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German Opera Choruses German opera came into its own in the nineteenth century, notably with the first great romantic German opera of Weber, Der...

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German Opera Choruses

German opera came into its own in the nineteenth century, notably with the first great romantic German opera of Weber, Der Freischutz.

In the previous century there had, in German-speaking countries, been a preference for opera in Italian. The Emperor Joseph II in Vienna made attempts to establish comparable German opera, distinct from the earlier less elevated traditions of popular operatic comedy in the vernacular. A notable product of this was Mozart's German opera, a Singspiel including spoken dialogue rather than the sung recitative of the Italian genre, Die Entfuhrung

aus dem Serail (The Abduction from the Seraglio). Written in 1782, this treated a fashionable

Turkish subject, in which the noble Pasha Selim proves a model of paternal benevolence, forgiving his Christian prisoner Constanze and her lover Belmonte, who has tried to engineer her escape from captivity. The subject allowed Mozart to explore the possibilities of so-called Turkish music, principally with piccolo, additional percussion and static harmonies. The Pasha is greeted in the final chorus by Janissaries, the crack soldiers of the Sultan, who sing his praise.

The last of Mozart's operas to be staged and the penultimate in order of composition was Die Zauberflote (The Magic Flute), which was running at a suburban Vienna theatre at the time of the composer's death in the winter of 1791. With a libretto by the actor-manager Emanuel Schikaneder, the German opera, strongly in fluenced by masonic ideas, deals with the ordeals to be endured by the hero Tamino before he is admitted into the company of the enlightened, under their priest Sarastro, and united with his beloved Pamina, in spite of the machinations of her mother, the wicked Queen of the Night. The chorus of priests O, Isis und Osiris, welche Wonne

(O, Isis and Osiris, what delight) marks the sacred rites of the enlightened while the final chorus hymns the triumph of good over evil.

Beethoven, in 1805, took the Singspiel into new territory. In 1791 Mozart had

explored the current genre of magic opera in Die Zauberflote

(The Magic Flute), where he made use of earlier Viennese comic traditions. In Fidelio, his only opera, Beethoven attempted a subject that was in essence political and revolutionary, with a debt to French examples of the form. The opera is set in a prison, from which Leonora sets out to rescue her husband, a political prisoner, disguising herself as a boy and entering the service of the gaoler, Rocco, a good enough hearted man, who nevertheless obeys orders, however unjust these may be. One of the most moving scenes in the opera is the moment in the first act when the prisoners are allowed, at Leonora's request, to leave for a moment their dungeons and see again the light of day.

Der Freischutz (The Marksman), first staged in Berlin in 1821, has all the characteristics of developing romanticism. The story, set in the German forest, concerns the marksman of the title, Max, induced to seek the help of the Devil, whose magic bullets will help him win a shooting contest and the hand of his beloved Agathe. Weber's score provides a suitable evocation of mystery and ghosts, huntsmen and hermit. The Huntsmen's Chorus

celebrates the joys of a huntsman's life, before the climax of the opera, when Max shoots a white dove, in fact Agathe, who is saved by the timely intervention of a hermit. The earlier

Bridesmaids' Chorus prepares Agathe for her marriage to the winner of the shooting contest, but ominously the marriage garland presented to her is, in fact, a funeral wreath, portending disaster.

With Albert Lortzing the tradition of Weber is continued.

The most popular of his operas now in international repertoire is Zar und Zimmermann (Tsar and Carpenter), first staged in Leipzig in 1837. The story concerns Peter the Great, working, in disguise, in a Dutch shipyard, under the name of Peter Michaelov, and a fellow Russian, the carpenter Peter Ivanov. The latter is in love with the daughter of the Burgomaster, who treats him with exaggerated respect, imagining that he is the Tsar. The plot mingles the romance of Ivanov and Marie with diplomatic intrigue. The second act opens with a drinking scene that is to serve as a cover for diplomatic intrigue, as rival powers seek to identify the Tsar and learn his plans.

