tag:blogger.com,1999:blog-43789360485045075132024-03-18T21:24:12.270+01:00Fascination Rudolf Schock"...neither Callas nor Caruso were without weaknesses, but they had an energy, that appeals to the listener and stimulates and captures the imagination. In the best of his recordings Rudolf Schock also shows exactly this quality..." (Miquel Cabruja 20.7.2004) and "...a voice for the nostalgic - but fascinating for younger vocal fans as well" (collectors-edition 2013 emi/warner-classics..."
Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.comBlogger216125tag:blogger.com,1999:blog-4378936048504507513.post-48284023366329974392024-03-15T20:50:00.000+01:002024-03-15T20:51:00.267+01:00! FASCINATION RUDOLF SCHOCK: artist profile of a remarkable singer in blog & video layouts<p></p><p></p><div class="separator" style="clear: both; text-align: left;"><b style="background-color: #f9f9f9; font-family: georgia; white-space: pre-wrap;"><span><i><span style="color: #2b00fe; font-size: x-large;">2024: NEW on YOUTUBE</span></i></span></b></div><div class="separator" style="clear: both; text-align: left;"><b style="background-color: #f9f9f9; font-family: georgia; white-space: pre-wrap;"><span><i><span style="font-size: x-large;"><br /></span></i></span></b></div><div class="separator" style="clear: both; text-align: left;"><b style="background-color: #f9f9f9; white-space: pre-wrap;"><span style="font-size: large;"><h3 class="post-title entry-title" itemprop="name" style="background-color: #e5e5e5; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; position: relative; white-space-collapse: collapse;"><span style="background-color: white; white-space-collapse: preserve;"><span style="font-family: georgia; font-size: large;"><i><span style="color: #0d0d0d;">J. Strauss jr, </span><span style="color: #990000;">DIE FLEDERMAUS</span><span style="color: #0d0d0d;"> (Part 1)</span></i></span></span></h3><h3 class="post-title entry-title" itemprop="name" style="background-color: #e5e5e5; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; position: relative; white-space-collapse: collapse;"><span style="background-color: white; white-space-collapse: preserve;"><span style="font-family: georgia; font-size: large;"><i><span style="color: #0d0d0d;">Rudolf </span><span style="color: #2b00fe;">Schock</span><span style="color: #0d0d0d;">, Wilma </span><span style="color: #2b00fe;">Lipp</span><span style="color: #0d0d0d;">, Ferry </span><span style="color: #2b00fe;">Gruber</span></i></span></span></h3><h3 class="post-title entry-title" itemprop="name" style="background-color: #e5e5e5; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; position: relative; white-space-collapse: collapse;"><span style="background-color: white; white-space-collapse: preserve;"><span style="font-family: georgia; font-size: large;"><i><span style="color: #0d0d0d;">cond: Robert </span><span style="color: #2b00fe;">STOLZ</span><span style="color: #0d0d0d;"> & Wilhelm </span><span style="color: #2b00fe;">SCHÜCHTER:</span></i></span></span></h3><div><span style="background-color: white; white-space-collapse: preserve;"><span style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;"><br /></span></i></span></span></div><div><span style="background-color: white; white-space-collapse: preserve;"><span style="font-family: georgia; font-size: large;"><i><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/xklFx-wOoSk" width="320" youtube-src-id="xklFx-wOoSk"></iframe></div></i></span></span></div><div style="font-family: georgia;"><br /></div></span></b></div><div class="separator" style="clear: both; text-align: left;"><span style="background-color: white; white-space-collapse: preserve;"><span style="font-family: georgia; font-size: large;"><b><i>With<span style="color: #2b00fe;"> RUDOLF SCHOCK </span>into<span style="color: #2b00fe;"> </span><span style="color: #990000;">"DIE SCHÖNE(RE) WELT/THE (MORE) BEAUTIFUL WORLD"</span><span style="color: #2b00fe;"> </span>of<span style="color: #2b00fe;"> FRANZ LEHÁR</span>:</i></b></span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="background-color: white; white-space-collapse: preserve;"><span style="font-family: georgia; font-size: large;"><b><i><br /></i></b></span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="background-color: white; white-space-collapse: preserve;"><span style="font-family: georgia; font-size: large;"><b><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/jUeKPJGCS9I" width="320" youtube-src-id="jUeKPJGCS9I"></iframe></div></b></span></span></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><span style="background-color: #f9f9f9;"><span><span><span><span><span><span style="font-family: georgia;"><span><span><div class="separator" style="clear: both; font-family: "Times New Roman"; font-size: medium; font-weight: 400; white-space: normal;"><b style="font-family: georgia;"><span style="font-size: large;"><span style="font-weight: 400;"><span style="font-family: georgia;"><b><i><span style="color: #990000;">RUDOLF SCHOCK</span>:<span> </span></i></b></span><b><i><span> </span><span>A lot of affinity with <span style="color: #990000;">FRENCH OPERA</span>: </span></i></b></span></span></b><b style="font-family: georgia;"><i><span style="font-size: large;">Detailed sequences of the most important scenes from: </span></i></b><b style="font-family: georgia;"><span style="font-size: large;"><i style="color: #990000;">LES CONTES d'HOFFMANN'</i></span></b></div><div class="separator" style="clear: both; font-family: "Times New Roman"; font-weight: 400; white-space: normal;"><b style="font-family: georgia;"><span style="font-size: large;"><i>by <span style="color: #2b00fe;">Jacques Offenbach:</span></i></span></b></div><div class="separator" style="clear: both;"><span style="font-family: georgia;"><span><span><span><span><span style="font-family: georgia;"><span><span><div style="color: black; font-family: "Times New Roman"; font-size: medium; font-weight: 400; white-space: normal;"><b><br /></b></div><div><span style="background-color: white; white-space: pre-wrap;"><b><span style="font-size: x-small;"><span style="color: #0d0d0d;">1)</span><span>PROLOGUE</span><span>:</span><span style="color: #0d0d0d;"> <a href="https://www.youtube.com/watch?v=yO5wE44tN9o">https://www.youtube.com/watch?v=yO5wE44tN9o</a></span></span></b></span></div><div><span style="background-color: white; white-space: pre-wrap;"><b><span style="font-size: x-small;"><span style="color: #0d0d0d;">2)</span><span>ACT 1</span><span>:</span><span style="color: #0d0d0d;"> <a href="https://www.youtube.com/watch?v=kTxTuN5ocIo">https://www.youtube.com/watch?v=kTxTuN5ocIo</a></span></span></b></span><b style="white-space: pre-wrap;"><span style="font-size: x-small;"><span style="color: #0d0d0d;"> </span></span></b></div><div style="white-space: normal;"><span style="background-color: white; white-space-collapse: preserve;"><b><span style="font-size: x-small;"><span style="color: #0d0d0d;">3)</span><span>ACT 2 FIRST PART</span><span>:</span><span style="color: #0d0d0d;"> <a href="https://www.youtube.com/watch?v=oOMgG2PoX1w">https://www.youtube.com/watch?v=oOMgG2PoX1w</a>
4)</span><span>ACT 2 SECOND PART</span><span>:</span><span style="color: #0d0d0d;"> <a href="https://www.youtube.com/watch?v=RJDrcfeFZ-o">https://www.youtube.com/watch?v=RJDrcfeFZ-o</a>
5)</span><span>ACT 2 FINALE</span><span>: <a href="https://www.youtube.com/watch?v=bma0zXuxSoU"><span style="color: #2b00fe;">https://www.youtube.com/watch?v=bma0zXuxSoU</span></a><span style="color: #0d0d0d;">
6)</span></span><span>ACT 3 FIRST PART</span><span>:</span><span style="color: #0d0d0d;"> <a href="https://www.youtube.com/watch?v=XODVH_8cte8">https://www.youtube.com/watch?v=XODVH_8cte8</a></span></span></b></span></div><div><span style="font-size: x-small;"><span style="background-color: white; white-space: pre-wrap;"><b><span style="color: #0d0d0d;">7)</span><span>ACT 3 FINALE + EPILOGUE</span><span>:<span style="color: #0d0d0d;"> </span><span style="color: #2b00fe;"><a href="https://www.youtube.com/watch?v=k1fkBk4IT7E">https://www.youtube.com/watch?v=k1fkBk4IT7E</a></span></span></b></span></span></div><div><span style="font-size: x-small;"><span style="background-color: white; white-space: pre-wrap;"><b><br /></b></span></span></div><div style="color: black; font-family: "Times New Roman"; font-size: medium; font-weight: 400; white-space: normal;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/yO5wE44tN9o" width="320" youtube-src-id="yO5wE44tN9o"></iframe></div></span></span></span></span></span></span></span></span></div></span></span></span></span></span></span></span></span></span></div><div class="separator" style="clear: both; text-align: left;"><b style="background-color: #f9f9f9; font-family: georgia; white-space: pre-wrap;"><span><i><span style="color: #2b00fe; font-size: large;"><br /></span></i></span></b></div><div class="separator" style="clear: both; text-align: left;"><b style="background-color: #f9f9f9; font-family: georgia; white-space: pre-wrap;"><span><i><span style="color: #2b00fe; font-size: large;">Eduard Künneke, Rudolf Schock, Renate Holm</span><span style="color: #990000; font-size: large;"> in</span></i></span></b></div><div class="separator" style="clear: both; text-align: left;"><b style="background-color: #f9f9f9; font-family: georgia; white-space: pre-wrap;"><span><i><span style="color: #990000; font-size: x-large;">'Eduard Künneke in Concert':</span></i></span></b></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: georgia; font-size: medium;"><span style="background-color: #f9f9f9; white-space-collapse: preserve;"><b>a) fragments from <i>'Der Vetter aus Dingsda'</i> (1953 & 1965) and</b></span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: georgia; font-size: medium;"><span style="background-color: #f9f9f9; white-space-collapse: preserve;"><b> <i>'Die lockende Flamme'</i> (<i><span style="color: #38761d;">live</span></i> <i><span style="color: #38761d;">1960</span></i>)</b></span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: georgia;"><span style="background-color: #f9f9f9; white-space-collapse: preserve;"><b><span style="font-size: medium;">b) </span><i><span style="color: #990000; font-size: medium;">Eduard Künneke </span></i><span style="font-size: medium;">conducts </span><span style="color: #38761d; font-size: large;"><i>1938</i></span><span style="font-size: medium;"> THE BERLIN PHILHARM.</span></b></span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: georgia; font-size: medium;"><span style="background-color: #f9f9f9; white-space-collapse: preserve;"><b> ORCHESTRA in the <span style="color: #2b00fe;"><i>'Intermezzo'</i></span> from</b></span></span><b style="font-family: georgia; font-size: large; white-space-collapse: preserve;"><i><span style="color: #2b00fe;">'Tänzerische Suite' </span></i></b></div><div class="separator" style="clear: both; text-align: left;"><b style="font-family: georgia; font-size: large; white-space-collapse: preserve;"><i><span style="color: #2b00fe;"><br /></span></i></b></div><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/MUzlEfVb7Tc" width="320" youtube-src-id="MUzlEfVb7Tc"></iframe></div><br /></div><div class="separator" style="clear: both; text-align: left;"><b style="background-color: #f9f9f9; font-family: georgia; font-size: x-large; white-space-collapse: preserve;"><i><span style="color: #2b00fe;">Rudolf Schock</span></i> & <i><span style="color: #2b00fe;">Dorothea Siebert</span></i> in Franz Lehár's</b></div><div><div class="separator" style="clear: both; text-align: left;"><span style="background-color: #f9f9f9; font-family: georgia; white-space: pre-wrap;"><span><span style="font-size: large;"><b>tragic-romantic <i>OPERA</i> <i><span style="color: red;">'The Land of Smiles'</span></i></b></span></span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="background-color: #f9f9f9; font-family: georgia; white-space: pre-wrap;"><span><span style="font-size: large;"><b>conducted by <i><span style="color: #2b00fe;">WERNER SCHMIDT-BOELCKE, Wilhelm Schüchter & Robert Stolz</span></i>:</b></span></span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="background-color: #f9f9f9; font-family: georgia; white-space: pre-wrap;"><span><span style="font-size: large;"><b><br /></b></span></span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="background-color: #f9f9f9; font-family: georgia; white-space: pre-wrap;"><span><span style="font-size: large;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/1wTURM4iGYg" width="320" youtube-src-id="1wTURM4iGYg"></iframe></div></span></span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="background-color: #f9f9f9;"><span><span><span><span><div class="separator" style="clear: both; color: black; font-style: normal; font-weight: 400; white-space-collapse: collapse;"><br /></div><div class="separator" style="clear: both; color: black; font-style: normal; font-weight: 400; white-space-collapse: collapse;"><b style="font-family: georgia; font-size: medium; white-space-collapse: preserve;"><span><i><span style="color: #2b00fe; font-size: large;">Erna Berger, Lisa Otto, Rudolf Schock, Gerhard Unger, </span></i></span></b><b style="white-space-collapse: preserve;"><span><b><span><i><span style="color: #2b00fe;"><span style="font-family: georgia;"><span style="font-size: large;">Gottlob Frick,</span><span style="font-size: medium;"> C</span></span></span></i></span></b></span></b><b style="white-space-collapse: preserve;"><span><i><span style="color: #2b00fe; font-family: georgia; font-size: medium;">onductors Wilhelm Schüchter,</span></i></span></b></div><div class="separator" style="clear: both; color: #2b00fe;"><span style="font-family: georgia;"><span style="white-space-collapse: preserve;"><b><i><span style="font-size: medium;">Hans Schmidt-Isserstedt, Josef Krips</span><span style="font-size: large;">:</span></i></b></span></span></div><div class="separator" style="clear: both; font-size: x-large;"><b style="font-family: georgia; font-size: large; white-space-collapse: preserve;">Highlights from MOZART's </b><b style="font-family: georgia; font-size: medium; white-space-collapse: preserve;"><span><b><span style="font-size: medium;"><i style="color: #990000;">'Die Entführung aus dem Serail'</i>:</span></b></span></b></div><div class="separator" style="clear: both; font-size: x-large;"><b style="font-family: georgia; font-size: medium; white-space-collapse: preserve;"><span><b><span style="font-size: medium;"><br /></span></b></span></b></div><div class="separator" style="clear: both; font-size: x-large;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/TVJBIGUnPWo" width="320" youtube-src-id="TVJBIGUnPWo"></iframe></div></span></span></span></span></span></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><b style="background-color: #f9f9f9; font-family: georgia; white-space-collapse: preserve;"><span style="color: #ff00fe; font-size: large;">*********************************************************</span></b></div><div><div class="separator" style="clear: both; text-align: left;"><b style="background-color: #f9f9f9; white-space: pre-wrap;"><div class="separator" style="clear: both; font-weight: 400; white-space: normal;"><b style="white-space: pre-wrap;"><span style="font-family: georgia;"><span face="" style="font-size: xx-large; font-weight: 400; white-space: normal;"><b>On <i><span style="color: #2b00fe;">YouTube</span></i></b><b><span> since May 3, 2018 <i><span style="color: red;">"</span></i></span></b></span><b style="white-space: normal;"><span><i><span style="color: red; font-size: xx-large;">Rudolf Schock: I sing that too!": </span></i></span></b></span></b><b style="white-space-collapse: preserve;"><span style="font-family: georgia;"><b style="white-space-collapse: collapse;"><span><i><span style="color: #1b0707;"><span style="font-size: medium;">February 2024: the documentary is visited by 53.700 interested people.</span></span></i></span></b></span></b></div><div class="separator" style="clear: both; font-family: "Times New Roman"; font-weight: 400; white-space: normal;"><b style="font-family: georgia; font-size: large; white-space: pre-wrap;"><br /></b></div><div class="separator" style="clear: both; font-family: "Times New Roman"; font-weight: 400; white-space: normal;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/OgnTZlOtIeE" width="320" youtube-src-id="OgnTZlOtIeE"></iframe></div></b></div><div class="separator" style="clear: both; text-align: left;"><span style="background-color: #f9f9f9;"><span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span><span><span style="font-family: georgia; font-size: medium; white-space: pre-wrap;"><b><i>- <span style="color: #38761d;">Film documentary</span></i><span style="color: #030303;"> about </span><i><span style="color: #2b00fe;">RUDOLF SCHOCK</span></i><span style="color: #030303;"> spoken in </span><i style="color: #030303;">Dutch/German</i><span style="color: #030303;"> with </span><i><span style="color: #38761d;">ENGLISH</span></i><span style="color: #030303;"> subtitles. In addition to often larger excerpts from operas/operettas and songs, it offers above all an overview of the career of the great singer.</span></b></span></span></span></p><p class="MsoNormal" style="font-family: "Times New Roman"; font-weight: 400; line-height: normal; margin-bottom: 0cm; white-space: normal;"><span style="white-space: pre-wrap;"><span style="font-family: georgia; font-size: medium;"><b><span style="color: #030303;"><i>- Niederländisch/Deutsch</i> gesprochene </span><i><span style="color: #38761d;">Film-Dokumentation</span></i><span style="color: #030303;"> über </span><span><i style="color: #2b00fe;">RUDOLF SCHOCK</i><i> </i>mit <i><span style="color: #38761d;">ENGLISCHEN</span></i> Untertiteln</span></b></span></span><b style="font-family: georgia; font-size: large; white-space: pre-wrap;"><span><i>. </i>Sie</span></b><span style="white-space: pre-wrap;"><span style="color: #030303; font-family: georgia; font-size: medium;"><b> bietet neben oft grösseren Ausschnitten aus Opern/Operetten und Liedern v</b></span></span><b style="color: #030303; font-family: georgia; font-size: large; white-space: pre-wrap;">or allem einen Überblick über den Werdegang des grossen Sängers.</b></p><p class="MsoNormal" style="font-family: "Times New Roman"; font-weight: 400; line-height: normal; margin-bottom: 0cm; white-space: normal;"><b style="font-family: georgia; font-size: large; white-space: pre-wrap;"><span style="color: #030303;">- </span><i style="color: #030303;">Nederlands/Duits </i><span style="color: #030303;">gesproken </span><i style="color: #38761d;">documentaire </i>over<i style="color: #38761d;"> </i><span style="color: #2b00fe; font-style: italic;">RUDOLF SCHOCK </span>met <i><span style="color: #38761d;">ENGELSE</span></i> ondertitels. De film presenteert naast vaak grotere fragmenten uit opera's/operettes en liederen vooral een overzicht van de carrière van de grote zanger.</b></p><p class="MsoNormal" style="font-family: "Times New Roman"; font-weight: 400; line-height: normal; margin-bottom: 0cm; white-space: normal;"><b style="color: #030303; font-family: georgia; font-size: large; white-space: pre-wrap;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDC6tN7-_dUvCxtSaM6GkvKhfGRr7_TyEuG_z7DiZik0tUHbhTxKOesY-sJ2WfnCs0SQtEWzkk0cfSLyHNp7NCELrOTl_GPbZtg19_XZZSYulAb4QYzW16wKOdkwvTGLPNUnBd4h0rBEQI5-ye7uwAtNVfFbCv2zusMv0mbFEmUBZUp-5t80sQlt-P/s1260/Rudolf%20Schock%201915-2022%20(3).jpg" style="font-family: "Times New Roman"; font-size: medium; font-weight: 400; margin-left: 1em; margin-right: 1em; white-space: normal;"><img border="0" data-original-height="543" data-original-width="1260" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDC6tN7-_dUvCxtSaM6GkvKhfGRr7_TyEuG_z7DiZik0tUHbhTxKOesY-sJ2WfnCs0SQtEWzkk0cfSLyHNp7NCELrOTl_GPbZtg19_XZZSYulAb4QYzW16wKOdkwvTGLPNUnBd4h0rBEQI5-ye7uwAtNVfFbCv2zusMv0mbFEmUBZUp-5t80sQlt-P/w400-h173/Rudolf%20Schock%201915-2022%20(3).jpg" width="400" /></a></b></p><p class="MsoNormal" style="font-family: "Times New Roman"; font-weight: 400; line-height: normal; margin-bottom: 0cm; white-space: normal;"><b style="color: #030303; font-family: georgia; font-size: large; white-space: pre-wrap;"><i>WITH MUSIC BY</i> </b><b style="font-family: georgia; white-space: pre-wrap;"><span style="font-size: large;"><span style="color: #2b00fe; font-style: italic;">Adam, Beethoven, Berg, Brahms, Kienzl, Lehár, Mozart, Puccini, Schubert, Suppé, </span></span></b><b style="font-family: georgia; white-space: pre-wrap;"><span style="font-size: large;"><span style="color: #2b00fe; font-style: italic;">R. Strauss, Tauber, Verdi</span><span style="color: #990000; font-style: italic;"> </span><span style="font-style: italic;">&</span><span> </span><span style="color: #2b00fe; font-style: italic;">Wagner </span><span style="font-style: italic;">!</span></span></b></p></span></span></div><div class="separator" style="clear: both; text-align: left;"><b style="background-color: #f9f9f9; font-family: georgia; white-space: pre-wrap;"><span><i><br /></i></span></b></div><div class="separator" style="clear: both; text-align: left;"><b style="background-color: #f9f9f9; font-family: georgia; white-space-collapse: preserve;"><span><i>Krijn de Lege, 29.2.2024</i></span></b></div><p></p></div></div>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-3421475205597743002024-03-15T19:45:00.001+01:002024-03-15T19:53:53.113+01:00'BECKMESSER is always alive and kicking ... <p><span style="font-family: inherit; font-size: large;"><b>d e u t s c h :</b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><span style="color: #990000;"><i>"BECKMESSER LEBT!"</i></span> (in Erinnerung am destruktiven Auftritt dieses sogenannten <i>"Gesangskritikers"</i> und <i>"Meistersängers"</i> in Richard Wagners <i>"Die Meistersinger von Nürnberg"</i>):</b></span></p><p><span style="font-family: georgia; font-size: medium;"></span></p><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfXDpvsiJ2hLG3LgLrpHqi41RBXsumligKN89g7YBoGNZGhePPhef2tAyOe2UgOgFXDR78zUL5uhnad0wiHKuoOORUKVIRr7bjuovIwGObdVwzueroPV6P9fCTW0sjBxJTB-oP6knoZ0AZUsQbZmTGE-ihO2okgl_G_YchG9QtudvRG_CIzHv8dp6BeGU/s259/Benno%20Kusche%20als%20Beckmesser.jpg" style="clear: left; margin-bottom: 1em;"><img border="0" data-original-height="225" data-original-width="259" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfXDpvsiJ2hLG3LgLrpHqi41RBXsumligKN89g7YBoGNZGhePPhef2tAyOe2UgOgFXDR78zUL5uhnad0wiHKuoOORUKVIRr7bjuovIwGObdVwzueroPV6P9fCTW0sjBxJTB-oP6knoZ0AZUsQbZmTGE-ihO2okgl_G_YchG9QtudvRG_CIzHv8dp6BeGU/w320-h278/Benno%20Kusche%20als%20Beckmesser.jpg" width="320" /></a></span></div><span style="font-family: georgia; font-size: medium;"><b><i><span style="color: #990000;"> </span><span style="color: #2b00fe;">Benno Kusche als Beckmesser</span></i></b><br /></span><p></p><p><b style="font-family: georgia; font-size: large;">Musikkritiker sorgen manchmal für große Unruhe! Beispielsweise waren die Urteile von <i><span style="color: #990000;">LEO RIEMENS </span></i>(1910-1985) jahrzehntelang der Maßstab für gutes und schlechtes Musiktheater in den Niederlanden. In späterer Lebensphase wurde er milder und kehrte er sogar von alten Ansichten zurück. In der ersten Hälfte der 50er Jahre lobte er <i><span style="color: #990000;">RUDOLF SCHOCK</span></i> überschwänglich. Danach wurde er kritischer und stellte beispielsweise fest, der <i>"Held des Films"</i> sei für <i>Walther von Stolzing</i> in Wagners <i>"Meistersinger"</i> weniger geeignet.(Aufnahme 1956 unter Rudolf Kempe). Später änderte sich jedoch das Bild in Riemens' Kopf und nach einer Neuauflage dieser Opernaufnahme schrieb er, er verstehe nicht, warum er damals so negativ über Schock geschrieben habe. Nun erhielt der Sänger viel Lob, möglicherweise auch unter dem Einfluss des britischen Opernpapstes <i><span style="color: #990000;">ADAM BLYTH</span></i>, der Schock als "<i>den musikalischsten Walther auf Schallplatte" </i>betrachtete. In den 1960er Jahren konnte Rudolf Schock Leo Riemens nichts mehr anhaben. Riemens äußerte sich äußerst lobend über Sch0cks <i>Pedro</i> in der Oper "<i>Tiefland"</i> und seinen <i>Danilo</i> unter Robert Stolz in <i>"Die lustigen Witwe"</i>. Als Schock 1974 in den Niederlanden die Rolle des Franz Schubert in <i>"Das Dreimäderlhaus"</i> sang, rief Riemens aus, dass die Leute in den Niederlanden endlich einen <i>"Mann"</i> hören könnten, der wisse, <i>"wie man Schubert singt"</i>.</b></p><p><b style="font-family: georgia; font-size: large;">Im deutschsprachigen Raum erfüllte und erfüllt <i><span style="color: #990000;">JÜRGEN KESTING</span></i> (geb. 1940 in Duisburg!) eine ähnliche Funktion.</b></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="560" data-original-width="420" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNTijGmg4fHPP9F6Gc1TE5pOnFrBrPhk6SbupGXI2N2X6mNK2skqJ-Imx_vNWGyzUpsHg9elAlPOiPxNR6_j7qkdYMkN_y_KimO7dzJ5F7FXf9lbYIFxeeYV2h_TuE-n5CwVm2m9g4h84stk8f5WieFTY3RKf32Of-oxe8vscJvIfUHL15_goqAusdnBM/w300-h400/kesting-juergen.jpg" style="margin-left: auto; margin-right: auto;" width="300" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #990000; font-family: georgia; font-size: medium;"><b><i>Jürgen Kesting</i></b></span></td></tr></tbody></table><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;">Im österreichischen <i>"Tamino-Musikforum"</i> zum Beispiel ist <i><span style="color: #990000;">RUDOLF SCHOCK</span></i> (geb. 1915 in Duisburg!) auch jetzt, fast 40 Jahre nach seinem Tod, ein Spielzeug, wenn es um Jubel oder Verunglimpfung geht. Insbesondere Zitate aus den Kritiken von Jürgen Kesting werden von den negativen Influencern gerne genutzt.</b></p><p><b style="font-family: georgia; font-size: large;">Es stimmt, dass Kesting Schock kritisch gegenüberstand. In seinem Lebenswerk <i>"DIE GROSSEN SÄNGER"</i> spielt Rudolf Schock tatsächlich eine bescheidene Rolle. Das Bild ist nicht ganz schwarz, aber das Gute an Schock wird sofort durch das weniger Gute ausgeglichen.</b></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGZ0T2Jh5fIA-6tyg0hCWmew6kexzUdRGlyK_qjS8oqCH9L36RrHgDsgIbk3fJVEILHqS7bKV0bJkGPm2k341eBi1oVRq3_JrlqDxnyu7X4yaUsl_GRUiUbaGqpsXa-5DnDMtyJA_yOCb9D-Z3FZDVcBCkphmGS4sFzIwPHLlk7cLM_CCpCx8KgDoCCOU/s403/Kesting%20Die%20Grossen%20S%C3%A4nger.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="403" data-original-width="336" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGZ0T2Jh5fIA-6tyg0hCWmew6kexzUdRGlyK_qjS8oqCH9L36RrHgDsgIbk3fJVEILHqS7bKV0bJkGPm2k341eBi1oVRq3_JrlqDxnyu7X4yaUsl_GRUiUbaGqpsXa-5DnDMtyJA_yOCb9D-Z3FZDVcBCkphmGS4sFzIwPHLlk7cLM_CCpCx8KgDoCCOU/s320/Kesting%20Die%20Grossen%20S%C3%A4nger.jpg" width="267" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #990000; font-family: georgia; font-size: medium;"><b><i>Autor: Jürgen Kesting<br /><br /></i></b></span></td></tr></tbody></table><br /><b style="font-family: georgia; font-size: large;"><br /></b><p></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;">Dies geschah auch in zwei von Kesting moderierten Gedenksendungen (80er Jahre?). Man kann sie sich auf <i><span style="color: #990000;">YouTube</span></i> anhören: <span style="color: #0b5394;">'https://www.youtube.com/watch?v=BA81MAR5Dqk&t=506s)' </span>UND auf Rob van Brinks <i><span style="color: #990000;">Rudolf-Schock-Website</span></i>: <span style="color: #0b5394;">'www.rudolfschock.nl'</span>. Bei Rob van Brink gibt es auch die kraftvolle Gegenstimme von <i><span style="color: #990000;">LUDWIG STUMPFF</span></i> (1937-2017) unter dem Titel: <i>"L. Stumpff: Gedanken aus meiner Sicht"</i>, der Kestings Sendungen scharf kritisiert.</b></p><p><span style="font-family: georgia; font-size: medium;"><b>Doch inzwischen scheinen sich auch in Jürgen Kestings Kopf einige Zahnräder in andere Richtung zu drehen. Im Musikmagazin "FONOFORUM" lobte er <u>kürzlich</u> <i>Rudolf Schock</i> und <i>Leonie Rysanek</i> für ihren einfühlsamen Gesang im Finale von <i><span style="color: #990000;">"Aida"</span></i>. Im Jahr 2022 nennt er Schocks <i>Max</i> im <i>"Freischütz"</i> (Aufnahme 1957/58) den <i>"eindringlichsten Max" </i>aller Zeiten. Kesting macht in dieser Zeitschrift auch kundig, Rudolf Schock habe ihm nach dem Krieg die Augen und Ohren für <i>"die Welt der Oper" </i>geöffnet. Erstaunlich war schließlich, dass Jürgen Kesting kürzlich – erneut in FONOFORUM – in einem Themenartikel über Ton-Aufnahmen von <i><span style="color: #990000;">"Die Fledermaus"</span></i> gestand, er habe schon ein halbes Jahrhundert nimmer Lust gefühlt, sich der Robert-Stolz-Einspielung (1965) dieser opernhaften Operette anzuhören! Nun musste er aus beruflichen Gründen durchhalten, wonach er nichts anders als schlussfolgern konnte, dass gerade diese <i><span style="color: #990000;">Stolz</span>-Aufnahme</i> zu den besten der <i><span style="color: #990000;">"Fledermaus"</span></i> zählte. Schock überraschte ihn überdies mit dessen ungebrochener Vitalität!</b></span></p><p><b style="font-family: georgia; font-size: large;">Meine Schlussfolgerung ist einfach: Es sind die <u>Vor</u>urteile, dummy! Immer wieder <u>Vor</u>urteile! Niemand ist davor gefeit. Aber sie verursachen bleibende Schäden!</b></p><p><b><span style="font-family: georgia; font-size: large;"><span style="color: #2b00fe;">Und ach ja: Heute habe ich auf YouTube mein </span><u style="color: #2b00fe;">erstes</u><span style="color: #2b00fe;"> Video mit einigen Fragmenten aus </span><i style="color: #2b00fe;">Johann Strauss</i><span style="color: #2b00fe;">‘ Operette </span><i><span style="color: #990000;">"Die Fledermaus"</span></i><span style="color: #2b00fe;"> von 1874 veröffentlicht! </span></span></b></p><p><span style="font-size: large;"><b>e n g l i s h :</b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><span style="color: #990000;"><i>"BECKMESSER" ALIVE! </i></span>(referring to the appearance of this "singing critic" and "Meistersänger" in Richard Wagner's <i><span style="color: #990000;">"Die Meistersinger von Nürnberg"</span></i>):</b></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx7xFldVztNR5Kcp6duzFKGpTMF-5YamHMWolGskuW7QnpPlGrKZoaUSEiRLNujVkE13acqbeOmM-DC1B6QWgY_YMWyQYU0W0fy_h6L2GWCG2OoAJbhSz1Twm21Yj9Mdatyk6UjClC1MV3PBm33acMIIUu77gqhpa7oidnoQFDX13qMteJ3Z9s7OIkP_4/s259/Benno%20Kusche%20als%20Beckmesser.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="225" data-original-width="259" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx7xFldVztNR5Kcp6duzFKGpTMF-5YamHMWolGskuW7QnpPlGrKZoaUSEiRLNujVkE13acqbeOmM-DC1B6QWgY_YMWyQYU0W0fy_h6L2GWCG2OoAJbhSz1Twm21Yj9Mdatyk6UjClC1MV3PBm33acMIIUu77gqhpa7oidnoQFDX13qMteJ3Z9s7OIkP_4/s1600/Benno%20Kusche%20als%20Beckmesser.jpg" width="259" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i><span style="color: #2b00fe;">Benno Kusche als Beckmesser<br /><br /></span></i></b></td></tr></tbody></table><br /><p><br /><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;">Music critics sometimes cause a lot of unrest! </b><b style="font-family: georgia; font-size: large;">For example, for decades the judgments of <span><span style="color: #990000;"><i>LEO RIEMENS</i></span> </span>(1910-1985) were the benchmark for good and bad musical theater in the Netherlands. In a later phase of life he mellowed and even returned from old opinions. In the first half of the 1950s he praised <i><span style="color: #990000;">RUDOLF SCHOCK </span></i>profusely. Afterwards he became more critical and found, for example, that this <i>"hero of the film"</i> as <i>Walther von Stolzing</i> in Wagner's <i>"Meistersinger von Nürnberg"</i> fell short (recorded 1956 under Rudolf Kempe).</b></p><p><b style="font-family: georgia; font-size: large;">Later, however, the image in Riemens' head changed and, following a reissue of that opera recording, he wrote that he did not understand why he had written so negatively about Schock at the time. Now the singer received a lot of praise, possibly partly under the influence of the British opera pope <i><span style="color: #990000;">ADAM BLYTH</span></i>, who saw Schock as<i> "the most musical Walther on gramophone record"</i>.</b></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrzxEgg5mJeu5if2_usP8NZwSBdjjlu1sXfC8CNtVuOj3TNtHi-ONSxvYRL1uZPcIugcPiC4m86cSolEkJRpgF-OP_WVUry1aD2xJwK3Izd_1YdLq3slNaGXRLN83PR5DmWn-tkxCNAs_LDSuemmtyWeCo9IYlJUM6lPxsYaSE0r14bKWKlHvXNbE-Wqk/s398/Adam%20Blyth,%20pencil%20sketch%20of%20himself.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="398" data-original-width="330" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrzxEgg5mJeu5if2_usP8NZwSBdjjlu1sXfC8CNtVuOj3TNtHi-ONSxvYRL1uZPcIugcPiC4m86cSolEkJRpgF-OP_WVUry1aD2xJwK3Izd_1YdLq3slNaGXRLN83PR5DmWn-tkxCNAs_LDSuemmtyWeCo9IYlJUM6lPxsYaSE0r14bKWKlHvXNbE-Wqk/w331-h400/Adam%20Blyth,%20pencil%20sketch%20of%20himself.jpg" width="331" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i><span style="color: #7f6000;">Adam Blyth, pencil scetch by himself</span></i></b></td></tr></tbody></table><br /><b style="font-family: georgia; font-size: large;"><br /></b><p></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;">In the 1960s, Rudolf Schock could do no wrong to Leo Riemens. Riemens was extremely complimentary about Sch0ck's <i>'Pedro' </i>in the opera<i> "Tiefland"</i> and about his <i>'Danilo'</i> under Robert Stolz in <i>"Die lustige Witwe"</i>. In 1974, when Schock sang the role of Franz Schubert in <i>'Das Dreimäderlhaus' </i>in the Netherlands, Riemens exclaimed that here in the Netherlands people could finally hear a <i>"man"</i> who knew <i>"how to sing Schubert"</i>.</b></p><p><b style="font-family: georgia; font-size: large;">In the German-speaking countries, <i><span style="color: #990000;">JÜRGEN KESTING</span></i> (born 1940 in Duisburg!) fulfilled and continues to fulfill a similar role. In the Austrian <i>"Tamino-Musikforum"</i>, for example, <i><span style="color: #990000;">RUDOLF SCHOCK</span></i> (born 1915 in Duisburg too) is - even now, almost 40 years after his death - a plaything when it comes to cheering or vilifying. The abusers eagerly use quotes from criticism by Jürgen Kesting in particular.</b></p><p><b style="font-family: georgia; font-size: large;">It is true that Kesting is critical of Schock. In his standard work about <i>"DIE GROSSEN SÄNGER"</i>, Rudolf Schock actually has a supporting role. The picture is not completely black, but what is good about him is immediately offset by the less good. This also happened in two memorial broadcasts (1980s?) presented by Kesting. </b><b style="font-family: georgia; font-size: large;">They can be listened to on <i><span style="color: #990000;">YouTube</span></i>: <span style="color: #0b5394;">"https://www.youtube.com/watch?v=BA81MAR5Dqk&t=506s)"</span> and on Rob van Brink's <i><span style="color: #990000;">Rudolf Schock website</span></i>: <span style="color: #0b5394;">"www.rudolfschock.nl"</span>. Rob van Brink also has a powerful counter-narrative from <span style="color: #990000;"><i>LUDWIG STUMPFF</i></span> (1937-2017) under the title: <i>"L. Stumpff: Gedanken aus meiner Sicht"</i>, in which he strongly criticizes Kesting's broadcasts.</b></p><p><b style="font-family: georgia; font-size: large;">Yet in the meantime, some cogs seem to be turning in a different direction in Jürgen Kesting's head. In the music magazine 'FONOFORUM' he recently praised <i>Rudolf Schock</i> and <i>Leonie Rysanek</i> for their sensitive singing in the finale of <i><span style="color: #990000;">'Aida'</span></i>. In 2022, he also calls Schock's <i>'Max'</i> in the <i>'Freischütz'</i> (recording 1957/58) the <i>"most penetrating Max" </i>on record. Kesting also makes it clear in that magazine that, after the war, Rudolf Schock opened his eyes and ears to <i>"the world of opera"</i>. Finally, it was astonishing that Jürgen Kesting recently - in FONOFORUM again - in a thematic article about recordings of <i><span style="color: #990000;">'Die Fledermaus'</span></i> confessed that he had not felt like listening to the Robert Stolz recording (1965) of this opera-like operetta for the past half century. Now, for professional reasons, he had to admit that, of all recordings, that Stolz performance is one of the best of the <i><span style="color: #990000;">'Fledermaus'</span></i>. Schock pleasantly surprised him with its unbroken vitality!</b></p><p><b style="font-family: georgia; font-size: large;">My conclusion is simple: prejudices and more prejudices! No one is immune to it. But they do cause permanent damage!</b></p><p><b style="font-family: georgia; font-size: x-large;">And oh yes: today I published my first video on YouTube with excerpts from <i>Johann Strauss</i>' operetta: <i><span style="color: #990000;">"Die Fledermaus"</span></i> from 1874.</b></p><p><b><span style="font-family: inherit; font-size: large;">N e d e r l a n d s :</span></b></p><p><b style="font-family: georgia; font-size: large;"><span style="color: #990000; font-style: italic;">"BECKMESSER" LEEFT!</span><span style="color: red; font-style: italic;"> </span><span style="color: #2b00fe;">(verwijzend naar het optreden van deze <i>"zangrecensent"</i> en <i>"Meistersänger"</i></span><span style="color: red;"> </span><span style="color: #2b00fe;">in Richard</span><span style="color: #2b00fe;"> Wagner's </span><span style="color: #990000; font-style: italic;">"Die Meistersinger von Nürnberg"</span><span style="color: #2b00fe; font-style: italic;">): </span></b></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnT3sJ7H-Hi54s2BT7Q-B25lCSQJT5x8TZnbrpW1HPgd3VfXRH9GB6voXj5wB2hzYcaV8ao8uVZt6Nq5wkMkoDuayinaoz9x01AKY5vh50FOcWqZ-LBYctgKGBYdznle09ujoFKgNin8bWOxEPZ6Oc4I_69ldkthdqaeb3pX3NzNzKVi4iGIJMaP7p8HE/s257/Leo%20Riemens%20jpg.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="257" data-original-width="196" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnT3sJ7H-Hi54s2BT7Q-B25lCSQJT5x8TZnbrpW1HPgd3VfXRH9GB6voXj5wB2hzYcaV8ao8uVZt6Nq5wkMkoDuayinaoz9x01AKY5vh50FOcWqZ-LBYctgKGBYdznle09ujoFKgNin8bWOxEPZ6Oc4I_69ldkthdqaeb3pX3NzNzKVi4iGIJMaP7p8HE/w305-h400/Leo%20Riemens%20jpg.jpg" width="305" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: georgia; font-size: medium;"><b><i><span style="color: #274e13;">Leo Riemens (1910-1985)<br /></span><br /></i></b></span></td></tr></tbody></table><span style="font-family: georgia; font-size: medium;"><b><br /><span><br /></span></b></span><p></p><p><b><span style="font-family: georgia; font-size: medium;"><br /></span></b></p><p><b><span style="font-family: georgia; font-size: medium;"><br /></span></b></p><p><b><span style="font-family: georgia; font-size: medium;"><br /></span></b></p><p><b><span style="font-family: georgia; font-size: medium;"><br /></span></b></p><p><b><span style="font-family: georgia; font-size: medium;"><br /></span></b></p><p><b><span style="font-family: georgia; font-size: medium;"><br /></span></b></p><p><b><span style="font-family: georgia; font-size: medium;"><br /></span></b></p><p><b><span style="font-family: georgia; font-size: medium;"><br /></span></b></p><p><b><span style="font-family: georgia; font-size: medium;"><br /></span></b></p><p><b><span style="font-family: georgia; font-size: medium;"><br /></span></b></p><p><b><span style="font-family: georgia; font-size: medium;">Muziekrecensenten zorgen soms voor </span></b><b style="font-family: georgia; font-size: large;">veel onrust! Decennia waren bv. de oordelen van <span style="color: #990000;"><i>LEO RIEMENS</i></span> (1910-1985) in Nederland de maat voor goed en slecht muziektheater. In een latere levensfase werd hij milder en kwam hij zelfs terug op oude meningen. In de eerste helft van de jaren vijftig prees hij <span style="color: #990000;"><i>RUDOLF SCHOCK</i></span> overvloedig. Daarna werd hij zuiniger en vond hij bv. dat deze <i>"held van de film" </i></b><b style="font-family: georgia; font-size: large;">als <i>Walther von Stolzing </i></b><b style="font-family: georgia; font-size: large;">in Wagner's <i>"Meistersinger von Nürnberg"</i> danig tekort schoot (plaatopname 1956 onder Rudolf Kempe).</b></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBzRHBdZBubh2DF-R0ow9_U3K1WSxavVAVWDb9qp2DKQktriWCRZkLBEGmDEQTAjBCr_n3NKPHNnhPaF2M5E-rYfGBGBBGASrQ4gwOlKqq2SVk_dJHRdKzjjgxUSbgC92WHtAZLL_hDd-2cUcXCmyvWXrRBVfvcPdB8SE23ssCFGPrjGreZc34dRUNBsA/s800/Leo%20Riemens%202.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="550" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBzRHBdZBubh2DF-R0ow9_U3K1WSxavVAVWDb9qp2DKQktriWCRZkLBEGmDEQTAjBCr_n3NKPHNnhPaF2M5E-rYfGBGBBGASrQ4gwOlKqq2SVk_dJHRdKzjjgxUSbgC92WHtAZLL_hDd-2cUcXCmyvWXrRBVfvcPdB8SE23ssCFGPrjGreZc34dRUNBsA/w275-h400/Leo%20Riemens%202.jpg" width="275" /></a></div><br /><b style="font-family: georgia; font-size: large;"><br /></b><p></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;">Later echter kantelde het beeld in Riemens' hoofd en schreef hij n.a.v. een heruitgave van die opera-opname, dat hij niet begreep, waarom hij destijds zo negatief over Schock had geschreven. Nu kreeg de zanger veel lof, mogelijk mede onder invloed van de Britse operapaus <i><span style="color: #990000;">ADAM BLYTH</span></i>, die Schock zag als <i>"de muzikaalste Walther op de grammofoonplaat"</i>. In de jaren 60 kon Rudolf Schock bij Leo Riemens geen kwaad meer doen. Buitengewoon complimenteus was Riemens over Sch0ck's <i>'Pedro'</i> in de opera <i>"Tiefland"</i> en over zijn <i>'Danilo' </i>onder Robert Stolz in <i>"Die lustige Witwe".</i> In 1974, toen Schock in Nederland de rol van <i>Franz Schubert</i> zong in <i>'Das Dreimäderlhaus'</i> riep Riemens uit, dat men in Nederland nu eens eindelijk een <i>"man"</i> kon horen, die wist <i>"hoe je Schubert moest zingen"</i>. </b></p><p><b style="font-family: georgia; font-size: large;">I</b><b style="font-family: georgia; font-size: large;">n de Duitstalige landen vervulde én vervult <span style="color: #990000;"><i><span>JÜRGEN KESTING</span></i> </span>(geb. 1940 in Duisburg!) een soortgelijke rol. </b><b style="font-family: georgia; font-size: large;">In bv. het Oostenrijkse <i>"Tamino-Musikforum"</i> is <i><span style="color: #990000;">RUDOLF SCHOCK </span></i>(geb. 1915 in Duisburg!) - ook nu nog, bijna 40 jaar na zijn overlijden - een speelbal als het gaat om juichen of verguizen. De verguizers schermen daarbij gretig met citaten uit kritieken van met name Jürgen Kesting.</b></p><p><b style="font-family: georgia; font-size: large;">Het klopt, dat Kesting kritisch is op Schock. In zijn standaardwerk <i>"DIE GROSSEN SÄNGER" </i>heeft Rudolf Schock feitelijk een bijrol. Het beeld is niet helemaal zwart, maar tegenover wat goed aan hem is, staat direct weer het minder goede. </b><b style="font-family: georgia; font-size: large;">Dat gebeurde ook in een tweetal door Kesting gepresenteerde <i>"Gedenksendungen"</i> (jaren 80?) voor de radio. Ze zijn te beluisteren <span>op </span><span style="color: #990000;"><i>YouTube</i></span>: </b><b style="font-family: georgia; font-size: large;">"</b><span style="font-family: georgia; font-size: medium;"><b><i>https://www.youtube.com/watch?v=BA81MAR5Dqk&t=506s)</i>" en op</b></span><b style="font-family: georgia; font-size: large;"> de <i><span style="color: #990000;">Rudolf Schock-website</span> </i>van Rob van Brink: "<i>www.rudolfschock.nl"</i>. Bij Rob van Brink klinkt ook een krachtig</b><span style="font-family: georgia; font-size: medium;"><b> tegengeluid van</b></span><b style="font-family: georgia; font-size: large;"> <i><span style="color: #990000;">LUDWIG STUMPFF</span></i> (1937-2017) onder de titel: <i>"L. Stumpff: Gedanken aus meiner Sicht"</i>, waarin hij krachtig kritiek levert op Kesting's "Gedenksendungen".</b></p><p><span style="font-family: georgia; font-size: medium;"><b>Toch lijken er intussen ook in het hoofd van Jürgen Kesting wat radertjes een andere kant op te draaien. In muziektijdschrift <i>'FONOFORUM'</i> prijst hij <u>recent</u> <i>Rudolf Schock</i> en <i>Leonie Rysanek</i> voor hun fijngevoelige zang in de finale van <i><span style="color: #990000;">'Aida'</span></i>. Ook noemt hij anno 2022 Schock's <i>'Max'</i> in de <i><span style="color: #990000;">'Freischütz'</span></i> (opname 1957/58) de <i>"indringendste Max" </i>op de plaat. Verder maakt hij in dat tijdschrift duidelijk, dat Rudolf Schock hem na de oorlog de ogen en oren voor <i>"die Welt der Oper'</i> opende. Verbluffend was tenslotte, dat Jürgen Kesting kort geleden - weer in FONOFORUM - in een thema-artikel over plaatopnamen van <i><span style="color: #990000;">'Die Fledermaus'</span></i> bekende, dat hij <i>de afgelopen halve eeuw</i> geen zin had naar de Robert Stolz-opname (1965) van deze opera-achtige operette te luisteren. Nu kwam het er om professionele redenen toch van en moest hij gegeneerd toegeven, dat uitgerekend die Stolz-uitvoering één van de beste van de <i><span style="color: #990000;">'Fledermaus' </span></i>is. Schock verraste hem aangenaam door ongebroken vitaliteit!</b></span></p><p><span style="font-family: georgia; font-size: medium;"><b>Mijn conclusie is simpel: vooroordelen en nog eens vooroordelen. Niemand is er immuun voor. Maar ze richten wél blijvende schade aan!</b></span></p><p><span style="font-family: georgia; font-size: large;"><b><span style="color: #38761d;">En o, ja: vandaag heb ik mijn eerste video op YouTube gepubliceerd met fragmenten uit </span><i style="color: #38761d;">Johann Strauss' </i><span style="color: #38761d;">operette: </span><i><span style="color: #990000;">"Die Fledermaus"</span><span style="color: #38761d;"> </span></i><span style="color: #38761d;">van 1874. </span></b></span></p><p><b style="font-family: georgia;"><br /></b></p><p><b><span style="font-family: georgia;">K</span></b><b style="font-family: georgia;">rijn de Lege, 15.3.2024</b></p><p><br /></p>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-67059345993318781422023-12-20T15:06:00.000+01:002023-12-20T15:06:23.202+01:00RUDOLF SCHOCK: convincing in religious and religiously colored repertoire<p></p><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/01o_jG-i6_w" width="320" youtube-src-id="01o_jG-i6_w"></iframe></div><br /><span><p class="MsoNormal" style="margin-bottom: 0cm;"><span style="color: #2b00fe; font-family: georgia; font-size: medium;"><b><i>With RUDOLF SCHOCK in the world of religious songs</i></b></span></p><p class="MsoNormal" style="font-family: georgia; font-weight: bold; margin-bottom: 0cm;">Above video offers three examples of <i><span style="color: #2b00fe;">Rudolf Schock</span></i>'s tasteful and simple handling of religious and religiously colored songs. Born and raised from a different background, it was his wife <i>Gisela Schock</i> who drew his attention to their beauty.</p><p class="MsoNormal" style="font-family: georgia; font-weight: bold; margin-bottom: 0cm;"><span style="font-size: medium;">On my YouTube channel I give them plenty of room:</span></p><p class="MsoNormal" style="font-family: georgia; font-weight: bold; margin-bottom: 0cm;"><i><span style="color: #2b00fe;">Schock</span></i>'s performance of <i><span style="color: #990000;">'Thanks Be to Thee (Dank sei Dir, Herr)'</span></i>, for example, has become known worldwide. And the combination of <i><span style="color: #990000;">'Wohin soll ich mich wenden?'</span></i> and <i><span style="color: #990000;">'Heilig, heilig, heilig'</span></i> from <i><span style="color: #2b00fe;">Franz Schubert</span></i>'s <i><span style="color: #990000;">'Deutsche Messe'</span></i> has attracted more than 600.000 visitors so far. Not everyone agrees with the arrangement of the first song, but it is the grand yet subdued performance that provides enormous comfort to many, including the overburdened workers at missions in central Africa.</p><p class="MsoNormal" style="font-family: georgia; font-weight: bold; margin-bottom: 0cm;"><i><span style="color: #2b00fe;">Bortniansky</span></i>'s <i><span style="color: #990000;">'Ich bete an die Macht der Liebe'</span></i> took some time, but is now clearly on the rise and the <i><span style="color: #2b00fe;">Beethoven</span></i> adaptation <i><span style="color: #990000;">'Heil'ge Nacht, o giesse du'</span></i> is also touching many.</p><p class="MsoNormal" style="font-family: georgia; font-weight: bold; margin-bottom: 0cm;">The german <i><span style="color: #990000;">'Messiah'</span></i> recording from 1953 under <i><span style="color: #2b00fe;">Hans Schmidt-Isserstedt </span></i>has a special place in <i><span>Schock</span></i>'s repertoire on CD (<i><span style="color: #2b00fe;">'RELIEF' CD8001</span></i>). <i><span style="color: #2b00fe;">Rudolf Schock</span></i> sings fine, as do the other soloists, but it is noticeable and very unfortunate that a large part of the traditional Schock audience shies away from so much "Händel". <i>Schock</i>'s very lyrical singing of <i><span style="color: #990000;">'Et incarnatus est'</span></i> (1946!) from <i><span style="color: #2b00fe;">Anton Bruckner</span></i>'s <i><span style="color: #990000;">'Grosse Messe' </span></i>scores more admirers, but to be honest it takes me a lot of effort to understand that a much larger group of people does not appreciate this glorious fragment.</p><p class="MsoNormal" style="font-family: georgia; font-weight: bold; margin-bottom: 0cm;"><span style="font-size: medium;"><i><span style="color: #38761d;">For now, I hope you enjoy listening to</span></i> <i><span style="color: #2b00fe;">Schock</span></i>'<i><span style="color: #38761d;">s Christmas carols and related religious songs. Merry Christmas and a happy and healthy 2024!</span></i></span></p><p class="MsoNormal" style="font-weight: bold; margin-bottom: 0cm;"><span style="font-family: georgia; font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: left;"><span style="font-family: georgia; font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/9K-9_0sI69E" width="320" youtube-src-id="9K-9_0sI69E"></iframe></span></div><p></p><p class="MsoNormal" style="font-weight: bold; margin-bottom: 0cm;"><i style="color: #2b00fe; font-family: georgia; font-size: large;">Mit RUDOLF SCHOCK in die Welt des religiösen Liedes</i></p><p class="MsoNormal" style="font-family: georgia; font-weight: bold; margin-bottom: 0cm;">Das Video ganz oben bietet drei Beispiele für <i><span style="color: #2b00fe;">Rudolf Schock</span></i>s geschmackvollen und einfachen Umgang mit religiösen und religiös gefärbten Liedern. Aus anderem Hintergrund stammend und aufgewachsen, war es seine Gattin <i>Gisela Schock</i>, die ihn auf deren Schönheit aufmerksam machte.</p><p class="MsoNormal" style="font-family: georgia; font-weight: bold; margin-bottom: 0cm;"><span style="font-size: medium;">Auf meinem YouTube-Kanal gebe ich ihnen viel Raum:</span></p><p class="MsoNormal" style="font-family: georgia; font-weight: bold; margin-bottom: 0cm;"><i><span style="color: #2b00fe;">Schock</span></i>s Darstellung von <i><span style="color: #990000;">„Dank sei Dir, Herr“</span></i> ist z.B. weltweit bekannt geworden. Und die Kombination <i><span style="color: #990000;">„Wohin soll ich mich wenden?“</span></i> und <span style="color: #990000;"><i>„Heilig, heilig, heilig“</i></span> aus <i><span style="color: #2b00fe;">Franz Schubert</span></i>s <i><span style="color: #990000;">‘Deutsche Messe’</span></i> lockten bisher mehr als 600.000 Besucher an. Nicht jedermann ist mit dem Arrangement des ersten Liedes einverstanden, aber es ist die großartige, aber zugleich schlichte Darbietung, die vielen, auch den überlasteten Mitarbeitern in den Missionen von Zentralafrika, sehr viel Trost spendet.</p><p class="MsoNormal" style="font-family: georgia; font-weight: bold; margin-bottom: 0cm;"><i><span style="color: #2b00fe;">Bortniansky</span></i>s <i><span style="color: #990000;">„Ich bete an die Macht der Liebe“</span></i> brauchte einige Zeit, ist nun aber deutlich im Kommen und auch die <i><span style="color: #2b00fe;">Beethoven</span></i>-Adaption <i><span style="color: #990000;">„Heil'ge Nacht, o giesse du“ </span></i>berührt viele.</p><p class="MsoNormal" style="font-family: georgia; font-weight: bold; margin-bottom: 0cm;">Die <i><span style="color: #990000;">„Messias“</span></i>-Aufnahme von 1953 unter <i><span style="color: #2b00fe;">Hans Schmidt-Isserstedt </span></i>nimmt auf CD (RELIEF CD8001) einen besonderen Platz in Schocks Repertoire ein. Rudolf Schock singt mit Hingabe, wie auch die anderen Solisten, doch es fällt auf und ist furchtbar schade, dass ein großer Teil des traditionellen Schock-Publikums vor einer solchen Masse an „Händel“ zurückschreckt. Schocks äußerst lyrischer Gesang im <i><span style="color: #990000;">„Et incarnatus est“</span></i> aus <i><span style="color: #2b00fe;">Anton Bruckner</span></i>s „<i><span style="color: #990000;">Große Messe“</span></i> erreicht erfreulicherweise mehr Fans, aber es kostet mich viel Mühe, zu verstehen, dass eine viel größere Gruppe von Menschen dieses wertvolle Fragment aus dem Jahre 1946 nicht zu schätzen weiss.</p><p class="MsoNormal" style="font-family: georgia; font-weight: bold; margin-bottom: 0cm;">Ich wünsche Ihnen vorerst viel Spaß beim Hören vieler Weihnachtslieder und verwandter religiöser Lieder. Frohe Weihnachten und ein glückliches und gesundes 2024!</p><p class="MsoNormal" style="font-family: georgia; font-weight: bold; margin-bottom: 0cm;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/WSYQea4kl3E" width="320" youtube-src-id="WSYQea4kl3E"></iframe><br /><b><i><span style="color: #2b00fe; font-size: medium;"><br /></span></i></b></p><p class="MsoNormal" style="font-family: georgia; font-weight: bold; margin-bottom: 0cm;"><b><i><span style="color: #2b00fe; font-size: medium;">Met RUDOLF SCHOCK in de wereld van het religieuze lied</span></i></b></p></span><div><p></p><p><b style="font-family: georgia;">De video bovenaan deze tekst biedt drie voorbeelden van <i><span style="color: #2b00fe;">Rudolf Schock</span></i>s smaakvolle en eenvoudige omgang met
