Marianne Schech Vídeos
cantante de ópera, profesor universitario
Conmemoraciones 2024 (Nacimiento: Marianne Schech)
- soprano
- Alemania
Última actualización
2024-05-07
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Sächsische Staatskapelle Dresden Karl Böhm Inge Borkh Marianne Schech Cvetka Ahlin Judith Hellwig Hellwig Margarete Sjöstedt Sieglinde Wagner Gerhard Unger Unger Richard Strauss 1961 2013 2014
Provided to YouTube by Believe SAS Elektra, Op. 58, Act I: "Ich habe ihm das Beil nicht geben können!" (Elektra, Chrysothemis, Die Mägde, Dienerinnen) · Sächsische Staatskapelle Dresden, Karl Böhm, Inge Borkh, Marianne Schech, Cvetka Ahlin, Gerda Scheyrer, Judith Hellwig, Margarete Sjöstedt, Sieglinde Wagner, Gerhard Unger R. Strauss: Elektra (Mono Version) ℗ 1961 - BNF Collection 2013 Released on: 2014-03-10 Music Publisher: D.R Author: Hugo von Hofmannsthal Composer: Richard Strauss Auto-generated by YouTube.
Richard Wagner Franz Konwitschny Gottlob Frick Hans Hopf Wolfram Eschenbach Dietrich Fischer Dieskau Fischer Vogelweide Fritz Wunderlich Gerhard Unger Unger Reinmar Elisabeth Grümmer Marianne Schech Lisa Otto Staatsoper Staatsoper Berlin 1813 1883
Richard Wagner - Tannhäuser und der Sängerkrieg auf Wartburg [Ouvertüre und Aufzug I.] (Dresden) DEUTSCH Komponist : Richard Wagner (22.Mai.1813 ~ 13.Feb.1883) Künstler : Chor und Orchester der Staatsoper Berlin (Dirigent : Franz Konwitschny) Besetzung Hermann: Gottlob Frick Tannhäuser: Hans Hopf Wolfram von Eschenbach: Dietrich Fischer-Dieskau Walther von der Vogelweide: Fritz Wunderlich Biterolf: Rudolf Gonszar Heinrich der Schreiber: Gerhard Unger Reinmar von Zweter: Reiner Süß Elisabeth: Elisabeth Grümmer Venus: Marianne Schech Ein junger Hirt: Lisa Otto Ouvertüre 00:07 Aufzug I. Nr.1 Szene I. Der Venusberg 14:04 Nr.2 Szene II. Venus und Tannhäuser 18:53 Nr.3 Szene III. Tannhäuser, Ein junger Hirt, Pilger 37:40 Nr.4 Sznen IV. Tannhäuser, Der Landgraf, und die Sänger 46:31 ENGLISH Composer : Richard Wagner (May.22.1813 ~ Feb.13.1883) Performers : Chor and Orchestra of the Staatsoper Berlin (Conductor : Frnaz Konwitschny) 한국어 작곡가 : 리하르트 바그너 +••.••(...) ~ 1883.2.13) 연주 단체 : 베를린 국립 오페라극장 오케스트라 (지휘자 : 프란츠 콘비츠니) 배역 헤르만/방백 (베이스) : 고틀로프 프릭 탄호이저 (테너) : 한스 호프 볼프람 폰 에셴바흐 (바리톤) : 디트리히 피셔 디스카우 발터 폰 데어 포겔바이데 (테너) : 프리츠 분더리히 브테롤프 (베이스) : 루돌프 곤슈자르 하인리히 데어 슈라이버 : 게르하르트 웅거 라인마르 폰 츠베터 : 라이너 쥐스 베누스 : 마리안느 셰히 젊은 목동 : 리자 오토
Hertha Töpper Ambroise Thomas Peter Maag René Kollo Bach Marga Höffgen Karl Richter Richter Aafje Heynis Agnes Giebel Mozart Maria Stader Bayreuth Wagner Hans Knappertsbusch Marianne Schech Fricsay Bartók Fischer Fischer Dieskau Berry Palánkay Stravinsky Seefried Haefliger Verdi Gluck Flotow Hermann Prey Fritz Wunderlich Troyanos Böhm Bavarian State Opera 1795 1866 1911 1921 1951 1956 1957 1960 1962 1969 1980 1995 1999
Please open the bar to read more about this artist! Hertha Töpper, Contralto/Mezzosoprano Ambroise Thomas MIGNON Connais-tu le pays - sung in german - Conducted by Peter Maag Recorded 1956 My personal opinion: It is significant, that some critics wrote a vast number words of admiration about singers no one knows (19th century artists who already died before the invention of sound-recording was established), and with blinders on their eyes, they forgot some audience-favorites. Tenor René Kollo on critics of that kind: "Well, it´s always the same: If you´re alive, you are a mediocre singer. If a singer is dead, he was a good one. And if he´s long time dead, he was very good!" In the two leading books about "Great Singers" (german edition) you will not find the name of Hertha Töpper. I would feel remiss if I didn´t include the austrian born Mezzosoprano/Contralto in Part III. Although she wasn´t a rare singer, I believe she is unknown for a wider international audience. Particularly she was noted for her performances of music by Bach, and together with Marga Höffgen +••.