Otto Nicolai died two months after the first staging of his opera Die lustigen Weibervon Windsor (The Merry Wives of Windsor) in Berlin in March 1849. The work is based on Shakespeare's comedy in which Sir John Falstaff endeavours, without success, to woo the wives of worthy citizens of Windsor, only to be finally mocked when he undertakes an assignation at midnight in Windsor Forest, there tormented by bogus fairies and terrified by the appearance of Heme the Hunter, Oberon and Titania, his Windsor acquaintances in disguise. The chorus O suβer Mond (O sweet moon) opens the final scene.

The achievement of Richard Wagner in music-drama is monumental. Uniting all the arts under his own genius, he developed new techniques of dramatic music in works that celebrated German art, German legend and German history. His opera The Flying Dutchman completed and first staged in Dresden in 1843, deals with the dramatic story of the Dutchman and his ghostly crew and ship, condemned to sail the seas for ever, until he can be redeemed by the pure love of a woman. Every seven years he is allowed to land, in pursuit of his quest, and Wagner's opera, following a version of the story by Heine, finds the Dutchman and his ship moored in a Norwegian fjord, where he is welcomed by the Norwegian captain Daland and his daughter senta, a girl who has long been fascinated by the legendary Dutchman. She gives him her love, but when he overhears her former lover, the huntsman Eril, protesting to her, he sets sail again and senta, breaking free of those who try to restrain her, leaps into the sea after him. The ghostly ship sinks in the waves, where Senta and the Dutchman are seen, now united, the curse broken. The Sailors' Chorus Steuersmann, lass die Wacht (Helmsman, leave your watch) opens the third act, as the Norwegian sailors, celebrating their homecoming, invite the crew of the mysterious ship alongside to join them. The earlier spinning chorus Summ und Brumm (Hum and sing) opens the second act, in Daland's house, where the women spin and senta muses on the portrait and legend of the Dutchman.

Wagner's opera Tannhauser, first mounted in Dresden in 1845, deals with supposed episodes in the life of the medieval knight and minstrel of the title, divided in his heart between the sensual delights of Venus on the Venusberg and the demands of religion and true love. The chorus Freudig begruβen wir (Joyfully we greet) is sung by knights and noblewomen in the great Minstrels' Hall, where the song contest is to take place, at which Tannhauser is to cause scandal by his praise of sensual love. Elisabeth, daughter of the ruling Land grave who presides over the contest, persuades her father to allow Tannhauser to expiate his sin, and he is condemned to undertake a pilgrimage to Rome. The later song of the pilgrims marks their return, followed by Tannhauser, who, in spite of his own despair, is saved by the prayers of Elisabeth.

Wagner's opera Lohengrin takes its subject in part from legends of the Knights of the Holy Grail. It was first staged by Lisztin Weimarin 1850, at a time when Wagner, having involved himself in revolutionary activities in Dresden, had been obliged to seek refuge in Switzerland. Set in tenth century Antwerp, the plot deals with the marriage of Elsa, daughter of the late DUke of Brabant, to the mysterious and unnamed Knight of the Grail, later revealed as Lohengrin. The machinations of the nobleman Telramund and his evil sorceress wife Ortrud are defeated by the power of Lohengrin, who has married Elsa, the occasion for the well known Bridal March. Later, his name at her insistence finally revealed, he is compelled to leave her, but not before he has restored her brother to his rightful position as Duke of Brabant.

Die Meistersinger van Nurnberg (The Mastersingers of Nuremberg), first performed in Munich in 1868, centres on the song contest of the traditional Nuremberg guild of the sixteenth century. Wagner takes the opportunity to praise German art and to satirise his enemies in a drama in which the wisdom, moderation and self-sacrifice of the master-shoemaker Hans Sachs prevails. The chorus Wach auf (Awake) introduces the song contest itself, in which the young knight Walther defeats his opponent Beckmesser, the latter failing miserably with his stolen song, and wins the hand of Eva, with the blessing of Sachs, who has also loved her.