religieuze en religieus gekleurde liederen. Geboren en getogen vanuit een totaal andere achtergrond was het zijn vrouw <i>Gisela Schock</i>, die hem attent maakte op het bestaan van dat repertoire en hem overtuigde van de geschiktheid daarvan voor zijn stem.</b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: georgia; font-size: medium;"><b>Op mijn YouTube-kanaal geef ik de liederen ruim baan:</b></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: georgia;"><b>Schock’s uitvoering van <span style="background: white;"><i><span style="color: #990000;">'Thanks Be to Thee (Dank sei Dir, Herr)' </span></i><span style="color: #0d0d0d;">is
wereldwijd bekend geworden. De</span></span></b></span><b style="font-family: georgia;"><span style="background: white;"><span style="color: #0d0d0d;"> combinatie van </span><i><span style="color: #990000;">‘Wohin soll ich mich wenden?’</span></i><span style="color: #0d0d0d;">
en </span><i><span style="color: #990000;">‘Heilig, heilig, heilig’</span></i><span style="color: #0d0d0d;">uit </span><i><span style="color: #2b00fe;">Franz Schubert</span></i><span style="color: #0d0d0d;">’s </span><i><span style="color: #990000;">‘Deutsche Messe’ </span></i><span><span style="color: #0d0d0d;">trok tot nu
toe ruim een half miljoen bezoekers. Niet iedereen is het eens met de
bewerking van het eerste lied, maar het is de grootse en tegelijk ingetogen
uitvoering, die voor velen, onder wie ook werkers op de missieposten
van midden Afrika, een enorme troost
betekent. </span><i><span style="color: #2b00fe;">Bortniansky</span></i><span style="color: #0d0d0d;">'s </span><i><span style="color: #990000;">'Ich bete an die Macht der Liebe'</span></i><span style="color: #0d0d0d;"> had even wat tijd nodig, maar zit nu overduidelijk in de lift en de </span><i><span style="color: #2b00fe;">Beethoven</span></i><span style="color: #0d0d0d;">-adaptatie </span><i><span style="color: #990000;">'Heil'ge Nacht, o giesse du'</span></i><span style="color: #0d0d0d;"> raakt ook velen.</span></span></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="font-family: georgia;"><span style="background: white;"><span><span style="color: #0d0d0d;">Een bijzondere plaats in Schocks repertoire op CD (</span><i><span style="color: #38761d;">'RELIEF' CD 8001</span></i><span style="color: #0d0d0d;">) heeft de </span><i><span style="color: #990000;">'Messias'</span></i><span style="color: #0d0d0d;">- opname uit 1953 onder </span><i><span style="color: #2b00fe;">Hans Schmidt-Isserstedt</span></i><span style="color: #0d0d0d;">. </span><i><span style="color: #2b00fe;">Rudolf Schock</span></i><span style="color: #0d0d0d;"> zingt met overgave evenals de andere solisten, maar het is merkbaar en verschrikkelijk jammer, dat een groot deel van het traditionele Schock-publiek voor zo'n massa </span><i><span style="color: #2b00fe;">"Händel"</span></i><span style="color: #0d0d0d;"> terugschrikt. Schocks uiterst lyrische zang in het </span><span style="color: #990000; font-style: italic;">'Et incarnatus est' </span><span>(1946!) </span><span style="color: #0d0d0d;">uit de </span><i><span style="color: #990000;">'Grosse Messe</span></i><span style="color: #0d0d0d;">' van </span><i><span style="color: #2b00fe;">Anton Bruckner</span></i><span style="color: #0d0d0d;"> bereikt gelukkig meer liefhebbers, maar eerlijk gezegd kost het mij veel moeite te begrijpen, dat geen veel grotere groep mensen dit fragment omhelst.</span></span></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="font-family: georgia;"><span style="background: white;"><span style="font-size: medium;"><i><span style="color: #38761d;">Voor nu wens ik u veel genoegen bij het beluisteren van </span><span style="color: #2b00fe;">Schock</span><span style="color: #38761d;">'s vele kerstliederen en aanverwant religieuze liederen. Mooie kerstdagen en al vast een gelukkig en gezond 2024!</span></i></span></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b>Krijn de Lege, 20.12.2023</b></p>
<p class="MsoNormal"><span style="font-size: 11pt;"></span></p></div>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-1660380257861063882023-10-16T12:58:00.006+01:002024-02-12T13:55:04.064+01:00RUDOLF SCHOCK's affiniteit met FRANSE OPERA 7c): 'Hoffmanns vertellingen' van JACQUES OFFENBACH<p> <i style="font-size: 16pt;"><span style="font-family: georgia;"><b><span style="color: #2b00fe;">RUDOLF SCHOCK</span>: een hoge mate van affiniteit met de rol<span style="color: #2b00fe;"> </span>van<span style="color: #2b00fe;"> </span><span style="color: #990000;">'HOFFMANN' </span>in<span style="color: #2b00fe;"> OFFENBACH’s ‘LES CONTES d’HOFFMANN’:</span></b></span></i></p><p><i style="font-size: 16pt;"><span style="font-family: georgia;"><b style="color: #274e13; font-size: x-large; font-style: normal;">DEEL </b><b style="font-size: x-large;"><span style="color: red;">ÉÉN</span></b><b style="color: #274e13; font-size: x-large; font-style: normal;">: uit de PROLOOG:</b></span></i></p><p><i style="font-size: 16pt;"><span style="font-family: georgia;"><b></b></span></i></p><div class="separator" style="clear: both; text-align: left;"><i style="font-size: 16pt;"><span style="font-family: georgia;"><b><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/yO5wE44tN9o" width="320" youtube-src-id="yO5wE44tN9o"></iframe></b></span></i></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><b style="font-family: georgia; font-size: x-large;"><span style="color: #274e13;">DEEL </span><i><span style="color: red;">TWEE</span></i><span style="color: #274e13;">: uit de EERSTE AKTE:</span></b></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i></i></span></b></p><div class="separator" style="clear: both; text-align: left;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/kTxTuN5ocIo" width="320" youtube-src-id="kTxTuN5ocIo"></iframe></i></span></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: georgia; font-size: large;"><b>DEEL <span style="color: red; font-style: italic;">DRIE</span><span>: uit de TWEEDE AKTE het eerste deel:</span></b></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><span style="color: #2b00fe;"></span></i></span></b></p><div class="separator" style="clear: both; text-align: left;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><span style="color: #2b00fe;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/oOMgG2PoX1w" width="320" youtube-src-id="oOMgG2PoX1w"></iframe></span></i></span></b></div><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif";"><span><br /><span style="font-size: large;">DEEL <span style="color: red; font-style: italic;">VIER</span><span>: vervolg van de TWEEDE AKTE:</span></span></span></span></b><div><span style="font-family: Georgia, serif; font-size: large;"><b><br /></b></span><div><span style="font-family: Georgia, serif; font-size: large;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/RJDrcfeFZ-o" width="320" youtube-src-id="RJDrcfeFZ-o"></iframe></div></span><div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><b style="font-family: "Times New Roman"; font-size: medium; mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif";"><span><span style="font-size: large;">DEEL <span style="color: red; font-style: italic;">VIJF</span><span>: finale van de TWEEDE AKTE:</span></span></span></span></b></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i></i></span></b></p><div class="separator" style="clear: both; text-align: left;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/bma0zXuxSoU" width="320" youtube-src-id="bma0zXuxSoU"></iframe></i></span></b></div><p></p><div class="separator" style="clear: both; font-family: "Times New Roman"; white-space-collapse: collapse;"><b><span style="font-size: large;">DEEL <span style="color: red; font-style: italic;">ZES</span><span>: eerste helft van de DERDE AKTE:</span></span></b></div><div class="separator" style="clear: both; font-family: "Times New Roman"; white-space-collapse: collapse;"><br /></div><div class="separator" style="clear: both; font-family: "Times New Roman"; white-space-collapse: collapse;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/XODVH_8cte8" width="320" youtube-src-id="XODVH_8cte8"></iframe></div><div class="separator" style="clear: both; font-family: "Times New Roman"; white-space-collapse: collapse;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><span style="color: #2b00fe;"><br /></span></i></span></b></div><div class="separator" style="clear: both; font-family: "Times New Roman"; white-space-collapse: collapse;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><span style="color: #2b00fe;"><br /></span></i></span></b></div><div class="separator" style="clear: both; font-family: "Times New Roman"; white-space-collapse: collapse;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><span style="color: #2b00fe;">RUDOLF SCHOCK</span></i> bleek uiterlijk en innerlijk te
veranderen in een ideale <i><span style="color: #990000;">‘HOFFMANN’</span><span>.</span></i> Die vereenzelviging met de briljante
<i><span style="color: #2b00fe;">schrijver Hoffmann </span></i>kwam in operatheater en opnamestudio veelvuldig tot leven
tussen 1947 en 1962.</span></b></div>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"></span></b></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitgpPDNBJGrECXKZ_AEdcS6s-9WaDe9l7-kvguiBI8bbqRMtqtzpZgZ3M_tB_4u_3NMJXqX1n0PIBUCNRZ1w0DxrbP2JsxXRCGUnWfTlESCrjTwPaUb-VdfICRjxqGfebdouiFugxfs5T41UxTlmwSTIHoajuvUEgO0ySYcnl_1V5zkLWdJGbmdKFMpS4/s1864/9%20Contes%20d'Hoffmann%20-%20Offenbach%201947,%201950.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1864" data-original-width="1461" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitgpPDNBJGrECXKZ_AEdcS6s-9WaDe9l7-kvguiBI8bbqRMtqtzpZgZ3M_tB_4u_3NMJXqX1n0PIBUCNRZ1w0DxrbP2JsxXRCGUnWfTlESCrjTwPaUb-VdfICRjxqGfebdouiFugxfs5T41UxTlmwSTIHoajuvUEgO0ySYcnl_1V5zkLWdJGbmdKFMpS4/w314-h400/9%20Contes%20d'Hoffmann%20-%20Offenbach%201947,%201950.jpg" width="314" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;"><b><i>Rudolf Schock<span style="color: #b45f06;"> als Hoffmann </span><span>1950<br /><br /></span></i></b></span></td></tr></tbody></table><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><br /></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><br /></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><br /></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><br /></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><br /></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><br /></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><br /></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><br /></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><br /></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><br /></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><br /></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><br /></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><br /></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;">Wie van spannende en griezelige verhalen houdt,
kan zijn hart ophalen aan de boeken met verhalen van schrijver <span style="color: #990000;"><i>E.T.A. HOFFMANN
(1776-1822)</i></span>. Om geloofwaardig te zijn voor zijn lezers koos Hoffmann voor zijn
werk de alom bekende <i>werkelijkheid als uitgangspunt</i>. Van daaruit beklom hij
zijn ladder naar <i>de onbegrensde fantasie van het bovennatuurlijke, het
onbekende en van een duistere wereld, waarin alles denkbaar is.</i></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><span style="color: #2b00fe;"><i>JACQUES OFFENBACH</i></span> (Keulen: 1819 – Parijs: okt.
1880), bejubeld componist van speelse en spotzieke operettes, droomt ervan ooit
een grote opera te componeren zoals de geweldige <i><span style="color: #990000;">‘Freischütz’ </span></i>van <i><span style="color: #2b00fe;">Carl Maria
von Weber</span></i>. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;">Dan gaat in 1851 onder de naam <i>‘Les Contes
(vertellingen) d’Hoffmann’</i><span style="mso-spacerun: yes;"> </span>in Parijs een
toneelstuk van <i><span style="color: #990000;">Michael Carré</span></i> & <i><span style="color: #990000;">JULES BARBIER</span></i> in première, waarin HOFFMANN
tot hoofdpersoon van zijn eigen vertellingen wordt gemaakt. Offenbach</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"> ziet vervulling van zijn wensdroom nu
als haalbaar. </span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><span style="-webkit-text-stroke-width: 0px; color: black; font-family: "Times New Roman"; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"></span></span></b></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="-webkit-text-stroke-width: 0px; float: left; font-family: "Times New Roman"; letter-spacing: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-transform: none; widows: 2; word-spacing: 0px;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbkv5NDKVLP7c0bKJTyobMBPGOpWL6AcuQrcbsS6lEvqX2tF_e7BHVYwtrqlW64kAXSu_Lm5Fnv8hfZbxYgC-erao3wLJdS0KUvb4zkA9jloJqfps7qWZYyH-_pIjMouatPtDvCJb-wpenJ85R2sIUK0gVrjpTsO635cvhataq3B6RfIqgnDWh88Clihg/s200/Jacques_Offenbach_by_Nadar.webp" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="200" data-original-width="200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbkv5NDKVLP7c0bKJTyobMBPGOpWL6AcuQrcbsS6lEvqX2tF_e7BHVYwtrqlW64kAXSu_Lm5Fnv8hfZbxYgC-erao3wLJdS0KUvb4zkA9jloJqfps7qWZYyH-_pIjMouatPtDvCJb-wpenJ85R2sIUK0gVrjpTsO635cvhataq3B6RfIqgnDWh88Clihg/w320-h320/Jacques_Offenbach_by_Nadar.webp" style="cursor: move;" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: georgia; font-size: medium;"><b><i>Jacques Offenbach</i></b></span></td></tr></tbody></table><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><span style="color: #990000;"><br /></span></i></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><span style="color: #990000;"><br /></span></i></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><span style="color: #990000;"><br /></span></i></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><span style="color: #990000;"><br /></span></i></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><span style="color: #990000;"><br /></span></i></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><span style="color: #990000;"><br /></span></i></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><span style="color: #990000;"><br /></span></i></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><span style="color: #990000;"><br /></span></i></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><span style="color: #990000;"><br /></span></i></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><span style="color: #990000;"><br /></span></i></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><span style="color: #990000;"><br /></span></i></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><span style="color: #990000;">JULES BARBIER </span></i>(1825-1901) schrijft in de lijn
van zijn toneelstuk het tekstboek voor een opera: <i style="mso-bidi-font-style: normal;">voorspel</i> en <i style="mso-bidi-font-style: normal;">naspel</i> en
daartussenin <i style="mso-bidi-font-style: normal;">drie aktes</i> met drie
verschillende Hoffmann-verhalen. Voor alle duidelijkheid: die opera-verhalen
bestaan uit elementen van Hoffmann’s verhalenbundels.</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"></span></b></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="-webkit-text-stroke-width: 0px; float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8fJ2Cvm_NIIEb0UGAJ0D1-7-SQ4IQLWTLa9uBmv9qEqjhiLjTdf5DUL56zxGZpgggCCBThd-cAsMGOO-CNtPQZy-ARudzCVtn5_2F8fhCfloMH98UuzTc85ercdbPQQ1KPwQuOB_SSmUge_KZwuGzoxiH_UWXM8jDLz-BHVPQbrGkwQHPY3Pa-pk2H4k/s412/Jules%20Barbier.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="412" data-original-width="330" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8fJ2Cvm_NIIEb0UGAJ0D1-7-SQ4IQLWTLa9uBmv9qEqjhiLjTdf5DUL56zxGZpgggCCBThd-cAsMGOO-CNtPQZy-ARudzCVtn5_2F8fhCfloMH98UuzTc85ercdbPQQ1KPwQuOB_SSmUge_KZwuGzoxiH_UWXM8jDLz-BHVPQbrGkwQHPY3Pa-pk2H4k/w160-h200/Jules%20Barbier.jpg" width="160" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;"><b><i>Jules Barbier 1880<br /><br /></i></b></span></td></tr></tbody></table><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><br /></i></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><br /></i></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><br /></i></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><br /></i></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><br /></i></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><br /></i></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><br /></i></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i>OFFENBACH</i> draait vervolgens een kwart eeuw om de
hete brij heen. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;">Tot hij in 1876 haast kijgt en zich toch nog op
het definitief componeren van ZIJN opera <i><span style="color: #990000;">‘Hoffmann’s vertellingen’</span></i> stort. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;">Vier
jaar lang combineert hij oudere composities zoals de <i><span style="color: #990000;">“Barcarole”</span></i> en de <i><span style="color: #990000;">“Ballade
van Kleinzack’ </span></i>met nieuw materiaal tot hij in het zicht van de haven op 5
oktober 1880 overlijdt. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;">De voltooide opera blijft gelukkig achter als
piano-uittreksel. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: 12pt;"><i><span style="color: #990000;">ERNEST GUIRAUD</span></i> (1836-1891) neemt direct een instrumentatie in de geest van Offenbach voor groot orkest op
zich en hij is het waarschijnlijk, die de opera aanvult met <i style="mso-bidi-font-style: normal;">gezongen</i> recitatieven, die in de plaats komen van eerst geplande <i style="mso-bidi-font-style: normal;">gesproken</i> dialogen. </span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; font-size: large;"><i>De première is natuurlijk in Parijs.<span style="color: red;"> Vier maanden na Offenbach's overlijden op 10 februari 1881</span>.</i></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="font-family: Georgia, serif;"></b></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="-webkit-text-stroke-width: 0px; float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM86mPwUv7OixFGAlIB1B6MoLml9Wa_dZ2Ow705yeXRTR48ULIIamv08_Axk9mYNGt8_IkX0D0-0N5m2QIqgSlfV8kodEkdfvWyQifnq_Jf9eBTvCcCKi85LeQzVsxPQ4-knTY2jywfzKbXuwzPoeY3kDxPpnS0QXfZ13gGtGf2_bQ6cM0W6SOjTDZGs0/s1721/Ernest%20Guiraud.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1721" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM86mPwUv7OixFGAlIB1B6MoLml9Wa_dZ2Ow705yeXRTR48ULIIamv08_Axk9mYNGt8_IkX0D0-0N5m2QIqgSlfV8kodEkdfvWyQifnq_Jf9eBTvCcCKi85LeQzVsxPQ4-knTY2jywfzKbXuwzPoeY3kDxPpnS0QXfZ13gGtGf2_bQ6cM0W6SOjTDZGs0/w139-h200/Ernest%20Guiraud.jpg" width="139" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;"><b><i>Ernest Guiraud<br /><br /></i></b></span></td></tr></tbody></table><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="font-family: Georgia, serif;"><br /></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="font-family: Georgia, serif;"><br /></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="font-family: Georgia, serif;"><br /></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="font-family: Georgia, serif;"><br /></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="font-family: Georgia, serif;"><br /></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="font-family: Georgia, serif;"><br /></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="font-family: Georgia, serif;"><br /></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="font-family: Georgia, serif;">OVER DE <span style="color: red; font-size: large;">4</span> LIEDESTRAGEDIES IN 'LES CONTES d'HOFFMANN':</b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: Georgia, serif;"><b><span style="color: red;"><i><span style="font-size: medium;">Voor- &</span></i> <i><span style="font-size: medium;">naspel</span></i></span> moeten worden gezien als één op zichzelf staande tragische raamvertelling, waarin de verliefde HOFFMANN, stadsbestuurder LINDORF en de beroemde zangeres STELLA.</b></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: Georgia, serif; font-size: medium;"><b>In<i> <span style="color: red;">Akte 1</span> </i>bestaat het kerntrio uit HOFFMANN, uitvinder </b></span><b style="font-family: Georgia, serif; font-size: large;">COPPÉLIUS en zijn</b><b style="font-family: Georgia, serif; font-size: large;"> OLYMPIA.</b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="font-family: Georgia, serif; font-size: large;">In <span style="color: red; font-style: italic;">Akte 2 </span><span>heeft HOFFMANN als tegenstrever de tovenaar DAPERTUTTO. GIULIETTA is een dure minnares voor de betere kringen</span><i> </i></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: Georgia, serif; font-size: medium;"><b>In <i style="color: red;">Akte 3 </i>staat centraal de jonge zangeres ANTONIA. HOFFMANN is weer hevig verliefd, maar de kwaadaardige DOKTOR MIRACLE maakt het hem onmogelijk, die liefde werkelijkheid te laten worden.</b></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: Georgia, serif; font-size: medium;"><b><i>VOLGORDE VAN DE AFFAIRES:</i></b></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i><span style="font-family: Georgia, serif; font-size: medium;"><b>NB: </b></span><b style="font-family: Georgia, serif; font-size: large;">In het begin was de 3e akte voor Giulietta en de 2e voor Antonia. Tot vandaag de dag wisselen opera-regisseurs regelmatig van volgorde.</b></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b><span style="color: #990000; font-family: georgia; font-size: large;"><i>Nog even terug naar Rudolf Schock:</i></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b><span style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;">Rudolf Schock</span></i> gaf grandioos stem aan een <i><span style="color: red;">'Hoffmann'</span></i>, wiens - ik citeer Wikipedia - <i>"zedelijke en geestelijke verval" </i>in <i><span style="color: #2b00fe;">Offenbach</span></i>'s opera huiveringwekkend gestalte krijgt. Hij maakt samen met de uitstekende solisten naast hem het ondergaan van deze opera tot een indrukwekkende ervaring!</span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="font-family: georgia;"><i>Krijn de Lege, 12 februari 2024</i></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><br /></p></div></div></div>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-35301172187923970072023-10-16T12:52:00.007+01:002024-02-12T14:01:26.560+01:00RUDOLF SCHOCKs Affinität zur FRANZÖSISCHEN OPER 7b): 'Hoffmanns Erzählungen' von JACQUES OFFENBACH <p><span style="font-family: georgia; font-size: large;"><b><span style="color: #2b00fe; font-style: italic;">RUDOLF SCHOCK</span><span>:</span><span style="color: #2b00fe; font-style: italic;"> </span><span style="font-style: italic;">große Affinität zur Rolle des</span><span style="color: #2b00fe; font-style: italic;"> </span><span style="color: #990000; font-style: italic;">'HOFFMANN'</span><span style="color: #2b00fe; font-style: italic;"> in OFFENBACHs </span><span style="color: #990000; font-style: italic;">"HOFFMANNS ERZÄHLUNGEN"</span></b></span></p><p><b style="font-family: georgia; font-size: x-large;"><span><span style="color: #274e13;">TEIL </span><i><span style="color: red;">EINS</span>:</i></span><span style="color: #274e13;"> aus dem PROLOG:</span></b><span style="color: #990000; font-family: georgia; font-size: large;"><b><i><br /></i></b></span></p><p><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/yO5wE44tN9o" width="320" youtube-src-id="yO5wE44tN9o"></iframe></p><p></p><p><b style="font-family: georgia;"><span><b style="font-size: x-large;"><span><span style="color: #274e13;">TEIL </span><i><span style="color: red;">ZWEI</span></i><span style="color: #274e13;">: aus dem ERSTEN AKT</span></span><span style="color: #274e13;">:</span></b></span></b></p><p><b style="font-family: georgia;"><span></span></b></p><div class="separator" style="clear: both; text-align: left;"><b style="font-family: georgia;"><span><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/kTxTuN5ocIo" width="320" youtube-src-id="kTxTuN5ocIo"></iframe></span></b></div><p></p><p><span style="font-family: georgia; font-size: large;"><b>TEIL <span style="color: red;"><i>DREI</i></span></b></span><b style="font-family: georgia; font-size: x-large;">: aus dem Anfang des ZWEITEN AKTES:</b></p><p><b style="font-family: georgia;"><span><i></i></span></b></p><div class="separator" style="clear: both; text-align: left;"><b style="font-family: georgia;"><span><i><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/oOMgG2PoX1w" width="320" youtube-src-id="oOMgG2PoX1w"></iframe></i></span></b></div><p></p><p><b style="font-family: georgia;"><span><span style="font-size: large;">TEIL <span style="color: red; font-style: italic;">VIER</span><span>: Fortsetzung des ZWEITEN AKTES:</span></span></span></b></p><p><b style="font-family: georgia;"><span><i></i></span></b></p><div class="separator" style="clear: both; text-align: left;"><b style="font-family: georgia;"><span><i><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/RJDrcfeFZ-o" width="320" youtube-src-id="RJDrcfeFZ-o"></iframe></i></span></b></div><p></p><p><b style="font-family: georgia;"><span><b><span><span style="font-size: large;">TEIL <span style="color: red; font-style: italic;">FÜNF</span><span>: Finale des ZWEITEN AKTES:</span></span></span></b></span></b></p><p><b style="font-family: georgia;"><span><b><span><span style="font-size: large;"></span></span></b></span></b></p><div class="separator" style="clear: both; text-align: left;"><b style="font-family: georgia;"><span><b><span><span style="font-size: large;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/bma0zXuxSoU" width="320" youtube-src-id="bma0zXuxSoU"></iframe></span></span></b></span></b></div><p></p><p><span style="font-family: georgia;"><span><span><b><span style="font-size: large;">TEIL </span><span style="color: #990000; font-size: x-large; font-style: italic;">SECHS</span><span style="font-size: large;">: Erste Hälfte des DRITTEN AKTES:</span></b></span></span></span></p><p><b style="font-family: georgia;"><span><i></i></span></b></p><div class="separator" style="clear: both; text-align: left;"><b style="font-family: georgia;"><span><i><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/XODVH_8cte8" width="320" youtube-src-id="XODVH_8cte8"></iframe></i></span></b></div><b style="font-family: georgia;"><span><b><span><i><span style="color: #2b00fe;"><p><b style="font-family: georgia;"><span><b><span><i><span style="color: #2b00fe;"><br /></span></i></span></b></span></b></p>RUDOLF SCHOCK</span></i>: </span></b><b><span>sang und spielte einst den idealen Hoffmann! Seine</span></b><b> Identifikation mit der Rolle des brillanten <i>Schriftstellers</i> <i><span style="color: #2b00fe;">Hoffmann</span></i> war zwischen 1947 und 1962 im Opernhaus und Tonstudio vollkommen. </b></span></b><p></p><p><b style="font-family: georgia;">Wer spannende und gruselige Geschichten mag, wird an den Büchern mit Erzählungen von <i><span style="color: #2b00fe;">E.T.A. Hoffmann (1776-1822) </span></i>seine Freude haben. Um seinen Lesern gegenüber glaubwürdig zu sein, wählte Hoffmann die weithin bekannte Realität als Ausgangspunkt seiner Arbeit. Von dort aus stieg er seine Leiter hinauf in die grenzenlose <i>Fantasie des Unbekannten, des Übernatürlichen und einer dunklen Welt, worin alles denkbar ist.</i></b></p><p><b style="font-family: georgia;"></b></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitgpPDNBJGrECXKZ_AEdcS6s-9WaDe9l7-kvguiBI8bbqRMtqtzpZgZ3M_tB_4u_3NMJXqX1n0PIBUCNRZ1w0DxrbP2JsxXRCGUnWfTlESCrjTwPaUb-VdfICRjxqGfebdouiFugxfs5T41UxTlmwSTIHoajuvUEgO0ySYcnl_1V5zkLWdJGbmdKFMpS4/s1864/9%20Contes%20d'Hoffmann%20-%20Offenbach%201947,%201950.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1864" data-original-width="1461" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitgpPDNBJGrECXKZ_AEdcS6s-9WaDe9l7-kvguiBI8bbqRMtqtzpZgZ3M_tB_4u_3NMJXqX1n0PIBUCNRZ1w0DxrbP2JsxXRCGUnWfTlESCrjTwPaUb-VdfICRjxqGfebdouiFugxfs5T41UxTlmwSTIHoajuvUEgO0ySYcnl_1V5zkLWdJGbmdKFMpS4/w314-h400/9%20Contes%20d'Hoffmann%20-%20Offenbach%201947,%201950.jpg" width="314" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;"><b><i>Rudolf Schock<span style="color: #b45f06;"> as Hoffmann </span><span>1950<br /><br /></span></i></b></span></td></tr></tbody></table><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;">JACQUES OFFENBACH</span></i> <span style="color: #2b00fe;"><i>(Köln: 1819 – Paris: Okt. 1880)</i></span>, gefeierter Komponist verspielter und humorvoller Operetten, träumt davon, eines Tages eine große Oper wie den großen <i><span style="color: #990000;">"Freischütz"</span></i> von <i><span style="color: #2b00fe;">Carl Maria von Weber</span></i> zu komponieren. Dann wird 1851 in Paris ein Theaterstück von <i><span style="color: #2b00fe;">Michael Carré</span></i> & <i><span style="color: #2b00fe;">JULES BARBIER</span></i> unter dem Namen <i>"Les Contes (Märchen) d'Hoffmann"</i> uraufgeführt, worin HOFFMANN zur Hauptfigur seiner eigenen Geschichten gemacht wird. Offenbach sieht die Erfüllung seiner Träume jetzt realisierbar.</b></p><p><b style="font-family: georgia;"><span style="-webkit-text-stroke-width: 0px; color: black; font-family: "Times New Roman"; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"></span></b></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="-webkit-text-stroke-width: 0px; float: left; font-family: "Times New Roman"; letter-spacing: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-transform: none; widows: 2; word-spacing: 0px;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbkv5NDKVLP7c0bKJTyobMBPGOpWL6AcuQrcbsS6lEvqX2tF_e7BHVYwtrqlW64kAXSu_Lm5Fnv8hfZbxYgC-erao3wLJdS0KUvb4zkA9jloJqfps7qWZYyH-_pIjMouatPtDvCJb-wpenJ85R2sIUK0gVrjpTsO635cvhataq3B6RfIqgnDWh88Clihg/s200/Jacques_Offenbach_by_Nadar.webp" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="200" data-original-width="200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbkv5NDKVLP7c0bKJTyobMBPGOpWL6AcuQrcbsS6lEvqX2tF_e7BHVYwtrqlW64kAXSu_Lm5Fnv8hfZbxYgC-erao3wLJdS0KUvb4zkA9jloJqfps7qWZYyH-_pIjMouatPtDvCJb-wpenJ85R2sIUK0gVrjpTsO635cvhataq3B6RfIqgnDWh88Clihg/w320-h320/Jacques_Offenbach_by_Nadar.webp" style="cursor: move;" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: georgia; font-size: medium;"><b><i>Jacques Offenbach</i></b></span></td></tr></tbody></table><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;">JULES BARBIER (1825-1901)</span></i> schreibt das <i>Textbuch</i> für eine Oper im Stil des eigenen Theaterstücks: <i>Vor- </i>und <i>Nachspiel</i> und dazwischen <i>drei</i> Akte mit <i>drei </i>verschiedenen <i>Hoffmann-Geschichten</i>. Diese Geschichten stammen aus Hoffmanns Kurzgeschichtensammlungen.</b></p><p><b style="font-family: georgia;"><b style="-webkit-text-stroke-width: 0px; color: black; font-family: georgia; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; letter-spacing: normal; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"></b></b></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="-webkit-text-stroke-width: 0px; float: left; font-family: "Times New Roman"; letter-spacing: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-transform: none; widows: 2; word-spacing: 0px;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8fJ2Cvm_NIIEb0UGAJ0D1-7-SQ4IQLWTLa9uBmv9qEqjhiLjTdf5DUL56zxGZpgggCCBThd-cAsMGOO-CNtPQZy-ARudzCVtn5_2F8fhCfloMH98UuzTc85ercdbPQQ1KPwQuOB_SSmUge_KZwuGzoxiH_UWXM8jDLz-BHVPQbrGkwQHPY3Pa-pk2H4k/s412/Jules%20Barbier.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="412" data-original-width="330" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8fJ2Cvm_NIIEb0UGAJ0D1-7-SQ4IQLWTLa9uBmv9qEqjhiLjTdf5DUL56zxGZpgggCCBThd-cAsMGOO-CNtPQZy-ARudzCVtn5_2F8fhCfloMH98UuzTc85ercdbPQQ1KPwQuOB_SSmUge_KZwuGzoxiH_UWXM8jDLz-BHVPQbrGkwQHPY3Pa-pk2H4k/w160-h200/Jules%20Barbier.jpg" style="cursor: move;" width="160" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;"><b><i>Jules Barbier 1880</i></b></span></td></tr></tbody></table><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;">OFFENBACH</span></i> dreht ein Vierteljahrhundert lang um den heißen Brei herum. Bis er sich 1876 beeilt, doch noch mit der Komposition SEINER Oper <i><span style="color: #990000;">"Hoffmanns Erzählungen"</span></i> anzufangen. Vier Jahre lang kombiniert er ältere Kompositionen wie die <i><span style="color: #990000;">"Barcarole"</span></i> und die <i><span style="color: #990000;">"Ballade von Kleinzack"</span></i> mit neuem Material, bis er am 5. Oktober 1880 in Sichtweite des Hafens stirbt. Zum Glück bleibt die vollendete Oper als <i>Klavierauszug</i> erhalten!</b></p><p><b style="font-family: georgia;"><span><i style="color: #2b00fe;">ERNEST GUIRAUD (1836-1891) </i>nimmt</span> es sofort auf sich, eine <i>Instrumentation für grosses Orchester</i> <i>im Geiste Offenbachs</i> zu gestalten. Er ist es wahrscheinlich auch, der die Oper mit <i>gesungenen</i> Rezitative ergänzt und die zuvor geplanten, <i>gesprochenen</i> Dialoge streicht.</b></p><p><b style="font-family: georgia;"><b><span style="color: #990000; font-size: large;"><i>Die Premiere findet in Paris statt. <span>Vier Monate nach Offenbachs Tod am 10. Februar 1881!</span></i></span></b></b></p><p><b style="font-family: georgia;"><b style="-webkit-text-stroke-width: 0px; color: black; font-family: georgia; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; letter-spacing: normal; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"></b></b></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="-webkit-text-stroke-width: 0px; float: left; font-family: "Times New Roman"; letter-spacing: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-transform: none; widows: 2; word-spacing: 0px;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM86mPwUv7OixFGAlIB1B6MoLml9Wa_dZ2Ow705yeXRTR48ULIIamv08_Axk9mYNGt8_IkX0D0-0N5m2QIqgSlfV8kodEkdfvWyQifnq_Jf9eBTvCcCKi85LeQzVsxPQ4-knTY2jywfzKbXuwzPoeY3kDxPpnS0QXfZ13gGtGf2_bQ6cM0W6SOjTDZGs0/s1721/Ernest%20Guiraud.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1721" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM86mPwUv7OixFGAlIB1B6MoLml9Wa_dZ2Ow705yeXRTR48ULIIamv08_Axk9mYNGt8_IkX0D0-0N5m2QIqgSlfV8kodEkdfvWyQifnq_Jf9eBTvCcCKi85LeQzVsxPQ4-knTY2jywfzKbXuwzPoeY3kDxPpnS0QXfZ13gGtGf2_bQ6cM0W6SOjTDZGs0/w139-h200/Ernest%20Guiraud.jpg" style="cursor: move;" width="139" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;"><b><i>Ernest Guiraud</i></b></span></td></tr></tbody></table><br /><p><b style="font-family: georgia;"><span style="color: #990000; font-size: large;"><i><span><br /></span></i></span></b></p><p><b style="font-family: georgia;"><span style="color: #990000; font-size: large;"><i><span><br /></span></i></span></b></p><p><b style="font-family: georgia;"><span style="color: #990000; font-size: large;"><i><span><br /></span></i></span></b></p><p><b style="font-family: georgia;"><span style="color: #990000; font-size: large;"><i><span><br /></span></i></span></b></p><p><i><b style="color: #2b00fe; font-family: georgia; font-size: large;"><br /></b></i></p><p><i><b style="color: #2b00fe; font-family: georgia; font-size: large;">ÜBER DIE </b><b><span style="font-family: georgia;"><span style="color: red; font-size: x-large;">4</span> </span></b><b style="color: #2b00fe; font-family: georgia; font-size: large;">LIEBESTRAGÖDIEN IN "HOFFMANNS ERZÄHLUNGEN":</b></i></p><p><b style="font-family: georgia;"><i><span style="color: red;">Vor- und Nachspiel</span></i> müssen als eine in sich geschlossene, tragische Rahmengeschichte gesehen werden, worin der verliebte HOFFMANN, der Stadtverwalter LINDORF und die berühmte Sängerin STELLA auftreten.</b></p><p><b style="font-family: georgia;"><i><span style="color: red;">Im ersten Akt</span></i> besteht das Kerntrio aus HOFFMANN, dem Erfinder COPPÉLIUS und seiner OLYMPIA.</b></p><p><b style="font-family: georgia;"><i><span style="color: red;">Im zweiten Akt</span></i> hat HOFFMANN den Zauberer DAPERTUTTO als Feind. GIULIETTA ist eine Kurtisane, eine teure Geliebte für die höheren Kreise. </b></p><p><b style="font-family: georgia;"><i><span style="color: red;">Im dritten Akt</span></i> steht die junge, beklagenswerte Sängerin ANTONIA im Mittelpunkt. HOFFMANN hat sich wieder ernsthaft in sie verliebt, doch der böse DOCTOR MIRACLE macht es ihm unmöglich, diese Liebe wahr werden zu lassen.</b></p><p><span style="color: #2b00fe; font-family: georgia; font-size: medium;"><b><i>Was die Reihenfolge der Akte betrifft:</i></b></span></p><p><b style="font-family: georgia;">Am Anfang war der 3. Akt für Giulietta und der 2. für Antonia. Bis heute ändern Opernregisseure noch regelmäßig die Reihenfolge.</b></p><p><b style="font-family: georgia; font-size: x-large;"><span style="color: #2b00fe;"><i>Zurück zu Rudolf Schock:</i></span></b></p><p><b style="font-family: georgia;"><span style="font-size: large;"><span style="color: #2b00fe; font-style: italic;">Rudolf Schock </span><span>als <i><span style="color: #990000;">'Hoffmann'</span></i></span> gestaltet stimmlich und darstellerisch vorbildhaft einen sympathischen Menschen, dessen – ich zitiere Wikipedia – <i>"moralischer und geistiger Verfall"</i> erschreckende Formen annimmt. Zusammen mit den hervorragenden Solisten an seiner Seite macht er diese Oper zum beeindruckenden Erlebnis!</span></b></p><p><b style="font-family: georgia;"><i>Krijn de Lege, 12. Februar 2024</i></b></p>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-21380487371226355462023-10-16T12:48:00.009+01:002024-02-12T14:08:38.155+01:00RUDOLF SCHOCK's affinity with FRENCH OPERA 7a): 'Les Contes d'Hoffmann' by JACQUES OFFENBACH<p><span style="font-family: georgia; font-size: large;"><b><span style="color: #2b00fe; font-style: italic;">RUDOLF SCHOCK</span><i><span style="color: #2b00fe;">'s </span>great affinity with the role of<span style="color: #2b00fe;"> </span><span style="color: #990000;">'HOFFMANN' </span>in<span style="color: #2b00fe;"> OFFENBACH's </span><span style="color: #990000;">"LES CONTES d'HOFFMANN"</span></i></b></span></p><p><span style="font-family: georgia; font-size: large;"><b><span style="color: #274e13;">PART </span><span style="color: red;"><i>ONE</i></span><span style="color: #274e13;"> from the PROLOGUE:</span></b></span></p><p><span style="font-family: georgia;"><b><i></i></b></span></p><div class="separator" style="clear: both; text-align: left;"><span style="font-family: georgia;"><b><i><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/yO5wE44tN9o" width="320" youtube-src-id="yO5wE44tN9o"></iframe></i></b></span></div><p></p><p><b style="font-family: georgia; font-size: x-large;"><span style="color: #274e13;">PART </span><i><span style="color: red;">TWO</span></i><span style="color: #274e13;"> from the FIRST ACT:</span></b></p><p><span style="font-family: georgia;"><b><i></i></b></span></p><div class="separator" style="clear: both; text-align: left;"><span style="font-family: georgia;"><b><i><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/kTxTuN5ocIo" width="320" youtube-src-id="kTxTuN5ocIo"></iframe></i></b></span></div><p></p><p><span style="font-family: georgia;"><b style="font-size: x-large;">PART <span style="color: red;"><i>THREE</i></span>: from the SECOND ACT the beginning:</b></span></p><p><span style="font-family: georgia;"><b><i></i></b></span></p><div class="separator" style="clear: both; text-align: left;"><span style="font-family: georgia;"><b><i><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/oOMgG2PoX1w" width="320" youtube-src-id="oOMgG2PoX1w"></iframe></i></b></span></div><p></p><p><span style="font-family: georgia;"><b><span style="font-size: large;">PART <i style="color: red;">FOUR</i>: CONTINUATION of the SECOND ACT:</span></b></span></p><p><span style="font-family: georgia;"><b><i></i></b></span></p><div class="separator" style="clear: both; text-align: left;"><span style="font-family: georgia;"><b><i><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/RJDrcfeFZ-o" width="320" youtube-src-id="RJDrcfeFZ-o"></iframe></i></b></span></div><p></p><p><span style="font-family: georgia;"><b><span style="font-size: large;">PART <i style="color: red;">FIVE</i>: GRAND FINAL of the SECOND ACT:</span></b></span></p><p><span style="font-family: georgia;"><b><i></i></b></span></p><div class="separator" style="clear: both; text-align: left;"><span style="font-family: georgia;"><b><i><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/bma0zXuxSoU" width="320" youtube-src-id="bma0zXuxSoU"></iframe></i></b></span></div><p></p><p><span style="font-family: georgia;"><span style="font-size: large;"><b>PART </b><span><i style="color: red; font-weight: bold;">SIX</i><b>: First half of the THIRD ACT:</b></span></span></span></p><p><span style="font-family: georgia;"><span style="font-size: large;"><span><b></b></span></span></span></p><div class="separator" style="clear: both; text-align: left;"><span style="font-family: georgia;"><span style="font-size: large;"><span><b><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/XODVH_8cte8" width="320" youtube-src-id="XODVH_8cte8"></iframe></b></span></span></span></div><p></p><p><span style="font-family: georgia;"><b><i><span style="color: #2b00fe;">RUDOLF SCHOCK</span></i> once sang and played the ideal <i>'Hoffmann'</i>. </b></span><b style="font-family: georgia;">His identification with the role of the brilliant writer Hoffmann was perfect between 1947 and 1962 in opera house and recording studio.