4 years ago

203

The German School CD 3 (73.38)

1. Adele Kern (Soprano) 1901-1980
Un ballo in maschera: Saper vorreste di che si veste by Giuseppe Verdi)
Conductor: Julius Prüwer: Berlin Charlottenburg Opera Orchestra
1929: German

2. Miliza Korjus (Soprano) 1907-1980
Tsar's Bride: In Novgorod Act 2 by Nikolai Rimsky-Korsakov
Conductor: Bruno Seidler-Winkler: Berlin State Opera Orchestra
01/1936: German

3. Erna Berger (Soprano) 1907-1980
Oboussier: Weine du nicht
Eta Harich-Scnneider (Harpsichord); Hans-Walter Schleif (Oboe)
1937: German

4. Emmy Bettendorf (Soprano) 1895-1965
Es muss ein Wunderbares sein, S 314 by Franz Liszt
Conductor: Otto Dobrindt: Orchestra
14/5/1929: German

5. Felicie Hüni-Mihacsek (Soprano) 1891-1976
Le postillon de Lonjumeau: Je vais donc le revoir by Adolphe Adam
Orchestra
1928: German

6. Margherita Perras (Soprano) 1908-1984
Lieder (14), Op. 20: no 13, Nachtlied by Othmar Schoeck
Othmar Schoeck (Piano)
1944: German

7. Luise Hellletsgruber 1898-1967
Turandot: Tu, che di gel sei cinta by Giacomo Puccini
Berlin State Opera Orchestra
5/10/33: Italian

8. Meta Seinemeyer (Soprano) 1895-1929
Ivan Sergeich, come into the garden (The Tsar’s Bride Act 3)
Grossden Opernorchester conducted by Frieder Weissmann
2/11/27: Russian

9. Margarete Teschemacher (Soprano) 1903-1959
Daphne, Op. 82: O wie gerne blieb ich bei dir by Richard Strauss
Performer: Margarete Teschemacher (Soprano)
Conductor: Karl Böhm: Staatskapelle Dresden
02/1939: German

10. Delia Reinhardt (Soprano) 1897-1974
Die Meistersinger von Nürnberg: O Sachs! mein Freund! by Richard Wagner
Conductor: Georges Sebastian
1928: German

11. Tiana Lemnitz (Soprano) 1897-1994
Arabella, Op. 79: Mein Elemer...Nach dem Matteo by Richard Strauss
Performer: Tiana Lemnitz (Soprano)
Conductor: Bruno Seidler-Winkler Berlin State Opera Orchestra
12/1940: German

12. Maria Cebotari (Soprano) 1910-1949
La Bohème: Si, mi chiamano Mimì by Giacomo Puccini
Conductor: Fritz Zweig: Berlin State Opera Orchestra
11/1932: German

13. Elisabeth Rethberg (Soprano) 1894-1976
L'Africaine: Adieu, mon doux rivage by Giacomo Meyerbeer
Conductor: Frieder Weissmann: Odeon-Künstler Orchestra
22/4/1933: German

14. Rose Pauly (Soprano) 1894-1975
Die ägyptische Helena, Op. 75: Zweite Brautnacht, Zaubernacht "Helen's Awakening" by Richard Strauss
Conductor: Fritz Busch: Berlin State Opera Orchestra
02/10/1928: German

15. Gota Ljungberg (Soprano) 1893-1955 with Walter Widdop (Tenor) 1892-1949
Geliebte, komm! (Tannhauser Act 1) by Wagner
Orchestra conducted by Lawrence Collingwood
28/10/30: German

16. Lotte Lehmann (Soprano) 1888-1976
Oh, sei Er gut, Quinquin (Der Rosenkavalier Act 1) by R. Struass
Berlin State Opera Orchestra conducted by Manfred Gurlitt

13/12/27: German

17. Maria Müller (Soprano) 1898-1958
Schlichte Weisen (60), Op. 76: no 3, Waldeinsamkeit by Max Reger
Ivor Newton (Piano
24/5/1937: German

18. Maria Müller (Soprano)
Schlichte Weisen (60), Op. 76: no 59, Zum Schlafen by Max Reger
Ivor Newton (Piano)
24/5/1937: German

19. Maria Németh (Soprano) 1897-1967
Die Königin von Saba, Op. 27: Der Freund ist dein by Karl Goldmark
Conductor: Karl Alwin Vienna State Opera Chorus, Vienna State Opera Orchestra
25/6/1929: German

20. Elisabeth Ohms (Soprano) 1888-1974
Der fliegende Holländer: Jo-ho-joe! Traft ihr das Schiff by Richard Wagner

Conductor: Manfred Gurlitt
1929: German

The Record of Singing is a compilation of classical-music singing from the first half of the 20th century, the era of the 78-rpm record.
It was issued on LP (with accompanying books) by EMI, successor to the British company His Master's Voice (better known as HMV) — perhaps the leading organization in the early history of audio recording.
The project was accompanied initially by two illustrated books, containing singers' biographies and appraisals, which were published in London, by Duckworth, in the late 1970s. It covers the period running from circa 1900, when the earliest recordings were made, through until the early 1950s, when the last 78-rpm records were produced. Singers are divided into groups arranged according to national 'schools' and fach or voice type. In practice, this means that there are separate Italian, German, French, Anglo-American and East European classifications.

For more see: The Record of Singing - Wikipedia

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