Disc 1

Lohengrin

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Performed by: WDR Symphony Orchestra Philadelphia Orchestra Seattle Symphony Orchestra Maastricht Limburg Symphony Orchestra Bayreuth Festival Orchestra Concertgebouw Orchestra Victor Symphony Orchestra New York Metropolitan Opera Orchestra West German Radio Symphony Orchestra Vienna Radio Symphony Orchestra London Philharmonic Orchestra Swedish Radio Symphony Orchestra South West German Radio Symphony Orchestra, Baden-Baden Danish National Radio Symphony Orchestra Royal Swedish Orchestra Russian State Symphony Orchestra Slovak Radio Symphony Orchestra Berlin State Opera Orchestra New York Philharmonic Symphony Orchestra Milan La Scala Orchestra Dresden Staatskapelle Studio orchestra Linz Bruckner Orchestra Cologne West German Radio Orchestra
Composed by: Sten Frykberg Richard Wagner William Lawrence Arturo Toscanini
Conducted by: Willem Mengelberg Gaetano Merola Clemens Schmalstich John McGlinn Karl Bohm Frieder Weissmann Ed Spanjaard Gerd Albrecht Erich Leinsdorf Karl Muck Eugene Ormandy Leif Segerstam Johannes Wildner Michael Gielen Joseph Keilberth Semyon Bychkov Gerard Schwarz Roberto Paternostro David Parry Ivan Anguelov Simone Young Bernhard Klee
Sandor Sved, baritone
Norman Cordon, bass
Mack Harrell, baritone
Emmy Bettendorf, soprano
Nellie Melba, soprano
Johan Botha, tenor
Pia Tassinari, mezzo-soprano
Eleanor Steber, soprano
Adrianne Pieczonka, soprano
Torsten Kerl, tenor
Richard Crooks, tenor
Kwangchul Youn, baritone
Charlotte Margiono, soprano
Kirsten Flagstad, soprano
Kerstin Thorborg, contralto
Christine Brewer, soprano
Astrid Varnay, soprano
Wolfgang Windgassen, tenor
Josef Janko, tenor
Gerhard Stolze, tenor
John Horton Murray, tenor
Margaret Jane Wray, soprano
Edwin McArthur,
Gwyneth Jones, soprano
Folke Alin, piano
Christina Hornell, choirmaster
Petra Lang,
Lauritz Melchior, tenor
Eike Wilm Schulte, baritone
Josef Greindl, bass
Jussi Bjorling, tenor
Hans Braun, baritone
Hermann Uhde, baritone
Alfons Herwig, baritone
Theo Adam, bass
Wilhelm Pitz, choirmaster
Leo Slezak, tenor
Falk Struckmann, baritone
John Treleaven,
Ruby Elzy, soprano
Recording date: 17 October 1937

Bridal Chorus - 4:53

Die lustigen Weiber von Windsor (The Merry Wives of Windsor)

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Performed by: Munich Radio Orchestra Slovak Radio Symphony Orchestra Dresden Staatskapelle Cologne Radio Symphony Orchestra Cologne West German Radio Orchestra Cologne WDR Radio Orchestra Grosses Rundfunk-Orchester Berlin
Composed by: Otto Nicolai Hans-Hendrik Wehding
Conducted by: Ulf Schirmer Rudolf Kempe Johannes Wildner Helmut Froschauer
Christoph Stephinger, bass
Alfred Sramek, bass
Elfriede Weidlich, soprano
Wolfgang Bankl, bass
Markus Eiche, baritone
Alfred Reiter, bass
Anna Korondi, soprano
Helena Rott,
Franz Hawlata, bass
Ferdinand von Bothmer, tenor
Heinz Zednik, tenor
Michael Dries, baritone
Kurt Bohme, bass
Jorg Durmuller, tenor
Juliane Banse, soprano
Dietrich Henschel, baritone
Regina Klepper, soprano
Hermann Godland, vocals
Maximilian Schmitt, bass
Andrea Bonig,
Annette Markert, mezzo-soprano
Recording date: 16-22 February 1994