</b></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitgpPDNBJGrECXKZ_AEdcS6s-9WaDe9l7-kvguiBI8bbqRMtqtzpZgZ3M_tB_4u_3NMJXqX1n0PIBUCNRZ1w0DxrbP2JsxXRCGUnWfTlESCrjTwPaUb-VdfICRjxqGfebdouiFugxfs5T41UxTlmwSTIHoajuvUEgO0ySYcnl_1V5zkLWdJGbmdKFMpS4/s1864/9%20Contes%20d'Hoffmann%20-%20Offenbach%201947,%201950.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1864" data-original-width="1461" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitgpPDNBJGrECXKZ_AEdcS6s-9WaDe9l7-kvguiBI8bbqRMtqtzpZgZ3M_tB_4u_3NMJXqX1n0PIBUCNRZ1w0DxrbP2JsxXRCGUnWfTlESCrjTwPaUb-VdfICRjxqGfebdouiFugxfs5T41UxTlmwSTIHoajuvUEgO0ySYcnl_1V5zkLWdJGbmdKFMpS4/w314-h400/9%20Contes%20d'Hoffmann%20-%20Offenbach%201947,%201950.jpg" width="314" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;"><b><i>Rudolf Schock<span style="color: #b45f06;"> as Hoffmann </span><span>1950</span></i></b></span></td></tr></tbody></table><br /><p></p><div class="separator" style="clear: both; text-align: left;"><b style="font-family: georgia;"><br /></b></div><div class="separator" style="clear: both; text-align: left;"><b style="font-family: georgia;">Anyone who likes exciting and scary stories will love the books with stories by <i><span style="color: #cc0000;">E.T.A. Hoffmann (1776-1822)</span></i>. In order to be credible to his readers, Hoffmann chose widely known reality as the starting point for his work. From there he climbed his ladder into the limitless fantasy of the unknown, the supernatural and a dark world where everything is conceivable.</b></div><p></p><p><b style="font-family: georgia;"><span style="color: #2b00fe;"><i>JACQUES OFFENBACH</i></span> (Cologne: 1819 - Paris: Oct. 1880), celebrated composer of playful and humorous operettas, dreams of one day composing a great opera like the great <i><span style="color: #cc0000;">"Freischütz"</span></i> by <span style="color: #2b00fe;"><i>Carl Maria von Weber</i></span>. Then in 1851 a play by <i><span style="color: #2b00fe;">Michael Carré</span></i> & <i><span style="color: #2b00fe;">JULES BARBIER</span></i> was premiered in Paris under the name <i>"Les Contes (Fairy Tales) d'Hoffmann"</i>, in which HOFFMANN was made the main character of his own stories. Offenbach now sees the fulfillment of his dreams as achievable.</b></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbkv5NDKVLP7c0bKJTyobMBPGOpWL6AcuQrcbsS6lEvqX2tF_e7BHVYwtrqlW64kAXSu_Lm5Fnv8hfZbxYgC-erao3wLJdS0KUvb4zkA9jloJqfps7qWZYyH-_pIjMouatPtDvCJb-wpenJ85R2sIUK0gVrjpTsO635cvhataq3B6RfIqgnDWh88Clihg/s200/Jacques_Offenbach_by_Nadar.webp" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="200" data-original-width="200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbkv5NDKVLP7c0bKJTyobMBPGOpWL6AcuQrcbsS6lEvqX2tF_e7BHVYwtrqlW64kAXSu_Lm5Fnv8hfZbxYgC-erao3wLJdS0KUvb4zkA9jloJqfps7qWZYyH-_pIjMouatPtDvCJb-wpenJ85R2sIUK0gVrjpTsO635cvhataq3B6RfIqgnDWh88Clihg/w320-h320/Jacques_Offenbach_by_Nadar.webp" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: georgia; font-size: medium;"><b><i>Jacques Offenbach</i></b></span></td></tr></tbody></table><span style="font-size: medium;"><br /><b style="font-family: georgia;"><br /></b></span><p></p><p><b style="font-family: georgia;"><i><span style="font-size: medium;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="font-size: medium;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="font-size: medium;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="font-size: medium;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="font-size: medium;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="font-size: medium;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="font-size: medium;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="font-size: medium;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;">JULES BARBIER </span></i>(1825-1901) writes the libretto for an opera with the structure of his own play: </b><span style="background-color: #f8f9fa; color: #202124;"><span style="font-family: georgia;"><b><i>prologue</i> & <i>epilogue</i>,</b></span></span><b style="font-family: georgia;"> <i>three acts</i> in between with three different Hoffmann stories. These stories come from Hoffmann's short story collections.</b></p><p><b style="font-family: georgia;"></b></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8fJ2Cvm_NIIEb0UGAJ0D1-7-SQ4IQLWTLa9uBmv9qEqjhiLjTdf5DUL56zxGZpgggCCBThd-cAsMGOO-CNtPQZy-ARudzCVtn5_2F8fhCfloMH98UuzTc85ercdbPQQ1KPwQuOB_SSmUge_KZwuGzoxiH_UWXM8jDLz-BHVPQbrGkwQHPY3Pa-pk2H4k/s412/Jules%20Barbier.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="412" data-original-width="330" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8fJ2Cvm_NIIEb0UGAJ0D1-7-SQ4IQLWTLa9uBmv9qEqjhiLjTdf5DUL56zxGZpgggCCBThd-cAsMGOO-CNtPQZy-ARudzCVtn5_2F8fhCfloMH98UuzTc85ercdbPQQ1KPwQuOB_SSmUge_KZwuGzoxiH_UWXM8jDLz-BHVPQbrGkwQHPY3Pa-pk2H4k/w160-h200/Jules%20Barbier.jpg" width="160" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;"><b><i>Jules Barbier 1880</i></b></span></td></tr></tbody></table><b style="font-family: georgia;"><br /><i><br /></i></b><p></p><p><b style="font-family: georgia;"><i><br /></i></b></p><p><b style="font-family: georgia;"><i><br /></i></b></p><p><b style="font-family: georgia;"><i><br /></i></b></p><p><b style="font-family: georgia;"><i><br /></i></b></p><p><b style="font-family: georgia;"><i><br /></i></b></p><p><b style="font-family: georgia;"><i><br /></i></b></p><p><b style="font-family: georgia;"><i>OFFENBACH</i> has been beating around the bush for a quarter of a century. Until in 1876 he hastened to start composing HIS opera <i><span style="color: #cc0000;">“The Tales of Hoffmann”</span></i>. For four years he combined older compositions such as the <i><span style="color: #cc0000;">"Barcarole"</span></i> and the <i><span style="color: #cc0000;">"Ballad of Kleinzack"</span></i> with new material until he died on October 5, 1880 within sight of the harbor. Fortunately, the completed opera remains as a piano reduction! <i><span style="color: #cc0000;">ERNEST GUIRAUD</span></i> (1836-1891) immediately took it upon himself to create an instrumentation for a large orchestra in the spirit of Offenbach. He is probably also the one who supplements the opera with <i>sung</i> recitatives and deletes the previously planned <i>spoken</i> dialogues.</b></p><p></p><p><b style="font-family: georgia; font-size: large;"><i>The premiere was of course in Paris.<span style="color: #2b00fe;"> </span><span style="color: red;">Four months after Offenbach's death on February 10, 1881.</span></i></b></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM86mPwUv7OixFGAlIB1B6MoLml9Wa_dZ2Ow705yeXRTR48ULIIamv08_Axk9mYNGt8_IkX0D0-0N5m2QIqgSlfV8kodEkdfvWyQifnq_Jf9eBTvCcCKi85LeQzVsxPQ4-knTY2jywfzKbXuwzPoeY3kDxPpnS0QXfZ13gGtGf2_bQ6cM0W6SOjTDZGs0/s1721/Ernest%20Guiraud.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1721" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM86mPwUv7OixFGAlIB1B6MoLml9Wa_dZ2Ow705yeXRTR48ULIIamv08_Axk9mYNGt8_IkX0D0-0N5m2QIqgSlfV8kodEkdfvWyQifnq_Jf9eBTvCcCKi85LeQzVsxPQ4-knTY2jywfzKbXuwzPoeY3kDxPpnS0QXfZ13gGtGf2_bQ6cM0W6SOjTDZGs0/w139-h200/Ernest%20Guiraud.jpg" width="139" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;"><b><i>Ernest Guiraud</i></b></span></td></tr></tbody></table><b style="font-family: georgia;"><span style="font-size: medium;"><i><span style="color: #2b00fe;"><br /></span></i></span></b><p></p><p><b style="font-family: georgia;"><span style="font-size: medium;"><i><span style="color: #2b00fe;"><br /></span></i></span></b></p><p><b style="font-family: georgia;"><span style="font-size: medium;"><i><span style="color: #2b00fe;"><br /></span></i></span></b></p><p><b style="font-family: georgia;"><span style="font-size: medium;"><i><span style="color: #2b00fe;"><br /></span></i></span></b></p><p><b style="font-family: georgia;"><span style="font-size: medium;"><i><span style="color: #2b00fe;"><br /></span></i></span></b></p><p><b style="font-family: georgia;"><span style="font-size: medium;"><i><span style="color: #2b00fe;"><br /></span></i></span></b></p><p><b style="font-family: georgia;"><span style="font-size: medium;"><i><span style="color: #2b00fe;">ABOUT THE</span></i> </span><span style="color: red; font-size: x-large;">4</span><span style="font-size: medium;"> <i><span style="color: #2b00fe;">LOVE TRAGEDIES IN “HOFFMANN’S TALES”</span></i>:</span></b></p><p><b style="font-family: georgia;"><span style="color: #990000;">Prologue & epilogue </span>must be seen as a self-contained, tragic frame story in which the amorous HOFFMANN, the city manager LINDORF and the famous singer STELLA appear.</b></p><p><b style="font-family: georgia;"><span>In </span><span style="color: #990000; font-style: italic;">the first act</span>, the core trio consists of HOFFMANN, the inventor COPPÉLIUS and his OLYMPIA.</b></p><p><b style="font-family: georgia;">In <i><span style="color: #990000;">the second act,</span></i> HOFFMANN has the magician DAPERTUTTO as an enemy. GIULIETTA is a courtesan, an expensive mistress for the higher circles.</b></p><p><b style="font-family: georgia;">In <i><span style="color: #990000;">the third act,</span></i> the young, deplorable singer ANTONIA takes center stage. HOFFMANN has seriously fallen in love again, but the evil DOCTOR MIRACLE makes it impossible for him to make this love come true.</b></p><p><b style="font-family: georgia;"><span style="color: #2b00fe; font-size: medium;">As for the order of the acts:</span></b></p><p><b style="font-family: georgia;">At the beginning the 3rd act was for Giulietta and the 2nd for Antonia. To this day, opera directors still regularly change the order.</b></p><p><b style="color: #2b00fe; font-family: georgia;"><i><span style="font-size: x-large;">Back to Rudolf Schock:</span></i></b></p><p><b style="font-family: georgia;"><span style="font-size: large;"><i><span style="color: #2b00fe;">Rudolf Schock</span></i> as <i><span style="color: #990000;">'Hoffmann'</span></i> creates an exemplary voice and acting of a likeable person whose - I quote Wikipedia - <i>"moral and intellectual decline"</i> takes on frightening forms. Together with the excellent soloists at his side, he makes this opera an impressive experience!</span></b></p><p><b style="font-family: georgia;"><i>Krijn de Lege, 12th February 2024</i></b></p><p><br /></p>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-6760810660292629162023-08-31T10:37:00.119+01:002023-11-24T16:06:02.303+01:00RUDOLF SCHOCK's affinity with FRENCH OPERA 1) Meyerbeer, Saint-Saëns, Godard, Massenet, Gounod, Offenbach<p></p><p></p><p></p><p><span style="font-family: georgia;"><b><i><span style="color: #2b00fe;">RUDOLF SCHOCK: A lot of affinity with FRENCH OPERA (1)</span></i></b></span></p><p><span style="font-family: georgia;"><b><i><span style="color: #2b00fe;">L'Africaine (Meyerbeer): </span><span style="color: red;">'Pays merveilleux/Land so wunderbar'</span><span style="color: #2b00fe;">, sung in French and German:</span></i></b></span></p><p><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/T6UAYqsK7eA" width="320" youtube-src-id="T6UAYqsK7eA"></iframe></p><p><span style="font-family: georgia;"><b><i><span style="color: #2b00fe;">RUDOLF SCHOCK: A lot of affinity with FRENCH OPERA (2)</span></i></b></span></p><p><span style="font-family: georgia;"><b><i><span style="color: #2b00fe;">Samson et Dalila (C. Saint-Saëns): </span><span style="color: red;">'Mon </span></i></b></span><span style="background-color: white;"><span style="font-family: georgia;"><b><i><span style="color: red;">cœur s'ouvre à ta voix'</span><span style="color: #2b00fe;">, sung in German/HERTHA TÖPPER sings Dalila:</span></i></b></span></span></p><p><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/0Qow-xv3S3w" width="320" youtube-src-id="0Qow-xv3S3w"></iframe></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;">RUDOLF SCHOCK: A lot of affinity with FRENCH OPERA (3) </span><span>: 'Jocelyn' de Benjamin Godard: </span></i></b><b style="font-family: georgia;"><i><span style="color: red;">'La Berceuse'</span><span style="color: #2b00fe;">, sung in German:</span></i></b></p><p><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/7Aqvh1nPv1U" width="320" youtube-src-id="7Aqvh1nPv1U"></iframe></p><p><span style="color: #2b00fe; font-family: georgia;"><b><i>RUDOLF SCHOCK: </i></b></span><b style="font-family: georgia;"><i><span style="color: #2b00fe;"> A lot of affinity with FRENCH OPERA (4,5&6)</span><span>: <span style="color: red;">'Werther' & 'Manon' </span><span>of</span> Jules Massenet + <span style="color: red;">'Faust' </span>de Charles Gounod<span style="color: #2b00fe;"> </span></span></i></b><b style="font-family: georgia;"><i><span>('Manon': </span></i></b><b style="font-family: georgia;"><i><span><span style="color: #cc0000;">'En fermant les yeux / O schöne Zeit - Ich schloss die Augen'</span><span>, sung IN FRENCH and German!):</span></span></i></b></p><p><b style="color: #2b00fe; font-family: georgia;"><i></i></b></p><div class="separator" style="clear: both; text-align: left;"><b style="color: #2b00fe; font-family: georgia;"><i><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/jDwSS2B-ZqA" width="320" youtube-src-id="jDwSS2B-ZqA"></iframe></i></b></div><span style="font-family: georgia;"><div><span style="font-family: georgia;"><div style="color: black; font-size: xxx-large;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/fZm_-LOY7PI" width="320" youtube-src-id="fZm_-LOY7PI"></iframe></div><div style="color: black;"><br /></div></span></div><div style="color: #2b00fe;"><b style="color: black;"><span style="font-size: large;"><span style="color: #2b00fe; font-weight: 400;"><span style="color: #2b00fe; font-family: georgia; font-size: medium;"><b><i>RUDOLF SCHOCK: </i></b></span><b style="color: black; font-size: medium;"><i><span style="color: #2b00fe;"> A lot of affinity with FRENCH OPERA (7):</span></i></b></span></span></b></div><div><b><i style="color: #990000;">' Les Contes d'Hoffmann' </i>van Jacques Offenbach </b><b>from the <i><span style="color: #990000;">PROLOGUE</span></i>, aus dem <i><span style="color: #990000;">PROLOG</span></i>, uit het <span style="color: #990000;">VOORSPEL</span><span>:</span></b></div><div><b><br /></b></div><div><b><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/yO5wE44tN9o" width="320" youtube-src-id="yO5wE44tN9o"></iframe></div><br /></b><div style="color: #2b00fe;"><b style="color: black;"><span style="font-size: large;"><span style="color: #2b00fe; font-weight: 400;"><span style="color: #2b00fe; font-family: georgia; font-size: medium;"><b><i>RUDOLF SCHOCK: </i></b></span><b style="color: black; font-size: medium;"><i><span style="color: #2b00fe;"> A lot of affinity with FRENCH OPERA (7):</span></i></b></span></span></b></div><div><b><i style="color: #990000;">' Les Contes d'Hoffmann' </i>van Jacques Offenbach </b><b>from the <i><span style="font-size: medium;"><span style="color: #990000;">FIRST</span> <span style="color: #990000;">ACT</span></span></i>, aus dem <span style="font-size: medium;"><i><span style="color: #990000;">1.</span> <span style="color: #990000;">AKT</span></i>, uit het <span style="color: #990000;"><i>VOORSPEL</i></span><span>:</span></span></b></div></div><div><span><span><br /></span></span></div><div><span><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/kTxTuN5ocIo" width="320" youtube-src-id="kTxTuN5ocIo"></iframe></div><br /></span></div><div><span><span style="font-size: large;"><div style="color: #2b00fe; font-size: medium;"><b style="color: black;"><span style="font-size: large;"><span style="color: #2b00fe; font-weight: 400;"><span style="color: #2b00fe; font-family: georgia; font-size: medium;"><b><i>RUDOLF SCHOCK: </i></b></span><b style="color: black; font-size: medium;"><i><span style="color: #2b00fe;"> A lot of affinity with FRENCH OPERA (7):</span></i></b></span></span></b></div><div><b style="font-size: medium;"><i style="color: #990000;">' Les Contes d'Hoffmann' </i><i>by</i> Jacques Offenbach </b><b><span style="color: black; font-size: small;">from the </span><i><span style="color: #990000;">2nd act</span><span style="font-size: small;"> </span><span style="font-size: small;">the beginning/der Anfang/het begin:<span style="color: #990000;"> </span></span></i></b></div><div style="font-size: medium;"><b style="color: black;"><br /></b></div></span></span></div><div><span><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/oOMgG2PoX1w" width="320" youtube-src-id="oOMgG2PoX1w"></iframe></div></span></div><div><span><span style="color: #2b00fe; font-size: large;"><br /></span></span></div><div><span><span style="color: #2b00fe; font-size: large;">E</span><i style="font-size: x-large; font-weight: bold;"><span> </span></i></span><span style="color: #2b00fe; font-size: large;">n g e l s :</span></div></span><p></p><p></p><p><b style="font-family: georgia; font-size: large;">I was 12 years old or only 13. Through the Dutch radio distribution <i><span style="color: #2b00fe;">Rudolf Schock </span></i>sang <i>"aus der Welt der Oper"</i> the aria <i><span style="color: #990000;">'Pays merveilleux/Land so wunderbar'</span></i> from <i><span style="color: #cc0000;">'</span><span style="color: #990000;">L'Africaine'</span></i><span style="color: #990000;"> </span>by<i><span style="color: #2b00fe;"> Giacomo Meyerbeer</span></i>. At Schock's closing notes I couldn't take it anymore: I was in tears and saw my parents in a wet fog, who were terribly shocked ...</b></p><p><b style="font-size: large;"><span style="font-family: georgia;">Actually, I had already heard the aria in the film <i>'Du bist die Welt für mich'</i>, but the emphasis there was on Tauber's acquaintance with a new opera company, which was cheered up by a comic handshake full of itching powder. Schock's rendition of <i>'Land so wunderbar' </i>then had to compete with film shots of his back, behind which he hid his scratching hands.</span></b></p><p><b style="font-size: large;"><span style="font-family: georgia;">No, only then - on radio - did I experience that grandiose rendition of one of the most beautiful arias in opera history. Later I found out that Rudolf Schock had a lot of affinity with the <i><span style="color: #2b00fe;">FRENCH</span></i> opera repertoire: <i>Don José</i> in <i><span style="color: #990000;">'Carmen'</span></i> (Bizet), <i>Hoffmann</i> in <i><span style="color: #990000;">'Les Contes d'Hoffmann'</span></i> (Offenbach), <i>des Grieux</i> in <i><span style="color: #990000;">'Manon' </span></i>(Massenet), <i>Wilhelm Meister</i> in <i><span style="color: #990000;">'Mignon' </span></i>(Thomas), <span style="color: #990000;"><i>Fra Diavolo</i> </span>in the opera of the same name by Auber and <i>Zephoris</i> in <span style="color: #990000;"><i>'Si j'étais Roi'</i> </span>(Adam).</span></b></p><p><span style="font-family: georgia;"><b style="font-size: large;">In my video collection on YouTube, that affinity is </b><b><span style="font-size: large;">insufficiently</span></b><b style="font-size: large;"> expressed. </b></span><b style="font-family: helvetica;"><span style="font-size: large;">High time for a <i><span style="color: #2b00fe;">French</span></i> addition and that's why </span></b><b style="font-family: helvetica;"><span style="font-size: large;">I start with versions sung in <i>French</i></span></b><b style="font-family: helvetica;"><span style="font-size: large;"> and <i>German</i> of the aria </span></b><b style="font-family: helvetica;"><span style="font-size: large;"><i><span style="color: #990000;">'Pays merveilleux'</span></i> from <i><span style="color: #990000;">'L'Africaine/The African woman' </span><span>by</span></i> <span style="color: #2b00fe;"><i>Giacomo Meyerbeer</i></span><i>!</i></span></b></p><p><span style="color: #2b00fe; font-family: georgia; font-size: large;">D e u t s c h :</span></p><p><span style="font-family: georgia; font-size: medium;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6V85_1kciRKIllyWr0UUg3-19H9z43ZdE68o-8buacimvtD2plUPqra31DQSABjFtZFeu_UB-KCvXhoUYYWuaOKO0Le_HjqBZ-GQVOEeX_0RbdaIvP9WgHD4cFMVEl7fm2gb6aoBb1h_OllgEWv2tLWu2K3zT0LlUbeWuPKKLr-fhT3VCNEDSmlh-SFQ/s300/meyerbeerportrait-225x300.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="300" data-original-width="225" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6V85_1kciRKIllyWr0UUg3-19H9z43ZdE68o-8buacimvtD2plUPqra31DQSABjFtZFeu_UB-KCvXhoUYYWuaOKO0Le_HjqBZ-GQVOEeX_0RbdaIvP9WgHD4cFMVEl7fm2gb6aoBb1h_OllgEWv2tLWu2K3zT0LlUbeWuPKKLr-fhT3VCNEDSmlh-SFQ/w240-h320/meyerbeerportrait-225x300.jpg" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #b45f06; font-family: inherit;"><i><b>Giacomo Meyerbeer<br />1791-1864</b></i></span></td></tr></tbody></table><span style="font-family: georgia; font-size: medium;"><br /><b><br /></b></span><p></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><b style="font-family: georgia; font-size: large;">Ich war 12 Jahre alt oder erst 13. Über den niederländischen Rundfunkvertrieb sang <i><span style="color: #2b00fe;">Rudolf Schock</span></i> <i>„aus der Welt der Oper“</i> die Arie <span style="color: #990000;"><i>„Pays merveilleux/Land so wunderbar“</i></span> aus <i><span style="color: #990000;">„L’Africaine“</span></i> von <i><span style="color: #2b00fe;">Giacomo Meyerbeer</span></i>. Bei Schocks Schlusstönen konnte ich es nicht mehr ertragen: Ich weinte reichlich Tränen und sah im nassen Nebel meine Eltern, die furchtbar geschockt waren ...</b></p><p><b style="font-size: large;"><span style="font-family: georgia;">Eigentlich hatte ich die Arie bereits im Film <i>„Du bist die Welt für mich“</i> gehört, doch der Schwerpunkt lag dort auf Taubers Bekanntschaft mit einem neuen Opernensemble, die durch einen komischen Händedruck voller Juckreizpulver aufgeheitert wurde. Schocks Darstellung von <i>„Land so wunderbar“ </i>musste sich dann mit Filmaufnahmen seines Rückens messen, hinter denen er seine kratzenden Hände versteckte.</span></b></p><p><span style="font-family: georgia;"><b><span style="font-size: medium;">Nein, erst dann – im Radio – erlebte ich diese grandiose Interpretation einer der schönsten Arien der Operngeschichte. Später erlangte ich zu der Erkenntnis, dass Rudolf Schock große Affinität zum </span><i><span style="color: #2b00fe; font-size: medium;">französischen</span></i><span style="font-size: medium;"> Opernrepertoire hatte: </span></b><b><i style="font-size: large;">Don José</i><span style="font-size: medium;"> in <i><span style="color: #990000;">„Carmen“</span></i> (Bizet), </span><i style="font-size: large;">Hoffmann</i><span style="font-size: medium;"> in <span style="color: #990000;"><i>„Les Contes d'Hoffmann“</i></span> (Offenbach), </span><i style="font-size: large;">des Grieux</i><span style="font-size: medium;"> in <i><span style="color: #990000;">„Manon“</span></i> (Massenet) , </span><i style="font-size: large;">Wilhelm Meister</i><span style="font-size: medium;"> in <i><span style="color: #990000;">„Mignon“ </span></i>(Thomas), </span><i style="font-size: large;"><span style="color: #990000;">Fra Diavolo</span></i><span style="font-size: medium;"> in der gleichnamigen Oper von Auber und </span><i style="font-size: large;">Zephoris</i><span style="font-size: medium;"> in <i><span style="color: #990000;">„Si j'étais Roi“</span></i> (Adam).</span></b></span></p><p><b style="font-size: large;"><span style="font-family: georgia;">In meiner Videosammlung auf YouTube kommt diese Affinität nur unzureichend zum Ausdruck. </span></b><span style="font-size: large; font-weight: bold;"><span style="font-family: helvetica;">Höchste Zeit für eine </span><i style="font-family: helvetica;"><span style="color: #2b00fe;">französische</span></i><span style="font-family: helvetica;"> Ergänzung und deshalb beginne ich mit den auf </span><i style="font-family: helvetica;"><span style="color: #2b00fe;">Französisch</span></i><span style="font-family: helvetica;"> und </span><i style="font-family: helvetica;"><span style="color: #2b00fe;">Deutsch</span></i><span style="font-family: helvetica;"> gesungenen Versionen der Arie </span><i style="font-family: helvetica;"><span style="color: #990000;">„Pays merveilleux“</span></i><span style="font-family: helvetica;"> aus </span><i style="font-family: helvetica;"><span style="color: #990000;">„L'Africaine/Die Afrikanerin“ </span></i><span style="font-family: helvetica;">von </span><i style="font-family: helvetica;"><span style="color: #2b00fe;">Giacomo Meyerbeer</span></i></span><span style="font-family: helvetica; font-size: x-large; font-weight: bold;">!</span></p><p><span style="color: #2b00fe; font-family: georgia; font-size: large;">N e d e r l a n d s :</span></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLXhyyi76hs7wNWH2cR27NDGKi4kfuabG6JGSeDdYEU1eRks4PHakojzqSlMWNAcy8GgZ91NSD6MM6zz-prIwuS0J4hNt_3cY7fJXQxR7w7xcwmSOX0FilqVgtXuOKjnFN3odjM3NuNMOu_WKLvha4KFsX4joS_vKr7o1j5vjexxKxxck2mz4Ut85_MFQ/s231/Rudolf%20Schock%20%20L'Africaine.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="231" data-original-width="130" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLXhyyi76hs7wNWH2cR27NDGKi4kfuabG6JGSeDdYEU1eRks4PHakojzqSlMWNAcy8GgZ91NSD6MM6zz-prIwuS0J4hNt_3cY7fJXQxR7w7xcwmSOX0FilqVgtXuOKjnFN3odjM3NuNMOu_WKLvha4KFsX4joS_vKr7o1j5vjexxKxxck2mz4Ut85_MFQ/w225-h400/Rudolf%20Schock%20%20L'Africaine.jpg" width="225" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #b45f06;"><b><i>Rudolf Schock<br /><span style="font-family: georgia;">1915-1986</span></i></b></span></td></tr></tbody></table><br /><b style="font-family: georgia; font-size: large;"><br /></b><p></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;">Ik was 12 jaar of pas 13. Via de Nederlandse radio-distributie zong <i><span style="color: #2b00fe;">Rudolf Schock</span></i> <i>"aus der Welt der Oper" </i>de aria <i><span style="color: #990000;">'Land so wunderbar'</span></i> uit <span style="color: #990000;"><i>'L'Africaine'</i></span> van <i><span style="color: #2b00fe;">Giacomo Meyerbeer</span></i>. Bij Schock's slotnoten had ik het niet meer: ik was in tranen en zag in een natte mist mijn ouders, die enorm schrokken ...</b></p><p><span style="font-family: georgia; font-size: medium;"><b>Eigenlijk had ik in de film <i>'Du bist die Welt für mich</i> (in Nederland: <i>'De Levensroman van Richard Tauber'</i>) de aria al eerder gehoord, maar het accent lag daar op Tauber's kennismaking met een opera-gezelschap, die opgevrolijkt werd door een komische handdruk vol jeukpoeder. Schocks vertolking van <i>'Land so wunderbar'</i> moest vervolgens wedijveren met filmshots van zijn rug, waarachter hij zijn krabbende handen verborg.</b></span></p><p><span style="font-family: georgia; font-size: medium;"><b>Nee, pas toen - bij de radio - doorleefde ik die grandioze weergave van één van de mooiste aria's uit de operageschiedenis. Later stelde ik vast</b></span><b style="font-family: georgia; font-size: large;">, dat Rudolf Schock veel affiniteit had met het <i><span style="color: #2b00fe;">FRANSE</span></i> operarepertoire: <i>Don José</i> in <i><span style="color: #990000;">'Carmen'</span></i> (Bizet), <i>Hoffmann </i>in <span style="color: #990000;"><i>'Les Contes d'Hoffmann'</i></span> (Offenbach), <i>des Grieux</i> in <i><span style="color: #990000;">'Manon'</span></i> (Massenet), <i>Wilhelm Meister</i> in <i><span style="color: #990000;">'Mignon'</span></i> (Thomas), <span style="color: #990000;"><i>Fra Diavolo</i> </span>in de gelijknamige opera van Auber en <i>Zephoris</i> in <i><span style="color: #990000;">'Si j'étais Roi'</span></i> (Adam). </b></p><p><span style="font-family: georgia;"><b><span style="font-size: medium;">In mijn video-verzameling op YouTube komt die affiniteit </span><span style="font-size: large;">onvoldoende</span><span style="font-size: medium;"> tot uitdrukking. </span></b></span><b style="font-family: helvetica;"><span style="font-size: large;">Hoog tijd dus voor een <i><span style="color: #2b00fe;">Franse</span></i> aanvulling! </span></b><b style="font-family: helvetica;"><span style="font-size: large;">Te beginnen met de in het <i>Frans</i> én <i>Duits</i> gezongen versies van de aria</span></b><b style="font-family: helvetica;"><i><span style="color: #990000;"><span style="font-size: medium;"> </span><span style="font-size: large;">'Pays merveilleux/Land so wunderbar' </span></span></i><span style="font-size: large;">uit <i><span style="color: #990000;">'L'Africaine/Die Afrikanerin'</span></i> van <i><span><span style="color: #2b00fe;">Giacomo Meyerbeer</span>!</span></i></span></b></p><p><b style="font-family: georgia;"><i>Krijn de Lege, 24.11.2023</i></b></p><p><br /></p>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-84893805008004894752023-08-29T14:03:00.007+01:002023-08-31T16:31:11.894+01:00Lehárs 'THE LAND OF SMILES' is OPERA. <p><span style="font-family: georgia; font-size: medium;"><span></span></span></p><div class="separator" style="clear: both; text-align: left;"><span style="font-family: georgia; font-size: medium;"></span></div><p><span style="color: #2b00fe; font-family: inherit; font-size: medium;"></span></p><div class="separator" style="clear: both;"><i style="color: #2b00fe; font-size: x-large;"><b style="background-color: white;"><span style="font-family: times;"><br /></span></b></i></div><div class="separator" style="clear: both;"><i style="color: #2b00fe; font-size: x-large;"><b style="background-color: white;"><span style="font-family: times;">'Das Land des Lächelns':</span></b></i></div><div class="separator" style="clear: both;"><i style="color: #2b00fe; font-size: x-large;"><b style="background-color: white;"><span style="font-family: times;">Schock/Siebert 1955<br /></span></b></i><span><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/1wTURM4iGYg" width="320" youtube-src-id="1wTURM4iGYg"></iframe></span></div><div class="separator" style="clear: both;"><i style="color: #2b00fe; font-size: x-large;"><b style="background-color: white;"><span style="font-family: times;">One of the absolute best on sound carrier!</span></b></i></div><div><span style="color: #2b00fe; font-size: large;"><i><b style="background-color: white;"><span style="font-family: times;"><br /></span></b></i></span></div><p><span style="color: #2b00fe; font-family: inherit; font-size: medium;"><b>E N G L I S H :</b></span></p><p><span style="font-size: medium;"><span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="168" data-original-width="300" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOudD2ucqIr4c0NWFa4LIHiUQqilGyexWzdGIZbwY7aP3JhNnHgJE51utm6-DoWwhKDXYZkG8KQox9fhPDHwB7WOjAKsmUl4uE7GGOHLrfA0ht8hnGZt9MHdMO6bm2RKgBaV61jQ5fk8zDpigfLM7UxNvhPesmi_oeAvZK5eZRj4BuSfhcR6lHOiqQ_ow/s1600/Dorothea%20Siebert.jpg" style="margin-left: auto; margin-right: auto;" width="300" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #b45f06;"><i>Dorothea Siebert <br />1921-2013</i></span></b></td></tr></tbody></table><p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOudD2ucqIr4c0NWFa4LIHiUQqilGyexWzdGIZbwY7aP3JhNnHgJE51utm6-DoWwhKDXYZkG8KQox9fhPDHwB7WOjAKsmUl4uE7GGOHLrfA0ht8hnGZt9MHdMO6bm2RKgBaV61jQ5fk8zDpigfLM7UxNvhPesmi_oeAvZK5eZRj4BuSfhcR6lHOiqQ_ow/s300/Dorothea%20Siebert.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: inherit;"></span></a></span></span></div><p></p><p><span style="font-size: medium;"><span><span style="font-family: georgia;"><b><i><span style="color: #2b00fe;">After First World 1</span></i> <span style="color: #2b00fe; font-style: italic;">Franz Lehár</span><span>, famous composer of the <i>operettas</i> <i><span style="color: #990000;">'The merry Widow'</span></i> and <span><i style="color: #990000;">'The Count of Lxembourg'</i>,</span></span><span style="color: #990000;"> </span></b></span><span style="font-family: georgia;"><b>moves from Vienna to Berlin. </b></span><b style="font-family: georgia;">There, his talent for writing melting-lyrical melodies makes him follow in the footsteps of opera greatness <i><span style="color: #990000;">Giacomo Puccini</span></i>. </b><b style="font-family: georgia;">With vocal support from tenor <i><span style="color: blue;">Richard Tauber</span></i>, he starts composing (<i>tragic) romantic theatre pieces</i> such as <i><span style="color: #990000;">'Das Land des Lächelns'</span><span>, <span style="color: #990000;">'Friederike'</span></span></i> and <i><span style="color: #990000;">'Der Zarewitsch'</span></i>.</b></span></span></p><div class="separator" style="clear: both;"><span style="font-family: georgia; font-size: medium;"><i style="font-weight: bold;"><span style="color: #990000;">Lehár</span></i><span style="font-weight: bold;"> had the ambition to elevate his musical theater to the higher plane of the <span style="color: #2b00fe;"><i>"</i></span></span><span style="color: #2b00fe; font-weight: bold;"><i>romantic opera"</i></span><span style="font-weight: bold;">. He left the light operetta touch to the "second" buffo couple and reserved </span><i style="font-weight: bold;"><span style="color: #2b00fe;">the central, tragic opera act</span></i><span style="font-weight: bold;"> for the "first" love couple, which therefore had to consist of proven opera singers. The tragedy in Lehár's opera-like operettas (or vice versa) repeatedly descends on the heads of a man and a woman, who ultimately cannot stay together:</span></span></div><div class="separator" style="clear: both;"><span><div class="separator" style="clear: both; font-weight: bold;"><span style="font-family: georgia; font-size: medium;">Tsar's son Alexei opts for the throne and not for the ballet girl Sonja (<i>'Der Zarewitsch' </i>), poet and thinker Goethe breaks off his relationship with pastor's daughter Friederike Brion (<i>'Friederike'</i>), Octavio remains lonely after a passionate love for <i>'Giuditta'</i>.</span></div><div class="separator" style="clear: both; font-weight: bold;"><span style="font-family: georgia; font-size: medium;"><span style="font-style: italic;"><span style="color: #990000;">'The Land of Smiles'</span></span><span><span style="color: #2b00fe;"> </span>is about the doomed love between </span><i>Sou-Chong </i><span>and </span><i>Lisa</i><span>.</span></span></div><div class="separator" style="clear: both; font-weight: bold;"><span style="font-family: georgia; font-size: medium;"><span>That's why I present it here on video as - <i>shortened<span> - </span></i></span><b><span><i><span style="color: #990000;">romantic </span></i></span><span><span><i style="color: #990000;">opera</i><i>.</i></span></span></b></span></div><div class="separator" style="clear: both; font-weight: bold;"><span style="color: #2b00fe; font-family: georgia; font-size: medium;"><i>P l o t : </i></span></div><div class="separator" style="clear: both; font-weight: bold;"><i><span style="font-size: medium;"><span style="font-family: georgia;">On the eve (1912) of the First World War, the sporty, yet life-spoiled Viennese Countess </span><span style="font-family: georgia;"><span style="color: #ff00fe;">Lisa</span> Lichtenfels</span><span style="font-family: georgia;"> falls under the spell of the "exotic" Prince </span><span style="font-family: georgia;"><span style="color: #ff00fe;">Sou-Chong</span></span><span style="font-family: georgia;">, a Chinese diplomat from Beijing. She leaves with him for China and undergoes a cultural shock: the teachings of Sou-Chong's religion dictate that he marries more then one woman.</span></span></i></div><div class="separator" style="clear: both; font-family: georgia, "times new roman", serif; font-weight: bold;"><span style="color: #2b00fe;"><br /></span></div><div class="separator" style="clear: both; font-weight: bold;"><span style="color: #741b47; font-family: times; font-size: medium;">NB: LINK to the detailed facts about Lehár's 'Land of Smiles' in general</span></div><div class="separator" style="clear: both; font-weight: bold;"><span style="color: #741b47; font-family: times; font-size: medium;">and the YouTube publication with Siebert/Schock in particular up here:</span></div><div class="separator" style="clear: both;"><a href="https://tenorschock.blogspot.com/2021/01/rudolf-schock-dorothea-siebert-1955-in.html"><span style="font-size: medium;"><b>https://tenorschock.blogspot.com/2021/01/rudolf-schock-dorothea-siebert-1955-in.html</b></span></a><br /></div><div class="separator" style="clear: both; font-family: georgia, "times new roman", serif; font-weight: bold;"><span style="color: #2b00fe;"><br /></span></div><div class="separator" style="clear: both; font-family: georgia, "times new roman", serif; font-weight: bold;"><span style="color: #2b00fe;">D E U T S C H :</span></div><div class="separator" style="clear: both; font-family: georgia, "times new roman", serif; font-weight: bold;"><span style="color: #2b00fe;"><br /></span></div><div class="separator" style="clear: both; font-family: georgia, "times new roman", serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy4KqUgr3MR83naueWMt0jEPVDpdMZvoI6yptvRooK2_3AX_XEcmU6Bv6xRx5tXnbEk75HGCPhEiKrC53KDgKgQRFB2xomgpq4qT9O07nQ_sZsbSLFDPmzUnTQUKTiZg7SZoBiC_VjP6qjgTgYcv6FzDe1AfQDhnSTOjWAPzs5RZKwnub6BxU_Sw-ofyQ/s299/Franz%20Leh%C3%A1r.jpg" style="margin-left: auto; margin-right: auto;"><b><img border="0" data-original-height="168" data-original-width="299" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy4KqUgr3MR83naueWMt0jEPVDpdMZvoI6yptvRooK2_3AX_XEcmU6Bv6xRx5tXnbEk75HGCPhEiKrC53KDgKgQRFB2xomgpq4qT9O07nQ_sZsbSLFDPmzUnTQUKTiZg7SZoBiC_VjP6qjgTgYcv6FzDe1AfQDhnSTOjWAPzs5RZKwnub6BxU_Sw-ofyQ/w400-h225/Franz%20Leh%C3%A1r.jpg" width="400" /></b></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #b45f06;"><i><b>Franz Lehár<br />1870-1948</b></i></span></td></tr></tbody></table><br /><span style="color: #2b00fe; font-weight: bold;"><br /></span></div><div class="separator" style="clear: both; font-family: georgia, "times new roman", serif; font-weight: bold;"><span style="color: #2b00fe;"><br /></span></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both; font-weight: bold;"><span style="font-family: georgia; font-size: medium;"><b><div class="separator" style="clear: both;"> <span style="color: #2b00fe;"><i>Nach dem Ersten Weltkrieg zieht</i> <i><span>Franz Lehár</span></i></span>, berühmter Komponist von <i>Operetten</i> wie <i>"Die lustige Witwe"</i> und <i>"Der Graf von Luxemburg"</i>, von Wien nach Berlin um. Dort tritt er dank seines Talents, schmelzend-lyrische Melodien zu schreiben, in die Fußstapfen des Operngroßen <i><span style="color: #2b00fe;">Giacomo Puccini</span></i>. Mit der Unterstützung des Tenors <i><span style="color: #2b00fe;">Richard Tauber</span></i> beginnt er, "<i>tragisch-romantische Operetten"</i> wie <i><span style="color: #990000;">"Das Land des Lächelns", Friederike"</span></i> und <i><span style="color: #990000;">"Der Zarewitsch"</span></i> zu komponieren.</div></b></span></div><div class="separator" style="clear: both; font-weight: bold;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="separator" style="clear: both;"><span><b style="font-weight: bold;"><div class="separator" style="clear: both;"><span style="font-family: georgia; font-size: medium;"><i><span style="color: #2b00fe;">Lehár</span></i> hatte den Ehrgeiz, sein Musiktheater in einzigartiger Synthese mit der hohen Qualität seiner Operettenkompositionen zur höheren Ebene der <span style="color: #2b00fe;">"<i>romantischen Oper"</i> </span>zu erheben: er überliess den leichten Operetten-Touch dem "zweiten" Buffo-Paar und reservierte die<i><span style="color: #2b00fe;"> zentrale, tragische Opernhandlung</span></i> für das "erste" Liebespaar, das daher aus bewährten Opernsängern bestehen sollte. Die Tragik in Lehárs opernähnlichen Operetten (oder umgekehrt) steigt immer wieder auf einen Mann und eine Frau herab, die letztendlich nicht zusammenbleiben können:</span></div></b><div class="separator" style="clear: both; font-weight: bold;"><span style="font-family: georgia; font-size: medium;">Zarensohn Alexei entscheidet sich für den Thron und nicht für das Ballettmädchen Sonja (<i>'Der Zarewitsch'</i>) ), Dichter und Denker Goethe beendet seine Beziehung zur Pfafferstochter Friederike Brion (<i>'Friederike'</i>), Octavio bleibt nach einer leidenschaftlichen Liebe zu <i>'Giuditta' </i>einsam zurück. </span></div><div class="separator" style="clear: both; font-weight: bold;"><span style="font-family: georgia; font-size: medium;"><span>Mein vorliegendes </span><i><span style="color: #990000;">'Das Land des Lächelns'</span></i><span>-Video handelt von der zum Scheitern verurteilten Liebe zwischen </span><i><span>Sou-Chong</span></i><span> und </span><i><span>Lisa</span></i><span><span>.</span></span></span></div><div class="separator" style="clear: both; font-weight: bold;"><span style="font-family: georgia;"><span><span style="font-size: medium;">Ich präsentiere es hier darum als <span><i><span style="color: #990000;">romantische Kurzoper</span>.</i></span></span></span></span></div><div class="separator" style="clear: both; font-weight: bold;"><span style="color: #2b00fe; font-family: georgia; font-size: medium;"><i>I n h a l t :</i></span></div><div class="separator" style="clear: both; font-weight: bold;"><span style="font-family: georgia; font-size: medium;"><i>Am Vorabend (1912) des Ersten Weltkriegs gerät die sportliche, aber vom Leben verwöhnte Wiener Gräfin <span style="color: #ff00fe;">Lisa</span> Lichtenfels in den Bann des "exotischen" Prinzen <span style="color: #ff00fe;">Sou-Chong</span>, eines chinesischen Diplomaten aus Peking. Sie reist mit ihm nach China und erlebt einen kulturellen Schock: Die Lehren von Sou-Chongs Religion schreiben vor, dass er neben Lisa mehr als eine einzige Frau heiratet.</i></span></div><div class="separator" style="clear: both; font-weight: bold;"><span style="font-family: georgia; font-size: medium;"><i><br /></i></span></div><div class="separator" style="clear: both;"><span style="font-size: medium;"><div class="separator" style="clear: both; font-weight: bold;"><span style="font-family: times;"><span style="color: #741b47;">NB: LINK zu den detaillierten Fakten über Lehárs „Land des Lächelns“ im Allgemeinen und insbesondere der YouTube-publicatie mit Siebert/Schock ganz oben:</span> </span></div><div class="separator" style="clear: both;"><a href="https://tenorschock.blogspot.com/2021/01/rudolf-schock-dorothea-siebert-1955-in.html"><span style="font-family: times; font-size: medium;"><b>https://tenorschock.blogspot.com/2021/01/rudolf-schock-dorothea-siebert-1955-in.html</b></span></a></div></span><div class="separator" style="clear: both;"><br /></div></div><div class="separator" style="clear: both; font-weight: bold;"><span style="font-family: georgia, "times new roman", serif;">N E D E R L A N D S :</span></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYg0P46brenbWsfxQSLlwY7JYCDaWjyZDpAUKWOYJvAW6an5PVJvEFXlF5-aEr_s99smUn3rVRbt7jjEzF6ZqrIkWmOhqrDaSRQiNncZonT35mcDPbwIwtaBb9bijx30ISo5ORie1ip4mO2LlWsMb83YeAB5xPJBaenhbrPapN6NMw-VLvf3vQyAFdJTk/s275/Werner%20Schmidt-Boelcke%20(2).jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="182" data-original-width="275" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYg0P46brenbWsfxQSLlwY7JYCDaWjyZDpAUKWOYJvAW6an5PVJvEFXlF5-aEr_s99smUn3rVRbt7jjEzF6ZqrIkWmOhqrDaSRQiNncZonT35mcDPbwIwtaBb9bijx30ISo5ORie1ip4mO2LlWsMb83YeAB5xPJBaenhbrPapN6NMw-VLvf3vQyAFdJTk/w320-h212/Werner%20Schmidt-Boelcke%20(2).jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i><span style="color: #b45f06; font-family: inherit;">Werner Schmidt-Boelcke<br />1903-1985</span></i></b></td></tr></tbody></table><b><span style="color: #2b00fe;"><i><br /></i></span></b><div class="separator" style="clear: both; font-family: georgia, "times new roman", serif; font-weight: bold;"><br /></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both; font-weight: 400;"><span style="font-family: georgia; font-size: medium;"><b><div class="separator" style="clear: both;"> <i><span style="color: #2b00fe;">Na de Eerste Wereldoorlog verhuist <span>Franz Lehár</span></span></i>, beroemd componist van de <i>operettes</i> <i>'Die lustige Witwe'</i> en <i>'Der Graf von Luxemburg'</i> van Wenen naar Berlijn. Daar doet zijn talent voor het schrijven van smeltend-lyrische melodieën hem in de voetsporen treden van operagrootheid <i><span style="color: #2b00fe;">Giacomo Puccini</span></i>. Met vocale ondersteuning van tenor <i><span style="color: #2b00fe;">Richard Tauber</span></i>, begint hij met het componeren van <i>tragisch-romantische operettes</i> als <i><span style="color: #990000;">'Das Land des Lächelns', 'Friederike</span></i> en <i><span style="color: #990000;">'Der Zarewitsch'</span></i>.</div></b></span></div><div class="separator" style="clear: both; font-weight: 400;"><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></div><div class="separator" style="clear: both; font-weight: 400;"><span style="font-family: georgia; font-size: medium;"><span><b><i><span style="color: #2b00fe;">Lehár</span></i> had de ambitie zijn muziektheater op het hogere plan van <span style="color: #2b00fe;">"</span><i><span style="color: #2b00fe;">romantische opera"</span></i> te brengen. </b></span><b>De lichte operettetoets beperkte hij zo veel mogelijk voor het <i>"tweede"</i> buffo-paar, de <i><span style="color: #2b00fe;">centrale, tragische opera-handeling</span></i> bestemde hij voor het <i>"eerste" </i>liefdespaar, dat daarom uit beproefde operazangers moest bestaan. </b><b>De tragiek in Lehár's opera-achtige operettes (of omgekeerd) daalt bij herhaling neer op de hoofden van een man en een vrouw, die uiteindelijk niet bij elkaar kunnen blijven: </b><span><b>Tsarenzoon Alexei kiest voor de troon en niet voor balletmeisje Sonja (<i>'Der Zarewitsch'</i>), dichter en denker Goethe verbreekt de relatie met domineesdochter Friederike Brion (<i>'Friederike'</i>), Octavio blijft </b></span><b>eenzaam achter </b><span><b>na een heftige liefde voor <i>'Giuditta'</i>. </b></span></span></div><div class="separator" style="clear: both; font-weight: 400;"><b><span style="font-family: georgia; font-size: medium;"><span>Mijn<span style="color: #cc0000; font-style: italic;">'Das Land des Lächelns'</span><span>-video</span></span><span><span style="color: #cc0000;"> </span>gaat over de tot mislukken gedoemde liefde tussen </span><i>Sou-Chong</i><span> en </span><i>Lisa</i><span>.</span></span></b></div><div class="separator" style="clear: both; font-weight: 400;"><b><span style="font-family: georgia; font-size: medium;">Ik presenteer hem daarom hier als <i>ingekorte <span style="color: #990000;">romantische opera</span>.</i> </span></b></div><div class="separator" style="clear: both; font-weight: 400;"><b><span style="color: #2b00fe; font-family: georgia; font-size: medium;"><i>P l o t :</i></span></b></div><div class="separator" style="clear: both; font-weight: 400;"><b><span style="font-family: georgia; font-size: medium;"><i>Aan de vooravond (1912) van de Eerste Wereldoorlog raakt de sportieve, maar door het leven verwende Weense Gravin <span style="color: #ff00fe;">Lisa</span> Lichtenfels, in de ban van de "exotische" Prins <span style="color: #ff00fe;">Sou-Chong</span>, een Chinese diplomaat uit Peking. Ze vertrekt met hem naar China en ondergaat een culturele schok: de leer van Sou-Chong's godsdienst dicteert, dat hij behalve Lisa met meer dan één vrouw trouwt.