has also served as Artistic Director for the Finnish National Opera and presently at the Savonlinna Opera Festival in Finland. His international career includes performances at the Met, Vienna Opera, La Scala, Bavarian State Opera in Munich, as well as Paris, Hamburg, Barcelona, Geneva and Berlin. Mr. Hynninen has combined his operatic career with regular appearances in the concert hall with the world’s leading orchestras and maestros such as Ozawa, Mazur, and Salonen. His recital appearances include the major cities of Europe and North America.

A passionate advocate for classical song, Carol Kimball is the author of Song: A Guide to Art Song Style and Literature, a highly regarded reference and text that has become “the principal one-volume American source on the topic,” and Interpreting the Songs of Jacques Leguerney: A Guide for Study and Performance (with Mary Dibbern and Patrick Choukroun). She has edited The French Song Anthology, Women Composers: A Heritage of Song, and Art Song in English: 50 Songs by 21 American and British Composers, all publications of the Hal Leonard Corporation. Her writing also includes the Singer’s Edition opera anthologies and articles and reviews on opera and song in many professional journals, including The Opera Quarterly, The Opera Journal (National Opera Association), and The Journal of Singing (National Association of Teachers of Singing). She has served as past editor of The Journal of Singing and The Opera Journal. Dr. Kimball has written liner notes for the following recordings: Four Composers-One Voice (cycles by Del Tredici, Hagen, Rorem, and Baley with the composers at the piano), Arsis Records; Le Premier matin du monde (works by Chausson, Fauré, Debussy, Poulenc, and Satie), Cambria Master Recordings; and(In)Habitation: Musical Settings of Margaret Atwood Poetry, forthcoming in 2008 (newly commissioned works by Libby Larsen, Amanda Harberg, Lori Laitman, Tania Léon, Elisenda Fabregas, and Judith Cloud), Centaur Records. As a performer, Carol Kimball earned a reputation as an expressive and versatile performer in concerts, opera, and musical theater. Recognized as a gifted recitalist, her imaginative programming and the unusual scope of her repertoire garnered critical praise. A specialist in French repertoire, Dr. Kimball has studied and coached with Pierre Bernac, Gerard Souzay, Martial Singher, Thomas Grubb, and Dalton Baldwin. Carol Kimball is Professor of Voice and Vocal Literature and a Barrick Distinguished Scholar at the University of Nevada, Las Vegas, where she has taught since 1972. For her accomplishments in and for the Arts, she was honored with the 1992 Nevada Governor’s Arts Award for Excellence in the Arts. She remains active teaching, presenting master classes and clinics, and writing.

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Jennifer Larmore

Jennifer Larmore’s operatic début in France as Sesto inMozart’s La clemenza di Tito in 1986 marked the start of a brilliant international career in which the operas of Rossini, Bellini, Mozart and Handel have come to figure particularly prominently. As Rosina in Il barbiere di Siviglia she has appeared to great acclaim in Paris, Amsterdam, Bonn, Berlin, Bilbao and London. It was also this role that she chose for her Metropolitan Opera debut in 1995. She was first heard at La Scala, Milan, in Rossini’s Le comte Ory, later returning for Ravel’s Lé enfant et les sortiléges. She has appeared as Romeo in Bellini’s I Capuleti e i Montecchiin Paris, New York’s Carnegie Hall, Lisbon, Geneva and Vaison-la-Romaine. She made her Salzburg Festival debut in 1993 as Dorabella in Mozart’s Cosi fan tutte and has sung the title role in Handel’s Giulio Cesare in Amsterdam, Lisbon, New York and Paris.Ms. Larmore writes: “In the beginning, when you’re doing auditions and basically feeling insecure, the last thing you need or want is for someone to throw discouragement in your face. I sang several competitions as a young singer, and although many judges and other people involved with these competitions told me they thought I was the best singer that evening, I still didn’t win. In addition, I was given some of the most amazing reasons by the judges. One told me that I was going to have a great career anyway, so I really didn’t need the prize! Another told me that he was afraid to give me a prize because I was too pretty, and people would have thought I won because of my appearance. Again, right before I walked on to sing in a prestigious East Coast competition, one of the judges told me that I had no business being there because I was too young. It shook my confidence, but I still won third prize. I was told by a well-known opera director that I would never be able to make a career because I had a fast vibrato!”Jennifer Larmore is equally at home on the concert stage with a wide-ranging repertory extending from Handel’s Messiah and Vivaldi’s Magnificat to Rossini’s Stabat mater and Mahler’s Rückert Lieder, which she has sung not only at the Vienna Musikverein with Riccardo Muti and the Vienna Philharmonic but also at the Concertgebouw Amsterdam.