O susser Mond - 4:57

Die Entfuhrung aus dem Serail (Abduction from the Seraglio), K. 384

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Performed by: Canadian Opera Company Orchestra CBC Montreal Orchestra Vienna State Opera Orchestra Berlin Radio Symphony Orchestra Capella Istropolitana Calgary Philharmonic Orchestra Berlin Symphony Orchestra Freiburg Baroque Orchestra Philharmonia Orchestra Royal Philharmonic Orchestra Slovak Radio Symphony Orchestra Berlin Staatskapelle Vienna Mozart Orchestra Berlin State Opera Orchestra Studio orchestra RAI Symphony Orchestra, Rome Linz Bruckner Orchestra
Composed by: Wolfgang Amadeus Mozart
Conducted by: Oliviero De Fabritiis Jean-Marie Beaudet Marcus Creed Franz Schonbaumsfeld Gottfried von der Goltz Mario Bernardi Josef Krips Konrad Leitner Robert Heger Martin Sieghart Johannes Wildner Karl Alwin Richard Bradshaw Thomas Beecham Hanns-Martin Schneidt
Maria Nemeth, soprano
Miliza Korjus, soprano
Maria Cebotari, soprano
Richard Tauber, tenor
Elisabeth Schumann, soprano
Erna Berger, soprano
John Dickie, tenor
Ruth Ziesak, soprano
Andrea Martin, baritone
Maria Callas, soprano
Franz Kalchmair, bass
Ingrid Habermann, soprano
Donna Ellen, soprano
Oliver Ringelhahn, tenor
Harald Pfeiffer, voice
Sandrine Piau, soprano
Donna Robin, soprano
Pierrette Alarie, soprano
Leopold Simoneau, tenor
Michael Schade, tenor
Tracy Dahl, soprano
Piotr Beczala, tenor
Lois Marshall, mezzo-soprano
Recording date: 11 October 1947

Final Chorus - 1:31

Der Freischutz, J. 277

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Performed by: Berlin Philharmonic Orchestra Calgary Philharmonic Orchestra Berlin City Opera Orchestra London Philharmonic Orchestra Slovak Radio Symphony Orchestra San Francisco Symphony Orchestra Dresden Staatskapelle Studio orchestra Cologne Radio Symphony Orchestra Sofia Philharmonic Orchestra
Composed by: Carl Maria von Weber
Conducted by: Gaetano Merola Mario Bernardi Selmar Meyrowitz Karl Elmendorff Erich Kleiber Johannes Wildner Wilhelm Furtwangler David Parry Howard Arman Ivan Anguelov Georgi Robev
Charlotte Krassel, soprano
Edith Dietrich, alto
Michael Bohnen, baritone
Rita Streich, soprano
Margarete Teschemacher, soprano
Arno Schellenberg, baritone
Richard Tauber, tenor
Elisabeth Schumann, soprano
Torsten Kerl, tenor
Alfred Poell, baritone
Heinrich Pflanzl, baritone
Hans Hopf, tenor
Kurt Marschner,
Elfriede Trotschel, soprano
Karl Wessely, tenor
Lorenz Fehenberger,
Kurt Bohme, bass
Elisabeth Grummer, soprano
Fernando Gunther, bass trombone
Heiner Horn, bass
Max Proebstl, bass
Richard Munch, narrator
John Tomlinson, bass
Sven Nilsson, bass
Dorothy Warenskjold, soprano
Joanne Kolomyjec, soprano
Recording date: June 1935