</i></span></b></div><div class="separator" style="clear: both; font-family: georgia; font-weight: 400;"><b style="font-family: georgia, "times new roman", serif;"><span style="color: #2b00fe;"><br /></span></b></div><div class="separator" style="clear: both; font-weight: 400;"><b><i style="font-size: large; font-weight: 400;"><span style="font-family: times;"><div class="separator" style="clear: both; font-weight: bold;"><span style="color: #741b47;">NB: LINK naar gedetailleerde wetenswaardigheden over Lehár's 'Land des Lächelns' in het algemeen en de YouTube-publicatie hierboven in het bijzonder:</span> </div><div class="separator" style="clear: both;"><a href="https://tenorschock.blogspot.com/2021/01/rudolf-schock-dorothea-siebert-1955-in.html"><span style="font-size: medium;"><b>https://tenorschock.blogspot.com/2021/01/rudolf-schock-dorothea-siebert-1955-in.html</b></span></a></div></span></i></b></div><div class="separator" style="clear: both; font-family: georgia; font-weight: 400;"><b style="font-family: georgia, "times new roman", serif;"><i><span><br /></span></i></b></div><div class="separator" style="clear: both; font-family: georgia; font-weight: 400;"><br /></div><div class="separator" style="clear: both; font-family: georgia; font-weight: 400;"><b style="font-family: georgia, "times new roman", serif;"><i><span>Krijn de Lege, 31.8.2023 </span></i></b></div><div class="separator" style="clear: both; font-family: georgia; font-weight: 400;"><b style="font-family: georgia, "times new roman", serif;"><i><span><br /></span></i></b></div><div class="separator" style="clear: both; font-family: georgia; font-weight: 400;"><b style="font-family: georgia, "times new roman", serif;"><i><span><br /></span></i></b></div><div style="font-family: georgia, "times new roman", serif; font-weight: bold;"><br /></div></div></span></div></div></span></div>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-55949060738223754932023-05-02T13:00:00.031+01:002023-07-25T15:39:43.798+01:00MOZART SINGER RUDOLF SCHOCK<p><b style="font-family: georgia;"></b></p><div class="separator" style="clear: both; text-align: left;"></div><p></p><p></p><p><b style="font-family: georgia; font-size: large;"><span><b></b></span></b></p><div class="separator" style="clear: both; text-align: left;"><b style="font-family: georgia; font-size: large;"><span><b><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/TVJBIGUnPWo" width="320" youtube-src-id="TVJBIGUnPWo"></iframe></b></span></b></div><b style="font-family: georgia; font-size: large;"><span><b><span><b><span style="font-size: medium;"><p><b><span><b><span><b><span style="font-size: medium;">It is quite strange that in the previous century </span><i><span style="color: #2b00fe;">Rudolf Schock</span></i><span style="font-size: medium;"> could be heard so little in </span><i>record productions of <span style="color: #2b00fe;">Mozart</span> operas</i><span style="font-size: medium;">. Live he sang all over Europe in around 1500 performances of Mozart operas, but on the record it remained with a few separate arias from </span><i>'Die Zauberflöte'</i><span style="font-size: medium;">, </span><i>'Cosi fan tutte'</i><span style="font-size: medium;"> and </span><i>'Don Giovanni'</i><span style="font-size: medium;">. Only </span><i><span style="color: #990000;">'Die Entführung aus dem Serail' </span></i><span style="font-size: medium;">got a solid highlight album in 1953. The Dutch opera specialist </span><i><span style="color: #2b00fe;">Leo Riemens</span></i><span style="font-size: medium;"> pointed this out especially in his </span><i><span style="color: #990000;">'Great Operabook' </span></i><span style="font-size: medium;">(1959): </span><i><span style="font-size: medium;">"A good highlight record exists on HMV, with Erna Berger, Lisa Otto, Rudolf Schock </span><span style="color: #783f04;">(Belmonte)</span><span style="font-size: medium;">, Gerhard Unger and Gottlob Frick, in which one regrets, that in this line-up the whole work was not recorded"</span></i><span style="font-size: medium;">.</span></b></span></b></span></b></p></span></b></span></b></span></b><p></p><p></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglzJ3Zq24fhkEhBAhg9ddGyla5Vv0F7YgFOVs7FEpk9jQ7yOKeX4uCfoump8y0Ug4LbzwftvY5OD0ulbEWiMyS5oggSzsu1LyqC1DUWaMr5aeOFJrxApAfkeMWev3141EiongNOFpljaE/s738/RS+als+Belmonte+1953.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="738" data-original-width="427" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglzJ3Zq24fhkEhBAhg9ddGyla5Vv0F7YgFOVs7FEpk9jQ7yOKeX4uCfoump8y0Ug4LbzwftvY5OD0ulbEWiMyS5oggSzsu1LyqC1DUWaMr5aeOFJrxApAfkeMWev3141EiongNOFpljaE/s320/RS+als+Belmonte+1953.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i><span style="color: #783f04; font-family: georgia; font-size: x-small;">Rudolf Schock: Belmonte<br /><br /></span></i></b></td></tr></tbody></table><p></p><div class="separator" style="clear: both; text-align: justify;"><b style="text-align: left;"><span style="font-family: georgia; font-size: medium;">In my film documentation <i><span style="color: #990000;">'Rudolf Schock: I sing that too'</span></i> CD producer <i><span style="color: #2b00fe;">Rico Leitner</span></i> explains in a plastic way why <i><span style="color: #2b00fe;">Rudolf Schock </span></i>was such a good <i><span style="color: #2b00fe;">Mozart</span></i> singer. In <i><span style="color: #990000;">'Don Giovanni'</span></i>, for example, he was not a <i>"lisping, rubber Don Ottavio"</i>, who was no match for the womanizer Don Giovanni, but a distinctly masculine figure, who violently responds to his fellow nobleman. <span>Schock</span>'s performances as <i>Don Ottavio</i> at the Vienna State Opera received acclaim from opera critics for that reason alone. Despite this, <i>Rudolf Schock's Don Ottavio</i> features <u>only </u>two arias on sound carrier: <i><span style="color: #990000;">'Il mio tesoro' </span></i>from the second act four times, including a radio and a concert registration, plus - in german - a rather late studio <i><span style="color: #990000;">'Dalla sua pace'</span></i> from the first act.</span></b></div><div class="separator" style="clear: both; text-align: justify;"><b style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><br /></span></b></div><div class="separator" style="clear: both; text-align: justify;"><b style="text-align: left;"><span style="color: #38761d; font-family: verdana; font-size: medium;"><i>'Il mio tesoro' live 1963 & 'Dalla sua pace' studio 1966: </i></span></b></div><p></p><p style="text-align: justify;"><b style="font-family: georgia; font-size: large;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/9W_rZ6UVQ8U" width="320" youtube-src-id="9W_rZ6UVQ8U"></iframe></b></p><p style="text-align: justify;"><b style="font-family: georgia; font-size: large;"></b></p><p style="text-align: justify;"><b style="font-size: medium; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/He88JGRh7k0" width="320" youtube-src-id="He88JGRh7k0"></iframe></b><b style="font-family: georgia; font-size: large;"><br /></b></p><p style="text-align: justify;"><b style="font-family: georgia; font-size: large;">After 2000 - <i><span style="color: #2b00fe;">Rudolf Schock</span></i> had already died 14 years before - smaller CD producers (including <i><span style="color: #990000;">'RELIEF' </span></i>by <i><span style="color: #2b00fe;">Rico Leitner</span></i>) surprise with EIGHT releases of <i><span style="color: #990000;">Mozart operas </span></i><span style="color: #990000;"><i>with Schock</i></span>: <i>RADIO</i> performances of <i><span style="color: #990000;">'Cosi fan tutte'</span></i> (Hamburg 1953 and Munich 1957), <i><span style="color: #990000;">'Die Zauberflöte'</span></i> (Cologne 1954) und <i><span style="color: #990000;">'Die Entführung aus dem Serail' </span></i>(Hamburg 1956). <i>LIVE</i> performances of <i><span style="color: #990000;">'Idomeneo'</span></i> (Salzburg 1956), <i><span style="color: #990000;">'Die Entführung aus dem Serail'</span></i> (Salzburg 1956), <i><span style="color: #990000;">'Die Zauberflöte' </span></i>(Geneva 1952 and Hamburg 1955).</b></p><p><span style="font-family: georgia; font-size: medium;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTHof3kf3t3-OAOsSgaSRkD4PDZYNgebFl_t9benok-rWPMgf1BeN8B3vfQSC63Gjk8bTx6IelaSFa3Og3Mn7bSEirMji_KvgTeRYnYrUYtRKG9CCDauX7V9pOc8hzXgEbkLqmNn-GsDo/s391/RS+als+Don+Ottavio+1948.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="240" data-original-width="391" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTHof3kf3t3-OAOsSgaSRkD4PDZYNgebFl_t9benok-rWPMgf1BeN8B3vfQSC63Gjk8bTx6IelaSFa3Og3Mn7bSEirMji_KvgTeRYnYrUYtRKG9CCDauX7V9pOc8hzXgEbkLqmNn-GsDo/s320/RS+als+Don+Ottavio+1948.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #783f04; font-size: x-small;"><b><i>Rudolf Schock: Don Ottavio<br />1948</i></b></span></td></tr></tbody></table><span style="font-family: georgia; font-size: medium;"><br /><b><br /></b></span><p></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><b style="font-family: georgia; font-size: large;">D e u t s c h :</b></p><p><span style="font-family: georgia; font-size: medium;"><b>Es ist schon seltsam, dass <span style="color: #2b00fe;">Rudolf Schock</span> im vorigen Jahrhundert so wenig in Schallplattenproduktionen von <span style="color: #990000;">Mozart-Opern</span> zu hören war. Live sang er europaweit in rund 1500 Aufführungen von Mozart-Opern, aber auf der Platte blieb es bei ein paar Einzelarien aus <i>'Die Zauberflöte'</i>, <i>'Cosi fan tutte'</i> und <i>'Don Giovanni'</i>. Nur <i><span style="color: #990000;">'Die Entführung aus dem Serail' </span></i>bekam 1953 ein solides Highlight-Album. Darauf hat der niederländische Opernspezialist <i><span style="color: #2b00fe;">Leo Riemens</span></i> besonders in seinem <i><span style="color: #990000;">'Grossen Opernbuch' </span></i>(1959) hingewiesen: <i>"Auf HMV existiert eine gute Highlight-Platte mit Erna Berger, Lisa Otto, Rudolf Schock, Gerhard Unger und Gottlob Frick, wobei man bedauert , dass in dieser Besetzung nicht das ganze Werk aufgenommen wurde".</i></b></span></p><p><b style="font-family: georgia; font-size: large;">In meiner Filmdokumentation <i>"Rudolf Schock: Das singe ich auch"</i> erklärt CD-Produzent <i><span style="color: #2b00fe;">Rico Leitner</span></i> plastisch, warum <i><span style="color: #2b00fe;">Rudolf Schock</span></i> so ein guter <span style="color: #2b00fe;"><i>Mozart-Sänger</i> </span>war. In <span style="color: #990000; font-style: italic;">'Don Giovanni' </span><span>e</span>twa war er kein <i>"lispelnder Gummi-Don Ottavio",</i> dem Schürzenjäger Don Giovanni gar nicht gewachsen, sondern eine ausgesprochen maskuline Figur, die auf seinen Mitadligen heftig reagiert. <i><span style="color: #2b00fe;">Schocks</span></i> Auftritte als <span style="color: #990000;"><i>Don Ottavio</i></span> an der Wiener Staatsoper wurden allein schon deshalb von der Opernkritik sehr gelobt. Trotzdem gibt es auf Tonträger von <i>Rudolf Schocks Don Ottavio <u>nur</u> zwei Arien</i>: <i><span style="color: #990000;">"Il mio tesoro"</span></i> aus dem zweiten Akt viermal, worunter eine Radio- und Konzert-Aufnahme, dazu - auf Deutsch - eine ziemlich späte Studio-Ausführung van <i><span style="color: #990000;">"Dalla sua pace"</span></i> aus dem ersten Akt.</b></p><p><b style="font-family: georgia; font-size: large;">Nach 2000 - <i><span style="color: #2b00fe;">Rudolf Schock</span></i> war bereits 14 Jahre zuvor gestorben - brachten kleinere CD-Produzenten (u.a. <i><span style="color: #2b00fe;">'RELIEF' </span></i>von <i><span style="color: #2b00fe;">Rico Leitner</span></i>) auf einmal <i>ACHT Mozart-Opern mit Schock</i> heraus: <i>RUNDFUNK</i>-Aufführungen von <i><span style="color: #990000;">'Cosi fan tutte' </span></i>(Hamburg 1953 und München 1957), <i><span style="color: #990000;">'Die Zauberflöte'</span></i> (Köln 1954), <i><span style="color: #990000;">'Die Entführung aus dem Serail'</span></i> (Hamburg 1956). <i>LIVE</i>-Auftritte von <i><span style="color: #990000;">'Idomeneo'</span></i> (Salzburg 1956), <i><span style="color: #990000;">'Die Entführung aus dem Serail' </span></i>(Salzburg 1956), <i><span style="color: #990000;">'Die Zauberflöte'</span></i> (Genf 1952 und Hamburg 1955).</b></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZKEJfA1LEzxLBxkkUXOBybhSpxl0wuLoaSmn0x-KVIJPQ-mpicxryX8kcWVwLimDcXx5NliwtugfCZDugM3aK5wogXdxxpaSX0mxj6_2O3kiZaYbUlPpaxl1kUXHhMg5yuvfWkuQrmZw/s348/RS+als+Tamino+%25282%2529.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="250" data-original-width="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZKEJfA1LEzxLBxkkUXOBybhSpxl0wuLoaSmn0x-KVIJPQ-mpicxryX8kcWVwLimDcXx5NliwtugfCZDugM3aK5wogXdxxpaSX0mxj6_2O3kiZaYbUlPpaxl1kUXHhMg5yuvfWkuQrmZw/s320/RS+als+Tamino+%25282%2529.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #783f04; font-family: georgia; font-size: x-small;"><b><i>Rudolf Schock: Tamino<br />(Zauberflöte)</i></b></span></td></tr></tbody></table><b><span style="color: #783f04; font-family: georgia; font-size: x-small;"><i><br /></i></span></b><p></p><p><b><span style="color: #783f04; font-family: georgia; font-size: x-small;"><i><br /></i></span></b></p><p><span style="color: #783f04; font-family: georgia; font-size: x-small;"><b><i><br /><span><br /></span></i></b></span></p><p><b><span style="color: #783f04; font-family: georgia; font-size: x-small;"><i><br /></i></span></b></p><p><b><span style="color: #783f04; font-family: georgia; font-size: x-small;"><i><br /></i></span></b></p><p><b><span style="color: #783f04; font-family: georgia; font-size: x-small;"><i><br /></i></span></b></p><p><b style="font-family: georgia; font-size: large;">N e d e r l a n d s</b></p><p><span style="font-family: georgia; font-size: medium;"><b>Het is best vreemd, dat in de vorige eeuw <i><span style="color: #2b00fe;">Rudolf Schock</span></i> zo weinig te horen was in platenprodukties van <i><span style="color: #990000;">Mozart-opera's</span></i>. Live zong hij overal in Europa in rond 1500 voorstellingen van Mozart-opera's, maar op de plaat bleef het bij een paar losse aria's uit <i>'Die Zauberflöte', 'Cosi fan tutte'</i> en <i>'Don Giovanni'</i>. Alleen van <i><span style="color: #990000;">'Die Entführung aus dem Serail'</span></i> verscheen er in 1953 een stevige hoogtepuntenplaat (<i>"grosser Querschnitt"</i>). De Nederlandse operaspecialist <i><span style="color: #2b00fe;">Leo Riemens</span></i> wees daar speciaal op in zijn <i><span style="color: #990000;">'Groot Operaboek'</span></i> (Elsevier 1959): </b></span><b style="font-family: georgia; font-size: large;"><i>"Een goede highlight-plaat bestaat op HMV, met Erna Berger, Lisa Otto, Rudolf Schock, Gerhard Unger en Gottlob Frick, waarbij men betreurt, dat in deze bezetting het hele werk niet werd opgenomen".</i></b></p><p><b style="font-family: georgia; font-size: large;">In mijn filmdocumentatie <i>'Rudolf Schock: I sing that too' </i>legt CD-producent <i><span style="color: #2b00fe;">Rico Leitner</span></i> plastisch uit, waarom <i><span style="color: #2b00fe;">Rudolf Schock</span></i> zo'n goede <i>Mozartzanger </i>was. In <i><span style="color: #990000;">'Don Giovanni'</span></i> bijv. was hij geen<i> "lispelende, rubberen Don Ottavio"</i>, die niet opgewassen was tegen womanizer Don Giovanni, maar een uitgesproken mannelijke verschijning, die zijn collega edelman heftig van repliek dient. <i><span style="color: #2b00fe;">Schock</span></i>'s optredens als <i><span style="color: #2b00fe;">Don Ottavio</span></i> aan de Weense Staatsopera kregen alleen daarom al bewonderende kritieken van operarecensenten. </b><b style="font-family: georgia; font-size: large;">Desondanks komen van <i>Rudolf Schock's Don Ottavio</i> op toondrager <u>slechts</u> twee aria's voor: <i><span style="color: #990000;">'Il mio tesoro'</span></i> uit de tweede akte overigens viermaal, waaronder een radio- en een concertregistratie, plus - in het Duits - rijkelijk laat een studio-</b><b style="font-family: georgia; font-size: large;"><i><span style="color: #990000;">'Dalla sua pace'</span></i></b><b style="font-family: georgia; font-size: large;"> uit de eerste akte.</b></p><p><b style="font-family: georgia; font-size: large;">Na 2000 - <i><span style="color: #2b00fe;">Rudolf Schock</span></i> was al 14 jaar daarvoor overleden - brachten kleinere CD-producenten (o.a. <i><span style="color: #2b00fe;">'RELIEF'</span></i> van <i><span style="color: #2b00fe;">Rico Leitner</span></i>) opeens wel <i><span style="color: #990000;">Mozartopera's met Schock</span></i> uit: </b><b style="font-family: georgia; font-size: large;"><i>RADIO</i>-uitvoeringen van <i><span style="color: #990000;">'Cosi fan tutte'</span></i> (Hamburg 1953 en München 1957), <i><span style="color: #990000;">'Die Zauberflöte'</span></i> (Keulen 1954),<i><span style="color: #990000;"> 'Die Entführung aus dem Serail' </span></i>(Hamburg 1956). </b><b style="font-family: georgia; font-size: large;"><i>LIVE</i>-uitvoeringen van <i><span style="color: #990000;">'Idomeneo'</span></i> (Salzburg 1956), <i><span style="color: #990000;">'Die Entführung aus dem Serail' </span></i>(Salzburg 1956),<i><span style="color: #990000;"> 'Die Zauberflöte' </span></i>(Genève 1952 en Hamburg 1955).</b></p><p><b style="font-family: georgia;"><span style="font-size: x-small;">Krijn de Lege, 6.6.2021 / 25.7.2023</span></b></p>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-30758179755472530102023-04-16T10:34:00.001+01:002023-04-27T13:31:43.674+01:00Raritäten-Label RELIEF : UNTERBEWERTET<p></p><p class="MsoNormal"><span style="font-family: verdana;"><b><span style="color: red;">> </span><span style="color: red;">n</span><span style="color: red;">ederlandse tekst</span><span><span style="color: red;">: </span><span style="color: black;"><a href="https://tenorschock.blogspot.com/2023/04/rico-leitners-kwaliteits-cd-label.html"><span style="color: black;">https://tenorschock.blogspot.com/2023/04/rico-leitners-kwaliteits-cd-label.html</span></a><span style="font-size: large;"> </span></span></span></b></span></p><p class="MsoNormal"><span style="color: red;"><b><span style="font-family: verdana;"><span>> </span><span>e</span><span>nglish text: </span></span></b></span><a href="https://tenorschock.blogspot.com/2023/04/rico-leitners-quality-cd-label-relief.html"><span style="color: black;"><span style="font-family: verdana;"><b>https://tenorschock.blogspot.com/2023/04/rico-leitners-quality-cd-label-relief.html</b></span><b><span style="font-family: Georgia, serif;"> </span></b></span></a></p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="DE-CH"><i><span style="color: #2b00fe; font-family: georgia; font-size: x-large;">Raritäten-Label RELIEF: Unterbewertet</span></i></span></b></p>
<p class="MsoNormal"><b><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">Das CD-Label
RELIEF hat sich jahrelang mit der Pflege des Andenkens an den Tenor <span style="color: #c00000;"><i>Rudolf Schock</i></span> beschäftigt. </span></b></p><p class="MsoNormal"><b><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">Leider
enttäuscht das Interesse.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">Es fing so
schön an: Anfang des 21. Jahrhunderts präsentierte der Schweizer Verleger <span style="color: #2b00fe;"><i style="mso-bidi-font-style: normal;">Rico Leitner</i>
</span>auf dem CD-Label <i><span style="color: #990000;">RELIEF</span></i> zum 90. Geburtstag des grossen deutschen Tenors ein
Doppelalbum (2 CD), das 31 Opernarien aus dem ureigensten Repertoire von Rudolf
Schock, nämlich dem des lyrischen Tenors, enthielt. Dazu kamen 8 bis dannzumal
unveröffentlichte Lieder:<o:p></o:p></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"></b></p><div class="separator" style="clear: both; text-align: left;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-PXP04Yo9rA2NWIWxLzTNkH62l4c5wj2ry-WAT3gy3gDIYnqgP2-YCKic4jPGAHaEJh0F0KdN373TIxGYAFqWdbzllXOZzIXBEpGvbLZP9OyT2_GAq9ztKMqE-SPxBkDqEh3MwuBP1tWVvWBlP_D4HZ2m4GgYoE-EytYKSQy1wEpzJBjuQOenSe-X/s320/Relieffoto%20Schock.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="319" data-original-width="320" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-PXP04Yo9rA2NWIWxLzTNkH62l4c5wj2ry-WAT3gy3gDIYnqgP2-YCKic4jPGAHaEJh0F0KdN373TIxGYAFqWdbzllXOZzIXBEpGvbLZP9OyT2_GAq9ztKMqE-SPxBkDqEh3MwuBP1tWVvWBlP_D4HZ2m4GgYoE-EytYKSQy1wEpzJBjuQOenSe-X/w200-h199/Relieffoto%20Schock.jpg" width="200" /></a></b></div><p></p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">In einem
umfangreichen Begleitheft mit einer ausführlichen Lebensbeschreibung und 20
ausgewählten Fotografien, die von Frau <i>Gisela Schock </i>beigesteuert worden
waren,<span style="mso-spacerun: yes;"> </span>konnten sich auch Kreise, die
Rudolf Schock nicht mehr persönlich auf der Bühne erlebt hatten, über den
populären Startenor informieren.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">RELIEF konnte
für dieses Album auf die Sammlung von <i>Wilfried Chlosta</i> zurückgreifen, der mit
Rudolf Schock befreundet gewesen war. Später sollten aus dieser Sammlung noch
drei Operntitel für die Herausgabe auf CD übernommen werden.<o:p></o:p></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">In den
vergangenen zwanzig Jahren sind auf RELIEF-CD insgesamt <span style="color: #990000; font-size: medium;"><i>elf</i></span> Gesamtaufnahmen von
Opern, Operetten und Oratorien sowie der Liederzyklus <span style="color: #990000;"><i>„Die schöne Müllerin“</i>
</span>(mit <span style="color: #2b00fe;"><i>Gerald Moore</i></span> am Klavier) und die Sammlung der bei EMI erschienen
<i><span style="color: #990000;">Lied-Aufnahmen</span></i> auf 2 CD herausgebracht worden.<o:p></o:p></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">Musikalische Kostprobe aus RELIEFS <i><span style="color: #990000;">'Die schöne Müllerin'</span></i>:</span></b></p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"></b></p><div class="separator" style="clear: both; text-align: left;"><b style="mso-bidi-font-weight: normal;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/XX5oz_iViqE" width="320" youtube-src-id="XX5oz_iViqE"></iframe></b></div><p></p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">Der Verleger
<i>Rico Leitner</i> machte es sich<span style="color: red;"> </span>nicht leicht,
Aufnahmen zu finden, die bis zu Beginn dieses Jahrhunderts als verschollen
galten. Die RIAS-Aufnahme von Lehárs <span style="color: #990000;"><i>„Zigeunerliebe“</i> </span>(1951) gehörte dazu. Er
erwirkte auch vom Staatstheater Braunschweig die Erlaubnis zur Veröffentlichung
einer Live-Aufnahme (!) der Operette <i><span style="color: #990000;">„Das Land des Lächelns“</span><span>.</span></i></span></b></p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;"><b style="font-family: "Times New Roman"; mso-bidi-font-weight: normal;"><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">Musikalische Kostprobe aus RELIEFS <span style="color: #990000; font-style: italic;">'Das Land des Lächelns'</span><span>:</span></span></b></span></b></p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"></b></p><div class="separator" style="clear: both; text-align: left;"><b style="mso-bidi-font-weight: normal;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/o5P7DkIbDv4" width="320" youtube-src-id="o5P7DkIbDv4"></iframe></b></div><p></p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">Ebenso vom „Radio
de la Suisse Romande“ (Rundfunk der französischen Schweiz) die Erlaubnis zur Veröffentlichung des Musikteils von
Mozarts <i><span style="color: #990000;">„Zauberflöte“ </span></i>(die gesprochenen Dialoge waren nicht mehr erhalten) in einer Aufnahme eines Gastspieles der Staatsoper Wien in Genf im Oktober 1952 unter
<i>Heinrich Hollreiser</i>, in der auch <i>Rita Streich</i>, <i>Valérie Bak</i>, <i>Gottlob Frick</i> und
<i>Horst Günter </i>mitwirkten. </span></b><b style="mso-bidi-font-weight: normal;"><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">Diese <i><span style="color: #990000;">„Zauberflöte“</span></i>
(CD RELIEF CR 1910) gehört zu den wichtigsten in der Diskographie von Rudolf
Schock, denn der <i>„Tamino“ </i>ist Schocks meistgesungene Bühnenrolle. Er hat sie in
mehr als einhundert verschiedenen Inszenierungen gesungen! Das wird von den
Leuten, die ihn heute in überheblicher Weise als Schnulzensänger abqualifizieren,
prinzipiell übersehen.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">In den
1950er-Jahren nahm Rudolf Schock bei EMI <i>zwei <span style="color: #990000;">gemischte Liedprogramme </span></i>(<i>Brahms,
Mozart, Schubert, Schumann, Strauss, Wolf</i>) , den Zyklus <span style="color: #990000;"><i>„Die schöne Müllerin“</i>
</span>und <i>acht <span style="color: #990000;">Orchesterlieder</span></i><span style="color: #990000;"> </span>von <i>Richard Strauss</i> auf. <o:p></o:p></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;"><b style="font-family: "Times New Roman"; mso-bidi-font-weight: normal;"><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">Musikalische Kostprobe aus RELIEFS <i><span style="color: #990000;">Liedprogramm</span></i>:</span></b></span></b></p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"></b></p><div class="separator" style="clear: both; text-align: left;"><b style="mso-bidi-font-weight: normal;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/zqUDZ40_se8" width="320" youtube-src-id="zqUDZ40_se8"></iframe></b></div><p></p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">Die beiden
<i><span style="color: #990000;">Liedprogramme</span></i>, <i>Schumann</i>s <span style="color: #990000;"><i>„Dichterliebe“</i> </span>und die acht <i><span style="color: #990000;">Orchesterlieder</span> </i>von
<i>Richard Strauss</i> sind im 2-CD-Album RELIEF CR 3010 (<i><span style="color: #990000;">„Rudolf Schock, Lieder“</span></i>)
enthalten, während <i><span style="color: #990000;">„Die schöne Müllerin“ </span></i>(RELIEF CR 3006) auf einer Einzel-CD
erhältlich ist.<o:p></o:p></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;"><span style="font-size: medium;"><i>Diese beiden
Alben sollten die letzten RELIEF-Ausgaben von Rudolf-Schock-Aufnahmen sein</i>.</span>
Dafür gibt es zwei Gründe:<o:p></o:p></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">Aus
musikalischer Sicht stellen Sie einen Höhepunkt in Schocks Diskographie dar und
bilden damit einen sinnfälligen Abschluss der Gedenk-Reihe. </span></b><b><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">Aus
kommerzieller Sicht ist der Verkauf von CD leider seit Jahren in einem
zunehmenden Abwärtstrend begriffen. Das hat mit mehreren Faktoren im Markt zu
tun. Das Verschwinden von CD-Fachgeschäften und die Möglichkeit, über
Internet-Kanäle viele Musikaufnahmen kostenlos beziehen zu können, gehören
dazu. Bedauerlicherweise stellt sich auch heraus, dass die sogenannten „Fans“
von Künstlern keineswegs immer zur Unterstützung editorischer Bemühungen zum
Erhalt des Andenkens an ihr Idol bereit sind.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">Im Falle
Rudolf Schocks muss auch davon gesprochen werden, dass seine beispiellose
Popularität dank tausender von Fernseh-Auftritten sich auf seinen Ruf als
vorbildlicher Mozart-Interpret oder Liedsänger negativ ausgewirkt hat:
Einerseits ist er vor allem von der deutschen Kritikergilde nicht mehr ernst
genommen worden <i style="mso-bidi-font-style: normal;">(„Ein ernsthafter
Opernsänger singt keine Schnulzen…“</i>) und andererseits sind mit der Zeit
seine „Fernsehfans“ zahlenmässig stark über das Opernpublikum hinausgewachsen,
was natürlich auch den Verkauf seiner Klassik-Aufnahmen sinken liess. <s><span style="color: red;"><o:p></o:p></span></s></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">Der hier zur
Verfügung stehende Raum reicht nicht aus, um eine wissenschaftliche
Untersuchung für das Vergessen einst grosser und berühmter Namen zu
veröffentlichen. Im Falle des CD-Labels <i><span style="color: #990000;">RELIEF</span></i> darf gesagt werden, dass <i><span style="color: #2b00fe;">Rico
Leitner</span></i> sich mit dem Gedenken an <i><span style="color: #990000;">Rudolf Schock</span></i> grosse Mühe gegeben hat,
Aufnahmen in der bestmöglichen Qualität herauszugeben (die meisten waren ja
nicht primär für die Veröffentlichung auf Schallplatte oder CD geplant). Mit
der Zeit aber begann der finanzielle Einsatz für dieses Ziel für die Firma
gefährlich zu werden, weil die Verkäufe selten mehr auch nur die Investition
einbrachten. </span></b><b style="mso-bidi-font-weight: normal;"><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">An die
deutsche Rechtssprechung muss der Vorwurf gerichtet werden, Firmen, die vom
Kopieren der CD anderer Firmen leben, völlig unbehelligt zu lassen. Auch diese
Verluste wirken sich mit der Zeit negativ aus!</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">Es soll aber nicht weiter geklagt werden.<o:p></o:p></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">Die
Schock-Ausgaben bei RELIEF sind von vielen Kritikern gewürdigt worden. Es seien
an dieser Stelle und zum Abschluss dieser Zeilen einige dieser Besprechungen
aus neuerer Zeit zitiert:<o:p></o:p></span></b></p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"></b></p><div class="separator" style="clear: both; text-align: left;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha49obrngvpjeJZpIibeisEHzARdmlp2RKJjac2soyyImEFebCWz8JPFWVccWIZEcB76woYun4tIckzDD_WsfkMSI-sldkR7FyfKu36w9OxcTnlSWtVJLs9jTbvzJv9veIpXtAETJudH37W-9dN85Eo9v7g5Q49UiD0v0Gh_VEcY09X7YEptDnBF7r/s340/RS%20LIEDERPROGRAMM.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha49obrngvpjeJZpIibeisEHzARdmlp2RKJjac2soyyImEFebCWz8JPFWVccWIZEcB76woYun4tIckzDD_WsfkMSI-sldkR7FyfKu36w9OxcTnlSWtVJLs9jTbvzJv9veIpXtAETJudH37W-9dN85Eo9v7g5Q49UiD0v0Gh_VEcY09X7YEptDnBF7r/w200-h200/RS%20LIEDERPROGRAMM.jpg" width="200" /></a></b></div><b style="mso-bidi-font-weight: normal;"><b><span style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;"><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><b><span style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">1.)
- <i>"... eine Schatztruhe sondergleichen ... ungewohnt ungekünstelt,
ohne Sentimentalitäten gestaltet ... jede Wendung intensiv, ohne emotionale
Übertreibung ... keine Form von Manieren. Setzt immer noch Maßstäbe - auch
heute noch"</i> (<span style="color: #2b00fe;">Werner Pfister</span> in 'Fonoforum “ 2019);</span></b></b></p></span></b></b><p></p>
<p><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">2.) <span style="mso-bidi-font-weight: bold;">- <i>"Die
Feinheit seiner Ausdruckskraft, die Kunstfertigkeit seines Legatos (</i><i style="mso-bidi-font-style: normal;">die perfekte Verbindung von Wörtern und
Sätzen<span style="mso-bidi-font-style: italic;">), aber auch die klare Diktion (</span>Verständlichkeit<span style="mso-bidi-font-style: italic;">) und nicht zuletzt seine schöne Stimme
machen seinen Gesang zu einem Erlebnis“</span></i> (<span style="color: #2b00fe;">Francois Lilienfeld</span> in
'Ensuite' 2019);</span><o:p></o:p></span></b></p>
<p><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">3.) <span style="mso-bidi-font-weight: bold;">-<span style="mso-bidi-font-style: italic;"> <i>"... Rudolf
Schock hatte seine eigene Stilauffassung, sang gleichsam aus dem Herzen.
Und genau das macht diese Liedaufnahmen, die aus Schocks großen Gesangsjahren
stammen, so einzigartig. Was sofort fasziniert, ist Schocks absolut
selbstverständlicher Umgang mit dieser Kunstform. Er singt diese Juwelen deutscher
Liedkunst, ohne einen Moment pompös zu werden. Bewundernswert sind die präzise
Intonation, das Legato, der unglaublich lange Atem, die natürliche Musikalität
und vor allem die glasklare Verständlichkeit der Texte!"</i></span> (<span style="color: #2b00fe;">John
H. Müller</span>, Onlinemerker, 2018);</span><o:p></o:p></span></b></p>
<p><b><span style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">4.)
- <i>"… offensichtlich ging es Schock immer darum,
Ereignisse, Gefühle oder Eindrücke aus dem Liedinhalt zu interpretieren. Sein
Publikum musste verstehen, was passiert, was die Komponisten und ihre
Textdichter mitteilen wollten. Er definierte dies mit seiner makellosen
theatralischen Intuition und schenkte es seinem Publikum weiter. Das machte ihn
so einzigartig, das war auch sein Erfolg bei all jenen Menschen, die sich nicht
getraut hätten, zu einer Wagner-Aufführung (</i><span style="color: #0b5394;">oder Liederabend - KdL</span><span style="font-style: italic;">) zu gehen.
Wer den Liedern aufmerksam zuhört, wird feststellen , dass jedes Wort
verstanden werden kann, auch schwer verständliche Wörter, wie „das
Grillchen“, das auf „Anakreons Grab“ von Hugo Wolf</span><i> </i><span style="font-style: italic;">„ergötzt“. Schocks Liedergesang war auch
Sprachpflege ...“</span> (<span style="color: #2b00fe;">Rüdiger Winter</span>, Operalounge, 2018).</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;"><o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial; mso-bidi-font-style: italic;">Rudolf Schock </span></b><b><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;">identifiziert
sich auf selbstverständliche Weise und vollkommen natürlich mit den von ihm
gesungenen Liedern: in Schuberts <span style="color: #990000;"><span style="mso-bidi-font-style: italic;"><i>„Schöne
Müllerin“</i></span> </span>IST er der verliebte junge Mann und kein Herr, der am
Bach entlang geht und die Umgebung distanziert in sich aufnimmt. Jeder
Musikliebhaber und erst recht jeder, der die Kunst <span style="mso-bidi-font-style: italic;">Rudolf Schock</span>s zu schätzen weiß und seine Stimme liebt, erkennt,
dass Schock<span style="mso-bidi-font-style: italic;"> <i>„im Singen einen
Szenenvorgang sichtbar zu machen wüsste“</i> </span>(<i>Jürgen Kesting</i> in
einem Gedenkvideo des Bayerischen Rundfunks).<o:p></o:p></span></b></p><p class="MsoNormal"><b><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;"><o:p> </o:p></span></b><b><span lang="DE-CH" style="font-family: "Georgia","serif"; mso-bidi-font-family: Arial;"><i>© Krijn de Lege, 16.4.2023</i></span></b></p><p class="MsoNormal"><b><span lang="DE-CH" style="font-family: Georgia, "serif";"><span style="color: red;"><i>N.B. :</i></span></span></b></p><p class="MsoNormal"><b><span lang="DE-CH" style="font-family: Georgia, "serif";"><span style="color: #2b00fe;"><i>RELIEF-CD</i> </span>werden produziert von der
Firma <i><span style="color: #2b00fe;">SONIMEX AG</span></i>, 9000-St.Gallen (Schweiz). (<a href="mailto:sonimex@sunrise.ch">sonimex@sunrise.ch</a>)</span></b></p>
<p class="MsoNormal"><b><span lang="DE-CH" style="font-family: Georgia, "serif";">Der Vertrieb erfolgt über <i style="mso-bidi-font-style: normal;">Note 1 Music GmbH, Bergheimer Strasse 126, </i></span></b><b><i><span lang="DE-CH" style="font-family: Georgia, "serif";">DE
69115 Heidelberg (<a href="mailto:info@note1-music.com">info@note1-music.com</a>).</span></i></b></p>
<p class="MsoNormal"><b><span lang="DE-CH" style="font-family: Georgia, "serif";">Die RELIEF-Produktionen sind in
<i>Fachgeschäften</i> (wo es sie noch gibt) und beim einschlägigen Versandhandel
erhältlich (z.B. <i>jpc, Amazon und andere</i>). </span></b></p>
<p class="MsoNormal"><br /></p><p></p>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-9781173901313521322023-04-16T10:23:00.001+01:002023-04-16T10:38:27.736+01:00RICO LEITNER's kwaliteits CD-label 'RELIEF': niet op de juiste waarde geschat <p><b><span style="font-family: verdana;"><span style="color: red;">> deutscher Text: </span><a href="https://tenorschock.blogspot.com/2023/04/raritaten-label-relief-unterbewertet.html"><span style="color: black;">https://tenorschock.blogspot.com/2023/04/raritaten-label-relief-unterbewertet.html</span></a></span></b></p><p><b><span style="font-family: verdana;"><span style="color: red;">> english text: </span><a href="https://tenorschock.blogspot.com/2023/04/rico-leitners-quality-cd-label-relief.html"><span style="color: black;">https://tenorschock.blogspot.com/2023/04/rico-leitners-quality-cd-label-relief.html</span></a></span></b></p><p><span style="color: #2b00fe; font-family: georgia; font-size: x-large;"><b><i><span>Curiositeiten CD-Label </span><span>RELIEF</span><span>: onderschat</span></i></b></span></p><p><b style="font-family: georgia;">Het Cd-label <i><span style="color: #2b00fe;">RELIEF </span></i>heeft zich jarenlang bezig gehouden met de instandhouding van de herinnering aan de tenor <i><span style="color: #990000;">Rudolf Schock</span></i>.</b></p><p><b style="font-family: georgia;">Helaas stelt de belangstelling teleur.</b></p><p><b style="font-family: georgia;">Het begon zo mooi: aan het begin van de 21e eeuw presenteerde de Zwitserse uitgever <i><span style="color: #2b00fe;">Rico Leitner</span></i> een dubbelalbum (2 cd's) op het cd-label <i><span style="color: #990000;">RELIEF</span></i> t.g.v. de 90e verjaardag van de grote Duitse tenor met 31 opera-aria's uit Rudolf Schocks wezenlijk eigen repertoire, namelijk dat van de lyrische tenor. Aangevuld met 8 tot dan toe niet uitgebrachte klassieke liederen.</b></p><p><b style="font-family: georgia;"><b style="font-family: "Times New Roman"; mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-PXP04Yo9rA2NWIWxLzTNkH62l4c5wj2ry-WAT3gy3gDIYnqgP2-YCKic4jPGAHaEJh0F0KdN373TIxGYAFqWdbzllXOZzIXBEpGvbLZP9OyT2_GAq9ztKMqE-SPxBkDqEh3MwuBP1tWVvWBlP_D4HZ2m4GgYoE-EytYKSQy1wEpzJBjuQOenSe-X/s320/Relieffoto%20Schock.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="319" data-original-width="320" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-PXP04Yo9rA2NWIWxLzTNkH62l4c5wj2ry-WAT3gy3gDIYnqgP2-YCKic4jPGAHaEJh0F0KdN373TIxGYAFqWdbzllXOZzIXBEpGvbLZP9OyT2_GAq9ztKMqE-SPxBkDqEh3MwuBP1tWVvWBlP_D4HZ2m4GgYoE-EytYKSQy1wEpzJBjuQOenSe-X/w200-h199/Relieffoto%20Schock.jpg" width="200" /></a></b></b></p><p><b style="font-family: georgia;">In een omvangrijk begeleidend boekje met een uitvoerige biografie en 20 door mevrouw <i>Gisela Schock </i>uitgekozen foto's, konden ook mensen, die Rudolf Schock niet persoonlijk op het podium beleefd hadden, meer te weten komen over de populaire stertenor.</b></p><p><b style="font-family: georgia;">RELIEF kon voor dit album teruggrijpen op de collectie van <i>Wilfried Chlosta</i>, die bevriend was geweest met Rudolf Schock. Later zouden daaraan nog drie operatitels extra uit deze collectie worden toegevoegd.</b></p><p><b style="font-family: georgia;">In de afgelopen twintig jaar bracht RELIEF-CD in totaal <i><span style="color: #2b00fe;">elf </span></i>volledige opnames van opera's, operettes en oratoria uit PLUS de <i>liederencyclus</i> <i><span style="color: #990000;">"Die schöne Müllerin"</span></i> (met <i><span style="color: #2b00fe;">Gerald Moore</span> </i>aan de piano) en op dubbel-cd een </b><b style="font-family: georgia;"><i><span style="color: #990000;">verzameling liedopnamen</span></i>, die</b><b style="font-family: georgia;"> eind jaren vijftig bij EMI waren verschenen.</b></p><p><span style="font-family: georgia;"><b>Muzikaal voorproefje uit <i><span style="color: #990000;">'Die schöne Müllerin'</span></i>:</b></span></p><p><span style="font-family: georgia;"></span></p><div class="separator" style="clear: both; text-align: left;"><span style="font-family: georgia;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/XX5oz_iViqE" width="320" youtube-src-id="XX5oz_iViqE"></iframe></span></div><p></p><p><b style="font-family: georgia;">Uitgever <i><span style="color: #2b00fe;">Rico Leitner</span> </i>maakte het zichzelf niet gemakkelijk door naar opnamen te speuren, die tot aan het begin van deze eeuw als "<i>verloren gegaan</i>" werden beschouwd. De RIAS-opname van Lehárs <i><span style="color: #990000;">"Zigeunerliebe" </span></i>(1951) was er één van. Ook kreeg hij toestemming van het Staatstheater Braunschweig om een live-opname (!) van de operette <i><span style="color: #990000;">"Das Land des Lächelns"</span></i> te publiceren.</b></p><p><b style="font-family: georgia;"><b>Muzikaal voorproefje uit RELIEFS live <span><span style="color: #990000; font-style: italic;">'Das Land des Lächelns'</span><span>:</span></span></b></b></p><p></p><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/o5P7DkIbDv4" width="320" youtube-src-id="o5P7DkIbDv4"></iframe></div><p></p><p><b style="font-family: georgia;">"Radio de la Suisse Romande" (radiostation in Franstalig Zwitserland) deed hetzelfde v.w.b. een live-opname van het <u>muzikale</u> deel van Mozarts <span style="color: #990000;"><i>"Zauberflöte"</i> </span>(het gesproken deel was vernietigd) tijdens een gastoptreden in Genève van de </b><b style="font-family: georgia;">Weense Staatsopera (oktober 1952) </b><b style="font-family: georgia;">o.l.v. <i>Heinrich Hollreiser</i>, waaraan ook<i> Rita Streich, Valérie Bak, Gottlob Frick </i>en<i> Horst Günter </i>meewerkten. </b><b style="font-family: georgia;">Deze <i><span style="color: #990000;">"Zauberflöte' </span></i>(CD RELIEF CR 1910) is een van de belangrijkste in de discografie van Rudolf Schock, omdat <i>"Tamino"</i> Schocks meest gezongen toneelrol is. Hij zong hem in meer dan honderd verschillende producties! Dit wordt principieel over het hoofd gezien door de mensen die hem tegenwoordig arrogant afdoen als <i>"Schnulzensänger"</i> (sentimentele volks- of liedjeszanger).</b></p><p><b style="font-family: georgia;">In de jaren vijftig nam <i><span style="color: #990000;">Rudolf Schock</span></i> twee gemengde <i><span style="color: #990000;">liedprogramma's</span></i> op (<i>Brahms, Mozart, Schubert, Schumann, Strauss, Wolf</i>) voor EMI, de cyclus <i><span style="color: #990000;">"Die schöne Müllerin"</span></i> en acht <i>orkestliederen van Richard Strauss</i>.</b></p><p><b style="font-family: georgia;"><b>Muzikaal voorproefje uit RELIEFS <i><span style="color: #990000;">liedprogramma</span></i>:</b></b></p><p><b style="font-family: georgia;"></b></p><div class="separator" style="clear: both; text-align: left;"><b style="font-family: georgia;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/zqUDZ40_se8" width="320" youtube-src-id="zqUDZ40_se8"></iframe></b></div><p></p><p><b style="font-family: georgia;">De twee <i><span style="color: #990000;">liedprogramma's</span></i>, <i>Schumann</i>s <i><span style="color: #990000;">"Dichterliebe"</span></i> en de acht <i><span style="color: #990000;">orkestliederen</span></i> van <i>Richard Strauss</i> zijn opgenomen in het 2-cd-album RELIEF CR 3010 (<i>"Rudolf Schock, Lieder"</i>), terwijl <span style="color: #990000;"><i>"Die schöne Müllerin"</i></span> (RELIEF CR 3006) op één enkele cd beschikbaar is.</b></p><p><b style="font-family: georgia;"><span style="font-size: medium;"><i>Deze twee albums moeten worden beschouwd als de laatste RELIEF-uitgaven van Rudolf Schock-opnamen</i></span>. Daarvoor zijn twee redenen:</b></p><p><span style="font-family: georgia;"><b>1) In muzikaal opzicht zijn ze een hoogtepunt in Schock's discografie</b></span><b style="font-family: georgia;"> en vormen daarmee een zinvolle afsluiting van de herdenkingsreeks.</b></p><p><b style="font-family: georgia;">2) Commercieel gezien dalen de verkoopcijfers van cd's helaas al jaren steeds sneller. Dit heeft te maken met verscheidene factoren in de markt. Denk hierbij aan het verdwijnen van cd-speciaalzaken en de mogelijkheid via internetkanalen veel muziekopnamen gratis te verkrijgen. Helaas blijkt ook dat de "fans" van artiesten bij lange na niet altijd bereid zijn redactionele inspanningen te ondersteunen om de herinnering aan hun idool levend te houden.</b></p><p><b style="font-family: georgia;">In het geval van Rudolf Schock moet ook worden gezegd dat zijn weergaloze populariteit, dankzij duizenden televisieoptredens, een negatieve invloed heeft gehad op zijn reputatie als voorbeeldige Mozart- en liedzanger: enerzijds is hij veelal niet langer serieus genomen, vooral door het Duitse recensentengilde (<i>"Een serieuze operazanger zingt niet van die sentimentele liedjes ..."</i>) en anderzijds zijn zijn <i>"televisiefans"</i> in de loop van de jaren ten opzichte van het operapubliek in de minderheid geraakt, wat natuurlijk ook de verkoop van zijn opnames met klassieke muziek deed dalen.</b></p><p><b style="font-family: georgia;">Een blogartikel als dit is niet geschikt om een wetenschappelijk onderzoek te publiceren naar het vergeten van eens grote en beroemde namen. Wat het cd-label <i><span style="color: #2b00fe;">RELIEF</span></i> betreft, kan worden gesteld dat <span style="color: #990000;"><i>Rico Leitner</i> </span>zich voor de herinnering aan <i><span style="color: #990000;">Rudolf Schock</span></i> enorm heeft ingespannen om opnamen in de best mogelijke kwaliteit uit te brengen (de meeste waren immers niet in de eerste plaats bedoeld om op vinyl of cd uitgebracht te worden). Met de jaren begon echter de financiële inzet voor dit doel gevaarlijk te worden voor de firma, omdat de verkoopopbrengsten nog maar zelden de investeringen dekten. De Duitse rechtspraak moet worden verweten, dat zij bedrijven,</b><b style="font-family: georgia;"> die leven van het kopiëren van cd's van andere bedrijven, volkomen ongemoeid laat. Ook die </b><b style="font-family: georgia;">verliezen hebben na verloop van tijd een negatieve invloed!</b></p><p><b style="font-family: georgia;">Maar ik moet nu ophouden met klagen: de Rudolf Schock-CD's van RELIEF zijn door veel critici met waardering ontvangen. Als afsluiting van deze tekst citeer ik graag nieuwe recensies van de laatste tijd:</b></p><p><b style="font-family: georgia;"><b style="font-family: "Times New Roman"; mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha49obrngvpjeJZpIibeisEHzARdmlp2RKJjac2soyyImEFebCWz8JPFWVccWIZEcB76woYun4tIckzDD_WsfkMSI-sldkR7FyfKu36w9OxcTnlSWtVJLs9jTbvzJv9veIpXtAETJudH37W-9dN85Eo9v7g5Q49UiD0v0Gh_VEcY09X7YEptDnBF7r/s340/RS%20LIEDERPROGRAMM.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha49obrngvpjeJZpIibeisEHzARdmlp2RKJjac2soyyImEFebCWz8JPFWVccWIZEcB76woYun4tIckzDD_WsfkMSI-sldkR7FyfKu36w9OxcTnlSWtVJLs9jTbvzJv9veIpXtAETJudH37W-9dN85Eo9v7g5Q49UiD0v0Gh_VEcY09X7YEptDnBF7r/w200-h200/RS%20LIEDERPROGRAMM.jpg" width="200" /></a></b></b></p><p><b style="font-family: georgia;">1.) - <i>"... een ongeëvenaarde schatkist ... buitengewoon ongekunsteld, zonder sentimentaliteiten weergegeven ... elke zinswending intensief, zonder emotionele overdrijving ... geen 'maniertjes'... stelt nog steeds de norm - ook vandaag nog" </i>(<span style="color: #2b00fe;">Werner Pfister</span> in 'Fonoforum' 2019);</b></p><p><b style="font-family: georgia;">2.) - <i>"De verfijndheid van zijn expressiviteit, het kunstenaarschap van zijn legato (de perfecte verbinding van woorden en zinnen), maar ook de heldere dictie (verstaanbaarheid) en niet in de laatste plaats zijn prachtige stem maken zijn zang tot een belevenis"</i> (<span style="color: #2b00fe;">Francois Lilienfeld</span> in 'Ensuite' 2019);</b></p><p><b style="font-family: georgia;">3.) - <i>"...Rudolf Schock had zijn eigen stijlopvatting, hij zong als het ware uit het hart. En dat is precies wat deze liedopnamen, die uit Schocks grote zangjaren stammen, zo uniek maakt. Wat meteen fascineert, is Schocks volkomen vanzelfsprekende omgang met deze kunstvorm. Hij zingt deze pareltjes van de Duitse liedkunst zonder ook maar een moment pompeus te worden. Zijn precieze intonatie, legato, ongelooflijk lange adem, natuurlijke muzikaliteit en vooral glasheldere verstaanbaarheid van de teksten zijn bewonderenswaardig!" </i>(<span style="color: #2b00fe;">John H. Müller</span>, Online Merker, 2018);</b></p><p><b style="font-family: georgia;">4.) - <i>"... klaarblijkelijk ging het Schock altijd daarom, gebeurtenissen, gevoelens of indrukken vanuit de inhoud van een lied te interpreteren. Zijn publiek moest begrijpen wat er gebeurt, wat de componisten en hun tekstschrijvers wilden overbrengen. Hij definieerde dit met zijn feilloze theaterintuïtie en gaf dat door aan zijn publiek. Dat maakte hem zo uniek, dat was ook zijn succes bij al die mensen die niet naar een Wagner-uitvoering (</i><span style="color: #0b5394;">of liederen-recital - KdL</span><i>) zouden durven gaan. Iedereen die aandachtig naar de liederen luistert zal vaststellen, dat hij/zij elk woord kan begrijpen, ook moeilijk verstaanbare woorden als "das Grillchen (</i>de krekel<i>)", dat "ergötzt (</i>geniet<i>)" op "Anakreons Grab (</i>Anacreon's graf<i>)" van Hugo Wolf. Schocks liedzang was ook taalverzorging ..." </i>(<span style="color: #2b00fe;">Rüdiger Winter</span>, Operalounge, 2018).