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Now in superb XR-remastered sound quality in this new transfer
Source information:
CD, MP3 and FLAC information:
This, the first 'full' recording of Mozart's Die Zauberflöte, was originally planned as a Glyndebourne recording under Fritz Busch, as with the previous three instalments of HMV's Mozart Opera Society series. When the recording, planned for summer 1937, was abruptly cancelled, there was some surprise in the Glydebourne camp – surprise which must have turned to considerable annoyance when the reason became clear: producer Walter Legge had lined up Sir Thomas Beecham and a top-line cast and orchestra in Berlin instead. Glyndebourne's loss, however, was our gain, and this production continues to set a benchmark to this day. It's no surprise, therefore, that of the commercial recordings of the era it's been one of the most-requested for the Pristine XR treatment, despite its continued availability on a number of other releases and transfers. How does this transfer stack up against the competition? Well I admit I've not heard them all - and of course I'm biased (which is why there's a lengthy sample on this page). By comparison to the EMI CD issue the sound is much fuller, immediate and open - the slightly lower background noise from the EMI issue can be at least partially accounted for by the myriad missing frequencies. The Nimbus issue - on the basis of the one track I've compared - is distant, almost acoustic-sounding, and dreadfully crackly, as if from an entirely different era. I actually used Mark Obert-Thorn's 2001 Naxos transfer as a tming reference for side changes and make no apologies for shamelessly stealing his track mark points. But the last decade has seen dramatic strides forward in remastering technology, and he'd be the first to expect some improvement over what was possible when his transfer was carried out: XR remastering has done much both to bring more immediacy and realism to the orchestra and singers, and to open out the upper end harmonics previously rolled off into the noise of the recording as was the case with all commercial issues of the period. Lower overall noise levels have been achieved, too, though I've used as light a touch as I could with noise reduction in order to preserve as much fine musical detail as possible. Pushing the noise reduction any further began to suck life out of the recording – including the life which had only just been restored to it. I used two sets of discs to put this together, both in near-mint condition. The second set stood in where transportation and storage had caused irreparable damage to the shellac of the primary set (a snapped disc is a snapped disc...) – both sets delivered excellent transfers. Swish was evident through a good number of the 37 sides but has generally been straightforward to treat. In 1938 the Gramophone reviewer characterised the original release as being well worth waiting for - "better late than never" was the headline. For those who wrote asking for me to restore this recording, I hope the same can be said of this issue today. Take a listen to our extended sample and hear for yourself – I think it's all come out rather well.
Click here to view additional notes and links For a full biography of Mozart, see: http://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart
Helge Rosvaenge notes from Wikipedia
Helge Rosvaenge (Roswaenge, Rosvænge), Helge Anton Rosenvinge Hansen, (August 29, 1897 in Copenhagen – June 17, 1972 in Munich) was a famous Danish operatic tenor whose career was centred on Germany and Austria, before and during World War II. He made his debut at Neustrelitz as Don Jose in Carmen in 1921. Engagements followed at Altenburg, Basle, Cologne (1927-30) and the Berlin State Opera, where he was leading tenor from 1930 to 1944, being especially distinguished in the Italian repertory. He sang regularly, too, at the Vienna State Opera (from 1936) and in Munich. Rosvaenge also appeared at the Salzburg Festival, making his debut there in Der Rosenkavalier. Other roles which he performed at Salzburg between 1933 and 1939 were Tamino in Die Zauberflöte, Huon in Oberon and Florestan in Fidelio. His London debut at the Royal Opera House, Covent Garden, occurred in 1938, as Florestan. Rosvaenge sang Parsifal at the Bayreuth Festival in 1934 and 1936 but otherwise avoided the Wagnerian repertory, except on recordings. After World War II Rosvaenge divided his time between Berlin and Vienna. He continued to sing until May 30, 1959 (when he gave what was billed as his farewell concert at Vienna's Great Musikvereinsaal), appearing as Calaf, Radames and Manrico. His voice showed little sign of age; it was still warm and sonorous throughout its range, and brilliant and lustrous in its upper register. Indeed, Rosvaenge, could deliver an easy and full-blooded high D during his vocal prime. Rosvaenge appeared in a wide spectrum of roles ranging from Mozart to Weber, from Verdi to Puccini. He sang with "a steely voice, brilliant high notes and insistent declamation throughout its scale" which was "brilliant and lustrous in its top register", according to Luiz Eduardo Goncalves Gabarra. Rosvaenge was equally impressive as Andrea Chénier and was also an acclaimed and exciting Radames and Otello: he was often heard in this latter role on German radio. Rosvaenge conducted a tour of the USA prior to his retirement. He died in Munich, aged 74.
Notes from Wikipedia: http://en.wikipedia.org/wiki/Helge_Roswaenge
Tiana Lemnitz notes from Wikipedia
Tiana Lemnitz (26 October 1897 - 5 February 1994) was a German operatic soprano with a beautiful lyric voice. Her major operatic career took place between the two world wars (1919-1939).
Life and career The youngest of 10 children, she was born in Metz to a musical family. Her father was a Militärkappellmeister. She began to sing at the age of seven and at 15 she entered the Metz Music School. Later she studied voice with Antoni Kohmann at the Hoch Conservatory in Frankfurt. Starting with small opera companies, she made her debut in Heilbronn in Albert Lortzing's opera Undine in 1921. She then sang in Aachen (1922-28), Hannover (1928-34) while making several guest appearances in Dresden (1931-34). In 1930 she sang in Sopot as Agathe in Der Freischütz. She became a member of the Berlin Staatsoper in 1934, and remained with the company until 1957. She also sang regularly at the Munich State Opera, the Vienna State Opera and the Salzburg Festival. In 1936 she made guest appearances at the Royal Opera House in London and at the Teatro Colón in Buenos Aires, and at the Metropolitan Opera in New York in 1938. She sang Marguerite in Faust in Warsaw in 1937 next to the Mephisto of Feodor Chaliapin. Her repertory included Euridice in Orfeo ed Euridice, Countess Almaviva in Le nozze di Figaro, Pamina in Die Zauberflöte, Elisabeth in Tannhäuser, Elsa in Lohengrin, Eva in Die Meistersinger von Nürnberg, Sieglinde in Die Walküre, Octavian and Marshallin in Der Rosenkavalier, the title role in Arabella, Micaela in Carmen, Elvira in Ernani, the title role in Aida, Desdemona in Otello. She also took an interest in Slavic operas and became a noted interpreter of operas such as Dalibor, Jenůfa, Wozzeck. She was also admired as a recitalist notably in Lieder. In 1937 she was awarded the prestigious title of Kammersängerin. She died in Berlin. She began recording in 1934 for Polydor with arias from Der Freischütz and Lohengrin. She recorded for Electrola in Germany (1937-48) and for HMV (1938-9).
Assessment According to Musical America, "What more adjectives can do justice to the Elisabeth of Tiana Lemnitz! This beautiful voice, this superlative vocalism, this absolute supremacy of the technical and the interpretative in which the economy of gesture lent the whole a spiritual grandeur. It was wonderful . . . Lemnitz remained unique in the perfection of her performance." An English reviewer wrote: "The greatest moment of the evening came in the quintet [of Meistersinger]. Lemnitz, beginning the movement, sang so beautifully that—without being rude—one was conscious of nothing else." Wagner's biographer Ernest Newman thought her Eva the best he had ever seen. Infinitely expressive, she gave all of herself to her art. About herself she said: "I am very earnest in my art and consider it as a holy legacy which shall procure some of the higher sense of life to the people."
Notes from Wikipedia: http://en.wikipedia.org/wiki/Tiana_Lemnitz
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