Huntsmen's Chorus - 2:41
Bridesmaids' Chorus - 2:43

Der fliegende Hollander (The Flying Dutchman)

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Performed by: New York Metropolitan Opera Orchestra Austrian Radio Symphony Orchestra Helsinki Philharmonic Orchestra Vienna Radio Symphony Orchestra Danish National Radio Symphony Orchestra Royal Swedish Orchestra Slovak Radio Symphony Orchestra Berlin State Opera Orchestra San Francisco Opera Orchestra Dresden Staatskapelle RIAS Symphony Orchestra
Composed by: Richard Wagner
Conducted by: Gaetano Merola Karl Bohm Fritz Reiner Gerd Albrecht Leif Segerstam Pinchas Steinberg Ferenc Fricsay Leo Blech Kurt Striegler Ivan Anguelov Simone Young
Set Svanholm, tenor
Johan Botha, tenor
Frida Leider, soprano
Torsten Kerl, tenor
Kirsten Flagstad, soprano
Hertha Glaz, mezzo-soprano
Ingrid Haubold, soprano
Erich Knodt, bass
Peter Seiffert, tenor
Jorg Hering, tenor
Marga Schiml, contralto
Hans Hotter, bass-baritone
Astrid Varnay, soprano
Thomas Haysward, tenor
Folke Alin, piano
Christina Hornell, choirmaster
Josef Herrmann, baritone
Juha Uusitalo, bass-baritone
Annelies Kupper, soprano
Alfred Muff, baritone
Kurt Bohme, bass
Josef Metternich, baritone
Friedrich Schorr, bass-baritone
Goran Eliasson, tenor
Recording date: 9 October 1949

Sailors' Chorus - 12:45
Summ und brumm - 8:35

Tsar and Carpenter: Hoch lebe die Freude

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Performed by: Slovak Radio Symphony Orchestra
Composed by: Albert Lortzing
Conducted by: Johannes Wildner
Recording date: 16-22 February 1994

Hoch lebe die Freude - 2:52

Die Meistersinger von Nurnberg (The Mastersingers of Nuremberg)

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Performed by: Vienna Philharmonic Orchestra Bayreuth Festival Orchestra Concertgebouw Orchestra London Symphony Orchestra New York Metropolitan Opera Orchestra Vienna Radio Symphony Orchestra Manfred Gurlitt Orchestra London Philharmonic Orchestra Polish National Radio Symphony Orchestra Danish National Radio Symphony Orchestra Hungarian State Opera Orchestra Royal Swedish Orchestra Slovak Radio Symphony Orchestra Berlin State Opera Orchestra San Francisco Opera Orchestra Dresden Staatskapelle Studio orchestra
Composed by: Richard Wagner Manfred Gurlitt
Conducted by: Edward Gardner Willem Mengelberg Herbert von Karajan Lawrance Collingwood Gaetano Merola Clemens Schmalstich Hans Knappertsbusch Karl Bohm Janos Ferencsik Gerd Albrecht Karl Muck Robert Heger Leif Segerstam Johannes Wildner Wilhelm Furtwangler Leo Blech Albert Coates Kurt Striegler Ivan Anguelov Simone Young
Michael Bohnen, baritone
Set Svanholm, tenor
Johan Botha, tenor
Karl Donch, baritone
Ben Davis, tenor
Gladys Parr, soprano
Hans Hermann Nissen, bass-baritone
Eugen Fuchs, baritone
Torsten Ralf, tenor
Margarete Teschemacher, soprano
Martin Kremer, tenor
Arno Schellenberg, baritone
Rudolf Dittrich, tenor
Hanns Lange, tenor
Hermann Greiner, bass
Serge Smirnoff, bass
Rudolf Schmalnauer, tenor
Ludwig Eybisch, bass
Robert Bussel, bass
Klaus Hermanns, bass
Paul Schoeffler, bass-baritone
Hugo Meyer-Welfing, tenor
Wilhelm Felden, bass
William Wergnick, tenor
Gunther Treptow, tenor
Sandor Solyom-Nagy, baritone
Richard Tauber, tenor
Elisabeth Schumann, soprano
Gota Ljungberg, soprano
Torsten Kerl, tenor
Regina Schorg, soprano
Richard Crooks, tenor
Hilde Gueden, soprano
Anton Dermota, tenor
Alfred Poell, baritone
Otto Edelmann, bass
Frederick Dalberg, bass
Erich Majkut, tenor
Hans Berg, bass
Erich Kunz, baritone
Heinrich Pflanzl, baritone
Josef Janko, tenor
Karl Mikorey, tenor
Gerhard Stolze, tenor
Heinz Tandler, bass
Heinz Borst, tenor
Arnold van Mill, bass
Hans Hopf, tenor
Gerhard Unger, tenor
Elisabeth Schwarzkopf, soprano
Ira Malaniuk, soprano
Werner Faulhaber, bass
Folke Alin, piano
Christina Hornell, choirmaster
Josef Herrmann, baritone
Lauritz Melchior, tenor
Michaela Schuster, mezzo-soprano
Gerald Finley, baritone
Else Schurhoff, soprano
Helen Jung, mezzo-soprano
Friedrich Schorr, bass-baritone
Goran Eliasson, tenor
Harald Proglhof, baritone
Franz Bierbach, bass
Ljubomir Pantscheff, bass
Hermann Gallos, tenor
Leo Slezak, tenor
John Treleaven,
Sven Nilsson, bass
Recording date: 13th Nov, 1940