</b></p><p><b style="font-family: georgia;">Rudolf Schock identificeert zich op een natuurlijke, vanzelfsprekende manier met de liederen die hij zingt: in Schuberts <i>"Schöne Müllerin"</i> IS hij de verliefde jongen en geen mijnheer die langs een beek loopt en de omgeving afstandelijk in zich opneemt. Elke muziekliefhebber en vooral iedereen die de kunst van Rudolf Schock weet te waarderen en van zijn stem houdt, beseft, dat Schock <i>"al zingend, wat er in een scène wordt gedaan of gezegd, zichtbaar weet te maken"</i> (<span style="color: #2b00fe;">Jürgen Kesting</span> in een herdenkingsvideo van de Beierse Radio).</b></p><p><b style="font-family: georgia;">© Krijn de Lege, 16 april 2023</b></p><p><b style="font-family: georgia;"><span style="color: red;">N.B. :</span></b></p><p><b style="font-family: georgia;"><span style="color: #2b00fe;">RELIEF-CD</span>'s worden geproduceerd door SONIMEX AG, 9000-St.Gallen (Zwitserland). <span style="color: #2b00fe;">(sonimex@sunrise.ch)</span></b></p><p><b style="font-family: georgia;">Distributie vindt plaats via Note 1 Music GmbH, Bergheimer Strasse 126, DE 69115 Heidelberg <span style="color: #2b00fe;">(info@note1-music.com)</span>.</b></p><p><b style="font-family: georgia;">De RELIEF-producties zijn verkrijgbaar in speciaalzaken (waar ze nog bestaan) en bij de desbetreffende postorderbedrijven (o.a. jpc, Amazon e.a.).</b></p>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-80967248467964352232023-04-16T10:20:00.003+01:002023-04-16T10:41:37.541+01:00RICO LEITNER's quality CD label 'RELIEF': undervalued<p><b><span><span style="color: red; font-family: verdana;">> deutscher Text: </span></span></b><b><span style="font-family: verdana;"><a href="https://tenorschock.blogspot.com/2023/04/raritaten-label-relief-unterbewertet.html"><span style="color: black;">https://tenorschock.blogspot.com/2023/04/raritaten-label-relief-unterbewertet.html</span></a></span></b></p><p><b><span><span style="font-family: verdana;"><i style="color: red;">> </i><span style="color: red;">nederlandse tekst:</span><span style="color: red; font-size: large;"> </span><a href="https://tenorschock.blogspot.com/2023/04/rico-leitners-kwaliteits-cd-label.html"><span style="color: black;">https://tenorschock.blogspot.com/2023/04/rico-leitners-kwaliteits-cd-label.html</span></a></span></span></b></p><p><b><i><span style="color: #2b00fe; font-family: georgia; font-size: x-large;"><span>Curiosity Label </span><span>RELIEF</span><span> : Underrated</span></span></i></b></p><p><b><span style="font-family: georgia;">The CD label <i><span style="color: #2b00fe;">RELIEF</span></i> has spent years cultivating the memory of the tenor <i><span style="color: #990000;">Rudolf Schock</span></i>.</span></b></p><p><b><span style="font-family: georgia;">Unfortunately, the interest disappoints.</span></b></p><p><b><span style="font-family: georgia;">It started so beautifully: At the beginning of the 21st century, the Swiss publisher <i><span style="color: #2b00fe;">Rico Leitner</span> </i>presented a double album (2 CDs) on the CD label <i><span style="color: #990000;">RELIEF</span></i> for the 90th birthday of the great German tenor, containing 31 opera arias from Rudolf Schock's very own repertoire, namely that of the lyric tenor. There were also 8 hitherto unreleased songs.</span></b></p><p><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-PXP04Yo9rA2NWIWxLzTNkH62l4c5wj2ry-WAT3gy3gDIYnqgP2-YCKic4jPGAHaEJh0F0KdN373TIxGYAFqWdbzllXOZzIXBEpGvbLZP9OyT2_GAq9ztKMqE-SPxBkDqEh3MwuBP1tWVvWBlP_D4HZ2m4GgYoE-EytYKSQy1wEpzJBjuQOenSe-X/s320/Relieffoto%20Schock.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="319" data-original-width="320" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-PXP04Yo9rA2NWIWxLzTNkH62l4c5wj2ry-WAT3gy3gDIYnqgP2-YCKic4jPGAHaEJh0F0KdN373TIxGYAFqWdbzllXOZzIXBEpGvbLZP9OyT2_GAq9ztKMqE-SPxBkDqEh3MwuBP1tWVvWBlP_D4HZ2m4GgYoE-EytYKSQy1wEpzJBjuQOenSe-X/w200-h199/Relieffoto%20Schock.jpg" width="200" /></a></b></p><p><b><span style="font-family: georgia;">In an extensive accompanying booklet with a detailed biography and 20 selected photographs, which had been contributed by Mrs. <i>Gisela Schock</i>, circles that had not personally seen Rudolf Schock on stage could find out more about the popular star tenor.</span></b></p><p><b><span style="font-family: georgia;">For this album, RELIEF was able to fall back on the collection of <i>Wilfried Chlosta</i>, who had been friends with Rudolf Schock. Later, three more opera titles were to be taken from this collection for publication on CD.</span></b></p><p><b><span style="font-family: georgia;">In the past twenty years, a total of <span style="color: #2b00fe; font-size: medium;"><i>eleven</i></span> complete recordings of operas, operettas and oratorios as well as the song cycle <span style="color: #990000;"><i>"Die Schöne Müllerin"</i> </span>(with <span style="color: #2b00fe;"><i>Gerald Moore</i> </span>at the piano) and <i>the collection of song recordings</i> published by EMI have been released on 2 CDs on RELIEF-CD.</span></b></p><p><span style="font-family: georgia;"><b>Musical taste from RELIEF'S <i><span style="color: #990000;">'Die schöne Müllerin'</span></i>:</b></span></p><p><span style="font-family: georgia;"></span></p><div class="separator" style="clear: both; font-size: small; text-align: left;"><span style="font-family: georgia;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/XX5oz_iViqE" width="320" youtube-src-id="XX5oz_iViqE"></iframe></span></div><span style="font-family: georgia;"><b><span style="font-family: georgia;"><p><b><span style="font-family: georgia;">The publisher <i><span style="color: #2b00fe;">Rico Leitner</span></i> did not make it easy for himself to find recordings that were considered lost until the beginning of this century. The RIAS recording of Lehár's <i><span style="color: #990000;">"Zigeunerliebe"</span></i> (1951) was one of them. He also obtained permission from the Braunschweig State Theater to publish a live recording (!) of the operetta <span style="color: #990000; font-style: italic;">"The Land of Smiles"</span><span>:</span></span></b></p></span></b></span><p></p><p><b><span style="font-family: georgia;">Musical taste from RELIEF'S <span style="color: #2b00fe;">live </span><i><span style="color: #990000;">'Land of Smiles'</span></i>:</span></b></p><p><b></b></p><div class="separator" style="clear: both; text-align: left;"><b><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/o5P7DkIbDv4" width="320" youtube-src-id="o5P7DkIbDv4"></iframe></b></div><p></p><p><b><span style="font-family: georgia;">As well as from the "Radio de la Suisse Romande" (radio station in French-speaking Switzerland) of the <i>music </i>part of Mozart's <i><span style="color: #990000;">"Magic Flute"</span></i> (the spoken dialogues were no longer preserved), the recording of a guest performance by the Vienna State Opera in Geneva in October 1952 under <i>Heinrich Hollreiser</i>, in which <i>Rita Streich</i>, <i>Valérie Bak</i>, <i>Gottlob Frick</i> and <i>Horst Günter </i>also took part.</span></b></p><p><b><span style="font-family: georgia;">This <i><span style="color: #990000;">"Magic Flute"</span> </i>(CD RELIEF CR 1910) is one of the most important in Rudolf Schock's discography, because <i>"Tamino"</i> is Schock's most sung stage role. He has sung them in more than a hundred different productions! This is in principle overlooked by the people who arrogantly dismiss him as a crooner today.</span></b></p><p><b><span style="font-family: georgia;">In the 1950s, <i><span style="color: #990000;">Rudolf Schock</span></i> recorded two <i><span style="color: #990000;">mixed song programs</span></i> (<i>Brahms, Mozart, Schubert, Schumann, Strauss, Wolf</i>) for EMI, the cycle <span style="color: #990000;">"<i>Die schöne Müllerin"</i> </span>and eight <i>orchestral songs by Richard Strauss.</i></span></b></p><p><span style="font-family: georgia;"><b>Musical taste of RELIEF'S <span style="color: #990000; font-style: italic;">song programm</span>:<span style="color: #990000; font-style: italic;"> </span></b></span></p><div><span style="font-family: georgia; font-size: x-small;"><b><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/zqUDZ40_se8" width="320" youtube-src-id="zqUDZ40_se8"></iframe></div></b></span></div><p><b><span style="font-family: georgia;">The two <i><span style="color: #990000;">song programs</span></i>, <i>Schumann's</i> <i><span style="color: #990000;">"Dichterliebe" </span></i>and the eight <i><span style="color: #990000;">orchestral songs </span></i>by <i>Richard Strauss</i> are included in the 2-CD album RELIEF CR 3010 (<i><span style="color: #990000;">"Rudolf Schock, Lieder"</span></i>), while <i><span style="color: #990000;">"Die schöne Müllerin"</span> </i>(RELIEF CR 3006) is available on a single CD is available.</span></b></p><p><b><span style="font-family: georgia;"><span style="font-size: medium;"><i>These two albums were to be the last RELIEF releases of Rudolf Schock recordings. </i></span>There are two reasons:</span></b></p><p><b><span style="font-family: georgia;">From a musical point of view, they represent a highlight in Schock's discography and thus form a meaningful conclusion to the commemorative series. From a commercial point of view, sales of CDs have unfortunately been on an increasing downward trend for years. This has to do with several factors in the market. This includes the disappearance of specialist CD shops and the possibility of being able to obtain many music recordings free of charge via internet channels. Unfortunately, it also turns out that artists' so-called "fans" are by no means always willing to support editorial efforts to preserve the memory of their idol.</span></b></p><p><b><span style="font-family: georgia;">In the case of Rudolf Schock, it must also be said that his unprecedented popularity, thanks to thousands of television appearances, has had a negative impact on his reputation as an exemplary Mozart interpreter or "Lieder" singer: On the one hand, he was no longer taken seriously, especially by the German critics' guild (<i>"A serious opera singer doesn't sing tearjerkers..."</i>) and on the other hand, over time, his <i>"television fans" </i>have outnumbered the opera audience, which of course also reduced the sale of his classical recordings.</span></b></p><p><span style="font-family: georgia;"><b>The space available here is not sufficient to publish a scientific investigation into the forgetting of once great and famous names. In the case of the CD label <i><span style="color: #990000;">RELIEF</span></i>, it can be said that <i><span style="color: #2b00fe;">Rico Leitner</span></i> made a great effort to commemorate <i><span style="color: #990000;">Rudolf Schock</span></i> to release recordings in the best possible quality (most of them were not primarily intended for release on vinyl or CD). Over time, however, the financial commitment to this goal began to become dangerous for the company, because sales seldom returned even the investment. </b><span><b>The accusation must be directed at the German courts that companies who make a living from copying CDs from other companies are left completely unmolested. Also this l</b></span><b>osses have a negative effect over time!</b></span></p><p><b><span style="font-family: georgia;">But no further complaints should be made. </span></b></p><p><b><span style="font-family: georgia;">The <i><span style="color: #990000;">Rudolf Schock editions</span></i> of <i><span style="color: #2b00fe;">RELIEF </span></i>have been appreciated by many critics. At this point and at the end of these lines, some of these reviews from more recent times should be quoted:</span></b></p><p><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha49obrngvpjeJZpIibeisEHzARdmlp2RKJjac2soyyImEFebCWz8JPFWVccWIZEcB76woYun4tIckzDD_WsfkMSI-sldkR7FyfKu36w9OxcTnlSWtVJLs9jTbvzJv9veIpXtAETJudH37W-9dN85Eo9v7g5Q49UiD0v0Gh_VEcY09X7YEptDnBF7r/s340/RS%20LIEDERPROGRAMM.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha49obrngvpjeJZpIibeisEHzARdmlp2RKJjac2soyyImEFebCWz8JPFWVccWIZEcB76woYun4tIckzDD_WsfkMSI-sldkR7FyfKu36w9OxcTnlSWtVJLs9jTbvzJv9veIpXtAETJudH37W-9dN85Eo9v7g5Q49UiD0v0Gh_VEcY09X7YEptDnBF7r/w200-h200/RS%20LIEDERPROGRAMM.jpg" width="200" /></a></b></p><p><b><span style="font-family: georgia;">1.) - <i>"... an unparalleled treasure chest ... unusually unaffected, designed without sentimentality ... every turn intensive, without emotional exaggeration ... no form of manners. Still sets standards - even today"</i> (<span style="color: #2b00fe;">Werner Pfister</span> in 'Fonoforum' 2019);</span></b></p><p><b><span style="font-family: georgia;">2.) - <i>"The delicacy of his expressiveness, the artistry of his legato (the perfect combination of words and sentences), but also the clear diction (understandability) and last but not least his beautiful voice make his singing an experience"</i> (<span style="color: #2b00fe;">Francois Lilienfeld</span> in ' Ensuite' 2019);</span></b></p><p><b><span style="font-family: georgia;">3.) - <i>"...Rudolf Schock had his own style, he sang from the heart, so to speak. And that's exactly what makes these song recordings, which come from Schock's great singing years, so unique. What immediately fascinates is Schock's absolutely natural handling of this art form . He sings these gems of German song art without becoming pompous for a moment. The precise intonation, the legato, the unbelievably long breath, the natural musicality and, above all, the crystal-clear comprehensibility of the lyrics are admirable!" </i>(<span style="color: #2b00fe;">John H. Müller</span>, Online Merker, 2018);</span></b></p><p><b><span style="font-family: georgia;">4.) - <i>"... Schock was obviously always concerned with interpreting events, feelings or impressions from the song's content. His audience needed to understand what was happening, what the composers and their lyricists wanted to convey. He defined this with his flawless theatrical intuition and passed it on to his audience. That made him so unique, that was also his success with all those people who would not have dared to go to a Wagner performance </i>(<span style="color: #3d85c6;">or song recitals - KdL</span>)<i>. Anyone who listens to the songs carefully will notice that every word can be understood, even words that are difficult to understand, such as "das Grillchen </i>(the cricket)<i>", which "ergötzt </i>(delighted)<i>" on "Anakreons Grab </i>(Anacreon's grave)<i>" by Hugo Wolf. Schock's song singing was also language cultivation ..." </i>(<span style="color: #2b00fe;">Rüdiger Winter</span>, Operalounge, 2018).</span></b></p><p><b><span style="font-family: georgia;"><i><span style="color: red;">Rudolf Schock</span></i> identifies himself in a perfectly natural way with the songs he sings: in Schubert's <i><span style="color: #990000;">"Schöne Müllerin"</span></i> he IS the young man in love and not a gentleman who walks along the stream and takes in his surroundings from a distance. Every music lover and especially everyone who appreciates the art of Rudolf Schock and loves his voice recognizes that Schock <i>"would know how to make a scene visible in singing"</i> (<span style="color: #2b00fe;">Jürgen Kesting</span> in a commemorative video by Bavarian Radio).</span></b></p><p><b><span style="font-family: georgia;">© Krijn de Lege, April 16, 2023</span></b></p><p><b><span style="color: red; font-family: georgia;"><i>Nota bene :</i></span></b></p><p><b><i><span style="font-family: georgia;"><span style="color: #2b00fe;">RELIEF</span> CDs are produced by <span>SONIMEX AG</span>, 9000-St.Gallen (Switzerland). <span style="color: #2b00fe;">(sonimex@sunrise.ch)</span></span></i></b></p><p><b><i><span style="font-family: georgia;">Distribution is via <span>Note 1 Music GmbH</span>, Bergheimer Strasse 126, DE 69115 Heidelberg <span style="color: #2b00fe;">(info@note1-music.com)</span>.</span></i></b></p><p><b><i><span style="font-family: georgia;">The RELIEF productions are available in specialist shops (where they still exist) and from the relevant mail order companies (e.g. jpc, Amazon and others).</span></i></b></p>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-25977605987993686882023-04-11T08:45:00.017+01:002023-04-11T10:08:38.581+01:00RUDOLF SCHOCK as BACCHUS in RICHARD STRAUSS' 'ARIADNE AUF NAXOS'<p><b style="font-family: georgia; font-size: large;"><i></i></b></p><div class="separator" style="clear: both; text-align: left;"><b style="font-family: georgia; font-size: large;"><i><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/S5u3APyw848" width="320" youtube-src-id="S5u3APyw848"></iframe></i></b></div><p></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;">Rudolf Schock</span></i> had always great affinity with the music of <i><span style="color: #2b00fe;">Richard Strauss.</span></i></b></p><p><b style="font-family: georgia; font-size: large;">Therefore he recorded several songs and operas of <i>R. Strauss: </i>- </b><b style="font-family: georgia; font-size: large;"><b><b><span style="color: #990000; font-style: italic;">'Salome' </span><span>(LINK: <a href="https://www.youtube.com/watch?v=J888ifFMBzs)."><i>https://www.youtube.com/watch?v=J888ifFMBzs)</i>.</a> -</span><span> </span><span><i style="color: #990000;">'Der Rosenkavalier' </i>(LINK:<i><a href=" https://www.youtube.com/watch?v=99UBxTCMRdc&t=3s"> https://www.youtube.com/watch?v=99UBxTCMRdc&t=3s</a>)</i>,</span></b></b></b></p><p><b style="font-family: georgia; font-size: large;"><i>AND</i> ... t</b><b style="font-family: georgia; font-size: large;">here is</b><b style="font-family: georgia; font-size: large;"> also a <u>complete</u>, curiously neglected for a long time, but historically and qualitatively interesting recording of:<i> </i></b><b style="font-family: georgia; font-size: large;"><i>- </i><span style="color: #990000; font-style: italic;">'Capriccio'</span><i> (1953) </i>under<i> </i><span style="color: #2b00fe; font-style: italic;">Clemens Krauss</span><i> </i>from Munich with<i> </i><span style="color: #2b00fe; font-style: italic;">Rudolf Schock</span><i> </i>in the role of Flamand and <span style="color: #2b00fe; font-style: italic;">Viorica</span><span style="color: #2b00fe; font-style: italic;"> Ursuleac</span><i> </i>in that of the Countess. </b><b style="font-family: georgia; font-size: large;">Recently <span style="color: #990000; font-style: italic;">'Land der Erinnerung' </span>put this opera with many calls on YouTube:<i> <a href="https://www.youtube.com/watch?v=wazdL_8R_as&t=2495s">https://www.youtube.com/watch?v=wazdL_8R_as&t=2495s</a></i></b></p><p></p><p><span style="font-family: georgia; font-size: medium;"><b>However, <i><span style="color: #2b00fe;">Rudolf Schock</span></i> had the greatest success as <i><span style="color: #990000;">BACCHUS</span></i> in <i><span style="color: #2b00fe;">Richard Strauss'</span></i> opera <span style="color: #990000;"><i>'</i></span></b></span><b style="font-family: georgia; font-size: large;"><span style="color: #990000; font-style: italic;">Ariadne auf Naxos' </span><span>! </span></b><b style="font-family: georgia; font-size: large;"><b><b><span><b>A role that mainly forms the conclusion of the opera and is a large (s) duet of Wagnerian proportions with <i><span style="color: #990000;">ARIADNE</span></i>. The opera itself consists of <i>two</i> parts: <i>part 1</i> is a lively conversation piece, which takes place in the run-up to the performance of <i>part 2</i>: the actual opera <span style="color: #990000;"><i>'Ariadne auf Naxos'</i></span>. <i>In part 1</i> the soloists perform as heated composer, directors, dancers and opera singers, <i>in part<span style="color: #2b00fe;"> </span><span>2</span><span style="color: #2b00fe;"> </span></i><span style="color: #2b00fe; font-style: italic;">ARIADNE is given a place of honor in heaven by the young god BACCHUS</span><span> (Much more</span><span> about this unusual opera you can read on Wikipedia!).</span></b></span></b></b></b></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDQC-V_Tu7Z5LzME_h5V17-z916G-wciKDAKCCeJqHufMQoi29YP2_f045Z-PmBKtINlJcjCEuqk02sOt2ItRbD-kNHdmWL7W_QqfiAykN_Rv_msxa17LrxNQWArXRTyanihp8bVkZIQ_8s5zdFyVseNF7nKryLorOPHTuZOgG9D_EMIrUPzrN0wrx/s582/Ariadne%20auf%20Naxos12%20(2).jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="582" data-original-width="550" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDQC-V_Tu7Z5LzME_h5V17-z916G-wciKDAKCCeJqHufMQoi29YP2_f045Z-PmBKtINlJcjCEuqk02sOt2ItRbD-kNHdmWL7W_QqfiAykN_Rv_msxa17LrxNQWArXRTyanihp8bVkZIQ_8s5zdFyVseNF7nKryLorOPHTuZOgG9D_EMIrUPzrN0wrx/w189-h200/Ariadne%20auf%20Naxos12%20(2).jpg" width="189" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #990000; font-family: georgia; font-size: x-small;"><b><i>Rudolf Schock as Bacchus 1954</i></b></span></td></tr></tbody></table><b style="font-family: georgia; font-size: large;"><span style="color: #2b00fe;"><i><br /></i></span></b><p></p><p><b style="font-family: georgia; font-size: large;"><span style="color: #2b00fe;"><i><br /></i></span></b></p><p><b style="font-family: georgia; font-size: large;"><span style="color: #2b00fe;"><i><br /></i></span></b></p><p><b style="font-family: georgia; font-size: large;"><span style="color: #2b00fe;"><i><br /></i></span></b></p><p><b style="font-family: georgia; font-size: large;"><span style="color: #2b00fe;"><i><br /></i></span></b></p><p><b style="font-family: georgia; font-size: large;"><span style="color: #2b00fe;"><i><br /></i></span></b></p><p><b style="font-family: georgia; font-size: large;"><span style="color: #2b00fe;"><i>Schock</i></span>'s heroic <span style="color: #990000;"><i>Bacchus</i> </span>role in the opera <i><span style="color: #990000;">'Ariadne auf Naxos' </span></i>is available on CD four times, of which twice <i><span style="color: red;">live</span></i> from Salzburg in 1954 and 1955 under <i><span style="color: #2b00fe;">Karl Böhm</span></i> with <span style="color: #2b00fe;"><i>Lisa della Casa</i></span> and <i><span style="color: #2b00fe;">Hilde Zadek</span></i> in the title role. </b><b style="font-family: georgia; font-size: large;">On <i><span style="color: red;">record and CD </span><span style="color: #2b00fe;">Elisabeth Schwarzkopf</span></i> sings the <i>Ariadne</i> role under <i><span style="color: #2b00fe;">Herbert von Karajan</span></i> (1954) and <i><span style="color: #2b00fe;">Lisa della Casa</span></i> under <i><span style="color: #2b00fe;">Alberto Erede</span></i> (1959).</b></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf4LOGMtSjDa7AfE3woWfTFa1MXogh843EcyXskSugGhuTAu47cl10SJKIOrgCdNsCJr5laHRM4vvBHNTPiD2MwsCfgIFNGL5tXExukchMw8B_KCCS41RPcmSEvClG49d0ZxtMC_Ra9m6lpDgQqyc2bKvso4ErwRZ1arueq-wj17lFmnImGAutx3Dy/s250/Elisabeth%20Schwarzkopf.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="250" data-original-width="184" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf4LOGMtSjDa7AfE3woWfTFa1MXogh843EcyXskSugGhuTAu47cl10SJKIOrgCdNsCJr5laHRM4vvBHNTPiD2MwsCfgIFNGL5tXExukchMw8B_KCCS41RPcmSEvClG49d0ZxtMC_Ra9m6lpDgQqyc2bKvso4ErwRZ1arueq-wj17lFmnImGAutx3Dy/s1600/Elisabeth%20Schwarzkopf.jpg" width="184" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #990000; font-family: georgia; font-size: x-small;"><i>Elisabeth Schwarzkopf</i></span></b></td></tr></tbody></table><p></p><p><br /></p><p><span style="font-family: verdana; font-size: large;"><b>NB:</b></span></p><p><span style="font-family: georgia; font-size: medium;"><b>It is an open secret that <i><span style="color: #2b00fe;">Elisabeth Schwarzkopf </span></i>protested to husband and record producer <i><span style="color: #2b00fe;">Walter Legge</span></i> against <span style="color: #2b00fe;"><i>Rudolf Schock</i></span> as her Bacchus partner in <span style="color: #2b00fe;"><i>Von Karajan's</i></span> <i><span style="color: #990000;">'Aradne auf Naxos'</span></i> from 1954. She wanted <i><span style="color: #2b00fe;">Nicolai Gedda</span></i>, but the less than thirty-year-old Gedda didn't want to, because he didn't think his voice was suitable for the rather "heroic" role of Bacchus. <i><span style="color: #2b00fe;">Legge</span></i> then chose <i><span style="color: #2b00fe;">Rudolf Schock</span></i> and did not let his wife dissuade him from that choice. We don't know why Schwarzkopf didn't want Schock. It is a fact, however, that Rudolf Schock in 1953 -</b></span><b style="font-family: georgia; font-size: large;"> shortly before his intended <i>Bacchus</i> appearance -</b><b style="font-family: georgia; font-size: large;"> had reaped enormous success 1953 as <i>Richard Tauber</i> in the film <i>'Du bist die Welt für mich'</i>. Was the proud Elisabeth Schwarzkopf afraid of being overshadowed by Rudolf Schock? Anyway: <i>Schock's recording as Bacchus alongside Elisabeth Schwarzkopf and under Herbert von Karajan suddenly bombarded him worldwide as an ideal lyrical hero Bacchus! </i></b></p><p><b style="font-family: georgia; font-size: large;">My video is based on a <span style="color: red;">live</span> recording from the Salzburger Festspiele premiere under <i><span style="color: #2b00fe;">Karl Böhm</span></i> in the summer of 1954. You will hear almost the entire closing duet of the opera with <span style="color: #2b00fe;"><i>Lisa della Casa</i></span> as <i><span style="color: #990000;">Ariadne</span></i> and <i><span style="color: #2b00fe;">Rudolf Schock</span></i> as <span style="color: #990000;"><i>Bacchus</i></span>. In addition, the voices of <i><span style="color: #2b00fe;">Rita Streich</span></i>, <i><span style="color: #2b00fe;">Hilde Güden</span></i> and <i><span style="color: #2b00fe;">Lisa Otto</span></i> can be heard for a while. One caveat: <i>live recordings often don't sound as perfect as most studio recordings, but there</i></b><span style="background-color: #f8f9fa; color: #202124; white-space: pre-wrap;"><span style="font-family: georgia; font-size: medium;"><b><i> is a lot of beauty left to enjoy!</i></b></span></span></p><p><span style="font-family: arial; font-size: medium;"><b>D e u t s c h :</b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><i><span style="color: #2b00fe;">Rudolf Schock</span></i> hatte immer schon eine große Affinität zur Musik von <i><span style="color: #2b00fe;">Richard Strauss</span></i>. </b></span><b style="font-family: georgia; font-size: large;">Deshalb nahm er mehrere Lieder und Opern von <i><span style="color: #2b00fe;">R. Strauss</span></i> auf:</b></p><p><span style="font-family: georgia; font-size: medium;"><b>- <i><span style="color: #990000;">'Salome'</span></i> (LINK:<i> <a href="https://www.youtube.com/watch?v=J888ifFMBzs">https://www.youtube.com/watch?v=J888ifFMBzs</a>)</i>. </b></span></p><p><span style="font-family: georgia; font-size: medium;"><b>- <i><span style="color: #990000;">'Der Rosenkavalier'</span></i> (LINK: <i><a href="https://www.youtube.com/watch?v=99UBxTCMRdc&t=3s)">https://www.youtube.com/watch?v=99UBxTCMRdc&t=3s)</a></i></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b>- <i><span style="color: #990000;">UND</span></i> gibt es auch eine vollständige, seltsamerweise lange Zeit vernachlässigte, aber historisch und qualitativ interessante Aufnahme von <i><span style="color: #990000;">„Capriccio“</span></i> (1953) unter <i>Clemens Krauss</i> aus München mit <i>Rudolf Schock</i> in der Rolle des <i>Flamand</i> und <i>Viorica Ursuleac</i> in der Rolle der <i>Gräfin</i>. Kürzlich stellte <i>'Land der Erinnerung' </i>diese Oper mit Erfolg auf YouTube!: (LINK <i><a href="https://www.youtube.com/watch?v=wazdL_8R_as">https://www.youtube.com/watch?v=wazdL_8R_as</a></i>).</b></span></p><p><b style="font-family: georgia; font-size: large;">Den größten Erfolg hatte jedoch <i><span style="color: #2b00fe;">Rudolf Schock</span></i> als <i><span style="color: #990000;">BACCHUS </span></i>in der Oper <i><span style="color: #990000;">„Ariadne auf Naxos“</span></i> von <i><span style="color: #2b00fe;">Richard Strauss</span></i>! Eine Rolle, die vor allem in dem Schlussteil der Oper zur Geltung kommt, und mit </b><b style="font-family: georgia; font-size: large;"><i><span style="color: #990000;">ARIADNE</span></i></b><b style="font-family: georgia; font-size: large;"><i><span style="color: #990000;"> </span></i>ein großes Duett</b><b style="font-family: georgia; font-size: large;"> wagnerianischen Ausmaßes ist. Die Oper selbst besteht aus zwei Teilen: <i>Teil 1</i> ist ein lebhaftes <i>Konversationsstück</i>, das im Vorfeld der Aufführung des <i>2. Teils</i> stattfindet: der eigentlichen Oper <i><span style="color: #990000;">„Ariadne auf Naxos“</span></i>. <i>Im ersten Teil</i> treten die Solisten als unsicherer Komponist und hitzige Regisseure, Tänzer und Opernsänger auf, <i>im zweiten Teil</i> <i>bekommt <span style="color: #990000;">ARIADNE</span> vom jungen Gott <span style="color: #990000;">BACCHUS</span> einen Ehrenplatz im Himmel</i> (Viel mehr zu dieser ungewöhnlichen Oper lesen Sie auf Wikipedia!).</b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;">Rudolf Schock</span></i>s heroische <span style="color: #990000;"><i>Bacchus</i></span>partie in der Oper <i><span style="color: #990000;">„Ariadne auf Naxos“</span></i> ist viermal auf CD erhältlich, davon zweimal <i><span style="color: red;">live aus Salzburg</span></i> 1954 und 1955 unter <i><span style="color: #2b00fe;">Karl Böhm</span></i> mit <span style="color: #2b00fe;"><i>Lisa della Casa</i></span> und <i><span style="color: #2b00fe;">Hilde Zadek</span></i> in der Titelrolle. <span style="color: red;"><i>Auf Schallplatte und CD </i></span>singt <i><span style="color: #2b00fe;">Elisabeth Schwarzkopf </span></i>die Ariadnepartie unter <i><span style="color: #2b00fe;">Herbert von Karajan </span></i>(1954) und <i><span style="color: #2b00fe;">Lisa della Casa</span></i> unter <i><span style="color: #2b00fe;">Alberto Erede</span></i> (1959).</b></p><p><b><span style="font-family: verdana; font-size: large;"></span></b></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZT2QDbJg2QUqN4TVwuqPguldDpqV-JPa7n35vBFMV_Y9DXJQaZFmo_TemC0Ef6vJHm2lQQKbAoU-Yuj-koORVmTzCHJO0h1_jYjjtP_0JKILMZUpEJOxALELyVfrotiqU0Asu_xLbn9ACnUbAZfwoAIDEyDZiqY-6_IJFszzixXQvrXDOJSIhK53C/s225/Ariadne%20auf%20Naxos%201.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="225" data-original-width="225" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZT2QDbJg2QUqN4TVwuqPguldDpqV-JPa7n35vBFMV_Y9DXJQaZFmo_TemC0Ef6vJHm2lQQKbAoU-Yuj-koORVmTzCHJO0h1_jYjjtP_0JKILMZUpEJOxALELyVfrotiqU0Asu_xLbn9ACnUbAZfwoAIDEyDZiqY-6_IJFszzixXQvrXDOJSIhK53C/w200-h200/Ariadne%20auf%20Naxos%201.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #990000; font-family: georgia; font-size: x-small;"><b><i>Lisa della Casa as Ariadne </i></b></span></td></tr></tbody></table><b><span style="font-family: verdana; font-size: large;"><br /><br /></span></b><p></p><p><b><span style="font-family: verdana; font-size: large;"><br /></span></b></p><p><b><span style="font-family: verdana; font-size: large;"><br /></span></b></p><p><b><span style="font-family: verdana; font-size: large;"><br /></span></b></p><p><b><span style="font-family: verdana; font-size: large;"><br /></span></b></p><p><b><span style="font-family: verdana; font-size: large;">NB:</span></b></p><p><b style="font-family: georgia; font-size: large;">Dass <i><span style="color: #2b00fe;">Elisabeth Schwarzkopf</span></i> in <i><span style="color: #2b00fe;">Von Karajan</span></i>s <i><span style="color: #990000;">„Ariadne auf Naxos“</span></i> von 1954 bei ihrem Ehemann und Plattenproduzenten <i><span style="color: #2b00fe;">Walter Legge</span></i> gegen <i><span style="color: #2b00fe;">Rudolf Schock </span></i>als ihren <i>Bacchus-Partner</i> protestierte, ist mittlerweile ein offenes Geheimnis. Sie wünschte sich <i><span style="color: #2b00fe;">Nicolai Gedda</span></i>, aber der nicht mal dreißigjährige Gedda wollte nicht, weil er seine Stimme für die eher "heroische" Rolle des Bacchus nicht geeignet fand. Legge entschied sich daraufhin für Rudolf Schock und ließ sich von seiner Frau nicht von dieser Wahl abbringen. Wir wissen nicht, warum Schwarzkopf Schock nicht wollte. Tatsache ist jedoch, dass <i><span style="color: #2b00fe;">Rudolf Schock</span></i> 1953 - kurz vor seinem geplanten Bacchus-Auftritt - als <i>Richard Tauber</i> in dem Film <i>'Du bist die Welt für mich' </i>einen enormen Erfolg erntete. Hatte die stolze Elisabeth Schwarzkopf Angst, von Rudolf Schock in den Schatten gestellt zu werden? <i>Jedenfalls: Schocks Aufnahme als Bacchus an der Seite von Elisabeth Schwarzkopf und unter Herbert von Karajan bombardierte ihn plötzlich weltweit als idealen lyrischen Helden-Bacchus!</i></b></p><p><b style="font-family: georgia; font-size: large;">Mein Video ist ein <i><span style="color: red;">Live-Mitschnitt</span></i> der <i>Salzburger Festspiele-Premiere</i> unter <i><span style="color: #2b00fe;">Karl Böhm</span></i> im Sommer 1954. </b><b style="font-family: georgia; font-size: large;">Sie hören fast das gesamte Schlussduett der Oper mit <i><span style="color: #2b00fe;">Lisa della Casa</span></i> als <i><span style="color: #990000;">Ariadne</span></i> und <i><span style="color: #2b00fe;">Rudolf Schock </span></i>als <i><span style="color: #990000;">Bacchus</span></i>.</b></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIjlAVQQFENW9955gUiIA2qINAjRTypO3XXmnhF2X3Nto9VFiHAWarZyc0ULLoumDg9jul7NPFJscqTdMKmRwo5RuSxodwc5hXAbZOfNgnmne2O7R3COfIke1y7vxrQCBCZzXq6sTPf2a3pApp1YkERNubDfeQ0qk6k76XtoitkzUDQsrQqL2_nECm/s285/Karl%20B%C3%B6hm.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="177" data-original-width="285" height="124" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIjlAVQQFENW9955gUiIA2qINAjRTypO3XXmnhF2X3Nto9VFiHAWarZyc0ULLoumDg9jul7NPFJscqTdMKmRwo5RuSxodwc5hXAbZOfNgnmne2O7R3COfIke1y7vxrQCBCZzXq6sTPf2a3pApp1YkERNubDfeQ0qk6k76XtoitkzUDQsrQqL2_nECm/w200-h124/Karl%20B%C3%B6hm.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #990000; font-family: georgia; font-size: x-small;"><b><i>Dirigent Karl Böhm</i></b></span></td></tr></tbody></table><br /><b style="font-family: georgia; font-size: large;"><br /></b><p></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;">Außerdem sind für eine Weile die Stimmen von u.a. <i><span style="color: #2b00fe;">Rita Streich</span></i>, <span style="color: #2b00fe;"><i>Hilde Güden</i></span> und <i><span style="color: #2b00fe;">Lisa Otto</span></i> noch zu hören. Eine Einschränkung: </b><span style="font-family: georgia; font-size: medium;"><b><i>Live-Aufnahmen klingen oft nicht so perfekt wie die meisten Studioaufnahmen, aber es gibt noch immer viel Schönes zu genießen!</i></b></span></p><p><span style="font-family: arial; font-size: medium;"><b>N e d e r l a n d s :</b></span></p><p><span style="font-family: georgia; font-size: medium;"><b>Rudolf Schock had altijd grote affiniteit met de muziek van Richard Strauss. Daarom nam hij verschillende liederen en opera's van R. Strauss op:</b></span></p><p><span style="font-family: georgia; font-size: medium;"><b>- <i><span style="color: #990000;">'Salome'</span></i> (LINK: <i><a href="https://www.youtube.com/watch?v=J888ifFMBzs">https://www.youtube.com/watch?v=J888ifFMBzs</a></i>).</b></span></p><p><span style="font-family: georgia; font-size: medium;"><b>- <span style="color: #990000;"><i>'Der Rosenkavalier' </i></span>(LINK: <i><a href="https://www.youtube.com/watch?v=99UBxTCMRdc&t=3s">https://www.youtube.com/watch?v=99UBxTCMRdc&t=3s</a></i>),</b></span></p><p><span style="font-family: georgia; font-size: medium;"><b>- <span style="color: #990000; font-style: italic;">EN </span>er is ook een complete, vreemd genoeg lang verwaarloosde, maar historisch en kwalitatief interessante opname van</b></span><b style="font-family: georgia; font-size: large;"> <span style="color: #990000;">'Capriccio'</span> (1953) onder leiding van Clemens Krauss uit München met <i><span style="color: #2b00fe;">Rudolf Schock</span></i> in de rol van <i>Flamand</i> en <i><span style="color: #2b00fe;">Viorica Ursuleac</span></i> in die van de <i>gravin</i>. Kort geleden zette <i>'Land der Erinnerung' </i>deze opera met veel succes op YouTube!!: (LINK: <i><a href="https://www.youtube.com/watch?v=wazdL_8R_as)">https://www.youtube.com/watch?v=wazdL_8R_as)</a></i>.</b></p><p><b style="font-family: georgia; font-size: large;">Zijn grote succes had <i><span style="color: #2b00fe;">Rudolf Schoc</span></i>k echter als <i><span style="color: #990000;">BACCHUS i</span></i>n de opera <i><span style="color: #990000;">'Ariadne auf Naxos'</span></i> van <i><span style="color: #2b00fe;">Richard Strauss</span></i>! Een rol die vooral het laatste deel van de opera vult en feitelijk een groot(s) duet met <i><span style="color: #990000;">ARIADNE</span></i> van Wagneriaanse proporties is. De opera zelf bestaat uit twee delen: <i>deel 1</i> is een levendig conversatiestuk, dat plaatsvindt in de aanloop naar de uitvoering van <i>deel 2</i>: de eigenlijke opera <i><span style="color: #990000;">'Ariadne auf Naxos'</span></i>.<i> In deel 1</i> treden de solisten op, waaronder een onzekere, debuterende componist, regisseurs, dansers en operazangers, <i>in deel 2</i> <i>krijgt <span style="color: #990000;">ARIADNE</span> een ereplaats in de hemel van de jonge god <span style="color: #990000;">BACCHUS</span> </i>(Veel meer over deze bijzondere opera is te vinden bij Wikipedia!).</b></p><p><b style="font-family: georgia; font-size: large;"></b></p><p><b style="font-family: georgia;"><span style="font-size: medium;"><i><span style="color: #2b00fe;">Rudolf Schock</span></i>s heroïsche <i><span style="color: #990000;">Bacchus</span></i>-rol in de opera <i><span style="color: #990000;">'Ariadne auf Naxos'</span></i> is VIER keer op cd verkrijgbaar, waarvan twee keer </span></b><b style="font-family: georgia;"><span style="font-size: medium;"><i><span style="color: red;">live</span></i> vanuit Salzburg in 1954 en 1955 onder leiding van <i><span style="color: #2b00fe;">Karl Böhm</span></i> met <i><span style="color: #2b00fe;">Lisa della Casa</span></i> en <i><span style="color: #2b00fe;">Hilde Zadek</span></i> in de titelrol. </span></b><b style="font-family: georgia;"><span style="font-size: medium;">Op plaat en cd zingt <i><span style="color: #2b00fe;">Elisabeth Schwarzkopf</span></i> de rol van <i>Ariadne</i> onder <i><span style="color: #2b00fe;">Herbert von Karajan</span></i> (1954) en </span><i style="font-size: large;"><span style="color: #2b00fe;">Lisa della Casa</span></i><span style="font-size: medium;"> onder </span><i style="font-size: large;"><span style="color: #2b00fe;">Alberto Erede</span></i><span style="font-size: medium;"> (1959).</span></b></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI75UmRTzJkxa889FLarPci5zQrMy8ZyceHJxlHQSUG83L7CkOELFliVEm21kpZZ-kZt6ZVd7_VXuPUYIrDGCma5ZrSGF_3yb18Lw48u-xVhTjSk0fijDrEg2vn-uv4WE1kBfwJOXzCDSewXhMhN2wSgucf1GrphPBeltjelm3pKBsEILzP01XcPsO/s297/Herbert%20von%20Karajan.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="170" data-original-width="297" height="114" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI75UmRTzJkxa889FLarPci5zQrMy8ZyceHJxlHQSUG83L7CkOELFliVEm21kpZZ-kZt6ZVd7_VXuPUYIrDGCma5ZrSGF_3yb18Lw48u-xVhTjSk0fijDrEg2vn-uv4WE1kBfwJOXzCDSewXhMhN2wSgucf1GrphPBeltjelm3pKBsEILzP01XcPsO/w200-h114/Herbert%20von%20Karajan.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #990000; font-family: georgia; font-size: x-small;"><b><i>Dirigent:<br />Herbert von Karajan</i></b></span></td></tr></tbody></table><br /><b style="font-family: georgia; font-size: large;"><br /></b><p></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia;"><span style="font-size: large;">NB:</span></b></p><p><b style="font-family: georgia; font-size: large;">Een intussen publiek geheim is, dat <i><span style="color: #2b00fe;">Elisabeth Schwarzkopf </span></i>bij echtgenoot en platenproducent <i><span style="color: #2b00fe;">Walter Legge</span></i> protesteerde tegen <i><span style="color: #2b00fe;">Rudolf Schock</span></i> als <i>Bacchus</i>-partner in de <i><span style="color: #2b00fe;">Von Karaja</span></i>n-opname van <span style="color: #990000; font-style: italic;">'Ariadne auf Naxos' </span><span>(1954)</span><span style="color: #990000; font-style: italic;">.</span> Zij wilde <i><span style="color: #2b00fe;">Nicolai Gedda</span></i>, maar de nog geen dertigjarige Gedda wilde niet, omdat hij zijn stem niet geschikt vond voor de nogal "heldische" rol van Bacchus. Legge koos vervolgens voor Rudolf Schock en liet zich door zijn vrouw niet van die keuze afbrengen. Waarom Schwarzkopf Schock niet wilde, weten we niet. Een feit is echter, dat <i><span style="color: #2b00fe;">Rudolf Schock</span></i> in 1954 kort voor zijn beoogde Bacchus-optreden enorm veel succes had geoogst als <i>Richard Tauber</i> in de film <i>'Du bist die Welt für mich'.</i> Vreesde de trotse Elisabeth Schwarzkopf ervoor door Rudolf Schock overschaduwd te worden? Hoe dan ook: <i>Schock's opname als Bacchus naast Elisabeth Schwarzkopf en onder Herbert von Karajan bombardeerde hem opeens wereldwijd tot zoiets als een lyrische heldentenor.</i></b></p><p><span style="font-family: georgia;"><b><span style="font-size: medium;">Mijn video steunt op een </span><span style="font-size: large;"><span style="color: red;"><i>l</i></span><i><span style="color: red;">ive</span></i></span><span style="font-size: medium;">-opname van</span></b></span><b style="font-family: georgia; font-size: large;"> de <i>Salzburger Festspiele-première </i>in de zomer van 1954. U hoort nagenoeg het volledige slotduet van de opera onder <i><span style="color: #2b00fe;">Karl Böhm</span></i> met</b><b style="font-family: georgia; font-size: large;"> <i><span style="color: #2b00fe;">Lisa della Casa</span></i> als <i>Ariadne</i> en <i><span style="color: #2b00fe;">Rudolf Schock</span></i> als Bacchus. </b><b style="font-family: georgia; font-size: large;">Daarnaast zijn de stemmen van o.a. <i><span style="color: #2b00fe;">Rita Streich</span></i>, <i><span style="color: #2b00fe;">Hilde Güden </span></i>en <i><span style="color: #2b00fe;">Lisa Otto</span></i> te horen. Eén voorbehoud:<i> het gaat om een live-opname en die klinken dikwijls niet zo perfect als de meeste studio-opnamen, maar er blijft nog veel moois over om van te genieten! </i></b></p><p><b><i><span style="font-family: georgia;">Krijn de Lege, 11 april 2023</span></i></b></p><p><br /></p>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-6284755092366916382023-01-31T14:28:00.003+01:002023-08-30T15:48:22.134+01:00MELITTA MUSZELY 1927-2023 (deutsch/english)<p><strong><span style="color: #990000; font-size: x-large;"><em><span></span></em></span></strong></p><div class="separator" style="clear: both; text-align: left;"><strong><span><em><span><div class="separator" style="clear: both; color: #990000; font-size: xx-large; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/13pqYt38ees" width="320" youtube-src-id="13pqYt38ees"></iframe></div><span style="color: #351c75; font-family: georgia;">Two scenes with Rudolf Schock</span></span></em></span></strong></div><div class="separator" style="clear: both; text-align: left;"><strong><span><em><span><span style="color: #351c75; font-family: georgia;">from 'Die tote Stadt' by Korngold</span></span></em></span></strong></div><div class="separator" style="clear: both; text-align: left;"><strong><span><em><span><span style="color: #351c75; font-family: georgia;"> </span><br /></span></em></span></strong></div><div class="separator" style="clear: both; text-align: left;"><strong><span style="color: #990000; font-size: x-large;"><em><span><span style="font-family: georgia;">Melitta Muszely</span> </span><span style="font-family: georgia;">1927-2023</span></em></span></strong></div><p><span style="font-family: georgia; font-size: medium;"><span><strong><span style="color: black;">ist ungarischer Abkunft, aber wird in Wien geboren. Sie debütiert als Sängerin in Regensburg und wird 1953 vom international geschätzten Regisseur</span> <em><span style="color: #2b00fe;">Günther Rennert</span></em> <span style="color: black;">(1911-1978) für die <i>Hamburger Staatsoper</i> engagiert. Die erste Rolle ist</span></strong></span><span style="color: black;"><strong><span><em> 'Mme Butterfly' (</em>Puccini).</span></strong></span></span></p><p><span style="font-family: georgia; font-size: medium;"><strong><span>Hamburg wird zum Sprungbrett für die verschiedensartigsten Rollen in Paris, Lissabon, Florenz, Edinburgh, Venedig und - besonders - Berlin. In Berlin singt sie 1958 die vier</span> <span>Frauenrollen in <em>'Les Contes d'Hoffmann'</em> (Offenbach) unter der Leitung </span><span>einer zweiten Regisseursgrössen:</span> <span style="color: #2b00fe;"><em><span>Walter Felsenstein</span></em> </span><span>(1901-1975), dessen erneuerndes <em>'magisch-realistischen Theater'</em> ein Unikum in der Musiktheaterwelt war und ist.</span></strong></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5573449981758559778" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8CyMv_OKEw57vd8ODWi4T0K8fTszWq5HNVou_EJ31jed3QG0UhuIIQPHfDW6ADdHFzG4RJWyTfZAlWMTG1u80Sw0ol3XFi5EpgarJ3ypNLNpqRYnacQdq0xolpfyaPCEoDr6CL7d8dich/s400/W.+Wagner+R+Schock.jpg" style="cursor: hand; height: 400px; margin: 0px auto 10px; width: 194px;" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #990000;">Melitta Muszely: Micaëla in 'Carmen'</span></b></td></tr></tbody></table><br /><p><span style="font-family: georgia; font-size: medium;"><strong><span><i><span style="color: #2b00fe;">Walter Felsenstein</span></i> machte prinzipiell keinen Unterschied zwischen Oper und Operette (!) und feilte langwierig und detailliert an seinen sorgfältig gewählten '<em>Sänger-Darstellern',</em> von denen er erwartete, sie könnten nicht nur expressiv singen, sondern auch expressiv <em>darstellen</em>. Von Felsensteins <em>'Hoffmann' </em>wurde ein Film gemacht<span><span>,</span></span> ebenso wie von seiner <em>'La Traviata'</em> (Verdi). <i><span style="color: #2b00fe;">Melitta Muszely</span></i> singt</span><span> und stellt auch in der Verdi-Oper ("<em>eindrucksvoll")</em> die weibliche Hauptrolle dar, die live im Fernsehen ausgestrahlt wird. </span><span><i>Melitta Mu</i></span><span><i>szely</i> singt 1958 auch die Rolle der Micaëla in <em>'Carmen' </em>unter dem dritten berü<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8CyMv_OKEw57vd8ODWi4T0K8fTszWq5HNVou_EJ31jed3QG0UhuIIQPHfDW6ADdHFzG4RJWyTfZAlWMTG1u80Sw0ol3XFi5EpgarJ3ypNLNpqRYnacQdq0xolpfyaPCEoDr6CL7d8dich/s1600/W.+Wagner+R+Schock.jpg"><span><em></em></span></a>hmten Regisseur: <span style="color: #2b00fe;"><em><span>Wieland Wagner</span></em> </span>(<i><span style="color: #2b00fe;">Rudolf Schock</span></i> ist der Don José). Wagner entfacht bei ihr das Verlangen, in Opern von <i>Richard Wagner</i> zu singen.