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Natalie Limonick

Natalie Limonick accompanied singers in master classes held by Lehmann at the Music Academy of the West, and was associated with that institution for decades. Former Professor of Music and General Director of Opera at the University of Southern California, Ms. Limonick was also Associate Director of Opera at the University of California at Los Angeles. One of the first women and Americans to coach at Bayreuth, she was visiting professor at the Universities of Indiana and Texas and has shared the recital stage with such art song specialists as Elly Ameling, Carol Neblett, Marni Nixon and Marilyn Horne. Still active in the musical life of Los Angeles, she recently retired from the position of President of the Opera Guild of Southern California.

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Lotfi Mansouri

Lotfi Mansouri was San Francisco Opera’s general director from 1988 until 2002; his association with the Company dates back to 1963, when he directed six productions. He directed over 60 productions for the San Francisco Opera.Born in Iran, he attended college at UCLA and studied briefly with Lotte Lehmann at the Music Academy of the West. Mr. Mansouri served as resident stage director at Zurich Opera from 1960 to 1966. In 1965, he started working simultaneously at the Geneva Opera, where he became head stage director in 1966 and stayed until 1976. During this period, he began fulfilling engagements as guest director at various houses throughout Italy and North America, including Chicago, Houston, Santa Fe, Philadelphia, Dallas and both the Metropolitan and New York City Opera companies.In 1976, he was named general director of the Canadian Opera Company in Toronto, where he directed 30 new productions, 12 of them Canadian premieres.

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Carol Neblett

A leading soprano with the Metropolitan, San Francisco, Chicago, Los Angeles, New York City, Buenos Aires, Salzburg, Hamburg, and Covent Garden opera companies, Miss Neblett has been acclaimed the world over by both critics and audiences. Extraordinarily personable, intelligent and beautiful she is a singing star equally at home in opera, recital, concerts, radio, television, recordings and films. In recent season she opened the Maggio Musicale in Florence as the Prima Donna in Hindemith’s Cardillac, Didon in Les Troyens for the Los Angeles Opera, Tosca, Musetta in La Boheme and Minnie in La Fanciulla del West at the Met, The Merry Widow for Baltimore Opera and the title role in Opera Pacific’s production ofRegina. She returned to the SanFrancisco Opera for performances of Helen of Troy inMefistofele.Ms. Neblett made her Metropolitan Opera debut in 1979 as Senta in the Jean-Pierre Ponnelle production of Der Fliegende Hollander and has sung regularly with the Met inTosca, Don Giovanni, Manon Lescaut, Un Ballo in Maschera, Falstaff, and La Fanciulla del West. In the 1993-94 Metropolitan Opera season Carol celebrated her 25th operatic anniversary as Musetta in La Boheme.She made her Lyric Opera of Chicago debut in 1976 as Tosca with Luciano Pavarotti, and has sung this role more than 400 times! Subsequently, she was invited to sing Minnie with Placido Domingo for Queen Elizabeth’s 25th Jubilee Celebration at Covent Garden, which was filmed live and recorded.Since her 1969 debut with the New York City Opera as Musetta, Miss Neblett has sung many leading roles with the company, including La Traviata, Manon, Louise andAriadne auf Naxos, Le Coq d’Or and Faust. Her critical triumph in the dual roles of Marguerita and Helen of Troy in Boito’s Mefistofele with famed bass Norman Treigle created a sensation world-wide. Miss Neblett revealed her unique dancing, acting and singing skills with her performance of Korngold’s Die Tote StadtL which she subsequently recorded.

Impresarios and directors have always looked to Ms. Neblett as an artist who could bring life to operas which are rarely performed. She has been heralded for her performances in L’Incoronazione di Poppea, La Wally, L’Amore dei Tre Re, Idomeneo Le Cid and La Vestale. In 1987, European critics hailed her performance in Palermo, Italy, in the title role of Respighi’s Semirama, and in 1989 she sang an equally acclaimed performance of Bellini’s La Straniera at the Spoleto Festival.

Carol Neblett’s extensive orchestral repertoire includes more than one hundred oratorios and symphonic works, many of which have bee documented. Her recordings include Musetta in La Boheme for Angel/EMI, James Levine conducting, La Fanciulla del West, with Placido Domingo and Sherrill Milnes, Zubin Mehta conducting (DGG); Marietta in Korngold’s Die Tote Stadt, Erich Leinsdorf conducting (RCA); Mahler’s Symphony No.2 with Claudio Abbado and the Chicago Symphony Orchestra; and a special recording with Roger Wagner on Angel/EMI entitled Magnificat. In celebration of the 100th anniversary of the Chicago Symphony Orchestra, a compact disc was issued of Miss Neblett singing Soprano #1 in Mahler’s Symphony No. 8, James Levine conducting. Miss Neblett is featured in “James Levine’s 25th Anniversary with the Metropolitan Opera” recording singing the role of Alice Ford in Falstaff with Giuseppe Taddei.