Wach auf! - 2:35

Fidelio, Op. 72

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Performed by: Vienna Philharmonic Orchestra Philadelphia Orchestra Nicolaus Esterhazy Sinfonia Budapest Symphony Orchestra New York Metropolitan Opera Orchestra Philharmonia Orchestra Royal Danish Orchestra Slovak Radio Symphony Orchestra Berlin Staatskapelle Dresden Staatskapelle Studio orchestra Stuttgart Radio Symphony Orchestra Cologne Radio Symphony Orchestra Sofia Philharmonic Orchestra
Composed by: Ludwig van Beethoven
Conducted by: Herbert von Karajan John Barbirolli Alfons Rischner Gerd Albrecht Michael Halasz Erich Kleiber Eugene Ormandy Tamas Pal Bruno Walter Johannes Wildner Wilhelm Furtwangler Kurt Striegler Ivan Anguelov Georgi Robev Siegfried Kurz
Peter Palinkas, tenor
Jozsef Moldvay, baritone
Gottlob Frick, bass
Alwin Hendricks, tenor
Michael Bohnen, baritone
Frida Leider, soprano
Elisabeth Schumann, soprano
Alexander Kipnis, bass
Rene Maison, tenor
Herbert Janssen, baritone
Torsten Kerl, tenor
Kirsten Flagstad, soprano
Alfred Poell, baritone
Wolfgang Glashof, bass
Gosta Winbergh, tenor
Kurt Moll, bass
Edith Lienbacher, soprano
Herwig Pecoraro, tenor
Wolfgang Windgassen, tenor
Martha Modl, soprano
Otto Edelmann, bass
Hans Hopf, tenor
Gerhard Unger, tenor
Elisabeth Schwarzkopf, soprano
Reiner Goldberg, tenor
Birgit Nilsson, soprano
Kalman Strausz, choirmaster
Ingeborg Wenglor,
Karl Laufkotter, tenor
Julius Huehn, baritone
Marita Farell, soprano
Rudolf Schock, tenor
Sena Jurinac, soprano
Franz Bierbach, bass
Hans Braun, baritone
Alan Titus, baritone
Paul Schoffler, baritone
Fritz Wunderlich, tenor
Hans Gunter Nocker, bass
Inga Nielsen, soprano
Recording date: 16-22 February 1994

