{"product_id":"irmgard-seefried-recorded-in-1944-1967","title":"Irmgard Seefried (Recorded in 1944-1967)","description":"\u003cbr\u003e \u003cbr\u003e  \u003cspan class=\"ARIAL12bi\"\u003eIRMGARD SEEFRIED RECORDINGS 1944–67 \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Irmgard Seefried (s); Leopold Ludwig\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e, Karl Böhm\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e2\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e, Herbert von Karajan\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e3\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e, Wilhelm Furtwängler\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e4\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e, Ferdinand Leitner\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e5\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e, Harry Blech\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e6\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e, Bruno Walter\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e7\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e, Ernest Ansermet\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e8\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e, Heinz Geese\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e9\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e, cond; Erik Werba\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e10\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e (pn); various singers \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e ORFEO 8771341, mono (4 CDs: 273:13) Live: 2\/5\/1944 through 4\/1967 \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eHAYDN \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1\u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eAlessandro nell’Indie: \u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eChi vive amante. \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e10\u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eShe never told her love. \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e10\u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003ePiercing Eyes. \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e10\u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eThe Spirit’s Song. \u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eMOZART \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eDie Zauberflöte. \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e2,4\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eAch, ich fühls \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e(2 vers.). \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e2\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eDu also bist mein Bräutigam?. \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eLe nozze di Figaro: \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e3\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eVoi che sapete. \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e3\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eDeh vieni non tardar. \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e4\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eO säume nicht.\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e 5\u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eIl re pastore: \u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eL’amerò, sarò costante. \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e6\u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eZaide: \u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eRuhe sanft, mein holdes Leben. \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e7\u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eExsultate, jubilate. \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e2\u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eCosì fan tutte: \u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eCome scoglio; Per pieta. \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e8\u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eVado, ma dove? \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e5,8\u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eNon temer, amato bene \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e(2 vers.). \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e10\u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eSehnsucht nach dem Frühling. \u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eBEETHOVEN \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e2\u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eFidelio: \u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eJetzt Schätzchen, jetzt sind wir allein; Armer Jaquino….O wär’ ich schon mit dir vereint. \u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eWEBER \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1\u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eDer Freischütz: \u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eLeise, leise. \u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eWAGNER \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e2\u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eDie Meistersinger: \u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eGut’n Abend, Meister!; Hat man mit dem Schuhwerk. \u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003ePUCCINI \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1\u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eSuor Angelica: \u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eOhne Mutter bist du Kind. \u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eR. STRAUSS \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e2\u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eAriadne auf Naxos: \u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eLiebe Freund, verschaffen Sie mir die Geigen; Sein wir wieder gut. \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e10\u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eSCHUBERT \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eFischerweise. Im Frühling. Auf dem Wasser zu singen. Seligkeit. Ganymed. Ave Maria. Gretchen am Spinnrade. \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e10\u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eSCHUMANN \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eDer arme Peter. Der Nussbaum. Widmung. \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e10\u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eBRAHMS \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eAuf dem See. Dein blaues Auge. Ruhe, Süßliebchen. Unbewegte, laue