Further triumphs include an international broadcast of Beethoven’s Ninth Symphony, under Maestro Carlo Maria Giulini. Miss Neblett performed in the television broadcast of a tribute to George London, featuring an illustrious group of singers at the Kennedy Center in Washington, D.C. A recording of this performance, “A Tribute to George London,” has been released by RCA.

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Birgit Nilsson

Swedish soprano Birgit Nilsson was born in 1918 in the town of Vastra Karup in the province of Skane (Scania) in southern Sweden.Miss Nilsson made her operatic debut in 1946 as Agathe inDer Freischütz with only 3 days notice. Her debut came shortly after she had joined the Swedish Opera School. After her brief stint as Agathe, Miss Nilsson made her breakthrough performance as Lady Macbeth in 1947 at the Royal Opera in Stockholm.Miss Nilsson attained international stardom after a performance as Isolde in Wagner’sTristan und Isolde at the Metropolitan Opera in New York in 1959. She says, though, that the single biggest event in her life was when she was asked to perform at the opening of the 370th season at La Scala as Turandot in 1958. She became the first non-Italian other than Maria Callas ever granted the privilege of opening a season at La Scala.In 1966, Miss Nilsson was asked to appear in a rather unusual performance at the Metropolitan Opera. During a showing of Tannhäuser, she was asked to sing the parts of both Venus and Elisabeth. They did not appear on stage at the same time, of course!

Birgit Nilsson is probably best known for her portrayals of Turandot, Brünnhilde in Richard Wagner’s Der Ring Des Nibelungen, Isolde in Tristan und Isolde, and Elektra. Miss Nilsson is also known for her interesting relationship with Rudolf Bing. When Bing was asked if Birgit was difficult, he replied, “Not at all, you put enough money in and a glorious voice comes out.” When preparing her taxes Miss Nilsson was asked if she had any dependents. “Yes,” she said, “Rudolf Bing.” Miss Nilsson retired from opera in 1984.

In 2001 Birgit Nilsson was Guest of Honor at The Richard Tucker Foundation Gala being held at Covent Garden. The participants included one of the Lotte Lehmann’s students and a Foundation Advisor, Grace Bumbry.

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Marni Nixon

Born in Altadena, California, Marni Nixon’s career includes Opera, (Seattle, San Francisco, Ford Foundation TV Opera Cameos, the former Los Angeles Guild Opera and Cosmopolitan Opera), Chamber and Symphony Orchestra, Oratorio soloist and Grammy Nominated recordings both Popular and Classical (Boulez, Villa-Lobos, Ives, Schoenberg, Stravinsky, Copland) including conductors Von Beinum, Wallenstein, Previn, Mehta, Stravinsky, Stokowski, Mauceri, Slatkin and Bernstein. Awards include Four Emmys for Best Actress on her children’s TV show Boomerang and two Gold Records for Songs for Mary Poppins and Mulan(voice of Grandma Fa), and 2 Classical Grammy Nominations. Broadway appearances include Heidi Schiller in Sondheim’s Follies, and originating the roles of Sadie McKibben in Opal, and Edna in Taking My Turn, and Aunt Kate in James Joyce’s the Dead. In Regional and Off-Broadway her roles have included Nurse in Shakespeare’sRomeo & Juliet, Fraulein Schneider in Cabaret, and recently Eunice Miller in Kander and Ebb’s “70, Girls, 70″. In the recent premiere of Richard Wargo’s Opera Ballymoreat Skylight Opera in Milwaukee, Wisconsin (taped for PBS) she originated the role of Mrs. Willson . She is a popular favorite on Garrison Keillor’s MPR radio show A Prairie Home Companion. A much sought after judge of Metropolitan Opera Auditions, National Association of Teachers of Singing, etc. Miss Nixon presents Master Classes in both Classical and Music theater repertoire, in Colleges and Universities and teaches privately throughout the USA. Miss Nixon is the singing voice for Deborah Kerr, Natalie Wood and Audrey Hepburn in the Motion Pictures and on the Soundtracks of The King and I, An Affair to Remember, West Side Story, My Fair Lady, and Grandma Fa in The Legend of Mulan. “Stardom isn’t the goal,” says Nixon, who has mouthed songs for so many stars. “Staying in the industry and being successful at whatever you do is.”