Prisoners' Chorus - 7:14

Tannhauser

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Performed by: Bratislava Philharmonic Chamber Orchestra Canadian Opera Company Orchestra WDR Symphony Orchestra Maastricht Limburg Symphony Orchestra Bayreuth Festival Orchestra Slovak Philharmonic Orchestra New York Metropolitan Opera Orchestra Helsinki Philharmonic Orchestra Netherlands Philharmonic Orchestra Tampere Philharmonic Orchestra West German Radio Symphony Orchestra Calgary Philharmonic Orchestra Manfred Gurlitt Orchestra London Philharmonic Orchestra Finnish Radio Symphony Orchestra Danish National Radio Symphony Orchestra Philharmonia Orchestra Royal Philharmonic Orchestra Royal Swedish Orchestra Slovak Radio Symphony Orchestra Berlin State Opera Orchestra San Francisco Opera Orchestra Bavarian State Orchestra Dresden Staatskapelle Studio orchestra Stuttgart State Orchestra Linz Bruckner Orchestra Russia Philharmonia Metropolitan Orchestra
Composed by: Lawrence Tibbett Richard Wagner Manfred Gurlitt
Conducted by: Edward Gardner Eri Klas Frederik IX (King of Denmark) Gaetano Merola Karl Bohm Mario Bernardi Yakov Kreizberg Karl Elmendorff Ed Spanjaard Gerd Albrecht Artur Bodanzky Michael Halasz Georges Sebastian Karl Muck Michael Schonwandt Leif Segerstam Johannes Wildner Jukka-Pekka Saraste Richard Bradshaw Lothar Zagrosek Constantine Orbelian Roberto Paternostro David Parry Ivan Anguelov Hanns-Martin Schneidt Kurt Woss Bernhard Klee
Alexandre Sylvestre, baritone
Joseph Schwarz, tenor
Michael Bohnen, baritone
Theodor Scheidl, baritone
Frida Leider, soprano
Tommi Hakala, baritone
Maria Muller, soprano
Ruth Jost-Arden, soprano
Sigismund Pilinszky, tenor
Ivar Andresen, bass
Herbert Janssen, baritone
Karita Mattila, soprano
Thomas Allen, baritone
Charlotte Margiono, soprano
Christine Brewer, soprano
Richard Bonelli, baritone
Astrid Varnay, soprano
Dmitri Hvorostovsky, baritone
Gwyneth Jones, soprano
Folke Alin, piano
Christina Hornell, choirmaster
Juha Uusitalo, bass-baritone
Brett Polegato, baritone
Gerald Finley, baritone
Susanne Clemens, vocals
Hermann Prey, bass-baritone
Gabor, vocals
Wolfe, vocals
Marianne Schech, soprano
Alain Trudel, sackbut
Leo Slezak, tenor
John Treleaven,
Giovanni Paltrinieri, tenor
Inga Nielsen, soprano
Allan Monk, baritone
Recording date: 9 October 1949