</span></strong></span></p><p><span style="font-family: georgia; font-size: medium;"><b><span><span>EMI nimmt die <em style="color: black;">"wunderbar unverwechselbare Sopranstimme mit dem leicht slawisch gefärbten, leicht melancholischen Oboen-Timbre"</em> ('Opernwelt') für eine Reihe Opern- und Operettenaufnahmen unter Vertrag. Dabei ist <i style="color: black;">Rudolf Schock</i> oft ihr Tenorpartner. <i><span style="color: #990000;">Melitta Muszely </span></i>ist ein gern gesehener Gast in den Medien, und in den frühen Sechzigern wird sie zusammen mit <i style="color: black;">Erika Köth</i> und <i>Rudolf Schock</i> in ein <em style="color: black;">Robert Stolz</em>-Revival mit hineinbezogen. Anschliessend bekommt sie vom</span> <span style="color: black;">Dirigenten und künstlerischen Leiter</span> <em><span style="color: #2b00fe;">Herbert von Karajan</span></em> <span style="color: black;">die Einladung, an der <i>Wiener Staatsoper</i> aufzutreten. Damit geht für <i>Melitta Muszely</i> ein feuriger Wunsch in Erfüllung: endlich in ihrer Heimatstadt singen zu dürfen. Ihr wird garantiert, dass sie u.a. in drei grossen Opernpremieren wichtige Partien singen wird: Mélisande in <em>'Pelléas et Mélisande'</em> (Claude Debussy), </span><span style="color: black;">Micaëla in <em>'Carmen'</em> (Georges Bizet) und Arabella in <em>'Arabella'</em> (Richard Strauss).</span></span></b></span></p><p><span style="font-family: georgia;"><span style="color: #2b00fe; font-size: large;"><b><i>Enttäuschungen:</i></b></span></span></p><p><span style="font-family: georgia; font-size: medium;"><b><span>Dann aber folgen die Enttäuschungen: <i>Von Karajan</i> haut 1964 nach einem heftigen Krach ab. Der Nachfolger (<i>Egon Hilbert</i>) setzt <i><span style="color: #2b00fe;">Melitta Muszely</span></i> zwischen 1964 und 1967 nur in Repertoirevorstellungen ein (Mozart, Smetana und die Sophie in <em>'Der Rosenkavalier' </em>von Richard Strauss). </span></b></span><b style="font-family: georgia; font-size: large;"><span>2007 veröffentlicht Musikmagazin<em> 'Opernwelt'</em> gelegentlich des 80. Geburtstag der Sängerin ein ausführliches Interview, worin <i><span style="color: #2b00fe;">Melitta Muszely</span></i> sich bitterlich die ungünstigen Umstände erinnert, worunter sie in Wien arbeiten musste:<em> "Ich war so verwöhnt von den bezaubernden Kollegen in Hamburg. Und hier jetzt ...diese gönnerhafte, diese schlecht gespielte Freundlichkeit. Der einzige Mensch in dieser ganzen Hölle war die Janowitz (Muszelys Soprankollegin <span style="color: #2b00fe;">Gundala Janowitz</span>).Und dann diese schauspielerische Wüste! Die Staatsopernbühne hat ihre akustischen Tücken, und die Eingeweihten kannten die guten Stellen. Da standen sie, als wären sie angenagelt - deswegen gab's eben kein Schauspiel...."</em></span></b></p><p><span style="font-family: georgia; font-size: medium;"><b><span><span>Um 1970 herum zieht sich <i><span style="color: #2b00fe;">Melitta Muszely</span></i>, <i>42 Jahre alt (!)</i>, von der Opernbühne zurück. Das Publikum kann sie danach nur noch, aber wohl dezennienlang, live als <i>Liedersängerin</i> hören. Neben den tief enttäuschenden Erfahrungen in Wien müssen beim Rücktritt sehr wahrscheinlich die ernsthafte und langwierige </span><span>Krankheit ihres Mannes und der körperliche Verfall von Muszelys Lieblingsregisseur <i>Walter Felsenstein</i> mit in Augenschau genommen werden. Zu einer von Felsenstein mit Muszely als Elisabeth geplanten Produktion von Verdis <em>'Don Carlos'</em> ist es leider nicht mehr gekommen.</span></span></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI_J1azQC7CRAbDN77Qvc9vOc_FZdSRBYo6qTCfhFbJh9F6CXk529T7hsICoD0xFXGrNNP1E2P0AOpZo6ogXcFrQRHmrk8OtKNG1naO5yBdUveWn5Thc14t_h7yiCC6KK2-rkp2WK0BLAh/s1600/Muszely+Schock+1961.jpg"><span><em><img alt="" border="0" id="BLOGGER_PHOTO_ID_5573448303638655682" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI_J1azQC7CRAbDN77Qvc9vOc_FZdSRBYo6qTCfhFbJh9F6CXk529T7hsICoD0xFXGrNNP1E2P0AOpZo6ogXcFrQRHmrk8OtKNG1naO5yBdUveWn5Thc14t_h7yiCC6KK2-rkp2WK0BLAh/s320/Muszely+Schock+1961.jpg" style="cursor: hand; float: left; height: 320px; margin: 0px 10px 10px 0px; width: 223px;" /></em></span></a></b></span></p><p><strong><span style="font-family: georgia; font-size: medium;"><i><span style="color: #2b00fe;"><br /></span></i></span></strong></p><p><strong><span style="font-family: georgia; font-size: medium;"><i><span style="color: #2b00fe;"><br /></span></i></span></strong></p><p><strong><span style="font-family: georgia; font-size: medium;"><i><span style="color: #2b00fe;">Melitta Muszely</span></i>s und <i><span style="color: #2b00fe;">Rudolf Schock</span></i>s Zusammenarbeit für die Schallplatte </span></strong><strong><span style="font-family: georgia; font-size: medium;">hat Anfang Januar 1958 mit Aufnahmen von Fragmenten aus <i><span style="color: #990000;">'Ein Walzertraum' </span></i>von Oscar Straus (Dirigent: <em>Wilhelm Schüchter</em>) begonnen. Sofort danach folgen grosse Opernquerschnitte aus <em><span style="color: #990000;">'La Traviata' </span></em>und <span style="color: #990000;"><em>'Il Trovatore'</em> </span>von Guiseppe Verdi und eine Gesamtaufnahme von <span style="color: #990000;"><em>'I Pagliacci'</em> </span>von Ruggiero Leoncavallo unter <em>Horst Stein</em>. <span><span style="color: #2b00fe;"><em>Melitta Muszely,</em> <em>Rudolf Schock</em></span> <span style="color: black;">und</span> <em><span style="color: #2b00fe;">Josef Metternich</span></em> werden</span><span style="color: black;"> in</span> der Saison 1958/59 zur <i>'Trias Musica' </i>der deutschsprachigen Oper auf Electrola.</span></strong></p><p><strong><i><span style="color: #38761d; font-family: verdana;">E N G L I S C H ER T E X T :</span></i></strong></p><p><b><span style="color: #990000; font-family: georgia; font-size: x-large;"><i>Melitta Muszely 1927-2023</i></span></b></p><p><b style="font-family: georgia; font-size: large;">is of Hungarian descent, but was born in Vienna. She made her debut as a singer in Regensburg and was hired in 1953 by the internationally acclaimed director <i><span style="color: #2b00fe;">Günther Rennert </span></i>(1911-1978) for the <i>Hamburg State Opera.</i> Her first role is <i><span style="color: #990000;">'Mme Butterfly'</span></i> (Puccini).</b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #990000;">Hamburg </span></i>becomes the springboard for the most diverse roles in Paris, Lisbon, Florence, Edinburgh, Venice and - especially - Berlin. In Berlin in 1958 she sang the four female roles in <i><span style="color: #990000;">'Les Contes d'Hoffmann'</span></i> (Offenbach) under the direction of a second great director: <i><span style="color: #2b00fe;">Walter Felsenstein</span></i> (1901-1975), whose innovative <i>'magic-realistic theatre' </i>was and is unique in the music theater world . In principle, Felsenstein made no distinction between opera and operetta. He meticulously worked on his carefully selected 'singer-actors', who he expected not only to be able to sing expressively, but also to <i>act </i>expressively. A film was made of Felsenstein's <i><span style="color: #990000;">'Hoffmann'</span></i> (on DVD today, see picture!), as was his <span style="color: #990000;"><i>'La Traviata' </i></span>(Verdi). <i><span style="color: #2b00fe;">Melitta Muszely</span></i> also sings and plays the female lead in Verdi's opera (<i>"Impressive"</i>), which is broadcast live on television. <i><span style="color: #2b00fe;">Melitta Muszely</span></i> also sings the role of Micaëla in <i><span style="color: #990000;">'Carmen' </span></i>in 1958 under the third famous director: <i><span style="color: #2b00fe;">Wieland Wagner</span></i> ( <i>Rudolf Schock</i> is her brother <i>Don José</i>!). Wagner aroused in her the desire to sing in operas by Richard Wagner.</b></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7wlG5AhPEVkVSHWf2I2M6kr4WaAQCCNErt9D0kDxNIytezBDeT2IbeTTeJLsKVt8acu6Zh_djsNyN3pHm8v3rNXdbS2TiOPh0Ajj0bBdZK4aonksTTgqJpI3hY_JaLjZuZ3R05c8-wZBAdUDpg-v44jKOwM8XOjBF7klUvvKJ7nLoSgjAbt8gENpc/s572/Melitta%20Muszely%20als%20Violetta.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="450" data-original-width="572" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7wlG5AhPEVkVSHWf2I2M6kr4WaAQCCNErt9D0kDxNIytezBDeT2IbeTTeJLsKVt8acu6Zh_djsNyN3pHm8v3rNXdbS2TiOPh0Ajj0bBdZK4aonksTTgqJpI3hY_JaLjZuZ3R05c8-wZBAdUDpg-v44jKOwM8XOjBF7klUvvKJ7nLoSgjAbt8gENpc/w400-h315/Melitta%20Muszely%20als%20Violetta.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #990000;">Melitta Muszely </span>as Violetta in 'La Traviata' (Verdi)</b></td></tr></tbody></table><br /><b style="font-family: georgia; font-size: large;"><br /></b><p></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;">EMI signs the <i>"wonderfully distinctive soprano voice with the slightly Slavic, slightly melancholic oboe timbre" </i>(<i>'Opernwelt'</i>) for a series of opera and operetta recordings. <i><span style="color: #2b00fe;">Rudolf Schock</span></i> is often her tenor partner. <i><span style="color: #2b00fe;">Melitta Muszely</span></i> is a welcome guest in the media, and in the early 1960s she is involved in a <i>Robert Stolz </i>revival along with <i>Erika Köth</i> and <i>Rudolf Schock</i>. She then received an invitation from the conductor and artistic director <i><span style="color: #2b00fe;">Herbert von Karajan</span></i> to perform at the Vienna State Opera. For <i>Melitta Muszely,</i> a fiery wish has come true: to finally be able to sing in her hometown. She is guaranteed to sing important roles in three major opera premieres: Mélisande in <i><span style="color: #990000;">'Pelléas et Mélisande'</span></i> (Claude Debussy), Micaëla in <i><span style="color: #990000;">'Carmen' </span></i>(Georges Bizet) and Arabella in <i><span style="color: #990000;">'Arabella'</span></i> (Richard Strauss).</b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;">DISAPPOINTMENTS:</span></i></b></p><p><b style="font-family: georgia; font-size: large;">Then came the disappointments: in 1964, after a violent crash, von Karajan left. The successor (<i>Egon Hilbert</i>) used Muszely between 1964 and 1967 only in repertoire performances (Mozart, Smetana and Sophie in <i><span style="color: #990000;">'Der Rosenkavalier'</span></i> by Richard Strauss). In 2007, on the occasion of the singer's 80th birthday, the music magazine <i>'Opernwelt' </i>published a detailed interview in which <i><span style="color: #2b00fe;">Melitta Muszely</span></i> bitterly recalled the unfavorable circumstances under which she had to work in Vienna: <i>"I was so spoiled by the charming colleagues in Hamburg. And here now this patronizing, this poorly acted friendliness. The only person in this whole hell was Janowitz (Muszely's soprano colleague <span style="color: #2b00fe;">Gundala Janowitz</span>). And then this acting desert! The State Opera stage has its acoustic pitfalls, and the insiders knew the good spots. There they ware, as if they were nailed - that's why there was no drama...."</i></b></p><p><b style="font-family: georgia; font-size: large;">Around 1970 <i><span style="color: #990000;">Melitta Muszely</span></i>, <i>42 years old (!)</i>, retired from the opera stage. After that, the audience can only hear her live as a song singer, but happily for decades. In addition to the deeply disappointing experiences in Vienna, the serious and protracted illness of her husband and the physical deterioration of Muszely's favorite director <i>Walter Felsenstein</i> must very likely also be taken into account when she resigns. Unfortunately, a production of Verdi's <i><span style="color: #990000;">'Don Carlos' </span></i>planned by <i>Felsenstein</i> with <i>Melitta Muszely</i> as Elisabeth never materialized.</b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;">Melitta Muszely</span></i>'s collaboration with <i><span style="color: #2b00fe;">Rudolf Schock</span></i> in the recording studio began at the beginning of January 1958 with recordings of fragments from <i><span style="color: #990000;">'A Waltz Dream'</span></i> by Oscar Straus (conductor: <i>Wilhelm Schüchter</i>). This is immediately followed by extensive highlights from <i><span style="color: #990000;">'La Traviata'</span></i> and <i><span style="color: #990000;">'Il Trovatore' </span></i>by Guiseppe Verdi and a complete recording of <i><span style="color: #990000;">'I Pagliacci'</span></i> by Ruggiero Leoncavallo under <i>Horst Stein</i>. <i><span style="color: #2b00fe;">Melitta Muszely, Rudolf Schock</span></i> and <i><span style="color: #2b00fe;">Josef Metternich </span></i>are the 'Trias Musica' of German-language opera in the 1958/59 season.</b></p><p><b style="font-family: georgia;"></b></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE8dpUxIU8XjI0HT-7s1HcmH18qMyJ9j9_AgskxaIcNBOKELh0f3a4dZRMhB5M4j2HJDr9tid4o5t65lAwSsKoI_dUI060PCty5uwQyGPVcgzFg_mKn0HWBFkRlUImIb5-qHpVFxDRPq7pzt5vhGRr6Be4_K4Gi3ZeKMtV-UA9N5VE0g4kYwy_Pv63/s265/Melitta%20Muszely%20and%20Rudolf%20Schock%201960.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="190" data-original-width="265" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE8dpUxIU8XjI0HT-7s1HcmH18qMyJ9j9_AgskxaIcNBOKELh0f3a4dZRMhB5M4j2HJDr9tid4o5t65lAwSsKoI_dUI060PCty5uwQyGPVcgzFg_mKn0HWBFkRlUImIb5-qHpVFxDRPq7pzt5vhGRr6Be4_K4Gi3ZeKMtV-UA9N5VE0g4kYwy_Pv63/w400-h286/Melitta%20Muszely%20and%20Rudolf%20Schock%201960.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #990000; font-family: verdana; font-size: x-small;">Melitta Muszely & Rudolf Schock</span></b></td></tr></tbody></table><b style="font-family: georgia;"><span style="color: #990000; font-family: verdana;"><br /><i><br /></i></span></b><p></p><p><b><i><span style="color: #990000; font-family: verdana;"><br /></span></i></b></p><p><b><i><span style="color: #990000; font-family: verdana;"><br /></span></i></b></p><p><b><i><span style="color: #990000; font-family: verdana;"><br /></span></i></b></p><p><b><i><span style="color: #990000; font-family: verdana;"><br /></span></i></b></p><p><b><i><span style="color: #990000; font-family: verdana;"><br /></span></i></b></p><p><b><i><span style="color: #990000; font-family: verdana;"><br /></span></i></b></p><p><b><i><span style="color: #990000; font-family: verdana;"><br /></span></i></b></p><p><b style="font-family: georgia;"><i><br /></i></b></p><p><b style="font-family: georgia;"><i>Krijn de Lege, 31.1.2023/30.8.2023</i></b></p><div class="separator" style="clear: both; text-align: center;"><br /></div>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-57316690441258698982023-01-17T14:12:00.016+01:002024-01-06T17:00:49.276+01:00RUDOLF SCHOCK in operettas by EDUARD KÜNNEKE<p class="MsoNormal"><b style="font-family: georgia;"><span style="color: #2b00fe;"><b style="font-size: xx-large;"><span><b><i>'The Cousin from Nowhere/</i></b></span></b><b><i><span><span style="font-size: x-large;">Der Vetter aus Dingsda' </span><span style="font-size: medium;">from </span><span style="font-size: x-large;">1921 </span></span></i></b></span></b></p><p class="MsoNormal"><b><i style="color: #990000; font-family: georgia; font-size: x-large;">'Eduard Künneke in Concert' </i></b></p><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/MUzlEfVb7Tc" width="320" youtube-src-id="MUzlEfVb7Tc"></iframe></div><br /><p class="MsoNormal"><b><span style="color: #2b00fe;"><b><i><span style="font-family: georgia; font-size: x-large;">'The Great Sinner/Die grosse Sünderin' </span><span style="font-family: georgia; font-size: medium;">from </span><span style="font-family: georgia; font-size: x-large;">1935</span></i></b></span></b></p><p class="MsoNormal"><b style="font-family: georgia;"><span style="color: #990000; font-size: large;"><i>Das Lied vom Leben des Schrenk / The Song of Schrenk's Life':</i></span></b></p><p class="MsoNormal"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/X7x9sfubcWc" width="320" youtube-src-id="X7x9sfubcWc"></iframe></p><b style="font-family: georgia;"><p class="MsoNormal" style="font-size: large;"></p><div class="separator" style="clear: both; text-align: left;"><span style="color: #990000; font-size: large;"><i>Duett: '<b style="background-color: #f9f9f9; white-space: pre-wrap;"><span><b><span>Immerzu singt dein Herz meinem Herzen zu!/ Always your heart sings to my heart!':</span></b></span></b></i></span></div><div class="separator" style="clear: both; font-size: large; text-align: left;"><b style="background-color: #f9f9f9; font-size: medium; white-space: pre-wrap;"><span><b><span style="font-size: medium;"><br /></span></b></span></b></div><div class="separator" style="clear: both; font-size: large; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/8M-vTZxw_GY" width="320" youtube-src-id="8M-vTZxw_GY"></iframe></div><p style="font-size: large;"></p><p class="MsoNormal"><span style="font-size: large;"><i><span style="color: #990000;">Scene & Duett: "Ein altes, indisches Märchen/An old Indian fairy tale":</span></i></span></p><p class="MsoNormal"><span style="font-size: large;"><i></i></span></p><div class="separator" style="clear: both; text-align: left;"><span style="font-size: large;"><i><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/tkhUzXoavuk" width="320" youtube-src-id="tkhUzXoavuk"></iframe></i></span></div><span style="font-size: large;"><b style="font-size: large;"><p class="MsoNormal"><b>Composer and conductor <i><span style="color: #2b00fe;">EDUARD KÜNNEKE (1885-1953)</span></i>, whose father was born in the Netherlands, studied music in Berlin from 1903. His opera <i><span style="color: #990000;">'Robins End' </span></i>was premiered in Mannheim as early as 1909, which would then be performed all over Germany. In 1911 he became a conductor and in 1919 he published his first operetta: <i>'The Village without Bell'</i>, a work in the spirit of Berté/Schubert's 'Dreimäderlhaus', which attracted a remarkable audience. Künneke had even more success in 1921 with the operetta <i><span style="color: #990000;">'Der Vetter aus Dingsda' </span>(</i><i>'The Cousin from Nowhere'</i>, playing in the Netherlands from which the song of the <i><span style="color: #990000;">'Lonely Vagabond'</span></i> became an evergreen. In the twenties and thirties, Künneke released more successful operettas and was a celebrated operetta composer in Berlin. In this capacity, the Nazis flaunted him as a worthy substitute for important Jewish operetta composers, who had turned their backs on Germany in time or had been given a 'Berufsverbot'. A problem for the regime was that Künneke's wife, the soprano <i>Katharina Müller</i> (stage name: <i>Katharina Garden</i>), was half Jewish. Attempts to force Künneke to divorce her failed. Goebbels c.s. felt compelled to spare Germany's cultural figurehead. Künneke retired to the study of his home, where he led a life of <i>"inner emigration"</i>. He was shy of people, but continued to compose until 1949.</b></p></b></span><p></p></b><p></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><i><span style="color: #990000;">'The Great Sinner/Die grosse Sünderin' </span></i>was created in 1935 and may be called an <i><span style="color: #990000;">'opera'</span></i>. Künneke himself saw the work as <i><span style="color: #990000;">'exuberant opera'</span></i> </b><b style="font-family: georgia; font-size: large;">To some it is an operetta, which is completely over-the-top. Others hear Wagner in it. To me it is an <i>unusual</i> opera: the plot fits somewhere between that of a comic opera and an experimental operetta, the music is a tour de force for the two leading roles, which must therefore be sung by accomplished opera singers. The tenor part by <i>Reiteroberst (cavalry captain) Von Schrenk</i> is particularly demanding. Künneke intended the role for the great Danish tenor <i><span style="color: #990000;">Helge Roswaenge </span></i>(1897-1972), who on YouTube as such can be heard in optima forma.</b></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><i><span style="color: #741b47;">NB:</span></i> Künneke often collaborated with conductor <i><span style="color: #2b00fe;">Franz Marszalek</span></i> (1900-1975), who in 1958 re-arranged the music from <i><span style="color: #990000;">"The Great Sinner"</span></i>. </b><span style="font-family: georgia; font-size: medium;"><b>In 1951 Marszalek also conducted the opera fragments I have chosen from <i><span style="color: #990000;">'The Great Sinner'</span></i> with <i><span style="color: #2b00fe;">Maud Cunitz</span></i> and <i><span style="color: #2b00fe;">Rudolf Schock</span></i>.</b></span></p><p class="MsoNormal"><b style="font-family: georgia;"><span style="font-size: x-large;">The plot</span></b><b style="font-family: georgia; font-size: large;"> can be found on the internet. Here I suffice with information about the historical <span style="color: #990000;"><i>"Great Sinner": Franziska Sybilla Augusta, Princess of Sachsen-Lauenburg </i></span>(1674-1733). She was an important female figure of the Baroque era, which lasted in Europe from about 1600 to 1750 and was characterized by <i>"excess of form"</i> and <i>"violence of emotion"</i>: exactly the characteristics of Künneke's unusual opera! <i><span style="color: #990000;">Princess Franzisca Sybilla</span></i> did her administrative work with authority and she also intensively promoted the fine arts. She thoroughly enjoyed life and - I presume - love. On her tombstone is the inscription: <i>"Betet für die grosse Sünderin/Pray for the great sinner".</i></b></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><i><span style="color: #990000;">(Johann) Georg von Schrenk</span></i> I cannot trace, but that figure probably symbolizes the men with whom <i><span style="color: #990000;">Franziska Sybilla</span></i> had a love relationship after 1707: the year in which she became a widow at the age of 33.</b></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><i><span style="color: #741b47;">NB:</span></i> in some articles on the internet Künneke is blamed for the fact that the explosive <i>"Cavalry captain Von Schrenk" </i>reflects the <i>"brown"</i> years of Germany after 1933. That is reprehensible nonsense: Von Schrenk submits to only two forms of authority: that of <i>FREEDOM</i> and <i>LOVE</i>!</b></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"></b></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1iJIKNSOZ3Ff0UjZkCX3CR5Zqi0iGaC-sXeBHwEnK3Pt540ZDUpO7R1-wOqRPkzn8l2OpD1XVMC7gt15m4VU4qnXgdORMQUIBO7HcPnQdOt_oiRSHnfJJW3ATkCLDrbX1y7RJWsATJ_ycj1Sno6wkEWoLGbZRReNJgMKcT2kDsusgjCEF9BIThDlg/s570/Gr.%20S%C3%BCnderin%20Eduard%20K%C3%BCnneke.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="375" data-original-width="570" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1iJIKNSOZ3Ff0UjZkCX3CR5Zqi0iGaC-sXeBHwEnK3Pt540ZDUpO7R1-wOqRPkzn8l2OpD1XVMC7gt15m4VU4qnXgdORMQUIBO7HcPnQdOt_oiRSHnfJJW3ATkCLDrbX1y7RJWsATJ_ycj1Sno6wkEWoLGbZRReNJgMKcT2kDsusgjCEF9BIThDlg/w400-h263/Gr.%20S%C3%BCnderin%20Eduard%20K%C3%BCnneke.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i><span style="color: #2b00fe;">Eduard Künneke in his study</span></i></b></td></tr></tbody></table><p></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><span><br /></span></b></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><span><br /></span></b></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><span><br /></span></b></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><span><br /></span></b></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><span><br /></span></b></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><span><br /></span></b></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><span><br /></span></b></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><span><br /></span></b></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><span>D e u t s c h :</span></b></p><p class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><b>Der Komponist und Dirigent <i><span style="color: #2b00fe;">EDUARD KÜNNEKE</span></i> (1885-1953), dessen Vater in Groningen (Niederlande) geboren wurde, studierte ab 1903 Musik in Berlin. Bereits 1909 erlebte die Oper <i>„Robins Ende“</i> in Mannheim die Uraufführung, wonach sie dann in ganz Deutschland aufgeführt wurde. 1911 war er Dirigent, und 1919 veröffentlichte er eine erste Operette: <i>„Das Dorf ohne Glocke“</i>, ein Werk im Geiste von Berté/Schuberts <i>„Dreimäderlhaus“</i>, das ein beachtliches Publikum anzog. Noch größeren Erfolg hatte Künneke 1921 mit der in den Niederlanden (!) situierten Operette <i><span style="color: #990000;">„Der Vetter aus Dingsda“</span></i>, woraus das Lied der <i><span style="color: #990000;">„Arme Wandergesell“</span></i> zum Evergreen wurde. In den zwanziger und dreissiger Jahren veröffentlichte Künneke weitere erfolgreiche Operetten und wurde er zum gefeierten Operettenkomponisten in Berlin. In dieser Qualität stellten ihn die Nazis als würdigen Ersatz für bedeutende jüdische Operettenkomponisten dar, die Deutschland rechtzeitig den Rücken gekehrt hatten, oder mit einem Berufsverbot belegt worden waren. Ein Problem für das Regime war, dass Künnekes Frau, die Sopranistin <i>Katharina Müller</i> (Künstlername: <i>Katharina Garden</i>), Halbjüdin war. Versuche, Künneke zur Scheidung zu zwingen, scheiterten. Goebbels c.s. sah sich genötigt, Deutschlands kulturelles Aushängeschild zu schonen. Künneke zog sich ins Arbeitszimmer seiner Wohnung zurück, wo er ein Leben der <i>„inneren Emigration“</i> führte.</b></span><b style="font-family: georgia; font-size: large;"> Er war menschenscheu, komponierte aber bis 1949 weiter.</b></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><i><span style="color: #990000;">„Die große Sünderin"</span></i> entstand 1935 und darf als <i><span style="color: #990000;">„Oper"</span></i> bezeichnet werden. Künneke selber sah das Werk als <i><span style="color: #990000;">„heitere Oper"</span></i> an. Für manche ist es eine Operette, die völlig aus dem Ruder gelaufen sei. Andere hören Wagner darin. Für mich ist es eine <i>ungewöhnliche</i> Oper: Die Handlung liegt irgendwo zwischen der einer komischen Oper und einer experimentellen Operette, und die Musik ist ein Kraftakt für die beiden Hauptdarsteller. Sie singen Rollen, die daher nur von richtigen Opernsängern dargestellt werden können: Besonders anspruchsvoll ist die Tenorpartie von <i>Reiteroberst von Schrenk</i>, die Künneke für den großen dänischen Tenor <i><span style="color: #2b00fe;">Helge Roswaenge</span></i> (1897-1972) vorgesehen hatte. Auf YouTube kann man Roswaenge als von Schrenk in Optimaform hören.</b></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF53iqR5XzYRaWushgusOHfdXF_8XNQbOGZon7DOQskdy2haMQ601ymE25-2p4wMUwEw7CogD8aVW67iS8lb_UIaNFlUrmXPaUkS_0344bj-UTcm9M03lgWmoO9O3VmVkgP82ojFc7O9aJuyhxmpgYaLh3p3C6YLowW43WJ7IdVEQTJNlm3pInLprL/s311/Roswaenge%20Schock.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="154" data-original-width="311" height="154" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF53iqR5XzYRaWushgusOHfdXF_8XNQbOGZon7DOQskdy2haMQ601ymE25-2p4wMUwEw7CogD8aVW67iS8lb_UIaNFlUrmXPaUkS_0344bj-UTcm9M03lgWmoO9O3VmVkgP82ojFc7O9aJuyhxmpgYaLh3p3C6YLowW43WJ7IdVEQTJNlm3pInLprL/s1600/Roswaenge%20Schock.jpg" width="311" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #7f6000;">Helge Roswaenge Rudolf Schock</span></b></td></tr></tbody></table><br /><b style="font-family: georgia; font-size: large;"><br /></b><p></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><br /></b></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><br /></b></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><i><span style="color: #741b47;"><br /></span></i></b></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><i><span style="color: #741b47;">NB:</span></i> Künneke arbeitete oft mit dem Dirigenten <i><span style="color: #2b00fe;">Franz Marszalek</span></i> (1900-1975) zusammen, der 1958 die Musik der <i><span style="color: #990000;">„Grossen Sünderin“</span></i> neu arrangierte. </b><b style="font-family: georgia; font-size: large;">Marszalek dirigiert 1951 auch die von mir auserwählten Opernfragmente aus <i><span style="color: #990000;">'Die grosse Sünderin'</span></i> met <i><span style="color: #2b00fe;">Maud Cunitz</span></i> en <i><span style="color: #2b00fe;">Rudolf Schock</span></i>.</b><b style="font-family: georgia; font-size: large;"> </b></p><p class="MsoNormal"><b style="font-family: georgia;"><span style="font-size: x-large;">Der Plot</span></b><b style="font-family: georgia; font-size: large;"> ist im Internet zu finden. Hier begnüge ich mich mit Angaben zur historischen <i><span style="color: #990000;">„Grossen Sünderin“</span></i>: <i><span style="color: #990000;">Franziska Sybilla Augusta, Prinzessin von Sachsen-Lauenburg</span></i> (1674-1733). Sie war eine bedeutende Frauengestalt des Barock, das in Europa von etwa 1600 bis 1750 andauerte und sich durch <i>„Übermass“</i> und <i>„Intensität der Emotion“</i> auszeichnete: <u>genau</u> die Merkmale von Künnekes ungewöhnlicher Oper! <i>Prinzessin Franzisca Sybilla </i>erledigte ihre Verwaltungsarbeit mit Autorität und förderte auch intensiv die bildenden Künste. Sie genoss das Leben und – nehme ich an – die Liebe. Auf ihrem Grabstein gibt es die Inschrift: <i>„Betet für die grosse Sünderin“.</i></b></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><i><span style="color: #990000;">(Johann) Georg von Schrenk</span></i> kann ich nicht nachvollziehen. Er symbolisiert wahrscheinlich die Männer, mit denen <i><span style="color: #990000;">Franziska Sybilla</span></i> nach 1707 eine Liebesbeziehung hatte. Im Jahre 1707 wurde sie mit 33 Jahren Witwe.</b></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><i><span style="color: #741b47;">NB:</span></i> In einigen Artikeln im Internet wird Künneke vorgeworfen, sein "<i>Reiteroberst von Schrenk"</i> widerspiegele</b><b style="font-family: georgia; font-size: large;"> die <i>"braunen" </i>Jahre Deutschlands nach 1933 . Das ist verwerflicher Unsinn: Der explosive Von Schrenk unterwirft sich nur zwei Autoritätsformen: der FREIHEIT und der LIEBE!</b></p><p class="MsoNormal"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFeIvqOC2Fq3bofnhfdoG_XkRo5YocsVMlsoS0-3jq5ihFiyp5ASYU3JShyKMkRxaeuJ4j29x-O7iW0LAI6rDV99b6lEV3YXLwIrUlUpP-8TRqZaSS37NhOeYUeDsk_Slk5hDjSXzRfy9M-NmQydpzYC3aWFC94Mi9-3dAuTL8Pw34VOAum8GsVh2u/s564/Franziska%20Sybilla%20Augusta.png" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="564" data-original-width="460" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFeIvqOC2Fq3bofnhfdoG_XkRo5YocsVMlsoS0-3jq5ihFiyp5ASYU3JShyKMkRxaeuJ4j29x-O7iW0LAI6rDV99b6lEV3YXLwIrUlUpP-8TRqZaSS37NhOeYUeDsk_Slk5hDjSXzRfy9M-NmQydpzYC3aWFC94Mi9-3dAuTL8Pw34VOAum8GsVh2u/s320/Franziska%20Sybilla%20Augusta.png" width="261" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: red; font-family: georgia; font-size: x-small;">Franziska Sybilla Augusta<br />von Sachsen-Lauenburg</span></b></td></tr></tbody></table><span style="color: red;"><br /><b style="font-family: georgia; font-size: large;"><br /></b></span><p></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><span style="color: red;"><br /></span></b></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><span style="color: red;"><br /></span></b></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><span style="color: red;"><br /></span></b></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><span style="color: red;"><br /></span></b></p><p class="MsoNormal"><b style="font-family: georgia; font-size: large;"><span style="color: red;"><br /></span></b></p><p class="MsoNormal"><span style="color: red; font-family: georgia; font-size: medium;"><b><br /></b></span></p><p class="MsoNormal"><span style="color: red; font-family: georgia; font-size: medium;"><b><br /></b></span></p><p class="MsoNormal"><span style="color: red; font-family: georgia; font-size: medium;"><b><br /></b></span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><b>N e d e r l a n d s :</b></span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: medium;"><b>De componist und dirigent <i><span style="color: #2b00fe;">EDUARD KÜNNEKE</span></i> (1885-1953), wiens vader in </b></span><span style="font-family: georgia; font-size: medium;"><b>Groningen (Nederland) geboren was</b></span><b style="font-family: georgia; font-size: large;">, studeerde vanaf 1903 muziek in Berlijn. Al in 1909 ging in Mannheim zijn opera </b><b style="font-family: georgia; font-size: large;"><i>'Robins Ende'</i> </b><b style="font-family: georgia; font-size: large;">in première, die daarna overal in Duitsland gespeeld zou worden. In 1911 werd hij dirigent en in 1919 publiceerde hij zijn eerste operette: <i>'Das Dorf ohne Glocke'</i>, een werk in de sfeer van Berté/Schubert's 'Dreimäderlhaus', dat opvallend veel publiek trok. Nog meer succes had Künneke in 1921 met de <i>in Nederland</i> (!) spelende operette <i><span style="color: #990000;">'Der Vetter aus Dingsda' </span></i>oftewel <i>'De neef uit Dinges'</i>, waaruit het lied van de <i>'Arme Wandergesell'</i> een evergreen werd. In de jaren twintig en dertig bracht Künneke meer succesvolle operettes uit en was hij in Berlijn een gevierd operettecomponist. In die hoedanigheid pronkten de Nazis met hem als waardig plaatsvervanger voor belangrijke Joodse operettecomponisten, die Duitsland nog op tijd de rug hadden toegekeerd of een 'Berufsverbot' opgelegd hadden gekregen. Problematisch was voor het bewind wel, dat Künneke's vrouw, de sopraan <i>Katharina Müller </i>(artiestennaam: <i>Katharina Garden</i>) half Joods was. Pogingen Künneke te dwingen zich van haar te laten scheiden mislukten. Goebbels c.s. zagen zich genoodzaakt Duitslands culturele boegbeeld te ontzien. Künneke trok zich terug in de werkkamer van zijn woning, waar hij een leven van <i>"innerlijke emigratie" </i>leidde. Hij toonde zich mensenschuw, maar bleef tot in 1949 componeren.</b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #990000;">'De grote zondares/Die grosse Sünderin"</span></i> ontstond in 1935 en mag een <span style="color: #990000;"><i>'opera'</i> </span>genoemd worden. Künneke zag het werk zélf als <i>'heitere Oper'</i>, als <i>'levenslustige of euforische opera'</i>. Door de jaren heen is zowel geestdriftig als smalend over de opera geschreven. Voor sommigen is het een operette, die zwaar over-the-top is. Anderen horen er Wagner in. Voor mij is het een <i>ongewone</i> opera: de plot past ergens tussen die van een komische opera en een experimentele operette, de muziek is een krachttoer voor de twee hoofdrollen, die daarom door volleerde operazangers moeten worden gezongen. Vooral de tenorpartij van <i>Reiteroberst (ritmeester) Von Schrenk</i> is veeleisend. Künneke bestemde de rol voor de grote Deense tenor <i><span style="color: #2b00fe;">Helge Roswaenge</span></i> (1897-1972), die op YouTube als zodanig in optima forma te horen is.</b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #741b47;">NB:</span></i> Künneke werkte veel samen met dirigent <span style="color: #2b00fe;"><i>Franz Marszalek</i></span> (1900-1975), die in 1958 de muziek uit <i><span style="color: #990000;">"Die grosse Sünderin'</span></i> nog eens bewerkte. Marszalek dirigeert in 1951 ook de door mij gekozen opera-fragmenten uit <i>'Die grosse Sünderin'</i> met <i><span style="color: #2b00fe;">Maud Cunitz</span></i> en <i><span style="color: #2b00fe;">Rudolf Schock</span></i>.</b></p><p><b style="font-family: georgia;"><span style="font-size: x-large;"><i>De plot</i></span><span style="font-size: large;"> </span><span style="font-size: medium;">is</span><span style="font-size: large;"> </span><span style="font-size: medium;">op internet te vinden. Hier volsta ik met informatie over de historische<i><span style="color: #990000;"> </span><span style="color: #660000;">"Grosse Sünderin"</span></i>: <i><span style="color: #660000;">Franziska Sybilla Augusta, prinses van von Sachsen-Lauenburg </span></i>(1674-1733). Zij was een belangrijke vrouwenfiguur uit de <i>barok</i>tijd, die in Europa duurde van ongeveer 1600 tot 1750 en zich kenmerkte door <i>"overdaad van vorm"</i> en <i>"heftigheid van gevoelsuitdrukking"</i>: <u>exact</u> de kenmerken van Künneke's ongewone opera! Prinses Franzisca Sybilla deed haar bestuurswerk met gezag en ook bevorderde zij intensief de schone kunsten. Ze genoot met hart en ziel van het leven en - naar ik aanneem - van de liefde. Op haar grafsteen liet zij de inscriptie aanbrengen:<i> "Betet für die grosse Sünderin/Bidt voor de grote zondares"</i>.</span></b></p><p><b style="font-family: georgia;"><span style="font-size: medium;"><i><span style="color: #990000;">(Johann) Georg von Schrenk</span></i> kan ik niet traceren, maar waarschijnlijk symboliseert die figuur de mannen met wie <i><span style="color: #990000;">Franziska Sybilla</span></i> een liefdesrelatie had na 1707: het jaar, waarin zij op 33-jarige leeftijd weduwe werd.</span></b></p><p><b style="font-family: georgia;"><span style="font-size: medium;"><i><span style="color: #741b47;">NB:</span> </i>in sommige artikelen op internet wordt Künneke in de schoenen geschoven, dat zich in <i>"Reiteroberst Von Schrenk"</i> de <i>"bruine"</i> jaren van het Duitsland na 1933 weerspiegelen. Dat is verwerpelijke onzin: de explosieve Von Schrenk onderwerpt zich aan slechts twee vormen van gezag: die van de <i>VRIJHEID</i> en de <i>LIEFDE</i>!</span></b></p><p><b style="font-family: georgia;"><i><span>Krijn de Lege, 20.12.2023/6.1.2024</span><span style="font-size: medium;"> </span></i></b></p><p><br /></p>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-21198234676843895392022-11-14T11:47:00.004+01:002022-11-19T12:24:41.002+01:00RUDOLF SCHOCK/FRIEDRICH VON FLOTOW: LYONEL in 'MARTHA'<p><b><span style="color: #2b00fe; font-family: georgia; font-size: large;"><i></i></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="color: #2b00fe; font-family: georgia; font-size: large;"><i><b style="text-align: left;"><span style="color: #2b00fe; font-family: georgia; font-size: large;"><i>'Martha, or The Richmond Market' (1847)</i></span></b></i></span></b></div><div class="separator" style="clear: both; text-align: center;"><b><span style="color: #2b00fe; font-family: georgia; font-size: large;"><i><b style="text-align: left;"><span style="color: #2b00fe; font-family: georgia; font-size: large;"><i><br /></i></span></b></i></span></b></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium;"><b>Duet Lyonel/Lady Harriet act 2:</b></span></div><div class="separator" style="clear: both; text-align: center;"><b><span style="color: #2b00fe; font-family: georgia; font-size: large;"><i><b style="text-align: left;"><span style="color: #2b00fe; font-family: georgia; font-size: large;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/RV8ef07cyPc" width="320" youtube-src-id="RV8ef07cyPc"></iframe></div></span></b></i></span></b><b style="font-family: georgia; font-size: large; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><b style="font-family: georgia; font-size: large; text-align: left;">Aria & Final act 3:</b></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/vic-KUDWr_w" width="320" youtube-src-id="vic-KUDWr_w"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div>The source of inspiration for<i><span style="color: #990000;"> 'Martha'</span></i> by <i><span style="color: #2b00fe;">Riese/Von Flotow</span></i> was a ballet by the choreographer <i>Jules de Saint-Georges</i> called: <i>'Lady Harriette ou La Servante de Greenwich'</i> from 1844. The libretto of the opera has a historical framework, but is of lesser interest than in Flotow's other opera <i><span style="color: #990000;">'Alessando Stradella'</span></i>. The events take place in 1710, during the reign of Queen Ann Stuart of Great Britain (Ann succeeded her brother-in-law William to the throne in 1702. Dutch people know William as their <i>'Stadhouder Willem III</i>'). The female protagonist of the opera is <i><span style="color: #990000;">Lady Harriet Durham</span></i>, maid of honor to Queen Ann of Great Britain.</b></div><p><b><span style="font-family: georgia; font-size: medium;"><i><span style="color: #2b00fe;">Rudolf Schock</span></i> in his biography (1985): <i>"...he has a pretty good feel for the opera <span style="color: #990000;">'Martha'</span> "</i>. That's putting it mildly: <i>Lyonel</i>'s character seemed to have been written for him, purely vocally, at least until the mid-sixties. The role has everything that made <i>Rudolf Schock</i>'s singing so attractive: lyricism, emotion, 'the Italian tear' at the right moment and a heroism that Schock was looking for in every role, even in Mozart roles. Despite the initially lyrical tenor voice, he also dared - especially behind the studio microphone - to take on roles intended for heroic tenors (Othello, Radames, Canio and Paul from <i>'Die tote Stadt'</i>).</span></b></p><p><span style="font-family: georgia; font-size: medium;"><b>The almost 10-minute duet with the soprano <i><span style="color: #2b00fe;">Anneliese Rothenberger</span></i> (1924 - 2010) under <i><span style="color: #2b00fe;">Wilhelm Schüchter</span></i> from 1955 centered on the folk song <i><span style="color: #990000;">'Last Rose of Summer'</span></i>, sung enchantingly by <i>Anneliese Rothenberger</i>. </b><b><i><span style="color: #2b00fe;">Rudolf Schock</span></i>'s sympathetic <i>Lyonel</i>, who <i>"does not want to be strict and imperious"</i>, is deplorable in love but admirable in expressive singing.</b></span></p><p><span style="font-family: georgia; font-size: medium;"><b>In a film shot from the movie <i>'König der Manege/King of Circus' </i>(1954), </b><b>the last part of the <i>final 3rd act</i> of <i><span style="color: #990000;">'Martha' i</span></i>s performed:<i><span style="color: #990000;">"May Heaven forgive you"</span></i>. </b><b>Now, <i><span style="color: #2b00fe;">Rudolf Schock</span></i> is the furious center of a tableau of battered hunt participants that seems nailed to the spot. <i>Lyonel</i>'s vocal outburst is a bitter lament for the humiliation done to him by Lady Harriet. When you hear something like this, you get chills!</b></span></p><p><b><span style="font-family: georgia; font-size: medium;">You can read the <i><span style="color: #990000;">'Martha' </span></i>opera plot in the blog article: <i>'Rudolf Schock sings Friedrich von Flotow'.</i> And that's not all. Flotow's second opera <i><span style="color: #990000;">'Alessandro Stradella' </span></i>and its marvellous tenor aria <i><span style="color: #990000;">'How friendly the day shines - Virgin Mary' </span></i>are discussed. About the Irish folk song and the Ernst Marischka movie <i>'König der Manege/King of Circus'</i> it's too!</span></b></p><p><strong><span style="color: purple; font-family: georgia; font-size: large;"><em>Martha oder Der Markt zu Richmond</em></span></strong></p><p><strong><span style="font-family: georgia; font-size: medium;">Inspirationsquelle für <span style="color: #990000;"><i>'Martha'</i></span><em style="color: black;"> </em>von <i><span style="color: #2b00fe;">Riese/Von Flotow</span></i> war ein Ballett des Choreografen Jules de Saint-Georges namens: <em style="color: black;">'Lady Harriette ou La Servante de Greenwich' </em>aus dem Jahre 1844. Das Textbuch der Oper hat einen historischen Rahmen, der aber von geringerem Interesse als in Flotows zweiter Oper <span style="color: #990000;"><i>'</i><em>Alessandro </em></span></span></strong><strong><span style="font-family: georgia; font-size: medium;"><span style="color: #990000;"><em>Stradella'</em> </span>ist. Die Ereignisse spielen sich 1710 in der Regierungsperiode von Queen Ann Stuart von Grossbrittannien ab (Ann folgte 1702 ihrem Schwager William auf den Thron. Niederländer kennen William als ihren 'Stadhouder Willem III'). Die weibliche Hauptperson der Oper ist <i><span style="color: #990000;">Lady Harriet Durham</span></i>, Ehrenfräulein (Hofdame) der englischen Königin Ann.</span></strong></p><p><span style="font-family: georgia; font-size: medium;"><strong><span><i><span style="color: #2b00fe;">Rudolf Schock</span></i> beiläufig in seiner Biographie: <em style="color: black;">"...die Oper </em><em><span style="color: #990000;">'Martha' </span></em><em style="color: black;">liege ihm sehr".</em> Das ist schwach ausgedrückt: <i>Lyonel</i>s Charakter war Schock, rein vokal auf jeden Fall etwa bis zur Mitte der sechziger Jahre, wie auf den Leib geschrieben. Die Rolle hat alles, was Rudolf Schocks Gesang so attraktiv machte: Lyrik, Emotion, <i>'die italienische Träne' </i>im geeigneten Moment und eine Heroik, wonach Schock in jeder Rolle, selbst in Mozartpartien, auf der Suche war. Trotz der in erster Instanz lyrisch veranlagten Tenorstimme wagte er sich - vor allem hinter dem Studiomikrofon - auch gern an Rollen heran, die für Heldentenöre gedacht waren (Othello, Radames, Canio und Paul aus <em style="color: black;">'Die tote Stadt'</em>).</span></strong> </span></p><p><strong><span style="font-family: georgia; font-size: medium;">Das fast zehn Minuten dauernde Duett mit der Sopranistin <em style="color: black;"><span style="color: blue;">Anneliese Rothenberger (1924 - 2010)</span></em> unter <em style="color: black;"><span style="color: blue;">Wilhelm Schüchter</span></em> aus dem Jahre 1955 hat als Mittelpunkt das Volkslied <em><span style="color: #990000;">'Letzte Rose'</span></em>, von Anneliese Rothenberger bezaubernd gesungen. <i><span style="color: #990000;">Rudolf Schock</span></i>s sympathischer Lyonel, der <em style="color: black;">"nicht streng und herrisch sein will" </em>ist zwar beklagenswert in der Liebe, aber bewundernswert im expressiven Gesang.</span></strong></p><p><span style="font-family: georgia; font-size: medium;"><strong><span>In einem Filmshot aus dem Film <i><span style="color: #990000;">'König der Manege'</span></i> (1954) sehen wir den Schlussteil des Finale, 3. Akt von <i><span style="color: #990000;">'Martha'</span></i>: <i><span style="color: #990000;">"Mag der Himmel Euch vergeben"</span></i><em>. </em></span></strong><strong><span>Jetzt ist <i><span style="color: #2b00fe;">Schock</span></i> der wütende Mittelpunkt eines wie angenagelt stehenden Tableaus von angeschlagenen Jagdteilnehmern. Lyonels vokaler Ausbruch ist ein bitteres Klagelied über die ihm von Lady Harriet angetane Erniedrigung. Beim Anblick und Anhören von so etwas überläuft es einen kalt.</span></strong></span></p><p><strong><span style="font-family: georgia; font-size: medium;">Den <i><span style="color: #990000;">'Martha'-Opernplot</span></i> lesen Sie im Blogartikel: <i>'Rudolf Schock singt Friedrich von Flotow'</i>. Und nicht nur das. Über das irische Volkslied <span style="color: #990000; font-style: italic;">'Letzte Rose' </span>geht's, über Flotows zweite Erfolgs-Oper <i><span style="color: #990000;">'Alessandro Stradella'</span></i> mit der wunderbaren Tenorarie <i><span style="color: #990000;">'Wie freundlich strahlt der Tag - Jungfrau Maria'</span></i> geht's auch. UND der <i><span style="color: #2b00fe;">Ernst Marischka</span></i>-Film <i><span style="color: #990000;">'König der Manege' </span></i>kommt dran, usw. </span></strong></p><p><strong><span style="font-family: georgia; font-size: medium;"> </span></strong><strong><span style="font-family: Georgia;"><span style="color: blue;"><em><span style="font-size: large;">Martha oder Der Markt zu Richmond</span></em> </span></span></strong></p><div class="separator" style="clear: both;"><strong><span style="font-family: Georgia; font-size: medium;">De inspiratiebron voor <em><span style="color: #990000;">'Martha'</span></em> van <i><span style="color: #2b00fe;">Riese/Von Flotow</span></i> was een ballet van de choreograaf Jules de Saint-Georges getiteld: <em>'Lady Harriette ou La Servante de Greenwich' </em>uit 1844.</span></strong></div><p><span style="font-size: medium;"><strong><span style="font-family: Georgia;">Het tekstboek van de opera heeft een historisch kader, waarvan het belang minder groot is dan dat van Flotow's eerste opera <i><span style="color: #990000;">'Alessandro Stradella'</span></i>. Het verhaal speelt zich af in 1710 tijdens de regeerperiode van Queen Ann Stuart van Groot-Brittannië (Ann volgde in 1702 haar zwager William op, die wij in Nederland kennen als stadhouder Willem III). De vrouwelijke hoofdpersoon van de opera is<i style="color: #990000;"> </i><i><span style="color: #990000;">Lady Harriet Durham</span></i>, hofdame in dienst van de Engelse koningin Ann.