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Kurt Ollmann

Kurt Ollmann, baritone, has a broad-ranging career and is heard regularly with opera companies, orchestras, chamber music groups and on many recordings, but he has always been especially devoted to the song repertoire. Ollmann has sung recitals in all the major New York concert venues, at Wigmore Hall in London, at La Scala, Milan, in Paris, Geneva, Montreal, Chicago and many other European and American cities. He has appeared with such distinguished pianist-colleagues as Ned Rorem, Steven Blier, Dalton Baldwin, Donald St. Pierre, Mary Dibbern and James Tocco. Kurt Ollmann’s recordings of songs include those of Roussel for EMI, Leguerney for Harmonia Mundi, Bowles for BMG-Catalyst and Rorem for New World Records. He also sings on the AIDS Quilt Songbook (Harmonia Mundi).

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J.J. Penna

Website:www.rider.edu/westminster/faculty/penna.html

Pianist J.J. Penna has performed extensively throughout the United States, Europe, South America and the Far East with a variety of eminent singers, including Kathleen Battle, Harolyn Blackwell, Amy Burton, Denyce Graves, David Daniels, Kevin McMillan, Roberta Peters, Florence Quivar, Sharon Sweet and Ying Huang.He has performed at Weill Recital Hall in New York, at the Palacio de Bellas Artes in Mexico City, at Wigmore Hall in London, at the Kennedy Center, and at Ozawa Hall at Tanglewood. Devoted to the study and performance of new music, he has premiered works by William Bolcom, Tom Cipullo, Lowell Liebermann, Ricky Ian Gordon and Michael Cohen.Mr. Penna received his doctoral degree from the University of Michigan in 1996 as a student of Martin Katz, and has received fellowships for further training at the Tanglewood Music Center, Banff Centre For the Arts, Chautauqua Institution, the Norfolk Summer Chamber Music Festival, the Music Academy of the West, and the Merola Opera Program, where he was presented with the Otto Guth Award as outstanding apprentice coach in 1994.Mr. Penna appeared at Carnegie Hall’s Weill Recital Hall in January 2004 as part of the Marilyn Horne Foundation’s The Song Continues series. Other engagements include recitals with Courteney Budd, Nancy Maultsby, Measha Brueggergosman and Denyce Graves, including appearances under the auspices of Young Concert Artists and the Marilyn Horne Foundation.Mr. Penna was the director of the vocal program at the Bowdoin Summer Music Festival from 2001 to 2003. He is currently on the staff of the Steans Institute for Young Artists at the Ravinia Festival, in addition to directing his own song festival in Princeton, New Jersey each summer. Devoted to the teaching of art song literature, he is on the faculties of the Yale University School of Music and Westminster Choir College of Rider University.

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Troy Peters

Website: www.troypetersmusic.com

Troy Peters is a dynamic conductor noted for committed performances in a wide range of repertoire. In the fall of 2004, he was appointed Conductor of the Middlebury College Orchestra. As Music Director and Conductor of the Vermont Youth Orchestra since 1995, he has overseen a period of tremendous growth and received national acclaim for innovative programming. He is equally respected for his work with professional orchestras, and he has been a frequent and popular guest conductor with many groups including the Vermont Mozart Festival, the Vermont Symphony Orchestra, and the Vermont Philharmonic. Peters has also gained international attention for his orchestral collaborations with Trey Anastasio, guitarist and composer from the rock band Phish.Under the leadership of Troy Peters, the Vermont Youth Orchestra received four ASCAP Awards for Adventurous Programming of Contemporary Music and has grown from two orchestras to four, nearly tripling its student population. Peters was also a key player in the $2 million renovation of the VYO’s new home, the Elley-Long Music Center at Saint Michael’s College. Before coming to Vermont in 1995, he worked with the Philadelphia Youth Orchestra for seven years, serving as Assistant Conductor and Director of Chamber Music and conducting the orchestra on international tours to Austria, Germany, France, Switzerland, England, Wales, Jordan, Israel, and Spain. He is the former Artistic Director and Conductor of the Pacific Chamber Soloists (Tacoma, Washington) and the former Artistic Director of Perpetuum Mobile (Philadelphia). A graduate of The Curtis Institute of Music and the University of Pennsylvania, he has also participated in numerous conducting workshops and clinics.Throughout his career, Peters has been consistently committed to music education. He has become a popular clinician and conductor for district, regional, and All-State orchestras around the U.S. He also has extensive experience with other youth orchestras, college and university orchestras, and community orchestras. A popular lecturer and teacher, he has presented pre-concert lectures and music appreciation classes for many groups, including the Philadelphia Orchestra and the Vermont Symphony Orchestra.Peters is also busy as a composer, where his work ranges from orchestral and chamber music to a large body of songs and an opera for hand puppets. Among his honors are the Charles Ives Scholarship from the American Academy of Arts and Letters and grants from Meet the Composer and the Rockefeller Foundation. His composition teachers included Ned Rorem and George Crumb. A versatile instrumentalist, Peters not only plays the viola, but has also performed on tenor banjo and electric guitar with symphony orchestras. He was born in 1969 in Greenock, Scotland, of American parents.

