Elisabeth Schwarzkopf; "Luonnotar for Soprano & Orchestra"; Jean Sibelius
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- Опубликовано: 30 сен 2022
- This channel is the re-establishment of previous channels that have been sadly terminated.
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Elisabeth Schwarzkopf--soprano
Tauno Hannikainen-conductor
Helsinki Philharmonic Orchestra
1955
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"Born: December 9, 1915 - Jarotchin, near Posen, Germany
Died: August 3, 2006 - Schruns, Austria
The celebrated German-born English soprano, (Olga Maria) Elisabeth (Friederike) Schwarzkopf, was the daughter of Friedrich Schwarzkopf and his wife, Elisabeth Fröhling. From the very beginning, Elisabeth showed an interest in persuing a career in music. She performed in her first opera in 1928, as Eurydice in a school production of Orfeo ed Euridice in Magdeburg, Germany. She was also in demand in concerts and local amateur performances.
In 1934, Elisabeth Schwarzkopf applied for entrance to the Berlin Hochschule für Musik and was accepted. Elisabeth began studying with Lula Mysz-Gmeiner, who began training Elisabeth as a mezzo-soprano. Elisabeth's mother demanded that her daughter be transferred, and Elisabeth began studying with a Dr. Egonolf, who was convinced of Elisabeth's potential as a coloratura soprano.
Elisabeth Schwarzkopf trained with Dr. Egonolf for over a year before joining Berlin's Deutsche Oper as a junior soprano on April 13, 1938. Two days later, she made her professional stage debut as the Second Flower Maiden (First Group) in Act II of Wagner's Parsifal. Elisabeth sang at the Deutsche Oper for four years, during which she became a member of the German Nazi Party, leaving Berlin only to sing in one performance as Adele in Die Fledermaus at the Paris Opera when the Deutsche Oper went on tour in September 1941. She left the Deutsche Oper in 1946 and joined the Theater an der Wien in Vienna, where she enjoyed considerable success in roles like Mimi in La Bohème and Violetta in La Traviata. She left the company in 1950 to begin her international career.
Elisabeth Schwarzkopf is probably the only singer in history to sing under two names in a single performance. In October 1941, she sang Adele for the first of a series of Die Fledermaus performances but was demoted to the role of Ida for the remainder of the performances. In retaliation, Elisabeth kicked off her shoe during a performance, damaging the huge canvas screen at the back of the set. Her punishment was that she couldn't always sing in productions using her own name. Therefore, in a performance of Parsifal, the role of the Second Flower Maiden (First Group) was sung by Elisabeth Schwarzkopf, and the role of the First Page is credited to Maria Helfer, Elisabeth's pseudonym for the month following the Fledermaus incident.
When the Vienna State Opera went on tour from 1947 to 1948, Elisabeth Schwarzkopf joined them and was able to travel to Europe's leading opera houses. With the Vienna State Opera, she made her debut at London's Royal Opera House on September 16,1947 as Donna Elvira in W.A. Mozart's Don Giovanni and her La Scala debut on December 28, 1948 as the Marschallin in Der Rosenkavalier.
In March 1946, Elisabeth Schwarzkopf was invited to audition for Walter Legge, one of the most respected names in the classical music recording business. She sang Wolf's Lied Wer rief dich denn? and Legge signed her to an exclusive contract with EMI. They began a close partnership and Legge became Schwarzkopf's manager and companion. They were married on October 19, 1953, in Epsom, England. In 1953 she became a naturalized British subject.
From 1960 to 1967, Elisabeth Schwarzkopf concentrated almost exclusively on 5 operatic roles. These are: Donna Elvira in Don Giovanni, the Countess in W.A. Mozart's Nozze di Figaro, the Marschallin (probably her most famous role) in Der Rosenkavalier, Fiordiligi in Cosi fan tutte, and Countess Madeleine in Capriccio. During this time, she also achieved great success as Alice Ford in Falstaff. During her career, Elisabeth performed in two world premieres. She appeared as Anne Trulove in the world premiere of Igor Stravinsky's The Rake's Progress on 11 September 1951, as well as the Second Page in the world premiere of Arthur Kusterer's Katarina on May 14, 1939.