••(...)), she was one of the leading Contralto-singers of the composer´s vocal works during the 1950s and 1960. She recorded many of them with the famous Karl Richter, who saw in Hertha Töpper "the ideal of an Oratorio-Contralto" (The famous vocal pedagog Franziska Martienssen-Lohmann in her book "Der wissende Sänger": "The so-called Contralto is a much desired voice-type especially in oratorios. Ordinarily on the operatic stage a much bigger vocal range is necessary. When a Contralto comes from oratorio to opera, she may be surprised in view of the great requirements for lightness, facility and agility in the top register." No wonder, some oratorio-singers always refused to sing opera: Aafje Heynis and Agnes Giebel are two examples.) Hertha Töpper was quasi the deep-voice counterpart to the great Mozart soprano Maria Stader +••.••(...)), also an exponent of "instrumental singing" - the ideal of pure sound-emission and technical fluency . In 1951, Hertha Töpper was engaged in Bayreuth (Fricka, Siegrune and Flosshilde) for the first great cycle of THE RING after the war (the famous "Entrümpelungs"-production of Wieland Wagner). The same year, she earned ovations at the Bavarian State Opera House in Munich as Octavian in DER ROSENKAVALIER (immortalized in a 1957 live-recording under Hans Knappertsbusch with Marianne Schech as Marschallin). One year later, Hertha Töpper was Judith in the persuasive german Fricsay-recording of Bartók´s masterpiece BLUEBEARD´S CASTLE with Fischer-Dieskau (Alongside the hungarian versions with Ludwig/Berry and Palánkay/Szekély the best you can find). Fricsay also chose her as Jocaste for his production of the Opéra-oratorio OEDIPUS REX by Stravinsky. In one of the very first stereophonic recordings at all, Töpper also sang in Bach´s ST. MATTHEW PASSION under Richter (with Seefried, Fischer-Dieskau and Haefliger). Over time Hertha Töpper was seen on the stages of Vienna, Salzburg, Milan, London (CAPRICCIO and ROSENKAVALIER. She repeated her famous Octavian in San Francisco 1960), Bruxelles, Amsterdam, Rome and Zurich. Equally versatile was her further repertory: Wagner, Mozart (Dorabella), Verdi (Amneris and Eboli), Gluck (ORPHÉE) and Nancy in MARTHA by Flotow - to name only a few. She was Larina in the 1962 TV-Broadcast of JEWGENI ONEGIN with Hermann Prey and Fritz Wunderlich, and in 1969, Hertha Töpper substituted Tatjana Troyanos as CARMEN in Munich (Böhm). She never overstepped her limits and saved her high standards until her retirement in 1980. It was a career in silence, free of all absurd concessions to a hectic Opera-business. Munich was her artistic home, the oratorio and the concert stage her domain. She was married to the late composer Franz Mixa. It would be a great default, to have her not in this collection of proficient singers from the past. Here is Fr. Töpper with a german sung rendition of Mignon´s famous aria "Connais-tu le pays?" by Ambroise Thomas. The opera (1866) based on Goethe´s novel "Wilhelm Meisters Lehrjahre" (1795). THE COMPLETE OVERVIEW: GO TO ALL SINGERS IN THE LIST with this new link: (http•••)
Jean Madeira Richard Wagner Hans Hotter Hans Knappertsbusch Bayreuth Pierre Dervaux Nicola Filacuridi Michel Roux Roux Grace Bumbry Jon Vickers Georg Solti Ernestine Schumann Heink Schumann Karin Branzell Karl Boehm Boehm Inge Borkh Marianne Schech Fritz Stiedry Eyer Maschera Milanov Tucker Marian Anderson Mozart Charpentier Suzuki Rossini Barbiere Hollaender Beecham Abbado Metropolitan Opera 1909 1918 1948 1950 1955 1956 1958 1959 1971 1972 2003