</span></strong><strong><span style="font-family: georgia;"> </span></strong></span></p><p><strong style="font-family: Georgia, "Times New Roman", serif;"><span style="font-size: medium;"><i><span style="color: #2b00fe;">Rudolf Schock</span></i> zegt in zijn biografie, dat de opera <span style="color: #990000;"><em>'Martha</em>' </span>hem goed lag. Dit is bescheiden uitgedrukt: het karakter van <i>Lyonel</i> was op zijn huid geschreven, zij het <em>vocaal</em> tot zo ongeveer midden jaren zestig. De rol heeft alles, wat de zang van <i>Rudolf Schock</i> zo aantrekkelijk maakte: lyriek, emotie, de 'Italiaanse' traan op het geëigende moment en een heroïek, waarnaar Schock in iedere rol tot aan die in Mozartopera's toe op zoek was. Daarom waagde hij zich ondanks zijn in aanleg lyrische tenor - vooral achter de studiomicrofoon - ook graag aan rollen, die voor heldentenor gedacht waren (o.a. Otello, Canio, Radames en Paul in <em>'Die tote Stadt'</em>). </span></strong></p><p><strong><span style="font-family: Georgia; font-size: medium;">Het grote duet (bijna 10 minuten) Lady Harriet-Lyonel met de sopraan <em><span style="color: blue;">Anneliese Rothenberger</span><span style="color: blue;"> (1924-2010)</span></em> onder <span style="color: blue;"><em>Wilhelm Schüchter (1911-1974) </em><span style="color: black;">uit </span><span style="color: black;">1955</span></span> draait om het volkslied <em><span style="color: #660000;">'Letzte Rose'</span></em>, door Anneliese Rothenberger elegant gezongen. Rudolf Schock's sympathieke Lyonel, die <em>"niet streng en heerszuchtig wil zijn"</em> is beklagenswaardig in zijn liefde, maar bewonderenswaardig in zijn expressiviteit.</span></strong></p><p><span style="font-size: medium;"><strong><span style="font-family: Georgia;">In een filmshot uit de speelfilm <i><span style="color: #990000;">'König der Manege'</span></i> kijken we naar het 2e gedeelte van de derde <span style="color: #660000;"><span style="color: black;"><em>'Martha'</em>-</span><em><span style="color: black;">finale</span> "Mag der Himmel Euch vergeben". </em></span></span></strong><strong><span style="font-family: Georgia;">Nu is Lyonel het furieuze middelpunt van een aan de grond genageld tableau van aangeslagen mensen. Zijn vocale uitbarsting is een bittere klaagzang over de hem door Lady Harriet aangedane vernedering, die hem tot in het diepst van zijn ziel heeft geraakt. Rillingen liepen mij over de rug bij het horen ervan. </span></strong></span></p><p><strong><span style="font-family: georgia; font-size: medium;">De <i><span style="color: #990000;">'Martha'</span></i>-operaplot vindt U in het blogartikel: <i>'Rudolf Schock zingt Friedrich von Flotow'.</i> En niet alleen dat. Over het Ierse volkslied <i><span style="color: #990000;">'Last Rose of Summer' </span></i>gaat het, over Flotows andere succesopera <i><span style="color: #990000;">'Alessandro Stradella' </span></i>met de wondermooie tenoraria <span style="color: #990000; font-style: italic;">'Wie freundlich strahlt der Tag - Jungfrau Maria' </span>gaat het ook. EN de <i>Ernst Marischka</i>-film <i><span style="color: #990000;">'König der Manege'</span></i> komt aan de beurt, enz.</span></strong></p><p><strong><span style="font-family: georgia;"><span style="font-style: italic;">Krijn de Lege, 14.11.2022/19.11.2022 </span></span></strong></p><p><br /></p>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-31198699544725501062022-10-18T15:02:00.004+01:002022-10-18T15:02:59.300+01:00SCHOCK, KLOSE, STREICH & METTERNICH in "Bella figlia dell'amore" from VERDI's 'Rigoletto' (rec. 1950)<p style="margin-bottom: .0001pt; margin: 0cm;"><span style="font-family: georgia; font-size: medium;"><b></b></span></p><div class="separator" style="clear: both; text-align: left;"><span style="font-family: georgia; font-size: medium;"><b><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/52T3akKd0ug" width="320" youtube-src-id="52T3akKd0ug"></iframe></b></span></div><span style="font-family: georgia; font-size: medium;"><b><br /></b></span><p></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b style="font-family: georgia; font-size: large;"><i>E N G LI S H : </i></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p style="margin-bottom: .0001pt; margin: 0cm;"><span style="font-family: georgia; font-size: medium;"><b>Shortly after my publication of 1950-excerpts from <i><span style="color: #990000;">'Rigoletto'</span></i> and <i><span style="color: #990000;">'Il Trovatore'</span></i> I heard again after (too) a long time the famous quartet from the 3rd act of <i><span style="color: #990000;">'Rigoletto'</span></i>: <i><span style="color: #990000;">"Bella figlia dell'amore"</span></i>.</b></span></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b style="font-family: georgia; font-size: large;">The recording is from the complete - German-language - radio performance of <i><span style="color: #2b00fe;">Verdi</span></i>'s <i><span style="color: #990000;">"Rigoletto" </span></i>from 1950. It is conducted by the masterful <i><span style="color: #2b00fe;">Ferenc Fricsay </span></i>and <i><span style="color: #2b00fe;">Rudolf Schock</span></i> (35 years old), <i><span style="color: #2b00fe;">Rita Streich</span></i> (30 years old), <i><span style="color: #2b00fe;">Margarete Klose</span></i> (48 years old) and <i><span style="color: #2b00fe;">Josef Metternich</span></i> (35 years old) sing. They do that so beautiful that not a star remains in the sky.</b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;">Schock</span></i>'s "Duke" is not a macho here, not a me-too type, but a young, carefree woman admirer. <i><span style="color: #2b00fe;">Rita Streich</span></i>'s "Gilda" is - also vocally - a true angel, <i><span style="color: #2b00fe;">Margarete Klose</span></i>'s "Maddalena" is a life-experienced lady and has a good sense of humor, and <i><span style="color: #2b00fe;">Josef Metternich</span></i>'s court jester "Rigoletto" is a father who is caught between his daughter Gilda and "his" master of the house (the duke).</b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><br /></p><p style="margin-bottom: .0001pt; margin: 0cm;"><span style="font-family: georgia; font-size: medium;"><b>I experience the opening of the quartet <i><span style="color: #990000;">“Holdes Mädchen, sieh' mein Leiden/Bella figlia dell'amore”</span></i>, which takes place INSIDE (Hertog and Maddalena) and OUTSIDE (Gilda and Rigoletto), as a walkover: transparent orchestral sounds dance over you. Inside, Rudolf Schock's effortlessly flowing "mezza voce" tones don't conquer the clever Maddalena, but they do conquer me! Outside, an embittered Rigoletto confronts his daughter with the heartlessness of "his" duke ... whom he is willing to assassinate.</b></span></p><p style="margin-bottom: .0001pt; margin: 0cm;"><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b style="font-family: georgia; font-size: large;">I'm happy to add this grandiose quartet in the meantime. Have fun while listening!</b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><br /></p><p style="margin-bottom: .0001pt; margin: 0cm;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9YgFBM3cR6U5jjNR_DYnp_Cy9SFPVjDcrN719O7AlWVAsiTGZInFgodLMHfJ19t1r8a-SoQIoE242yIcQEWEDR3XUXOu8lQ6ucZ9Lr_zVy_ltPBwOecqld3ozQ9sa2OjnmDYYD7agp985Os6bCwHE56nRINLrv4e5m6vbLiKoEBjsb_L5A68uNOxj/s372/Rigoletto%20Metternich.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="263" data-original-width="372" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9YgFBM3cR6U5jjNR_DYnp_Cy9SFPVjDcrN719O7AlWVAsiTGZInFgodLMHfJ19t1r8a-SoQIoE242yIcQEWEDR3XUXOu8lQ6ucZ9Lr_zVy_ltPBwOecqld3ozQ9sa2OjnmDYYD7agp985Os6bCwHE56nRINLrv4e5m6vbLiKoEBjsb_L5A68uNOxj/s320/Rigoletto%20Metternich.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #2b00fe;">Josef Metternich</span></b></td></tr></tbody></table><span style="color: #2b00fe;"><br /></span><p></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b style="font-family: georgia; font-size: large;"><span style="color: #2b00fe;"><br /></span></b></p><p style="margin: 0cm 0cm 0.0001pt; text-align: left;"><span style="color: #2b00fe; font-family: georgia; font-size: medium;"><br /><b><br /></b></span></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b style="font-family: georgia; font-size: large;"><span style="color: #2b00fe;"><br /></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b style="font-family: georgia; font-size: large;"><span style="color: #2b00fe;"><br /></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b style="font-family: georgia; font-size: large;"><span style="color: #2b00fe;"><br /></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b style="font-family: georgia; font-size: large;"><span style="color: #2b00fe;"><br /></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b style="font-family: georgia; font-size: large;"><span style="color: #2b00fe;"><br /></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b style="font-family: georgia; font-size: large;"><span style="color: #2b00fe;"><br /></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b style="font-family: georgia; font-size: large;"><i><br /></i></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b style="font-family: georgia; font-size: large;"><i>D E U T S C H : </i></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b style="font-family: georgia; font-size: large;">Kurz nach meiner Veröffentlichung von Auszügen aus <i><span style="color: #990000;">'Rigoletto'</span></i> und <i><span style="color: #990000;">'Il Trovatore'</span></i> aus dem Jahre 1950 hörte ich nach (zu) langer Zeit das berühmte Quartett aus dem 3. Akt von <i><span style="color: #990000;">'Rigoletto'</span></i>: <i><span style="color: #990000;">"Bella figlia dell'amore"</span></i> wieder.</b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b style="font-family: georgia; font-size: large;">Die Aufnahme stammt aus der kompletten – deutschsprachigen – Rundfunkaufführung von <span style="color: #2b00fe;"><i>Verdi</i></span>s <i><span style="color: #990000;">„Rigoletto“</span></i> aus dem Jahre 1950. Es dirigiert der meisterhafte <i><span style="color: #2b00fe;">Ferenc Fricsay</span></i> und <i><span style="color: #2b00fe;">Rudolf Schock</span></i> (35 Jahre), <span style="color: #2b00fe;"><i>Rita Streich</i></span> (30 Jahre), <i><span style="color: #2b00fe;">Margarete Klose</span></i> (48 Jahre) und <i><span style="color: #2b00fe;">Josef Metternich </span></i>(35 Jahre alt) singen. Sie machen es so schön, dass kein Stern am Himmel bleibt.</b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><br /></p><p style="margin-bottom: .0001pt; margin: 0cm;"><span style="font-family: georgia; font-size: medium;"><b><i><span style="color: #2b00fe;">Schock</span></i>s „Duke“ ist hier kein Macho, kein Me-too-Typ, sondern eine junge, unbeschwerte Frauenverehrerin. <i><span style="color: #2b00fe;">Rita Streich</span></i>s „Gilda“ ist – auch stimmlich – ein wahrer Engel, <i><span style="color: #2b00fe;">Margarete Klose</span></i>s „Maddalena“ eine lebenserfahrene Frau mit Humor und <i><span style="color: #2b00fe;">Josef Metternich</span></i>s Hofnarr „Rigoletto“ ein Vater, der zwischen seiner Tochter Gilda und „seinem“ Hausherrn (dem Herzog) hin- und hergerissen wird.</b></span></p><p style="margin-bottom: .0001pt; margin: 0cm;"><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p style="margin-bottom: .0001pt; margin: 0cm;"><span style="font-family: georgia; font-size: medium;"><b>Die Eröffnung des Quartetts <i><span style="color: #990000;">„Holdes Mädchen, sieh mein Leiden/Bella figlia dell'amore“</span></i>, das INNEN (Hertog und Maddalena) und AUSSEN (Gilda und Rigoletto) stattfindet, erlebe ich als Überrumpelung: transparente Orchesterklänge tanzen über einen hinweg. Drinnen erobern <i><span style="color: #2b00fe;">Rudolf Schock</span></i>s mühelos fließende "mezza voce"-Töne die gescheite Maddalena nicht, aber mich wohl! Draußen konfrontiert ein verbitterter Rigoletto seine Tochter mit der Herzlosigkeit „seines“ Herzogs … den er zu ermorden bereit ist.</b></span></p><p style="margin-bottom: .0001pt; margin: 0cm;"><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b style="font-family: georgia; font-size: large;">Dieses grandiose Quartett füge ich zwischenzeitlich gerne hinzu. Viel Spaß beim Zuhören!</b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b style="font-family: georgia; font-size: large;"><br /></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXiwcW0o7umJJ5PeZTRLsqCnWnNa0NQ5YNjh67a8LEHlDGWO2zQYtaoZzOFoq2y5-L2iwLqhZra-KSItXb9Wmt3tPPdzjc71_2S3JvvXl8SQfuQ8bM9YV28hao7XbDucPhg_YmOBk-XAsBvIlVqysh79lOjScL9wmdz1YWqk46mpN9gQVT_RelxEwV/s225/Rita%20Streich%202.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="178" data-original-width="225" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXiwcW0o7umJJ5PeZTRLsqCnWnNa0NQ5YNjh67a8LEHlDGWO2zQYtaoZzOFoq2y5-L2iwLqhZra-KSItXb9Wmt3tPPdzjc71_2S3JvvXl8SQfuQ8bM9YV28hao7XbDucPhg_YmOBk-XAsBvIlVqysh79lOjScL9wmdz1YWqk46mpN9gQVT_RelxEwV/s1600/Rita%20Streich%202.jpg" width="225" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #2b00fe; font-family: georgia;">Rita Streich</span></b></td></tr></tbody></table><b><br /><span style="font-family: georgia; font-size: large;"><br /></span></b><p></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><br /></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><br /></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><br /></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><br /></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><br /></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><br /></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><br /></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;">N E D E R L A N D S :</span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><br /></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;">Kort na
het publiceren van mijn fragmenten uit 1950 van </span></b><b><i><span style="color: #943634; font-family: "Georgia","serif"; font-size: 13.5pt; mso-themecolor: accent2; mso-themeshade: 191;">‘Rigoletto’</span></i></b><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"> <i>en </i></span></b><b><i><span style="color: #943634; font-family: "Georgia","serif"; font-size: 13.5pt; mso-themecolor: accent2; mso-themeshade: 191;">‘Il
Trovatore’</span></i></b><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"> beluisterde ik na (te) lange
tijd uit de 3e akte van </span></b><b><i><span style="color: #943634; font-family: "Georgia","serif"; font-size: 13.5pt; mso-themecolor: accent2; mso-themeshade: 191;">Rigoletto </span></i></b><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;">het beroemde kwartet:
</span></b><b><i><span style="background: white; color: #943634; font-family: "Georgia","serif"; font-size: 14pt; mso-bidi-font-family: Arial; mso-themecolor: accent2; mso-themeshade: 191;">"Bella
figlia dell'amore"</span></i></b><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;">.<o:p></o:p></span></b></p>
<p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;">De opname
stamt uit de complete - Duitstalige - radio-uitvoering van <i><span style="color: #2b00fe;">Verdi</span></i>'s </span></b><b><span style="color: #943634; font-family: "Georgia","serif"; font-size: 13.5pt; mso-bidi-font-style: italic; mso-themecolor: accent2; mso-themeshade: 191;"><i>'Rigoletto'</i></span></b><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"> uit 1950. De magistrale </span></b><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><i><span style="color: #2b00fe;">Ferenc Fricsay</span></i> </span></b><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;">dirigeert en </span></b><b><i><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><span style="color: #2b00fe;">Rudolf Schock</span></span></i></b><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"> (35 jaar), </span></b><b><i><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><span style="color: #2b00fe;">Rita Streich</span></span></i></b><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"> (30 jaar), </span></b><b><i><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><span style="color: #2b00fe;">Margarete Klose</span></span></i></b><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"> (48
jaar) en </span></b><b><i><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><span style="color: #2b00fe;">Josef Metternich</span></span></i></b><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"> (35 jaar) zingen. Ze doen dat zo ongelooflijk mooi, dat er aan de
hemel geen ster overblijft.</span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><br /></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b></b></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWFAXDMUYz2dSbOfiepo2lMTHLEpWOVaMogl4n6xD7Gt8JCiXzaj4RY3q4m_ELnHqML52whrZQ-G1MyJ7svtl9l9zCWy4iU89HjvHM0Qs1vB6s4cEZiCnOaOICTaLYc8dlwaepBt591CqzWETsW13jwm6cyXa-6z_vA9n3ONM3F4FZCpu7QPoCl60c/s150/Rigoletto%20Margarete%20Klose.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="129" data-original-width="150" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWFAXDMUYz2dSbOfiepo2lMTHLEpWOVaMogl4n6xD7Gt8JCiXzaj4RY3q4m_ELnHqML52whrZQ-G1MyJ7svtl9l9zCWy4iU89HjvHM0Qs1vB6s4cEZiCnOaOICTaLYc8dlwaepBt591CqzWETsW13jwm6cyXa-6z_vA9n3ONM3F4FZCpu7QPoCl60c/w320-h275/Rigoletto%20Margarete%20Klose.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #2b00fe; font-family: georgia;"><b>Margarete Klose</b></span></td></tr></tbody></table><b><span style="font-size: x-small;"><br /><span style="font-family: Georgia, "serif";"><br /></span></span></b><p></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif";"><span style="font-size: x-small;"><br /></span></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif";"><span style="font-size: x-small;"><br /></span></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif";"><span style="font-size: x-small;"><br /></span></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif";"><span style="font-size: x-small;"><br /></span></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif";"><span style="font-size: x-small;"><br /></span></span></b></p>
<p style="margin-bottom: .0001pt; margin: 0cm;"><b><i><span style="font-family: Georgia, "serif";"><span style="color: #2b00fe; font-size: x-small;"><br /></span></span></i></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><i><span style="font-family: Georgia, "serif";"><span style="color: #2b00fe; font-size: x-small;"><br /></span></span></i></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><i><span style="font-family: Georgia, "serif";"><span style="color: #2b00fe; font-size: x-small;"><br /></span></span></i></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><i><span style="font-family: Georgia, "serif";"><span style="color: #2b00fe; font-size: x-small;"><br /></span></span></i></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><i><span style="font-family: Georgia, "serif";"><span style="color: #2b00fe; font-size: x-small;"><br /></span></span></i></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><i><span style="font-family: Georgia, "serif";"><span style="color: #2b00fe; font-size: x-small;"><br /></span></span></i></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><i><span style="font-family: Georgia, "serif";"><span style="color: #2b00fe; font-size: x-small;"><br /></span></span></i></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><i><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><span style="color: #2b00fe;"><br /></span></span></i></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><i><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><span style="color: #2b00fe;">Schock</span></span></i></b><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;">’s ‘Hertog’ is hier geen macho, geen me-too type, maar een jonge, luchthartige
vrouwenbewonderaar. </span></b><b><i><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><span style="color: #2b00fe;">Rita Streich</span></span></i></b><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;">’s ‘Gilda’ is – ook vocaal - een ware engel, </span></b><b><i><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><span style="color: #2b00fe;">Margarete Klose</span></span></i></b><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;">’s ’Maddalena’ een levenservaren vrouw met humor en </span></b><b><i><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><span style="color: #2b00fe;">Josef Metternich</span></span></i></b><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;">’s hofnar ‘Rigoletto’ een tussen zijn dochter Gilda en ‘zijn’ broodheer
(de hertog) verscheurde vader.</span></b></p>
<p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;">De
opening van het kwartet: </span></b><b><i><span style="color: #943634; font-family: "Georgia","serif"; font-size: 13.5pt; mso-themecolor: accent2; mso-themeshade: 191;">‘Holdes Mädchen, sieh mein Leiden/Bella figlia dell’amore’</span></i></b><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;">, dat zich BINNEN (Hertog en Maddalena) en BUITEN (Gilda en Rigoletto)
afspeelt, beleef ik als een overrompeling: transparante orkestklanken dansen over je heen. Binnen pakken </span></b><b><i><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><span style="color: #2b00fe;">Rudolf Schock</span></span></i></b><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;">’s moeiteloos
vloeiende mezza voce-tonen de slimme Maddalena niét, maar mij wél in, buiten
confronteert een verbitterde Rigoletto zijn dochter met de harteloosheid van
‘zijn’ hertog’, die hij bereid is te vermoorden.</span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsRGwdpoByHqjjMOw2aKIq8xyc-a2j8y23fVaHVaySfEIEFevIYrH6ELASP9_OftJjeDUCP74Y9Zhtdlf-gaQ-Zc56MlIQjjHCFQELlW2wAE8ggDerX_Q-MeP296l0xZw_GzH3YDkqVUwS-0LTOARq9gYlM2pKzle0Ze0a-FiTvZh2AMyaLtMR4Cmy/s1482/130%20portret%20RS%20als%20Hertog%20van%20Mantua%20(2c).jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1482" data-original-width="963" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsRGwdpoByHqjjMOw2aKIq8xyc-a2j8y23fVaHVaySfEIEFevIYrH6ELASP9_OftJjeDUCP74Y9Zhtdlf-gaQ-Zc56MlIQjjHCFQELlW2wAE8ggDerX_Q-MeP296l0xZw_GzH3YDkqVUwS-0LTOARq9gYlM2pKzle0Ze0a-FiTvZh2AMyaLtMR4Cmy/w130-h200/130%20portret%20RS%20als%20Hertog%20van%20Mantua%20(2c).jpg" width="130" /></a></b></div><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><br /></span></b><p></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif";"><i><span style="color: #2b00fe;">Rudolf Schock</span></i></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><br /></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><br /></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><br /></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><br /></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><br /></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;"><br /></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif"; font-size: 13.5pt;">Ik voeg
dit grandioze kwartet graag tussentijds in. Veel genoegen bij het luisteren!</span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"><br /></p><p style="margin-bottom: .0001pt; margin: 0cm;"><b><span style="font-family: Georgia, "serif";"><span style="font-size: x-small;">Krijn de Lege, 18.10.2022</span></span></b></p><p style="margin-bottom: .0001pt; margin: 0cm;"> </p>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-82476624536161662382022-10-10T15:03:00.276+01:002022-11-06T11:48:44.137+01:00YOUNG RUDOLF SCHOCK: Italian & German BELCANTO (2)<p><span style="font-family: georgia; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-family: georgia; text-align: left;"><b>Il Trovatore: 4rd Act, 1st & 2nd scene in Italian</b></span><b style="color: red; font-family: georgia; text-align: left;">:</b></div><div class="separator" style="clear: both; text-align: center;"><b style="color: red; font-family: georgia; text-align: left;"><br /></b></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-family: georgia; text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/OsWVZ34CUg0" width="320" youtube-src-id="OsWVZ34CUg0"></iframe></div><br /><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Lvvn987UChU" width="320" youtube-src-id="Lvvn987UChU"></iframe></div></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-family: georgia; text-align: left;"><b>Il Trovatore: 3rd Act, 2nd scene in Italian </b></span><b style="color: red; font-family: georgia; text-align: left;">and German:</b></div><div class="separator" style="clear: both; text-align: center;"><b style="color: red; font-family: georgia; text-align: left;"><br /></b></div><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/AVgNQ8U7F_Y" width="320" youtube-src-id="AVgNQ8U7F_Y"></iframe></div></div><p></p><p><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/74EjY8OHOu8" width="320" youtube-src-id="74EjY8OHOu8"></iframe><span style="font-family: georgia; font-size: xx-large;"><br /></span></p><p><span style="font-family: georgia; font-size: xx-large;">E n g l i s h :</span></p><p><span style="font-family: georgia; font-size: medium;"><b>Around 1950 <i><span style="color: #2b00fe;">Rudolf Schock</span></i>, in his own words, achieved <i>"success after success"</i>. Personally, I experience those years as his most beautiful vocally: a warm, expressive, flexible voice with a more than good height. In his biography (1985) he does not hide that he was in fact not a <i><span style="color: #990000;">"knight of the high C"</span></i>. One of his brothers, if you woke him up at night, could produce a <i><span style="color: #990000;">"high C"</span></i> </b></span><span style="background-color: #f8f9fa; color: #202124; font-family: georgia; white-space: pre-wrap;"><span style="font-size: medium;"><b>immediately</b></span></span><b style="font-family: georgia; font-size: large;">. Schock couldn't do that himself and had to keep on probing that "C" all the time, until it didn't help as the years went by. It may be assumed that Schock's voice no longer had a "high C" after 1960. That in itself is not serious, but the fact is that an audience that expects a "high C" at a certain moment and does not get it, becomes annoying! You sing the stars of heaven all evening, but that one missing tone kills you. It's no secret, by the way, that the great <i><span style="color: #2b00fe;">Richard Tauber</span></i> had no "high B", let alone "C" available. Tauber sang very easily by nature and dived - without a trace of shyness - with flair under the "high B" of for example Bizet's <i>'Flower aria'</i>.</b></p><p><b style="font-size: large;"><span style="font-family: georgia;">The violent <span style="color: #2b00fe;"><i>Guiseppe Verdi</i> </span>aria <i><span style="color: #990000;">'Di quella pira' </span></i>at the end of <i>scene two of the THIRD ACT </i>of <i><span style="color: #990000;">'Il Trovatore'</span></i> traditionally ends with a 'high C', which should not fail for the 'true' opera lover. So on pain of booing! Schock last recorded the aria in 1959. The Dutch opera critic <i>Leo Riemens</i> remarked that <i>Rudolf Schock</i> got his "high C" <i>"with his heels over the ditch"</i>. Schock recorded more Riemens-resistant versions in 1950 (<i>in Italian</i>) and in 1953 (<i>in German</i>). I put those recordings on YouTube in logical contrast with <i>another, soulful tenor aria</i> from the same <i>2nd scene and 3rd act.</i></span></b></p><p><b><i><span style="color: #2b00fe; font-family: georgia; font-size: large;">For the record:</span></i></b></p><p><span style="font-family: georgia;"><b style="font-size: large;"><i><span style="color: #2b00fe;">GUISEPPE VERDI</span></i> <span style="color: #2b00fe;">did NOT prescribe the "high C" in </span><i><span style="color: #990000;">'Di quella pira'</span></i>. But he did not object to the tenor's wish to sing the closing note with a "high C" in the world premiere (1853) of <i><span style="color: #990000;">'Il Trovatore'</span></i>. In this way, an oppressive tradition was born. Conductor <i><span style="color: #2b00fe;">Ricardo Muti</span></i> (born: 1941) broke with that tradition years ago in a performance of '</b><b style="font-size: large;"><i><span style="color: #990000;">Il Trovatore'</span></i></b><b style="font-size: large;">. However, at the moment supreme, the obedient tenor was put on a hellish flute concerto-with-booing.</b></span></p><p><b><span style="color: #2b00fe; font-family: georgia; font-size: large;"><i>On the second scene of the 3rd act:</i></span></b></p><p><span style="font-family: georgia;"><b style="font-size: large;">Despite miserable circumstances, <i>Leonora</i> and <i>Manrico</i> have decided to marry each other: tenor aria: <i><span style="color: #990000;">'Ah si ben mio coll`essere /</span></i></b><span style="font-size: medium;"><b><i><span style="color: #990000;"> </span></i></b><b><i><span style="background-color: white;"><span style="color: #990000;">Ah! yes, my goodness'</span>. </span></i></b></span><b style="font-size: large;">However, when Manrico gets word that his mother Azucena has been captured, he mobilizes his small force. He shows himself ready for the battle for his mother. End 3rd act: <i><span style="color: #990000;">'Di quella pira / </span></i></b><i><span><b style="color: #990000;"><span style="font-size: medium;"><span style="background-color: #e7ebec;">Of that pyre!</span></span></b><b style="font-size: large;"><span style="color: #990000;">'</span><span>.</span></b></span></i></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBA97_qSbbiWXhOHZw8PWXWqWnMJzZDddCgeIXD4CNc4YB_eYwXFNZvjKkNmXedSc_6zaolPWNI2SfFhtv3tr7uTw1m3Zv4lanSrdcKEjxDDYIyCB5I6T9uK0wnR3VkDYy_ui3uwXndf4SySnCflj5KAPBRhH8Cb6tgNcINOSrAM9ZojgcrcnBf4RY/s330/RS%20Stretta%2021950.jpg" style="clear: left; display: inline; font-family: georgia; font-size: xx-large; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="309" data-original-width="330" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBA97_qSbbiWXhOHZw8PWXWqWnMJzZDddCgeIXD4CNc4YB_eYwXFNZvjKkNmXedSc_6zaolPWNI2SfFhtv3tr7uTw1m3Zv4lanSrdcKEjxDDYIyCB5I6T9uK0wnR3VkDYy_ui3uwXndf4SySnCflj5KAPBRhH8Cb6tgNcINOSrAM9ZojgcrcnBf4RY/s320/RS%20Stretta%2021950.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #2b00fe; font-family: georgia; font-size: x-small;"><b>Rudolf Schock as Manrico 1953</b></span></td></tr></tbody></table><p class="MsoNormalCxSpFirst" style="line-height: normal; text-align: justify;"><span style="font-family: georgia; font-size: xx-large; text-align: left;"><br /></span></p><p class="MsoNormalCxSpFirst" style="line-height: normal; text-align: justify;"><span style="font-family: georgia; font-size: xx-large; text-align: left;"><br /></span></p><p class="MsoNormalCxSpFirst" style="line-height: normal; text-align: justify;"><span style="font-family: georgia; font-size: xx-large; text-align: left;"><br /></span></p><p class="MsoNormalCxSpFirst" style="line-height: normal; text-align: justify;"><span style="font-family: georgia; font-size: xx-large; text-align: left;"><br /></span></p><p class="MsoNormalCxSpFirst" style="line-height: normal; text-align: justify;"><span style="font-family: georgia; font-size: xxx-large; text-align: left;"><br /></span></p><p class="MsoNormalCxSpFirst" style="line-height: normal; text-align: left;"><span style="color: #2b00fe; font-family: georgia; font-size: large;"><b><i><br /></i></b></span></p><p class="MsoNormalCxSpFirst" style="line-height: normal; text-align: left;"><span style="color: #2b00fe; font-family: georgia; font-size: large;"><b><i><br /></i></b></span></p><p class="MsoNormalCxSpFirst" style="line-height: normal; text-align: left;"><span style="color: #2b00fe; font-family: georgia; font-size: large;"><b><i>From the 4th act:</i></b></span></p><p class="MsoNormalCxSpFirst" style="line-height: normal; text-align: left;"><b style="font-family: georgia; font-size: large;">Manrico is defeated and awaits the death sentence in a dungeon. Manrico's friend, Ruiz, shows Leonora the bars of the dungeon. Leonora is moved to hear Manrico's farewell song: <i><span style="color: #990000;">'Ah, che la morte ognora'</span></i>.</b></p><p class="MsoNormalCxSpFirst" style="line-height: normal; text-align: left;"><b><span style="font-family: georgia;"><span style="font-size: medium;">In the 2nd scene Manrico gets the opportunity to say goodbye to his overtired mother Azucena (</span></span></b><span style="font-family: georgia; font-size: medium;"><b><i>She suffers the double trauma of a mother burnt at the stake and the ensuing act of retaliation, in which she in mental confusion threw her own child into the flames).</i> Manrico</b></span><b><span style="font-family: georgia;"><span style="font-size: medium;"> encourages her and sings her to sleep:</span><span style="font-size: medium;"><span> </span><i><span style="color: #990000;">' </span></i></span></span></b><span style="letter-spacing: 0.4px;"><span style="color: #990000; font-family: georgia; font-size: medium;"><b><i>Sì, la stanchezza m'opprime, o figlio/A</i></b></span></span><b><span style="font-family: georgia;"><span style="font-size: medium;"><i><span style="color: #990000;">i nostri monti ritorneremo'</span><span>.</span><span style="color: #990000;"> </span></i></span></span></b></p><p class="MsoNormalCxSpFirst" style="line-height: normal; text-align: left;"><span style="font-family: georgia;"><span style="font-size: x-large;">D e u t s c h :</span></span></p><p><b style="font-family: georgia; font-size: large;">Um 1950 gelang <i><span style="color: #2b00fe;">Rudolf Schock </span></i>nach eigener Aussage <i>„Erfolg um Erfolg“</i>. Persönlich erlebe ich diese Jahre als seine stimmlich schönsten: eine warme, ausdrucksstarke, flexible Stimme mit einer mehr als guten Höhe. In seiner Biografie (1985) verhehlt er nicht, dass er eigentlich kein <i><span style="color: #990000;">„Ritter des hohen C“ </span></i>war. Einer seiner Brüder konnte, wenn man ihn nachts weckte, sofort ein <span style="color: #990000;"><i>„hohes C“</i></span> hervorbringen. Schock selbst konnte das nicht und musste das „C“ immer wieder pflegen, bis es im Laufe der Jahre nicht mehr half. Es ist anzunehmen, dass Schocks Stimme nach 1960 kein „hohes C“ mehr hatte. Das ist an sich nicht ernsthaft, aber Tatsache ist, dass ein Publikum, das in einem bestimmten Moment ein „hohes C“ erwartet und es nicht bekommt, unangenehm wird! Einer singt den ganzen Abend die Sterne des Himmels, aber dieser eine fehlende Ton bringt dich um. Es ist übrigens kein Geheimnis, dass der große <i><span style="color: #2b00fe;">Richard Tauber</span></i> kein „hohes B“, geschweige denn „C“ zur Verfügung hatte. Tauber sang von Natur aus sehr locker und tauchte – ohne eine Spur von Scheu – mit Flair unter das „hohe B“ von beispielsweise Bizets <i>„Blumenarie“</i>.</b></p><p><b style="font-family: georgia; font-size: large;">Die heftige <i><span style="color: #2b00fe;">Guiseppe Verdi</span></i>-Arie <i><span style="color: #990000;">„Di quella pira“</span></i> <i>am Ende der zweiten Szene des DRITTEN AKTS </i>von <i><span style="color: #990000;">„Il Trovatore“</span></i> endet traditionell mit einem „hohen C“. So ein "C" darf nach der Meinung des <i>„wahren“</i> Opernliebhabers nicht misslingen. </b><span style="color: #202124; font-family: georgia; font-size: medium;"><b><span style="background-color: #f8f9fa; white-space: pre-wrap;">Buhrufe stehen also bevor! </span></b></span><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;">Rudolf Schock</span></i> nahm die Arie 1959 zum letzten Mal auf. Der niederländische Opernkritiker <i>Leo Riemens</i> bemerkte, <i>Rudolf Schock</i> habe sein „hohes C“ nur <i>„mit den Absätzen über den Graben“</i> geschafft. </b><b style="font-family: georgia; font-size: large;">Riemens-resistentere Versionen legte </b><b style="font-family: georgia; font-size: large;">Schock u.a. 1950 (<i>auf Italienisch</i>) und 1953 (<i>auf Deutsch</i>) fest. Ich stelle diese Aufnahmen auf YouTube in logischem Kontrast zu Versionen einer <i>anderen, gefühlvollen Tenor-Arie</i> <i>aus derselben 2. Szene und demselben 3. Akt</i>.</b></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRTdzbQaKA7iiyLfFM3vI_cI5HG_v7o_NReDB2xpGC9OxseHsFGfj8P6Hd-n_GQp2b1BZHdadgGecRqvCDiyu8dTF2S4fM5MNskcZ6i3HxtFBEE-BfH1rjxHNWUNWOygga-ilEM5sm5J-BPlCz_sU-bq0Ro8L6LZAwML3e9iNe-l5hXvqzHFyWVaIB/s500/RS%20Il%20Trovatore%202.jpg" style="clear: left; font-weight: 400; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRTdzbQaKA7iiyLfFM3vI_cI5HG_v7o_NReDB2xpGC9OxseHsFGfj8P6Hd-n_GQp2b1BZHdadgGecRqvCDiyu8dTF2S4fM5MNskcZ6i3HxtFBEE-BfH1rjxHNWUNWOygga-ilEM5sm5J-BPlCz_sU-bq0Ro8L6LZAwML3e9iNe-l5hXvqzHFyWVaIB/s320/RS%20Il%20Trovatore%202.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: x-small;">Josef Metternich & Rudolf Schock 1959</span></b></td></tr></tbody></table><p><b style="font-family: georgia;"><span style="color: #2b00fe; font-size: large;"></span></b></p><p><b style="font-family: georgia;"><span style="color: #2b00fe; font-size: large;"><i><br /></i></span></b></p><p><b style="font-family: georgia;"><span style="color: #2b00fe; font-size: large;"><i><br /></i></span></b></p><p><b style="font-family: georgia;"><span style="color: #2b00fe; font-size: large;"><i><br /></i></span></b></p><p><b style="font-family: georgia;"><span style="color: #2b00fe; font-size: large;"><i><br /></i></span></b></p><p><b style="font-family: georgia;"><span style="color: #2b00fe; font-size: large;"><i><br /></i></span></b></p><p><b style="font-family: georgia;"><span style="color: #2b00fe; font-size: large;"><i><br /></i></span></b></p><p><b style="font-family: georgia;"><span style="color: #2b00fe; font-size: large;"><i><br /></i></span></b></p><p><b style="font-family: georgia;"><span style="color: #2b00fe; font-size: large;"><i><br /></i></span></b></p><p><b style="font-family: georgia;"><span style="color: #2b00fe; font-size: large;"><i><br /></i></span></b></p><p><b style="font-family: georgia;"><span style="color: #2b00fe; font-size: large;"><i>Fürs Protokoll:</i></span></b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;">GUISEPPE VERDI</span></i> hat das „hohe C“ in <i><span style="color: #990000;">„Di quella pira“</span></i> <i><span style="color: #2b00fe;">NICHT</span></i> <i><span style="color: #2b00fe;">vorgeschrieben</span></i>. Dem Wunsch des Tenors der Uraufführung (1853) von <i><span style="color: #990000;">„Il Trovatore“</span>,</i> den Schlusston mit einem „hohen C“ zu singen, widersprach er aber nicht. Auf diese Weise wurde eine unterdrückerische Tradition geboren. Dirigent <span style="color: #2b00fe;"><i style="background-color: white;">Ricardo Muti</i> </span>(geb. 1941) brach vor Jahren mit dieser Tradition in einer Aufführung von <i><span style="color: #990000;">„Il Trovatore“</span></i>. Im Augenblick jedoch wurde der gehorsame Tenor auf ein höllisches Flötenkonzert mit Buhrufen gesetzt.</b></p><p><b style="font-family: georgia;"><span style="color: #2b00fe; font-size: large;"><i>Zur zweiten Szene des 3. Akts:</i></span></b></p><p><b style="font-family: georgia; font-size: large;">Trotz miserabler Umstände haben <i>Leonora </i>und <i>Manrico</i> beschlossen, sich zu verheiraten: Tenor-Arie: <i><span style="color: #990000;">„Ah si ben mio coll`essere / Dass nur für dich mein Herz erbebt'</span></i>. Als Manrico jedoch erfährt, dass seine Mutter Azucena gefangen genommen wurde, mobilisiert er seine kleine Truppe. Er zeigt sich bereit für den Kampf um seine Mutter. Ende 3. Akt: <i><span style="color: #990000;">'Di quella pira / Lodern zum Himmel!</span></i>'.</b></p><p><span style="color: #2b00fe; font-family: georgia; font-size: large;"><b><i>Aus dem 4. Akt:</i></b></span></p><p><b style="font-family: georgia; font-size: large;">Manrico ist besiegt und wartet in einem Kerker auf das Todesurteil. Manricos Freund Ruiz zeigt Leonora die Gitterstäbe des Kerkers. Leonora ist gerührt, Manricos Abschiedslied zu hören: <i><span style="color: #990000;">"Ah, che la morte ognora / Schon naht sich die Todesstunde"</span></i>.</b></p><p><b style="font-family: georgia;"><span style="font-size: medium;">In der 2. und letzten Szene bekommt Manrico die Gelegenheit, sich von seiner erschöpften Mutter Azucena zu verabschieden<i> (Sie erleidet das Doppeltrauma einer auf dem Scheiterhaufen verbrannten Mutter und der darauffolgenden Vergeltung, bei der sie in Geistesverwirrung das eigene Kind in die Flammen warf).</i> Manrico ermutigt sie und singt sie in den Schlaf: </span><i><span style="color: #990000; font-size: large;">„ </span></i></b><b><span style="font-family: georgia;"><span style="font-size: medium;"><i><span style="color: #990000;">' </span></i></span></span></b><span style="letter-spacing: 0.4px;"><span style="color: #990000; font-family: georgia; font-size: medium;"><b><i>Sì, la stanchezza m'opprime, o figlio/</i></b></span></span><b style="font-family: georgia;"><i><span style="font-size: medium;"><span style="color: #990000;">Ai nostri monti ritorneremo / In unsre Heimat kehren wir wieder“ </span><span>.</span></span></i></b></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7kqSlg8I43cg9QvYgaiQD0OgXCguPkUhjZla4krGCFGSNq4-376cTuwGvvb9ilMI_mJ6CBAm_GlGNHuj36zIAV2C1zHZI8Ip3YenONyb7B4VFV4Gg0FtLs_5oXdWyhJdnSZPXCAzVX-UUMC6x-2LCwNy9JXtfXvo2UxRc2iQTL-EUZD69SBGYLO8i/s380/RS%20Stretta%201950%203.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="355" data-original-width="380" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7kqSlg8I43cg9QvYgaiQD0OgXCguPkUhjZla4krGCFGSNq4-376cTuwGvvb9ilMI_mJ6CBAm_GlGNHuj36zIAV2C1zHZI8Ip3YenONyb7B4VFV4Gg0FtLs_5oXdWyhJdnSZPXCAzVX-UUMC6x-2LCwNy9JXtfXvo2UxRc2iQTL-EUZD69SBGYLO8i/s320/RS%20Stretta%201950%203.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #2b00fe; font-family: georgia; font-size: x-small;">Rudolf Schock als Manrico 1953</span></b></td></tr></tbody></table><br /><p></p><p><span style="font-family: georgia; font-size: xx-large;"><br /></span></p><p><span style="font-family: georgia; font-size: xx-large;"><br /></span></p><p><span style="font-family: georgia; font-size: xx-large;"><br /></span></p><p><span style="font-family: georgia; font-size: xx-large;"><br /></span></p><p><span style="font-family: georgia; font-size: xxx-large;"><br /></span></p><p><span style="font-family: georgia; font-size: xxx-large;">N e d e r l a n d s :</span></p><p><b style="font-family: georgia; font-size: large;">Rond 1950 boekt <i><span style="color: #2b00fe;">Rudolf Schock </span></i>naar eigen zeggen <i>"succes na succes"</i>. Persoonlijk beleef ik die jaren als zijn vocaal allermooiste jaren: een warme, expressieve, soepele stem met een meer dan goede hoogte. In zijn biografie (1985) verbergt hij overigens niet, dat hij feitelijk <span style="color: #990000;"><i>geen</i> <i>"ridder van de hoge C"</i> </span>was. Eén van zijn broers kon, als je hem 's nachts wakker maakte, op staande voet een <i><span style="color: #990000;">"hoge C"</span></i> produceren. Hijzelf kon dat niet en moest voortdurend aan die noot zangonderhoud blijven plegen totdat dit bij het klimmen der jaren niet meer hielp. Aangenomen mag, dat Schock's stem na 1960 niet meer over een "hoge C" beschikte. Op zich is dat niet ernstig, maar een feit is wel, dat een publiek, dat op een bepaald moment een "hoge C" verwacht en die niet krijgt, vervelend wordt! Je zingt de hele avond de sterren van de hemel, maar die ene ontbrekende toon doet je de das om. Het is overigens geen geheim, dat de grote <i><span style="color: #2b00fe;">Richard Tauber</span></i> geen "hoge B", laat staan "C" ter beschikking had. Tauber zong van nature heel gemakkelijk en dook - zonder een spoortje van verlegenheid - met flair onder de "hoge B" van bv. Bizet's <i>'Bloemenaria'</i> door.</b></p><p><span style="font-family: georgia; font-size: medium;"><b>De geweldgerichte <i><span style="color: #2b00fe;">Guiseppe Verdi</span>-aria</i> <i><span style="color: #990000;">'Di quella pira'</span></i> aan het eind van <i>scène twee van de DERDE AKTE</i> van </b></span><b style="font-family: georgia; font-size: large;"><i><span style="color: #990000;">'Il Trovatore' </span></i></b><span style="font-family: georgia; font-size: medium;"><b>eindigt <i>traditioneel</i> met een <i><span style="color: #990000;">"hoge C"</span></i>, die van de "ware"</b></span><span style="font-family: georgia; font-size: medium;"><b> opera-liefhebber niet mag mislukken. Op</b></span><b style="font-family: georgia; font-size: large;"> straffe van boegeroep dus!</b><b style="font-family: georgia; font-size: large;"> Schock zette de aria het laatst op de plaat in 1959. De Nederlandse operacriticus <i>Leo Riemens</i> merkte op, dat <i>Rudolf Schock</i> zijn "hoge C" maar <i>"met de hakken over de sloot" </i>haalt. Riemens-bestendiger </b><b style="font-family: georgia; font-size: large;">versies nam Schock o.a. op in 1950 (<i>in het Italiaans</i>) en in 1953 (<i>in het Duits</i>). Die opnamen zijn door mij in logisch contrast met een andere, <i>gevoelvolle</i> tenoraria <i>uit dezelfde 2e scène en 3e akte </i>op YouTube gezet. </b></p><p><span><span style="color: #2b00fe; font-family: georgia; font-size: large;"><i></i></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTPc6rD6yiwU_Q15Fll1lAvLkHcJj7ql1eRNptSE_MJOSUx0431Q7dlLcSmomBTF0ht9H0LwfJ8_G1dK7iEB7TaG5MiIRb11YLFUUsF3Ci9WqFdcchoasU4KMxKiXRinoDWK6Ngvc8wONXnVZhVH3k5jtfayT16T8GIaDBLQkjPF9ty3vSad8IcG_U/s480/RS%20Il%20Trovatore%201.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="360" data-original-width="480" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTPc6rD6yiwU_Q15Fll1lAvLkHcJj7ql1eRNptSE_MJOSUx0431Q7dlLcSmomBTF0ht9H0LwfJ8_G1dK7iEB7TaG5MiIRb11YLFUUsF3Ci9WqFdcchoasU4KMxKiXRinoDWK6Ngvc8wONXnVZhVH3k5jtfayT16T8GIaDBLQkjPF9ty3vSad8IcG_U/s320/RS%20Il%20Trovatore%201.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: georgia; font-size: x-small;"><b>Schock, Metternich, Muszely 1959</b></span></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span><span style="color: #2b00fe; font-family: georgia; font-size: x-small;"><b><i></i></b></span></span></div><p><i style="color: #2b00fe; font-family: georgia; font-size: x-large;"><b>Voor de goede orde:</b></i></p><p><i><span style="font-family: georgia;"><span style="font-size: medium;"><b><span style="color: #2b00fe;">GUISEPPE VERDI</span><span style="color: red;"> schreef de </span><span style="color: #2b00fe;">"hoge C" </span><span style="color: red;">in </span><span style="color: #2b00fe;">'Di quella pira' NIET</span><span style="color: red;"> voor. Maar hij had geen bezwaar tegen de wens van de tenor in de wereldpremière (1853) van </span><span style="color: #660000;">'Il Trovatore'</span><span style="color: #990000;"> </span><span style="color: red;">de slotnoot met een "hoge C" te zingen. Op die manier ontstond een knellende traditie. Dirigent </span><span style="color: #2b00fe;">Ricardo Muti</span><span style="color: red;"> (geb. 1941) brak dan ook jaren geleden in een uitvoering van </span><span style="color: #660000;">'De Troubadour'</span><span style="color: #990000;"> </span><span style="color: red;">met die traditie. Dit kwam echter </span></b></span><b style="color: red; font-size: large;">op het moment suprème</b><b style="color: red; font-size: large;"> de gehoorzame tenor op een hels fluitconcert-met-boegeroep te staan.