Elisabeth Schwarzkopf's last operatic performance was as the Marschallin in Act I of Der Rosenkavalier on December 31, 1971 in Brussels. For the next 6 years, she sang Lieder recitals exclusively around the world. On March 17, 1979, Walter Legge suffered a severe heart attack. He disobeyed his doctor's orders to rest and attended her final recital on the 19th in Zürich, Switzerland. Three days later, Legge died.
After retiring, Elisabeth Schwarzkopf began teaching and giving masterclasses. On New Year's day 1992, she was created Dame Commander of the Most Excellent Order of the British Empire (DBE) by Queen Elizabeth II. Today, she lives relatively quietly in her home in Zürich, visited by friends and a few pupils, but she still appears in public whenever she can."; bach-cantatas.com (edited)
Welcome!! Elisabeth Schwarzkopf masterfully performs such a difficult melody. A fantastic achievement. Thanks, it's a masterpiece.
Elisabeth Schwarzkopf war meine Begleiterin durch Kindheit und Jugend, immer präsent im Bayerischen Rundfunk.Schön, sie mit dieser außergewöhnlichen Interpretation wieder zu hören.
4:47 - You can hear she is losing her vouce, yet it so GOOOOD! Her best recording, cause it is the only recording i feel she is being more human.
This is a formidable version of an extremely difficult work, I am surprised to hear Schwarzkopf that good, live! Alas, I must admit that I think the Gwyneth Jones version remains the definitive version.
🙏
@@liederoperagreats A great version of this very demanding work, and her Finnish is almost impeccable too.
For me Taru Valjakka sung the definitive and authoritative version. 😊
Soile Isokoski was the Gild Standard for this.
Outstanding! Can we have a translation, please!? Would be even more exciting to know what she expressed in such a terriffic way!
LUONNOTAR Lyrics by Jean Sibelius based on the first poem of
the Kalevala by Elias Lönnrot on a year 1849.
English Translation Pietari Tamminen & Richard Stanley
© Kroma 2010
Once a beauteous maid,
virgin Daughter of the Ether.
Forlorn and burdened,
dwelling ever alone
in the vastness of space.
Descending on the swell,
waves bore the virgin onward,
seven hundred years.
Being mother of the waters. Swam nor’west, south.
Swam the air’s every shore.
Came mighty gusts,
Foaming the sea.
“Oh my wretched days.
Better had I been
maid of the Ether.
Oh Ukko, God on high,
hasten here I call.”
A seabird beauteous flew,
straight o’er all air’s shores,
flew nor’west, south.
No nest she found.
“No, no, no.
Shall I nest upon the wind,
dwelling on the waves.
The wind shall overturn,
The waves taking my dwelling.”
Then the mother of the waters
Did lift her knee from the billows.
The seabird on it set her nest,
her eggs to hatch.
The maid felt burning,
Her limbs were quaking.
The nest slipped waterward,
and fell splintered.
Wondrous things the egg became.
The shell’s top dome
became the vault of heaven.
The upper albumen,
the bright shining Moon.
The motley parts, the f
I am a big fan of both - Elisabeth Schwarzkopf and Sibelius’ Luonnotar. I was thinking, how nice it would be, if such recording would exist! Then, to my surprise, I encounter it outside dreamworld: Such a precious recording actually exists! Please tell me how to obtain an audio file of Luonnotar sung by Elisabeth. Would be so nice having it in my collection! Copyright problems should not exist, considered the age of the recording.
It comes from a 2 CD Album "Elisabeth Schwarzkopf Rarities from Gala Records GL100.820 released in 2013. I hope this helps.
Elle avait plus de voix que ce que je pensais... D'ailleurs c'est la première fois que je l'entends hurler. Pour la version idiomatique et de référence musicale, voir une autre Elisabeth beaucoup plus fine dans ce répertoire : Söderström.