Jean Madeira, Mezzo-Soprano / Contralto +••.••(...)) Richard Wagner: RHEINGOLD "Weiche, Wotan, weiche" with Hans Hotter, Bass-Baritone +••.••(...)) Conducted by Hans Knappertsbusch / live recording Bayreuth August 15, 1956 My personal opinion: This strikingly attractive woman is not the young Ava Gardner or any other actress from the silver screen. It is the American mezzo-soprano Jean Madeira, who was from 1948 to 1971 a long-standing star at the Metropolitan Opera. But strangely, her popularity there is not reflected in her few recordings: Only less than half a dozen - and only one with Madeira in a title role. And even this CARMEN under Pierre Dervaux often gets overlooked. Maybe a reason is the mediocre cast that surrounds Madeira: A good, but not outstanding tenor (Nicola Filacuridi), a hysterical Micaela (Janette Vivalda), an unstable Escamillo (Michel Roux); all accompanied by a terrible backyard-orchestra. But Madeira, with her warm and sonorous mezzo, her seductive and coquettish phrasing, is a real surprise for everyone who only knows the big-budget stereo recordings, including the overestimated CARMEN with Grace Bumbry and Jon Vickers, who may have been a Tristan or Otello, but certainly not a Don José ... Jean Madeira's voice was described as "gleaming anthracite", a good description also for her earth-deep sounding RHEINGOLD Erda in Georg Solti's monumental blow-up RING (1958) for Decca. "Weiche, Wotan, weiche", trombone-like floating as if it comes right out of a foghorn, reminds me of Ernestine Schumann-Heink. I'm not at all surprised that many critics could not decide whether Jean Madeira was a mezzo-soprano or even a contralto (similarly difficult was the case with Karin Branzell, Madeira's teacher at the Juilliard School). It seems to me, the Karl Boehm recording of Strauss' ELEKTRA is to date the definitive version of this bloody cult opera, and the role of the queen Klytaemnestra (first performed by Schumann-Heink) is perhaps the one with which Madeira was most closely indentified. I would be inclined to hear once again for '100 Singers' this ordeal of an opera, but beside the wonderful Inge Borkh as Elektra there is also the annoying Marianne Schech as Chrysothemis with her cutting sharp notes. And therefore my self-preservation instinct warns me with a clear "no". Sorry ... Anyway, leaving aside Jean Madeira's Strauss' heroine, we will return inevitably to her CARMEN and Erda, a role she sang in Munich, London and, of course, in Bayreuth - the scene you hear is from a 1956 performance. The one year later Met production under the baton of Fritz Stiedry with Madeira as Erda was a catastrophe due to the poor stage design and received only three performances. Madeira, however, earned good reviews: "Jean Madeira, rising unexpectedly out of the top of a mountain, gave an outstanding vocal performance as Erda, imparting to the role a purely musical importance which it has not always had in other hands", wrote Ronald Eyer in 'Musical America'. A must-hear is also her Ulrica in UN BALLO IN MASCHERA in the 1955 Met performance with Milanov and Tucker. The young Madeira replaced Marian Anderson, who had made her debut in the role only two weeks before. "Despite her youth, Miss Madeira had the vocal weight and dramatic presence to make a very convincing witch", wrote a critic with the initials C. B. In the 'andante sostenuto' of the spooky "Re dell' abisso, affrettati", Madeira's rich dark voice is quite up to par: Mysterious, demonic, unfathomable. With Tucker at his best, it's a recommendable live recording of an electrifying performance. Although Jean Madeira was often used for many of opera's maternal or old-maidish roles (Marcellina in Mozart's FIGARO, the mother in Charpentier's LOUISE, Giovanna in RIGOLETTO, Annina in TRAVIATA, Suzuki in BUTTERFLY, Berta in Rossini's BARBIERE, Mary in HOLLAENDER, Mamma Lucia in CAVALLERIA or the old Azucena in IL TROVATORE), her fresh CARMEN (fourteen times with the Met company from 1950 to 1959) in the Dervaux recording is still one of my favorites. Knowing well that it is a low-budget production, I really like the spontaneity and intimacy of this unpretentious interpretation. It is a naturalness which we can not find in the famous Beecham, Prêtre or Abbado prestige versions. It doesn't have to be always caviar...
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- cronología: Cantantes líricos (Europa).
- Índices (por orden alfabético): S...