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Christoph Prégardien

Prégardien, tenor, began his music career in a boys choir before studying voice in Frankfurt, Milan and Stuttgart. He is regarded as one of today’s outstanding lyric tenors and has received invitations from renowned conductors such as Chailly, Gardiner, Harnoncourt, Herreweghe, Marriner and Rilling for major roles in oratorios, passions and operas. A substantial part of his repertoire is dedicated to the German romantic song. Prégardien’s numerous CD releases and tours outside Europe (Japan and North America) have brought him world wide fame. He sang for the Hyperion Schubert Edition.Born 1956 in Limburg, Germany, Christoph Prégardien began his musical education as a choirboy. He then studied singing with Martin Grändler and Karlheinz Jarius in Frankfurt, Carla Castellani in Milan, Alois Treml in Stuttgart.Widely regarded as among the foremost lyric tenors, Christoph Pr´gardien frequently collaborates with conductors such as Barenboim, Chailly, Gardiner, Harnoncourt, Herreweghe, Jacobs, Koopman, Marriner, Nagano, and Sawallisch . His repertory spans a wide range from the great Baroque, Classical, and Romantic Oratorios and Passions to 20th century works by Britten, Killmayer, Rihm, Stravinsky.Recognized as an eminent recitalist, Christoph Prégardien is regularly welcomed at the major recitals venues of Paris, London, Brussels, Berlin, Cologne, Amsterdam, Salzburg, Zurich, Vienna, Barcelona and Geneva, as well as to concert tours throughout Italy, Japan and North America. A long lasting collaboration unites him with his favourite piano partners Michael Gees and Andreas Staier.

Soloist of Choice for renowned orchestras, he performed with the Berlin Symphony and Philharmonic, the Bavarian Radio Symphony, the Royal Concertgebouw Orchestra, the Vienna Philharmonic, the London Philharmonia, the Academy of St. Martin in the Fields, the Orchestra Philharmonic de Radio France, the Boston and St. Louis Symphony Orchestra.

An important part of his repertory has been recorded by major labels such as BMG, EMI, Deutsche Grammophon, Philips, Sony, Erato and Teldec. He is represented on more than a hundred and twenty titles, including nearly all of his active repertoire.

His recordings of German Romantic Lied repertory have been highly acclaimed by public and press and received international awards including the prestigious OrphÆ dÓr of the Academie du Disque Lyric — Prix Georg Solti, Preis der Deutschen Schallplattenkritik, Edison Award, Cannes Classical Award, and Diapason dor.

He collaborated with Nikolaus Harnoncourt on two Teldec recordings: his “signature” part of the Evangelist in Bach’s St. Matthew Passion (2002 Grammy winner for Best Choral Recording) and the role of Rinaldo in Haydn’s opera Armida opposite Cecilia Bartoli. His recording of Don Giovanni with John Eliot Gardiner, the English Baroque Soloists, and Monteverdi Choir was nominated for a Grammy Award for Best Opera Recording.

As an opera singer, Christoph Prégardien has made stage appearances in major European houses, performing such leading roles as Tamino (Zauberflöte), Max (Der Freischütz), Almaviva (Il Barbiere di Sevglia), Fenton (Falstaff), and Monteverdi’sUlisse.

Currently Christoph Prégardien teaches a vocal class at Zurich’s Hochschule für Musik und Theater.

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Derek Lee Ragin

Derek Lee Ragin, countertenor, began formal vocal training at the Newark Boys Chorus School, later attending Oberlin College Conservatory of Music. A specialist in Baroque music, Mr. Ragin also performs a wide repertoire of new music. He has performed in Salzburg, Vienna, Tanglewood, at the Metropolitan Opera, and with conductors such as Mazur, Ozawa, Gardiner, Salonen, and Shaw. He has recorded operas, cantatas, Italian lute songs and spirituals.