Freudig begrussen wir - 6:22
Pilgrims' Chorus - 3:44

Die Zauberflote (The Magic Flute), K. 620

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Performed by: Vienna Philharmonic Orchestra Canadian Opera Company Orchestra Berlin Philharmonic Orchestra Budapest Failoni Chamber Orchestra Berlin Radio Symphony Orchestra New York Metropolitan Opera Orchestra Capella Istropolitana Berlin Symphony Orchestra Freiburg Baroque Orchestra Leipzig Radio Symphony Orchestra Philharmonia Orchestra Slovak Radio Symphony Orchestra Vienna Mozart Orchestra Failoni Orchestra, Budapest Berlin State Opera Orchestra Dresden Staatskapelle Studio orchestra Stuttgart Radio Symphony Orchestra Stuttgart State Orchestra Cologne Radio Symphony Orchestra Linz Bruckner Orchestra Mannheim National Theatre Orchestra St. Petersburg Musical Theare Chamber Orchestra, Zazerkalye Bratislava Opera Orchestra
Composed by: Wolfgang Amadeus Mozart William Lawrence Arturo Toscanini
Conducted by: Marcus Creed Johannes Muller Rudolf Kempe Gottfried von der Goltz Selmar Meyrowitz Oliver Dohnanyi Peter Guth Michael Halasz Konrad Leitner Alexander Rahbari Johannes Wildner Carl Schuricht Joseph Keilberth Richard Bradshaw Lothar Zagrosek Thomas Beecham Bruno Seidler-Winkler David Parry Arthur Gruber Ivan Anguelov Gerhard Pfluger Frederic Chaslin Gerhard Wiesenhutter Pavel Bubelnikov
Miliza Korjus, soprano
Gottlob Frick, bass
Michael Bohnen, baritone
Werner Liebing, tenor
Lisa Otto, soprano
Arno Schellenberg, baritone
Richard Tauber, tenor
Elisabeth Schumann, soprano
Erna Berger, soprano
Erika Koth, soprano
Tiana Lemnitz, soprano
Alexander Kipnis, bass
John Dickie, tenor
Thomas Allen, baritone
Hellen Kwon, soprano
Ruth Ziesak, soprano
Miriam Gauci, soprano
Kurt Rydl, bass
Wilfried Gahmlich, tenor
Hans Hotter, bass-baritone
Erich Kunz, baritone
Joseph Schmidt, tenor
Kurt Marschner,
Elisabeth Norberg-Schulz, soprano
Annelies Kupper, soprano
Hanna Ludwig,
Elisabeth Lindermeier,
Lotte Leitner, soprano
Elfriede Trotschel, soprano
Susan Gritton, soprano
Herbert Lippert, tenor
Wilma Lipp,
Andrea Martin, baritone
Teresa Stich-Randall,
Josef Greindl, bass
Rudolf Schock, tenor
Gerhard Husch, baritone
Jarmila Novotna, soprano
Sandrine Piau, soprano
Karl Paul, bass
Donna Robin, soprano
Helge Rosvaenge, tenor
Michael Schade, tenor
Georg Tichy, baritone
Cornelia Ptassek, soprano
Peter Esser, tenor
Horst Otto Rainer, tenor
Kurt Lieck, narrator
Kathe Moller-Siepermann, soprano
Hilla Oppel, soprano
Gisela Litz, alto
Kristina Sert, soprano
Wilhelm Luckert, tenor
Walter Kreppel, bass
Hermann Thimig, narrator
Isabel Bayrakdarian, soprano
Fritz Wunderlich, tenor
Elisabeth Norberg Schultz, mezzo-soprano
Ruby Elzy, soprano
Elena Morozava, soprano
Katarina Kmetova, soprano
Russell Braun, baritone
Recording date: 8 March 1938

O Isis und Osiris - 2:42
Final Chorus - 2:47

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Composer(s):
Beethoven, Ludwig van; Lortzing, Albert; Mozart, Wolfgang Amadeus; Nicolai, Otto; Wagner, Richard; Weber, Carl Maria von

Conductor(s):
Halasz, Michael; Steinberg, Pinchas; Wildner, Johannes

Orchestra(s):
Austrian Radio Symphony Orchestra; Budapest Failoni Chamber Orchestra; Slovak Radio Symphony Orchestra

Label: Naxos Classics
UPC: 730099550727
Item Number: 8550507
Release Date: Feb 28, 1997

German Operatic Choruses

Webern: Passacaglia / Symphony / Five Pieces

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Dvorak, A.: Cello Concerto / Symphony No. 9 (Dvorak Cycle, Vol. 4) (Ntsc)

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Mahler, G.: Symphony No. 9

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Prokofiev: Violin Concertos Nos. 1 and 2 / Sonata in D Major

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