Luft. Feinsliebchen, du sollst mir nicht. Schwesterlein, Schwesterlein. In stiller Nacht. \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e10\u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eMUSSORGSKY \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eThe Nursery. \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e9\u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eANONYMOUS \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003ePierrot im Mondenschein. Trimouzet. \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e9\u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eRENARD \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eSüßkirschenzeit. \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e9\u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eMILHAUD \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eDer Apfel und die Schnecke. \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e9\u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eKOSMA \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eKinderlied im Winter. Lied des Vogelstellers. Die beiden Schnecken. Schöne Jahrezeit. Im Garten. Fabel \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThis lovely and at times transcendent collection of live performances by soprano Irmgard Seefried (1919–1988) is a bit deceiving in scope. Although accurately listed as being between 1944 and 1967, all but the last 10 selections on CD 4, from a single concert at the Gymnasium in Brühl in April 1967, date from 1944 through 1958, and only her performance of Mussorgsky’s song cycle \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eThe Nursery\u003c\/span\u003e \u003cspan\u003e comes from the latter year. Otherwise we are given Seefried in her absolute prime, the 1940s—some of it, sadly, coming from the time when she was stuck singing for the Nazis—through 1957. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThese appear to have been quite extraordinary, even magical years for Seefried. Indeed, the only disappointing performance is not due to her, but to the three boys who join her in “Du also bist mein Bräutigam?” from \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eZauberflöte\u003c\/span\u003e \u003cspan\u003e, who are consistently flat. Of course, these were also years when Mozart was played far too slowly for our taste today, even by a great conductor like Karl Böhm (but if you think he’s slow, wait until you hear Furtwängler slog through it), and in that era Beethoven’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eFidelio \u003c\/span\u003e \u003cspan\u003ealso seems to have been dragged out too much. But no matter, for Seefried’s singing often transcends her accompaniments with its instrumentally pure tone and unusually heartfelt readings, thus even in the obscure aria from Haydn’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eAlessandro nell’Indie \u003c\/span\u003e \u003cspan\u003eshe makes you feel something more than just the sensory pleasure of her voice. Thus one can believe the statement quoted in the booklet, that “she might be able to sing with only half a voice, but never less than with all her soul,” as well as her own statement that “only a person who gives all of himself on stage has the right to stand on that stage … and my wish was always just to be someone who gives of herself completely….I want to believe that there is a meaning to why I was allowed to stand on stage, to give fully of myself, because this moment of giving is the closest to the moment of Creation itself.” Thus one hears performances like the October 1944 \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eFreischütz \u003c\/span\u003e \u003cspan\u003earia (conducted by Leopold Ludwig), where the tempos as such are not the problem but rather the lack of momentum. Seefried provides all the musical as well as dramatic impetus; Ludwig and the Vienna Symphony plod through the music as if they were asleep. One of the few wartime performances that sounds lively and spry is the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eMeistersinger \u003c\/span\u003e \u003cspan\u003ewith Paul Schöffler as a warm, friendly-sounding Hans Sachs and Böhm again conducting. How on earth these artists could focus on their singing and interpretations in the midst of such angst-ridden times speaks volumes for their steadfastness of purpose. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eOther supreme highlights of this set: the long scene from \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eSuor Angelica\u003c\/span\u003e \u003cspan\u003e (in German), the arias from Mozart’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eIl re pastore\u003c\/span\u003e \u003cspan\u003e (with great hall acoustic), \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eZaïde,\u003c\/span\u003e \u003cspan\u003e and \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eCosì fan tutte\u003c\/span\u003e \u003cspan\u003e, as well as that composer’s concert arias (particularly those conducted by Ansermet with the Cologne Radio Symphony), including two different versions of “Non temer, amato bene” (K 505 and 490, accompanied in the latter by her husband, violinist Wolfgang Schneiderhan), and Joseph Kosma’s chansons. Despite her livelier response to words in the concert hall as opposed to studio recordings, many of these Lieder performances suffer from the stodgy, disconnected pianism of Eric Werba, though she gives of herself in Haydn’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eThe Spirit’s Song\u003c\/span\u003e \u003cspan\u003e and several of the Brahms and Schumann pieces (particularly \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eDer arme Peter \u003c\/span\u003e \u003cspan\u003eand the Brahms \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eVolkslieder\u003c\/span\u003e \u003cspan\u003e). \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eAs the notes indicate, some of these recordings have never been available before and many others were only previously available in defective sound. That is the greatest value of this release, the restoration of a great voice and artist in her prime with corrected sonics. If you admire this artist, getting this set is a must. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Lynn René Bayley \u003c\/span\u003e\u003cbr\u003e","brand":"Orfeo","offers":[{"title":"CD","offer_id":49377948762392,"sku":"4011790877426","price":26.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/2498431.jpg?v=1747166739","url":"https:\/\/hbdirect.com\/products\/irmgard-seefried-recorded-in-1944-1967","provider":"HBDirect","version":"1.0","type":"link"}