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Frederica von Stade

Miss von Stade’s career has taken her to the stages of the world’s great opera houses and concert halls. She began at the top, when she received a contract from Sir Rudolph Bing during the Metropolitan Opera Auditions, and since her debut in 1970 she has sung nearly all of her great roles with that company. In 1995, as a celebration of her 25th anniversary with the Metropolitan Opera, the company mounted a new production of Pelleas et Melisande specifically for her. In addition, Miss von Stade has appeared with every leading American opera company, including Lyric Opera of Chicago, Los Angeles Music Center Opera, San Francisco Opera and Dallas Opera, among others. Her career in Europe has been no less spectacular, with new productions mounted for her regularly at La Scala, Covent Garden, the Vienna State Opera, and the Paris Opera. She is invited regularly by the world’s top conductors, among them Claudio Abbado, James Levine, Riccardo Muti, Seiji Ozawa, Andre Previn, and Michael Tilson Thomas, to appear in concert with the world’s leading orchestras including Boston Symphony, Chicago Symphony, New York Philharmonic, Philadelphia Orchestra, San Francisco Symphony, London Symphony, Orchestra of La Scala, and many others.With seemingly effortless versatility she traverses an ever-broadening spectrum of musical styles and dramatic characterizations. A noted bel canto specialist, she excels as the heroines of Rossini’s La cenerentola and of Bellini’s La sonnambula. She has been one of the world’s favorite interpreters of the great trouser roles, from Strauss’ Octavian and Composer to Mozart’s Sextus, Idamante and Cherubino. Miss von Stade’s artistry has inspired the revival of neglected works such as Massenet’sCherubin, Thomas’ Mignon, Rameau’s Dardanus and Monteverdi’s Il ritorno d’Ulisse in patria. Her repertoire is continually expanding with newer works such as Dominick Argento’s The Aspern Papers and Thomas Pasatieri’s The Seagull. It was in San Francisco that she performed the role of Madame de Merteuil in the world premiere of Conrad Susa’s Dangerous Liasons which was broadcast on PBS.A respected recitalist, Miss von Stade combines her expressive vocalism and keen musicianship with a gift for communication engaging audiences throughout the world. Here too, her repertoire encompasses an expansive range, from the Italian “Arie antiche” to the songs of contemporary composers such as Dominick Argento, who compose specifically for her, from the classical style of Mozart and Haydn to the music of Broadway’s greatest songs.She has made over three dozen recordings with many major labels, including complete operas, aria albums, symphonic works, solo recital programs, and popular crossover albums. Her recordings have garnered six Grammy nominations, two Grand Prix du Disc awards, the Deutsche Schallplattenpreis, Italy’s Premio della Critica Discografica, and “Best of the Year” citations by Stereo Review, Opera News, and other journals.

Miss von Stade also appears regularly on television, with “Live from the Met” performances of Cherubino, Hansel and Idamante as well as a Unitel film of the classic Jean-Pierre Ponnelle production of La cenerentola. She created the role of Tina in the world premiere production of Argento’s The Aspern Papers (a work written for her) which was broadcast from Dallas Opera on PBS. In January 1996, Miss von Stade celebrated the art of American song with Thomas Hampson, Marilyn Horne, Dawn Upshaw and Jerry Hadley in a program at New York’s Town Hall titled, “I Hear America Singing,” which was televised by PBS. During the Fall of 1995 she recorded another television special for PBS which included arias, art songs and popular crossover material. A holiday special, Christmas with Flicka, was shot on location in Salzburg and appeared on PBS, and in the spring of 1990 she was the focal point of another PBS special, Flicka and Friends, in which she was joined by bass, Samuel Ramey, and tenor, Jerry Hadley, for an evening of operatic and musical theater selections. In December 1991 she appeared with Kathleen Battle and Wynton Marsalis in a Carnegie Hall Christmas Concert, which was conducted by Andre Previn and broadcast internationally on television; audio and home video recordings were issued by Sony Classics. She was the guest soloist for the Berlin Philharmonic’s 1992 New Year’s Eve gala, conducted by Claudio Abbado, which was also telecast worldwide and recorded in audio and video formats by Sony.

Frederica von Stade is the holder of honorary doctorates from Yale University, Boston University, the Georgetown University of Medicine, and her alma mater, the Mannes School of Music. In 1983 she was honored with an award given at the White House by former president Ronald Reagan in recognition of her significant contribution to the arts.

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Nathalie Stutzmann

Nathalie Stutzmann, French contralto, enjoys a brilliant international career with equal success in the fields of opera, concert, recital and recording. She has made over 40 recordings, many for RCA Victor Red Seal, and has received many awards such as the Deutsche Schallplatten Kritik, Diapason dor, Japan Record Academy Award, and a Grammy Award. Her repertoire includes both French and German art song.Here is a more thorough biography of this great singer: Contralto Nathalie Stutzmann was born in Paris. She studied singing with her mother, the lyric soprano Christiane Stutzmann, and then at the Ecole d’Art Lyrique de lâ Opéra de Paris where she improves her lieder repertoire with the baritone Hans Hotter. She is also a highly accomplished pianist, bassoonist and chamber musician.Regarded as one of the greatest voices and musical talents of our time, Nathalie Stutzmann works very often with conductors like Chailly, Ozawa, Gardiner, Rattle, Dohnanyi. Her vast repertoire covers the main Oratorios and Passions of the baroque period, classical, and romantic, as well as works of the 20th century.Nathalie Stutzmann is particularly renowned for her interpretations of German Lied and French melody. Since 1994 she has collaborated intensely with the Swedish pianist Inger Sødergren. They are regularly performing recitals together in Paris, London, Berlin, New York, Amsterdam, Madrid, Geneva, Brussels, Milan, and throughout Japan, the United States and South America.

She is also in great demand as soloist of famous orchestras including the Royal Concertgebouw Orchestra Amsterdam, Orchestre de Paris, London Symphony Orchestra, Boston and Cleveland Symphony Orchestra, la Staatskapelle Dresden, le Sinfonieorchester des Bavarian Radio Orchestra of Munich.

A large part of her repertoire has been recorded by RCA the record company with which she has recorded with since 1991. Her discography today includes more than sixty recordings for labels including Erato, Philips, EMI, Deutsche Grammophon, and Sony.

Notable recordings include 5 volumes of Schumann Lieder, Chausson and Poulenc mëlodies for RCA, Mahler Symphony No. 2 with Ozawa for Sony and Vivaldi’s Nisi Dominus for Hyperion. Her talent has been rewarded with a number of awards including: the Deutsche Schallplatten Kritik Prize, Diapason dor, Japan Record Academy Prize, and a Grammy Award. Her most recent releases are Vivaldi’s La Verita in cimento (with Növe) and a re-release of the French Melodies collection on RCA “Repertoire”.

On the operatic stage Nathalie Stutzmann has performed the roles of Giulio Cesare (Giulio Cesare, Handel), Radamisto (Radamisto, Handel), Orfeo (Orfeo ed Eurydice, Gluck), Amastre (Xerxes, Handel), and Ombra Felice (Mozart Pasticcio) creation at Salzburg Festival.

She gives regular masterclasses throughout the world.

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Benita Valente

Benita Valente’s initial professional music experience was at Music Academy of the West (also, where she first met and collaborated with Marilyn Horne). It was in Santa Barbara that she first learned from Lotte Lehmann “how music comes to life”.Ms. Valente was at the beginning of her vocal life when she studied with Lotte Lehmann. Other important influences include her work at Marlboro Festival, where she performed with Rudolf Serkin, Felix Galimir and Harold Wright. Especially noted for her collaborations with living composers, Ms. Valente has sung in many chamber music and recital performances, often in world premieres. She was the 1999 Recipient of Chamber Music America’s Highest Award: The Richard J. Bogomolny National Service Award, the first vocalist to receive the award in its twenty-year history.The distinguished American soprano is one of this era’s most cherished musical artists. An internationally celebrated interpreter of Lieder, chamber music, oratorio, and opera. Her keen musicianship encompasses an astounding array of styles, from the Baroque to the varied idioms of today’s leading composers. Her major chamber music collaborators have included the Guarnieri, Julliard, and Orion Quartets, cellist Yo Yo Ma, clarinetist Richard Stolzman, and pianists Emmanuel Ax, Leon Fleisher, Richard Goode and Peter Serkin. Benita Valente has been orchestral soloist with virtually every important conductor and orchestra in the world. Her roles at the Metropolitan Opera have included Pamina, Gilda, Nanetta, Susanna, Ilia, and Almirena. Other roles include Euridice at Santa Fe, the Countess in Washington, and Dalilah in Florence. Festival appearances include Tanglewood, Aspen, Ravinia, Grand Tetons, Santa Fe, Vienna, Edinburgh, and Lyon. Recent recordings include music of Vaughan Williams, Debussy, and Bolcom.

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Dan Welcher

Composer Dan Welcher has written over 80 works, including more than twenty orchestral works, an opera, works for wind ensemble, choral music and many combinations of chamber music. He has written two art song cycles, as well as a great number of individual songs with various types of accompaniment. Mr. Welcher is currently Professor of Composition at the University of Texas in Austin, where he also conducts both the New Music Ensemble and the University of Texas Opera Theater. His music is represented on more than a dozen CD recordings on the New World, Marco Polo, Crystal, Gasparo, Summit, and Klavier labels.Critic Royal S. Brown, writing in High Fidelity magazine in 1974, called Dan Welcher “one of the most promising American composers I have heard”. Welcher has been steadily fulfilling that promise ever since. With over seventy works to his credit, more than half of which are published, Welcher has written in virtually every medium, including opera, concerto, symphony, wind ensemble, vocal literature, piano solos, and various kinds of chamber music. Also a highly respected conductor, Welcher has made guest appearances with a number of leading professional orchestras and ensembles in the US, and was for ten years Assistant Conductor of the Austin Symphony Orchestra.Dan Welcher has won numerous awards and prizes from institutions such as the Guggenheim Foundation, National Endowment for the Arts, The Reader’s Digest/Lila Wallace Foundation, the Rockefeller Foundation, Meet The Composer, the MacDowell Colony, the American Music Center, and ASCAP. From 1990 to 1993, he was Composer in Residence with the Honolulu Symphony Orchestra (Donald Johanos, Music Director). His orchestral music has been performed by more than fifty orchestras, including the Chicago Symphony, the St. Louis Symphony, and the Dallas Symphony. His recent large works include an orchestral work commissioned by the Dallas Symphony Orchestra entitled Bright Wings: Valediction for Large Orchestra, premiered in Dallas in March of 1997; an overture entitled Spumante commissioned by the Boston Pops, and premiered by that orchestra under its Music Director, Keith Lockhart, in May of 1998; an oboe concerto entitled Venti di Mare premiered in February 1999 by oboist John Snow with the Rochester Philharmonic under Peter Bay, and JFK: the Voice of Peace, an hour-long oratorio for narrator, solo cello, chorus and orchestra, premiered by the Handel & Haydn Society Orchestra and Chorus, with cellist Paul Tobias and narrator David McCullough, in March 1999. Dan Welcher holds the Lee Hage Jamail Regents Professorship in Composition at The University of Texas at Austin.Mr. Welcher has written: “‘Great Songs’ was the prototype for my own show ‘Knowing the Score’ (which is now being produce at radio station KMFA-Fm in Austin, Texas, and which was the 1999 winner of the ASCAP-Deems Taylor Broadcast Award)…”

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Robert White

Robert White, tenor, was born into a New York family that enjoys a strong tradition of song. He studied at the Juilliard School, earning a Master’s Degree in voice. European studies included work with the legendary Nadia Boulanger at Fountainebleau.Versatility has been the tenor’s trademark throughout his career. Just after college he toured Europe and America as soloist in Medieval and Renaissance music with Noah Greenberg’s New York Pro Musica, while also giving premieres of twentieth-century works by Menotti, Schuller, Babbitt, Corigliano and Hindemith (under this latter’s direction).Today his singing is applauded by audiences worldwide. He has sung for five American Presidents, Britain’s Queen Mother and Prince Charles, Monaco’s Royal Family, and Pope John Paul II. Symphonic and chamber music appearances include the New York Philharmonic, the National Symphony, the New York Pops, the English Chamber Orchestra, the Dallas Symphony and the Lincoln Center Chamber Music Society. Mr White has sung at major music festivals, including New York’s Mostly Mozart, as well as the Aspen, Edinburgh, Prague, Hong Kong and Spoleto Festivals. His work in opera ranges from Baroque pieces to Mozart’s Don Giovanni, Smetana’sThe Two Widows, Bizet’s Carmen, Mussorgsky’s Boris Godunov, and modern operas such as Hindemith’s The Long Christmas Dinner, and Menotti’s Labyrinth.In the 1980s Mr. White attracted a large concert public in Britain and Ireland. Following a month-long English tour with flautist James Galway he was given the rare opportunity to host his own weekly radio programme with orchestra on the BBC, singing music ranging from Handel and Beethoven to Kern and Berlin.

Robert White has recorded more than a dozen solo albums. In addition to his busy performing schedule, he is a member of the Voice Faculty of the Juilliard School.

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Edith Wiens

Ms. Wiens is a renowned soprano and lieder singer who has performed in many of the world’s foremost venues. Blessed with a beautiful, versatile voice, she embraces a vast repertoire of music from the baroque to the contemporary and has been delighting audiences in North America, Europe and Asia. Proud of her Mennonite heritage, she is one of Canada’s classical music ambassadors.Canadian soprano Edith Wiens is regularly invited to sing with orchestras, including the New York, Berlin, London, Munich and Israel Philharmonic Orchestras; Boston, Chicago, Toronto, Montreal and San Francisco Symphonies, Philharmonia, Dresden Staatskapelle and Cleveland Orchestras, the Academy of St Martin-in-the-Fields, Orchestre National de France and Orchestre de Paris; under such conductors as Daniel Barenboim, Sir Colin Davis, Charles Dutoit, Bernard Haitink, Sir Neville Marriner, Kurt Masur, Seiji Ozawa, Wolfgang Sawallisch, and Sir Georg Solti.

$1,000+
Anonymous Foundation

$250+
Dalton Baldwin, Daron Hagen & Gilda Lyons

$100+
Albert Schutz, Larry Alan Smith, Pierre Vallet

under $100
Carole & Thomas Geballe, Kay Griffel, William Van Hunter, Gilda M. Lyons, Russell Platt, David Zirlin