</b></span></i></p><p><b><span style="color: #2b00fe; font-family: georgia; font-size: large;"><span style="background-color: #e7ebec;"><i>Over de tweede scène van het 3e bedrijf:</i></span></span></b></p><p><b><span style="font-family: georgia; font-size: medium;"><span style="background-color: #e7ebec; color: #393939;"><i>In en bij de burcht Castellor.</i></span><br style="background-color: #e7ebec; color: #393939;" /><span style="background-color: #e7ebec; color: #393939;">Leonora en Manrico hebben ondanks ellendige omstandigheden besloten met elkaar te trouwen: tenoraria: </span><span style="color: #660000;"><span style="background-color: #e7ebec;">'</span><em style="background-color: #e7ebec;">Ah si ben mio coll`essere / Dass nur für dich mein Herz erbebt'</em></span><em style="background-color: #e7ebec; color: #393939;">.</em><span style="background-color: #e7ebec;"><span style="color: #393939;"> Wanneer Manrico echter het bericht bereikt dat zijn moeder Azucena gevangen is genomen, mobiliseert hij zijn kleine troepenmacht. Hij toont zich gereed voor de strijd om zijn moeder. Eind 3e akte: </span><i><span style="color: #990000;">'</span></i></span><i><span><span style="background-color: #e7ebec; color: #990000;">Di quella pira / '</span><span style="background-color: #e7ebec;"><span style="color: #990000;">Lodern zum Himmel'</span>.</span></span></i></span></b><br style="background-color: #e7ebec; color: #393939; font-family: Arial, Helvetica, sans-serif; font-size: 12px;" /></p><p><span style="font-family: georgia;"><i><span><span style="background-color: #e7ebec; color: #2b00fe; font-size: large;"><b>Over het 4e bedrijf:</b></span></span></i></span></p><p><span style="font-family: georgia;"><span><span style="background-color: #e7ebec; font-size: medium;"><b>Manrico is verslagen en wacht in een kerker op het doodvonnis. Manrico's vriend, Ruiz, wijst Leonora de tralies van de kerker. Leonora hoort ontroerd Manrico's afscheidslied:<span style="color: #990000;"><i> 'Ah, che la morte ognora / 'Schon naht sich die Todesstunde'</i></span>.</b></span></span></span></p><p><span style="font-family: georgia;"><span><span style="background-color: #e7ebec; font-size: medium;"><b>In de 2e scène krijgt Manrico de gelegenheid afscheid van zijn oververmoeide moeder Azucena te nemen <i>(</i></b></span></span></span><span style="font-family: georgia; font-size: medium;"><b><i>Zij lijdt onder het dubbele trauma van een tot de brandstapel veroordeelde moeder en de daarop volgende vergeldingsactie, waarbij zij in geestesverwarring haar eigen kind in de vlammen gooide)</i>.</b></span><span style="font-family: georgia;"><span><span style="background-color: #e7ebec; font-size: medium;"><b> Manrico spreekt haar moed in en zingt haar in slaap:<i><span style="color: #990000;"> '</span></i></b></span></span></span><b><span style="font-family: georgia;"><span style="font-size: medium;"><i><span style="color: #990000;"> </span></i></span></span></b><span style="letter-spacing: 0.4px;"><span style="color: #990000; font-family: georgia; font-size: medium;"><b><i>Sì, la stanchezza m'opprime, o figlio /</i></b></span></span><b style="font-family: georgia; font-size: large;"><i><span style="color: #990000;">Ai nostri monti ritorneremo / In unsre Heimat kehren wir wieder'</span><span>.</span></i></b></p><p><b><span style="font-family: georgia;"><i><span><span style="background-color: #e7ebec;">Krijn de Lege, 18-10-2022/31-10-2022/6-11-2022</span></span></i></span></b></p><div style="text-align: justify;"><br /></div>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-75430676005001740082022-09-30T15:40:00.006+01:002022-10-12T15:21:23.359+01:00YOUNG RUDOLF SCHOCK: Italian & German BELCANTO (1) <p><span style="font-family: georgia; font-size: medium;"><b><i></i></b></span></p><div class="separator" style="clear: both; text-align: left;"><span style="font-family: georgia; font-size: medium;"><b></b></span></div><p></p><p><b style="font-family: georgia; font-size: large;"><i></i></b></p><p><b><i><span style="color: #2b00fe;">VERDI</span>: from <span style="color: #990000;">'RIGOLETTO'</span> :</i></b></p><p><i><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/6xll1Vh_Pc4" width="320" youtube-src-id="6xll1Vh_Pc4"></iframe></i></p><p><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/A3qXVBB9Nyw" width="320" youtube-src-id="A3qXVBB9Nyw"></iframe></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;">E n g l i s h :</span></i></b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;">Rudolf Schock</span></i>'s singing career comes to a virtual standstill due to the war. Precious years are lost. Only when he has passed his thirties, a restart takes place in Hanover and Berlin (1946). <i>Walter Legge</i>, <i>Electrola</i> record producer and husband of <i>Elisabeth Schwarzkopf </i>signs him. <i>Covent Garden Opera brings him to London</i>. He sings in Salzburg, Vienna and in Australia. In 1950 an American TV company approaches him to start recording opera fragments for television. The plan is also to show those fragments between news reports and short films in Berlin cinemas. Thus, in 1950, <i><span style="color: #2b00fe;">Rudolf Schock</span></i> - accompanied by a <i>'Berlin Film Symphony Orchestra'</i> - recorded opera arias and duets<i><span style="color: #990000;"> in Italian</span></i>. In his London years, the singer has mastered an authentic Italian <i><span style="color: #990000;">'bel canto'</span></i> astonishingly quickly <i>(compare the duets recorded a few months earlier and worldwide acclaimed with Joan Hammond from 'L'Amico Fritz' and 'André Chenier')</i>. That bel canto can be heard in Schock's Berlin/American recordings and has never sounded so convincing from a German-speaking throat. And Schock does even more: he succeeds in convincingly transferring his bel canto to his renditions of <i><span style="color: #990000;">Italian arias sung in German</span></i>. I would like to copy a piece of text from very well-known and respected music critic <i><span style="color: #2b00fe;">PAUL KORENHOF</span></i> from the Netherlands:</b></p><p><b style="font-family: georgia; font-size: large;">“… A splendid example of the singing art of <i><span style="color: #2b00fe;">Rudolf Schock</span></i> can be heard in a 1950 <i><span style="color: #990000;">Rigoletto</span></i>, flawlessly led by <i><span style="color: #2b00fe;">Ferenc Fricsay</span></i> (another great figure!). The carelessness of the Duke's opening solo, <i><span style="color: #990000;">'Freundlich blick ich' ('Questa o quella')</span></i>, is exemplary, and the almost magical <i>'semitones'</i> with which Schock starts his aria <i><span style="color: #990000;">'Ich seh' heiβe Zähren' ('Parmi veder le lagrime' ) </span></i>are a singing lesson in themselves.</b></p><p><b style="font-family: georgia; font-size: large;">But the great miracle comes with the <i>"trite, sung to death"</i> <i><span style="color: #990000;">'O wie so trügerisch' ('La donna è mobile')</span></i>. Is it Schock itself? Is it the coercive hand of Fricsay? Who will say. But rarely, if ever, did I hear so clearly that this was <i>a simple song, sung only to seduce Maddalena</i>. Not because of a lavishly macho indictment against all women, with which the duke in fact also turns against Maddalena - let alone that this Pavarotti-esque aria should be blared at full throttle.</b></p><p><b style="font-family: georgia; font-size: large;"><span style="color: #2b00fe;"><i>D e u t s c h :</i></span></b></p><p><span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; font-family: georgia; font-size: large; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMNYoKMm-snES3rz-f1o04vEoUGSKTCmOxUPjKeGHbkSmEYTSHw2xe7V63tc7s46Gr0ciOusQyqil8VuF4gL9HUK_HprDZU5D2BCvYzyn92LSd77D-YGzl9kCZyXNuLNz4CcYSDCvBpoOsbrJz4bdp_7QDUM-7E95t-I4mQlC6BERdlNsplXIPht9u/s1567/130%20portret%20RS%20als%20Hertog%20van%20Mantua%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1567" data-original-width="1178" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMNYoKMm-snES3rz-f1o04vEoUGSKTCmOxUPjKeGHbkSmEYTSHw2xe7V63tc7s46Gr0ciOusQyqil8VuF4gL9HUK_HprDZU5D2BCvYzyn92LSd77D-YGzl9kCZyXNuLNz4CcYSDCvBpoOsbrJz4bdp_7QDUM-7E95t-I4mQlC6BERdlNsplXIPht9u/w301-h400/130%20portret%20RS%20als%20Hertog%20van%20Mantua%20(2).jpg" width="301" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #274e13; font-family: times; font-size: x-small;"><i>Rudolf Schock als Herzog von Mantua 1</i></span></b></td></tr></tbody></table><p></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b>Die Gesangskarriere von <i><span style="color: #2b00fe;">Rudolf Schock </span></i>kommt kriegsbedingt praktisch zum Erliegen. Wertvolle Jahre gehen verloren. Erst als er über dreissig ist, erfolgt ein Neustart in Hannover und Berlin (1946). <i><span style="color: #2b00fe;">Walter Legge</span></i>, Plattenproduzent von <i>Electrola</i> und Ehemann von <i>Elisabeth Schwarzkopf </i>nimmt ihn unter Vertrag. Die <i>Covent Garden Opera</i> bringt ihn nach <i>London</i>. Er singt in Salzburg, Wien und in Australien. 1950 tritt eine amerikanische Fernsehgesellschaft an ihn heran, um mit der Aufnahme von Opernfragmenten für das Fernsehen zu beginnen. Geplant ist, diese Fragmente auch zwischen Nachrichten und </b></span><b style="font-family: georgia; font-size: large;">Kurzfilmen in Berliner Kinos zu zeigen. So nahm </b><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;">Rudolf Schock </span></i></b><b style="font-family: georgia; font-size: large;">1950 – begleitet von einem <i>„Berliner Filmsymphonieorchester“ </i>– Opernarien und Duette <i><span style="color: #990000;">in italienischer Sprache </span></i>auf. In seinen Londoner Jahren hat der Sänger erstaunlich schnell einen authentischen italienischen <i>„bel canto“</i> gemeistert <i>(vergleiche die wenige Monate zuvor aufgenommenen und weltweit gefeierten Duette mit Joan Hammond aus „L'Amico Fritz“ und „André Chenier“)</i>. Dieser Belcanto ist in Schocks Berlin/Amerikanischen Aufnahmen zu hören und klang noch nie so überzeugend aus deutschsprachiger Kehle. Und Schock tut noch mehr: Ihm gelingt es, seinen Belcanto überzeugend <i><span style="color: #990000;">auf seine deutsch gesungenen Interpretationen italienischer Arien</span></i> zu übertragen. Ich möchte gerne aus einem Text des sehr bekannten und angesehenen Musikkritikers <i><span style="color: #2b00fe;">PAUL KORENHOF</span></i> aus den Niederlanden kopieren:</b></p><p><b style="font-family: georgia; font-size: large;">„… Ein hervorragendes Beispiel der Gesangskunst von <i><span style="color: #2b00fe;">Rudolf Schock</span></i> ist in einem <span style="color: #990000;"><i>Rigoletto</i></span> von 1950 zu hören, der von <span style="color: #2b00fe;"><i>Ferenc Fricsay</i></span> tadellos geführt wird (eine weitere großartige Figur!). Beispielhaft ist die Sorglosigkeit des Eröffnungssolos <i><span style="color: #990000;">„Freundlich blick ich“ („Questa o quella“) </span></i>des Herzogs und die fast magischen <i>„Halbtöne“</i>, mit denen Schock seine Arie <i><span style="color: #990000;">„Ich seh' heiβe Zähren“ („Parmi veder le lagrime“)</span></i> beginnt sind eine Gesangsstunde für sich.</b></p><p><b style="font-family: georgia; font-size: large;">Doch das große Wunder kommt mit dem <i>"banalen, zu Tode gesungenen" <span style="color: #990000;">„O wie so trügerisch“ („La donna è mobile“)</span></i>. Ist es Schock selbst? Ist es die Zwangshand von Fricsay? Wer wird sagen. Aber selten, wenn überhaupt, hörte ich so deutlich, dass dies ein einfaches Lied war, das nur gesungen wurde, um Maddalena zu verführen. Nicht wegen einer üppigen Macho-Anklage gegen alle Frauen, mit der sich der Herzog eigentlich auch gegen Maddalena wendet – geschweige denn, dass er diese Pavarotti-artige Arie mit Vollgas schmettern sollte.</b></p><p><b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, "serif"; line-height: 115%;"><i><span style="color: #990000; font-size: medium;">N e d e r l a n d s :</span></i></span></b></p><p><b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, "serif"; line-height: 115%;"><i></i></span></b></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQPT5QRbpsZTBQ7F130mIQGdUMrLQcYkhth2Fq0k4NCfjvx2Tw929YVuy-Q4z9c9IcX5DpLXTZUmL-zff81_0PoRQHdK3tarvJWyV5Wj_xihk_UZ63HJjwi1nuZUoin8nsl8WOOZn1WNMJ_wYG1UHqzTJQMMkZrDpAUn1z69P4LdR8qlnkrKuLvqzV/s1256/Hertog%20van%20Mantua.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1256" data-original-width="830" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQPT5QRbpsZTBQ7F130mIQGdUMrLQcYkhth2Fq0k4NCfjvx2Tw929YVuy-Q4z9c9IcX5DpLXTZUmL-zff81_0PoRQHdK3tarvJWyV5Wj_xihk_UZ63HJjwi1nuZUoin8nsl8WOOZn1WNMJ_wYG1UHqzTJQMMkZrDpAUn1z69P4LdR8qlnkrKuLvqzV/w264-h400/Hertog%20van%20Mantua.jpg" width="264" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: times; font-size: x-small;"><b>Rudolf Schock als Herzog von Mantua 2</b></span></td></tr></tbody></table><b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, "serif"; line-height: 115%;"><i><br /><span style="color: #990000; font-size: medium;"><br /></span></i></span></b><p></p><p><b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, "serif"; line-height: 115%;"><i><span style="color: #990000; font-size: medium;"><br /></span></i></span></b></p><p><b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, "serif"; line-height: 115%;"><i><span style="color: #990000; font-size: medium;"><br /></span></i></span></b></p><p><b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, "serif"; line-height: 115%;"><i><span style="color: #2b00fe; font-size: large;"><br /></span></i></span></b></p><p><b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, "serif"; line-height: 115%;"><i><span style="color: #2b00fe; font-size: large;"><br /></span></i></span></b></p><p><b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, "serif"; line-height: 115%;"><i><span style="color: #2b00fe; font-size: large;"><br /></span></i></span></b></p><p><b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, "serif"; line-height: 115%;"><i><span style="color: #2b00fe; font-size: large;"><br /></span></i></span></b></p><p><b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, "serif"; line-height: 115%;"><i><span style="color: #2b00fe; font-size: large;"><br /></span></i></span></b></p><p><b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, "serif"; line-height: 115%;"><i><span style="color: #2b00fe; font-size: large;"><br /></span></i></span></b></p><p><b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, "serif"; line-height: 115%;"><i><span style="color: #2b00fe; font-size: large;"><br /></span></i></span></b></p><p><b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, "serif"; line-height: 115%;"><i><span style="color: #2b00fe; font-size: large;"><br /></span></i></span></b></p><p><b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, "serif"; line-height: 115%;"><i><span style="color: #2b00fe; font-size: large;"><br /></span></i></span></b></p><p><b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, "serif"; line-height: 115%;"><i><span style="color: #2b00fe; font-size: large;">Rudolf
Schock</span></i><span style="font-size: medium;">’s zangcarrière komt door de oorlog vrijwel tot stilstand. Kostbare jaren
gaan verloren. Pas als hij de dertig is
gepasseerd, vindt een herstart plaats in Hannover en Berlijn (1946). <i>Walter
Legge</i>, <i>Electrola</i>-platenproducent en echtgenoot van <i>Elisabeth Schwarzkopf</i>
contracteert hem. De <i>Covent Garden Opera</i> haalt hem naar <i>Londen</i>. Hij zingt in Salzburg, Wenen en in Australië.
In 1950 benadert een Amerikaanse tv-maatschappij hem om voor de televisie
operafragmenten te gaan opnemen. Ook is het plan die fragmenten tussen
nieuwsjournaals en korte films door in de Berlijnse bioscopen te vertonen. Zo
ontstaan nog in 1950 van <i>Rudolf Schock</i> – begeleid door een <i>‘Berlin Film
Symphony Orchestra’</i>- opnamen<i><span style="color: #990000;"> in het Italiaans </span></i>van opera-aria’s en duetten. In
zijn Londense jaren heeft de zanger zich verbluffend snel een authentiek
Italiaans <i><span style="color: #990000;">‘bel canto’ </span></i>eigen gemaakt <i><span style="color: #38761d;">(Vergelijk de enkele maanden eerder
opgenomen én wereldwijd geprezen duetten met Joan Hammond uit ‘L’Amico Fritz’ en
‘André Chenier’)</span></i>. Dat belcanto is te horen in Schock’s Berlijn/Amerikaanse-opnamen en zal nog nooit zo overtuigend uit een Duitstalige keel hebben
geklonken. En Schock doet nog meer: hij slaagt erin zijn belcanto overtuigend
over te brengen op zijn <i><span style="color: #990000;">in het Duits gezongen</span></i> vertolkingen van <span style="color: #990000;"><i>Italiaanse aria’s</i></span>.
Graag neem ik een stukje tekst over van hier in Nederland zeer bekende en
gerespecteerde muziekcriticus <i><span style="color: #2b00fe;">PAUL KORENHOF</span></i>:</span></span></b></p>
<p style="background: white;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, "serif";"><span style="font-size: medium;"><i><span><span style="color: #38761d;">“…
Een schitterend voorbeeld van de zangkunst van </span><span style="color: #2b00fe;">Rudolf Schock</span><span style="color: #38761d;"> horen we in
een </span><span style="color: #990000;">Rigoletto</span><span style="color: #38761d;"> uit 1950, feilloos geleid door </span><span style="color: #2b00fe;">Ferenc Fricsay</span><span style="color: #38761d;">
(nog zo'n grootheid!). De zorgeloosheid van de openingssolo van de hertog: </span><span style="color: #990000;">'Freundlich blick ich' ('Questa o quella')</span><span style="color: #38761d;">, is exemplarisch en de bijna
magische 'halve tonen' waarmee Schock de aria </span><span style="color: #990000;">'Ich seh' heiβe Zähren' ('Parmi veder
le lagrime') </span><span style="color: #38761d;">inzet, vormen een zangles op zich</span><span style="color: #274e13;">. </span><span style="color: #1c1c1c;"><o:p></o:p></span></span></i></span></span></b></p>
<p style="background: white;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Georgia","serif"; mso-bidi-font-family: Helvetica;"><span style="font-size: medium;"><span style="color: #38761d;"><i>Maar
het grote wonder komt bij het </i>"afgezaagde, doodgezongen"<i> </i></span><span style="color: #990000; font-style: italic;">'O wie so trügerisch'
('La donna è mobile')</span><span style="color: #38761d; font-style: italic;">. Is het Schock zelf? Is het de dwingende hand van
Fricsay? Wie zal het zeggen. Maar zelden of nooit hoorde ik zo duidelijk dat
het hier ging om een simpel liedje, dat alleen gezongen werd om Maddalena te
verleiden. Niet om een uitsloverige macho-aanklacht tegen alle vrouwen, waarmee
de hertog zich in feite ook tegen Maddalena keert - laat staan dat deze aria
Pavarotti-achtig uit volle borst naar het schellinkje geschald moet worden.</span><span style="color: #1c1c1c; font-style: italic;"><o:p></o:p></span></span></span></b></p>
<p style="background: white;"><b style="mso-bidi-font-weight: normal;"><span style="color: #1c1c1c; font-family: "Georgia","serif"; mso-bidi-font-family: Helvetica;"><span style="font-size: x-small;">Krijn
de Lege, 30.9.2022 / 2.10.2022</span></span></b></p>
<p class="MsoNormal"><br /></p>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-82686458006987903962022-08-28T12:54:00.007+01:002023-03-02T18:58:45.029+01:00RUDOLF SCHOCK > OBERON: TWO EXCERPTS including THIRD recording, which is recovered from obscurity! <p><b style="color: red; font-family: georgia;"><span style="font-size: large;">SEE:</span></b><b style="color: red; font-family: georgia; font-size: large;"> INTRODUCTION: </b><a href="https://tenorschock.blogspot.com/2022/05/rudolf-schockder-rosenkavalier-unknown.html" style="font-family: georgia; font-size: large; font-weight: bold;"><i>https://tenorschock.blogspot.com/2022/05/rudolf-schockder-rosenkavalier-unknown.html</i></a></p><p><b style="font-family: georgia;"></b></p><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/zk25LNq80dc" width="320" youtube-src-id="zk25LNq80dc"></iframe></div><br /><div class="separator" style="clear: both; text-align: left;"><b style="font-family: georgia;"><span style="font-size: medium;">Here then is the </span><span style="font-size: large;"><span style="color: red;"><i>third</i></span> </span></b><b style="font-family: georgia; font-size: large;">recording with <i><span style="color: #2b00fe;">Rudolf Schock</span></i>, which is recovered from obscurity: </b><b style="font-family: georgia; font-size: large;">From <i><span style="color: #2b00fe;">Carl Maria von Weber</span></i>'s last opera <i><span style="color: #990000;">'OBERON'</span></i> the aria: <i><span style="color: #990000;">'Von Jugend auf im Kampfgefild/From childhood on the battlefield'</span></i>. </b><b style="font-family: georgia; font-size: large;">The recording copy turned out to be damaged here and there, but a technical correction by film colleague <i>Wim Kremer</i> has provided an improvement!</b></div><p><b style="font-family: georgia; font-size: large;"><i>Oberon is the elf king</i> in this <i>"romantic and fairy opera"</i> and in world literature also present in Shakespeare's <i>'Midsummer nightsdream'</i> and unsympathetic active in Goethe's ballad <span style="color: #990000;"><i>'Erlkönig'</i></span>: <a href="https://www.youtube.com/watch?v=SMb8ayrh-tM">https://www.youtube.com/watch?v=SMb8ayrh-tM</a></b></p><b style="font-family: georgia; font-size: large;"><b><span style="color: #660000; font-size: large;"><i><p><b style="font-size: large;"><b><span style="color: #660000; font-size: large;"><i>Explanation of the aria 'From childhood on ...':</i></span></b></b></p><p><b style="font-size: large;"><i>Oberon</i> and his wife <i>Titiana</i> doubt the existence of steadfast people. Their eye falls on the potential love couple <i><span style="color: #660000;">Huon</span></i> and <i><span style="color: #660000;">Rezia</span></i>. The year is 806. Huon, an excellently trained and very combative knight, is ordered by his lord and master <i><span style="color: #660000;">Charlemagne</span></i> to travel to Baghdad and to free the beautiful Rezia, who is being held captive by the <i><span style="color: #660000;">Caliph of Baghdad</span></i>. Her personal guard, <i><span style="color: #990000;">Prince Babekan</span></i>, is to be killed. Huon appears to have had warm feelings for Rezia for some time. He would like to give in to that, but fame & honor come first! In the first act of <i><span style="color: #990000;">'Oberon'</span></i>, <i><span style="color: #2b00fe;">Rudolf Schock</span></i> as <i><span style="color: #660000;">Huon</span></i> explains this point of view in a furious aria and he does so in a stunning way in a Bavarian radio recording under <i><span style="color: #2b00fe;">Wolfgang Sawallisch</span></i> from 1953, now almost 70 years ago (In 1978, 63 years old Schock recorded the battle song again, but the comparison 1953/1978 is - which was to be expected - very much against his later attempt).</b></p></i></span></b></b><p><b><span style="color: #660000; font-family: georgia; font-size: large;"><i>Another Fragment from 'Oberon':</i></span></b></p><p></p><div class="separator" style="clear: both; text-align: left;"><b style="font-family: georgia; font-size: large;">After the rebirth of <i>'From childhood on ...'</i> it seemed logical to me to present complementary another <span><i style="color: #990000;">'Oberon' </i>fragment</span>: from the second act the aria <i><span style="color: #990000;">'Vater, hör mich flehen zu Dir/Father, hear me beg you'</span></i>, which a hyperlyrical <i><span style="color: #2b00fe;">Rudolf Schock</span></i> soulful sings. This aria has been available on CD in excellent sound quality since 2005, thanks to <i>Relief</i> producer <i>Rico Leitner</i>. A successful CD cassette was released at the time, including this aria under the title <i>'Der grosse lyrische Tenor' </i>on the occasion of Schock's 90th birthday. </b><b style="font-family: georgia; font-size: large;">Afterwards, the impressive aria also appeared on Membran and that recording was presumably used for YouTube by the exclusive Schock channel <i><span style="color: #2b00fe;">'Land der Erinnerung': </span></i></b><b style="font-family: georgia; font-size: large;"><a href="https://www.youtube.com/watch?v=SvpF2yqz_rU)."><i>https://www.youtube.com/watch?v=SvpF2yqz_rU.</i></a></b><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;"> </span></i></b></div><p><b style="font-family: georgia; font-size: large;"></b></p><p><b style="font-family: georgia; font-size: x-large;"><i><span style="color: #660000;">Explanation of 'Father, hear me beg you':</span></i></b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #660000;">Huon</span></i> succeeded in kidnapping <span style="color: #660000;"><i>Rezia</i></span>, but takes too much risk during the sea retreat. A storm drives the ship onto the rocky shore of an island. <i><span style="color: #660000;">Huon</span></i> and <i><span style="color: #660000;">Rezia</span></i> wash up on the beach. <i><span style="color: #660000;">Rezia</span></i> does not seem to have survived the shipwreck, but after <i><span style="color: #660000;">Huon</span></i>'s plea she opens her eyes and whispers: <i>"H u o n ...."</i>!</b></p><p><span style="color: red; font-family: georgia; font-size: medium;"><b><i>d e u t s c h :</i></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><span style="color: red;">SIEHE EINFÜHRUNG:</span> <a href="https://tenorschock.blogspot.com/2022/05/rudolf-schockder-rosenkavalier-unknown.html"><i>https://tenorschock.blogspot.com/2022/05/rudolf-schockder-rosenkavalier-unknown.html</i></a></b></span></p><p><span style="font-family: georgia;"><b><span style="font-size: medium;">Hier also die aus der Vergessenheit geborgene </span><span style="font-size: large;"><i><span style="color: red;">dritte</span></i> </span><span style="font-size: medium;">Aufnahme mit </span><i style="font-size: large;"><span style="color: #2b00fe;">Rudolf Schock</span></i><span style="font-size: medium;">: Aus </span><i style="font-size: large;"><span style="color: #2b00fe;">Carl Maria von Weber</span></i><span style="font-size: medium;">s letzter Oper </span><i style="font-size: large;"><span style="color: #990000;">'OBERON'</span></i><span style="font-size: medium;"> die Arie: </span><i style="font-size: large;"><span style="color: #990000;">'Von Jugend auf im Kampfgefild'</span></i><span style="font-size: medium;">. </span></b></span><b style="font-family: georgia; font-size: large;">Die Aufnahmekopie stellte sich hier und da als ziemlich beschädigt heraus, aber eine technische Korrektur von Filmkollege <i>Wim Kremer</i> hat für Besserung gesorgt!</b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #660000;">Oberon</span></i> ist der <i>Elfenkönig</i> in dieser <i>„romantisch-feenhaften (Märchen-)Oper“</i> und in der Weltliteratur auch präsent in Shakespeares <i>„Sommernachtstraum“ </i>und unsympathisch aktiv in Goethes Ballade <i><span style="color: #990000;">„Erlkönig“</span>: <a href="https://www.youtube.com/watch?v=SMb8ayrh-tM">https://www.youtube.com/watch?v=SMb8ayrh-tM</a></i></b></p><p><b style="font-family: georgia;"><span style="color: #660000; font-size: large;"><i>Erläuterung der Arie 'Von Jugend auf ...':</i></span></b></p><p><b style="font-family: georgia; font-size: large;"><i>Oberon</i> und seine Frau <i>Titiana</i> bezweifeln die Existenz standhafter Menschen. Ihr Blick fällt auf das potenzielle Liebespaar <i><span style="color: #660000;">Huon</span></i> und <i><span style="color: #660000;">Rezia</span></i>. Wir schreiben das Jahr 806. <i>Huon</i>, ein hervorragend ausgebildeter und sehr kämpferischer Ritter, wird von seinem Herrn und Meister <i><span style="color: #660000;">Karl dem Großen</span></i> beauftragt, nach Bagdad zu reisen und die schöne Rezia zu befreien, die vom <i><span style="color: #660000;">Kalifen von Bagdad</span></i> gefangen gehalten wird. Ihr Leibwächter, <i><span style="color: #660000;">Prinz Babekan</span></i>, soll getötet werden. <i>Huon</i> scheint seit einiger Zeit warme Gefühle für Rezia zu haben. Dem würde er gerne nachgeben, aber Ruhm & Ehre gehen vor! <i>Im ersten Akt</i> <i>von <span style="color: #990000;">„Oberon“</span></i><span style="color: #990000;"> </span>erläutert <i><span style="color: #2b00fe;">Rudolf Schock</span></i> als <i>Huon</i> diese Sichtweise in einer furiosen Arie, und er tut dies auf verblüffende Weise in einer Aufnahme des Bayerischen Rundfunks unter <i><span style="color: #2b00fe;">Wolfgang Sawallisch</span></i> aus dem Jahre 1953. 25 Jahre später (1978), nahm Sechziger <i><span style="color: #2b00fe;">Rudolf Schock</span></i> noch einmal das Kampflied auf, aber der Vergleich 1953/1978 ist - was zu erwarten ist - sehr im Nachteil seines späteren Versuchs.</b></p><p><span style="color: #660000; font-family: georgia; font-size: large;"><b><i>Zweites Fragment aus 'Oberon':</i></b></span></p><p><b style="font-family: georgia; font-size: large;">Nach der Wiedergeburt von <i><span style="color: #990000;">„Von Jugend auf …“</span></i> erschien es mir logisch, ergänzend einen <i>zweiten</i> Ausschnitt aus <i><span style="color: #990000;">„Oberon“</span></i> vorzustellen: <i>aus dem zweiten Akt</i> die Arie <i><span style="color: #990000;">„Vater, hör mich flehen zu Dir“</span></i>, die ein hyperlyrischer <i><span style="color: #2b00fe;">Rudolf Schock</span></i> seelenvoll und überwältigend darstellt. Dank des <i><span style="color: #660000;">Relief</span></i>-Produzenten <i>Rico Leitner</i> ist diese Arie seit 2005 in hervorragender Klangqualität auf CD erhältlich. Zum Schocks 90. Geburtstag erschien damals eine erfolgreiche CD-Kassette mit der Arie unter dem Titel <i>„Der große lyrische Tenor“</i>.</b></p><p><b style="font-family: georgia; font-size: large;">Danach erschien die beeindruckende Arie auch auf <i><span style="color: #660000;">Membran</span></i>. Diese Aufnahme wurde vermutlich vom exklusiven Schock-Kanal <i><span style="color: #660000;">„Land der Erinnerung“</span></i> für <i>YouTube</i> verwendet: LINK: <a href="https://www.youtube.com/watch?v=SvpF2yqz_rU)."><i>https://www.youtube.com/watch?v=SvpF2yqz_rU.</i></a></b></p><p><span style="color: #660000; font-family: georgia; font-size: large;"><b><i>Erklärung zu 'Vater, hör mich flehen ...':</i></b></span></p><p><b style="font-family: georgia; font-size: large;">Es gelingt <i>Huon</i> <i>Rezia </i>zu entführen, geht aber dann während des Seerückzugs zu viel Risiko ein. Ein Sturm treibt das Schiff auf die felsige Küste einer Insel. <i>Huon</i> und <i>Rezia</i> spülen am Strand. <i>Rezia </i>scheint den Schiffbruch nicht überlebt zu haben, aber nach <i>Huon</i>s rührendem Gebet <i><span style="color: #990000;">'Vater, hör mich flehen'</span></i> öffnet sie die Augen und flüstert:</b><b style="font-family: georgia; font-size: large;"><i><span style="color: #990000;">"H u o n …."</span></i></b></p><p><b style="color: red; font-family: georgia; font-size: large;"><i>n e d e r l a n d s :</i></b></p><p><span style="font-family: georgia; font-size: medium;"><b><span style="color: red;">ZIE INLEIDING</span>:<i> <a href="https://tenorschock.blogspot.com/2022/05/rudolf-schockder-rosenkavalier-unknown.html">https://tenorschock.blogspot.com/2022/05/rudolf-schockder-rosenkavalier-unknown.html</a></i></b></span></p><p><span style="font-family: georgia;"><span><b><span style="font-size: large;">Hier is dan de </span><span style="color: red; font-size: large;"><i>derde</i></span><span style="font-size: large;"> opname met <span style="color: #2b00fe;"><i><span>Rudolf Schock</span></i>,</span> die aan de vergetelheid wordt onttrokken: </span></b></span><b style="font-size: large;">Uit <i><span style="color: #2b00fe;">Carl Maria von Weber</span></i>'s laatste opera <span style="color: #990000;"><i><span>'OBERON'</span></i> </span>de aria:<i><span> <span style="color: #990000;">'Von Jugend auf im Kampfgefild'</span></span></i><span style="color: #990000;">: </span><i><span style="color: #990000;">"Van jongs af aan op het slagveld"</span>. </i></b></span><b><i><span style="font-family: georgia; font-size: medium;">De opname-kopie bleek hier en daar flink beschadigd, maar een technische correctie van filmcollega Wim Kremer heeft voor verbetering gezorgd.</span></i></b></p><p><span style="font-family: georgia; font-size: medium;"><b><i><span style="color: #660000;">Oberon</span></i> is de elfenkoning in deze <i>"romantic and fairy (sprookjesachtige) opera" </i>en in de wereldliteratuur o.a. ook present in Shakespeare's <i>'Midsummer nightsdream'</i> en onsympathiek actief in Goethe's ballade <i><span>'Erlkönig'</span></i> (</b></span><b style="font-family: georgia; font-size: large;">LINK: <a href="https://www.youtube.com/watch?v=SMb8ayrh-tM).">https://www.youtube.com/watch?v=SMb8ayrh-tM).</a></b></p><p><span style="font-family: georgia; font-size: medium;"><b><i>Toelichting op de aria 'Von Jugend auf ...':</i></b></span></p><p><span style="font-family: georgia; font-size: medium;"><span><b><i>Oberon</i> en zijn vrouw <i>Titiana</i> twijfelen aan het bestaan van standvastige mensen. Hun oog valt op het potentiële liefdespaar <i><span style="color: #660000;">Huon</span></i> en <i><span style="color: #660000;">Rezia</span></i>. We schrijven het jaar 806. <i>Huon</i>, een uitstekend opgeleide en zeer strijdbare ridder, krijgt van zijn heer en meester <i><span style="color: #660000;">Karel de Grote</span></i> opdracht naar Bagdad af te reizen en de mooie <i>Rezia </i>te bevrijden, die door de <span style="color: #660000;"><i>Kalief van Bagdad</i> </span>gevangen wordt gehouden. Haar persoonlijke bewaker, prins <i><span style="color: #660000;">Babekan</span></i>, moet daarbij worden gedood. Huon blijkt al langer warme gevoelens voor Rezia te koesteren. Graag zou hij daar aan toe willen geven, maar <i><u>roem & e</u></i></b></span><b><i><u>er</u></i> gaan voor! <i><span>In de eerste akte</span> van </i><span><i><span style="color: #990000;">'Oberon'</span></i> </span>licht <span style="color: #2b00fe;"><i><span>Rudolf Schock</span></i> </span>als <i>Huon</i> dat standpunt in een <i>furieuze</i> aria toe en hij doet dat op verbluffende wijze in een Beierse radio-opname onder <span style="color: #2b00fe;"><i>Wolfgang Sawallisch</i></span> uit 1953, nu bijna 70 jaar geleden </b><span><b>(</b><b><span>In 1978 nam zestiger Schock het strijdlied nog eens op, maar de vergelijking 1953/1978 valt - wat te verwachten valt - in het nadeel van zijn latere poging uit)</span><span>.</span></b></span></span></p><p><span style="color: #660000; font-family: georgia; font-size: large;"><b><i>Tweede fragment uit 'Oberon' !</i></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b>Na de hergeboorte van <i><span style="color: #990000;">'Von Jugend auf ...'</span></i> leek het mij logisch aanvullend een <i><span>tweede</span></i> fragment uit 'Oberon' te presenteren: <i><span>u</span></i></b></span><span style="font-family: georgia;"><b><span style="font-size: medium;"><i><span>it de tweede akte</span></i> de aria <i><span style="color: #990000;">'Vater, hör mich flehen zu Dir'</span></i>, die een hyperlyrische <i><span>Rudolf Schock</span></i> overweldigend gevoelvol zingt. </span></b></span><span style="font-family: georgia;"><b><span style="font-size: medium;">Die aria is sinds 2005 geluidstechnisch in prima kwaliteit op CD verkrijgbaar met dank aan <i><span>Relief</span></i>-producent <i>Rico Leitner</i>. Een succesvolle CD-cassette kwam destijds met o.a. deze aria uit onder de titel <i>'Der grosse lyrische Tenor'</i> t.g.v. Schock's 90ste geboortedag.</span></b></span></p><p><span style="font-family: georgia;"><span><b><span style="font-size: medium;">Later verscheen de indrukwekkende aria ook op <i>Membran</i>. Die opname</span></b></span><span><b><span style="font-size: medium;"> is door het exclusieve Schock-kanaal</span></b></span><b><span style="font-size: medium;"> <i><span><span style="color: #660000;">'Land der Erinnerung'</span> </span></i>vermoedelijk voor <i>YouTube</i> gebruikt: (LINK: <a href="https://www.youtube.com/watch?v=SvpF2yqz_rU">https://www.youtube.com/watch?v=SvpF2yqz_rU</a>).</span></b></span></p><p><span style="color: #660000; font-family: georgia; font-size: large;"><b><i>Toelichting op 'Vater, hör mich flehen ...':</i></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><i>Huon</i> heeft <i>Rezia</i> kunnen ontvoeren, maar neemt tijdens de terugtocht over zee te veel risico. Een storm doet het schip op de rotsige kust van een eiland lopen. <i>Huon</i> en <i>Rezia</i> spoelen aan op het strand. <i>Rezia</i> lijkt de schipbreuk niet overleefd te hebben, maar na <i>Huon</i>'s <i><span>'<span style="color: #990000;">Vater, hör mich flehen'</span></span></i><span style="color: #990000;"> </span>slaat zij haar ogen open en fluistert: <span style="color: #990000;"><i>H u o n</i> ....</span></b></span></p><p><b style="font-family: georgia;"><i>Krijn de Lege, 2 maart 2023</i></b></p><p><br /></p>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-3931909270814961032022-08-13T15:08:00.010+01:002023-06-24T10:42:58.750+01:00HEINRICH HEINE, ROBERT SCHUMANN, RUDOLF SCHOCK: DICHTERLIEBE 1957 & 1974 / Der arme Peter<p><span style="font-family: georgia;"><i><span style="color: #38761d; font-size: x-large; font-weight: 700;">I put </span><span style="font-size: x-large; font-weight: 700;"><span style="color: #2b00fe;">Rudolf Schock</span></span><span style="font-size: x-large; font-weight: 700;"><span style="color: #38761d;">'s two complete </span><span style="color: #990000;">'Dichterliebe'</span><span style="color: #38761d;"> recordings</span></span><span style="color: #38761d; font-size: x-large; font-weight: 700;"> on YouTube every time in the combination of one </span><span style="font-size: x-large; font-weight: 700;">mono</span><span style="color: #38761d; font-size: x-large; font-weight: 700;"> song from 1957 and the same song in </span><span style="font-size: x-large; font-weight: 700;">stereo</span><span style="font-weight: 700;"><span style="font-size: large;"><span style="color: #38761d;"> from 1974.</span></span></span></i></span></p><p><span style="font-family: georgia;"><i><span style="font-weight: 700;"><span style="font-size: large;">There are 16 songs to go. </span></span></i></span><b style="font-family: georgia; font-size: x-large;"><i>From each video you can click through to the next song! </i></b></p><p><b style="font-family: georgia;"><span style="font-size: large; font-style: italic;"><span></span></span></b></p><p style="font-family: "Times New Roman"; font-size: medium; font-weight: 400;"><span style="font-family: georgia;"><b><span><span style="color: red; font-size: x-large; font-style: normal;">START</span><span style="font-size: x-large; font-style: normal;"> with</span><span style="color: red; font-size: x-large; font-style: normal;"> </span><span style="font-size: x-large; font-style: normal;">SONG ONE:</span><span style="font-size: x-large;"><span style="color: red; font-style: normal;"> </span><span style="color: red; font-style: italic;">"Im wunderschönen Monat Mai"</span>:</span></span></b></span></p><p style="font-family: "Times New Roman"; font-size: medium; font-style: normal; font-weight: 400;"><span style="font-family: georgia;"><b style="font-size: large; font-style: italic;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/nN-cmuvk20o" width="320" youtube-src-id="nN-cmuvk20o"></iframe></b></span></p><p style="font-family: "Times New Roman"; font-size: medium; font-weight: 400;"><span style="font-family: georgia;"><b><span><span style="color: red; font-size: x-large;">AND SO ON !</span></span></b></span></p><p style="font-family: "Times New Roman"; font-size: medium; font-style: normal; font-weight: 400;"><b style="font-family: georgia;"><span><span style="color: #274e13; font-size: large;">****************************</span></span></b></p><p><b style="font-family: georgia;"><span><span style="font-size: large;">"LOVE: It's an old story, but it's always new" </span></span></b><b style="font-family: georgia;"><i><span><span style="color: #2b00fe; font-size: medium;">(</span></span></i></b><b style="font-family: georgia;"><span style="font-size: medium;"><i><span style="color: #2b00fe;">Heinrich Heine</span></i></span></b><b style="font-family: georgia;"><span style="font-size: medium;"> <span style="color: #2b00fe;">1797-1856</span></span><span style="color: #2b00fe; font-size: medium;"><i>)</i></span></b></p><p><b></b></p><div class="separator" style="clear: both; text-align: left;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; font-family: "Times New Roman"; margin-right: 1em; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoNpHOt_lnVRkgUJUk48m7OV_mCEpGkuBpJaLtGyYXR_sLQqdgiLyvLe-AZqL9bw7pEo3WI5Ako0vA5HktroLQ2-teBHbqnSWeICxVAtqKiBhyphenhyphen6i-kHOUzwyQGoTYjhmyn12gEkeQaq2g/s481/Heinrich+Heine.jpeg" style="clear: left; display: inline; font-family: georgia; font-weight: bold; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="408" data-original-width="481" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoNpHOt_lnVRkgUJUk48m7OV_mCEpGkuBpJaLtGyYXR_sLQqdgiLyvLe-AZqL9bw7pEo3WI5Ako0vA5HktroLQ2-teBHbqnSWeICxVAtqKiBhyphenhyphen6i-kHOUzwyQGoTYjhmyn12gEkeQaq2g/w320-h270/Heinrich+Heine.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #783f04; font-size: x-small;"><b><i>Heinrich Heine<br /><br /></i></b></span></td></tr></tbody></table><span style="font-family: georgia; font-size: medium;"><b><i><span style="color: #2b00fe;"><br /></span></i></b></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: georgia; font-size: medium;"><b><i><span style="color: #2b00fe;">Heinrich (Harry) Heine</span></i> is one of the most important German poets/writers in Europaen history. His poetry and prose texts managed able to maintain themselves up to the present without any problems and proved/prove to be a source of inspiration for composers of then and now.</b></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></div><div class="separator" style="clear: both; text-align: left;"><span><div class="separator" style="clear: both; font-family: georgia; font-size: large; font-weight: bold;">Above all, contemporary <i><span style="color: #2b00fe;">Robert Schumann</span></i> (1810-1856) set a large number of Heine poems to music. The poet conspicuously ignored their unforgettable music. Only one performance by a beautiful soprano seduced him into a friendly reaction.</div><div class="separator" style="clear: both; font-family: georgia; font-size: large; font-weight: bold;"><br /></div><div class="separator" style="clear: both; font-family: georgia; font-size: large; font-weight: bold;"><i><span style="color: #2b00fe;">Rudolf Schock</span></i> sang Schumann's song cycle Opus 48 <i><span style="color: #990000;">'Dichterliebe/A Poet's Love'</span></i> on disc. He did this twice: in <i>January 1957</i> with <i><span style="color: #2b00fe;">Adolf Stauch </span></i>as piano accompanist and in <i>July 1974</i> with <i><span style="color: #2b00fe;">Ivan Eröd</span></i>. In addition, Schock performed the cycle in the concert hall.</div><div class="separator" style="clear: both; font-family: georgia; font-size: large; font-weight: bold;"><span>With regard to </span><i><span style="color: #2b00fe;">Rudolf Schock</span></i><span>'s mono </span><i><span style="color: #990000;">'Dichterliebe'</span></i><span> from 1957, we had to do without a CD release for a long time. It was not until 2009 that GALA published almost all of Rudolf Schock's song recordings in cassette, but the sound was dull and colorless. MEMBRAN Documents released a very good cassette a few years later featuring Rudolf Schock in all his vocal versatility. Also </span><span style="color: #990000; font-style: italic;">'Dichterliebe' </span><span>was there. Better in sound, but not yet at the right - technically feasible - sound level. Then I received a fine copy from "Schock-Verehrer" </span><i><span>Wolfgang Mahrholz</span></i><span>, for which I am still very grateful to him! Finally, in 2018, the Swiss CD label RELIEF of </span><span style="font-style: italic;"><i>Rico Leitner</i></span><span> released all of Schock's EMI classic song recordings, including a sound-technically excellent </span><i><span style="color: #990000;">'Dichterliebe'.</span></i><span> (Relief CR 3010).</span></div><div class="separator" style="clear: both; font-family: georgia; font-weight: bold;"><span><div style="font-family: "Times New Roman"; font-weight: 400;"><span><span style="font-family: georgia; font-size: medium;"><b><div style="color: black; font-style: normal;"><br /></div><div>For <i>YouTube</i> I used - with his kind permission - <i><span style="color: #2b00fe;">Wolfgang Mahrholz</span></i>'s digital editing of the 1957 song cycle. <i><span style="color: #2b00fe;">Rudolf Schock</span></i> sounds particularly warm and smooth here. For 1974 I chose my own LP copy.</div><div style="color: black; font-style: normal;"><br /></div></b></span></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #2b00fe; float: left; font-family: "Times New Roman"; font-size: x-large; font-style: italic; margin-right: 1em;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht9in_XlCQHPcrBCshHb2V8T0e7s7QwfDJjz5JAFBEmdyuNeVtm-QTQcXuNaWDGhRGRYaDmrYJrn8DWc581-RqKCTuTYVeX4FlfMH_6CzTl_Bb4OMGE6Clq5rMPD3LXyATVPfVtTfrP1Q/s1800/Robert+Schumann.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1800" data-original-width="1440" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht9in_XlCQHPcrBCshHb2V8T0e7s7QwfDJjz5JAFBEmdyuNeVtm-QTQcXuNaWDGhRGRYaDmrYJrn8DWc581-RqKCTuTYVeX4FlfMH_6CzTl_Bb4OMGE6Clq5rMPD3LXyATVPfVtTfrP1Q/w256-h320/Robert+Schumann.jpg" width="256" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span><span style="color: #2b00fe; font-size: x-small; font-style: italic; font-weight: bold;"> Robert Schumann </span><span style="color: #783f04; font-size: x-small; font-style: italic; font-weight: bold;">(1850</span><span style="color: #783f04; font-style: italic; font-weight: bold;">)</span><br /><i style="font-weight: bold;">© </i><span style="font-size: x-small; font-style: italic; font-weight: bold;">hali karami 2021</span><br /><span style="font-family: georgia;"><br /><span style="color: #2b00fe; font-size: large;"><div style="text-align: left;"><br /></div></span></span></span></td></tr></tbody></table></span></div></span></div><p><b style="font-family: georgia; white-space: pre-wrap;"><span style="font-size: medium;"><span style="color: #120808;">Furthermore, the combination </span><i style="color: #120808;">Heine/Schumann/Schock</i><span><span style="color: #120808;"> can be heard in the short cycle </span><span style="color: #990000; font-style: italic;">'Poor Peter'</span><span style="color: #2b00fe; font-style: italic;"> </span><span>and in the ballad </span></span></span></b><b style="font-family: georgia; white-space-collapse: preserve;"><span style="font-size: medium;"><span style="color: #990000; font-style: italic;">'Belshazzar'</span></span></b><b style="font-family: georgia; white-space-collapse: preserve;"><span style="font-size: medium;"><span><span style="color: #2b00fe; font-style: italic;"> </span><i>(please, see and hear below)!</i></span></span></b></p><p><b style="font-family: georgia; white-space: pre-wrap;"><span style="font-size: medium;"><span><br /></span></span></b></p><p><b><span style="color: #274e13; font-family: helvetica; font-size: large; font-style: italic;"><br /></span></b></p><p><b><span style="color: #274e13; font-family: helvetica; font-size: large; font-style: italic;"><br /></span></b></p><p><b><span style="color: #274e13; font-family: helvetica; font-size: large; font-style: italic;"><br /></span></b></p><p><b><span style="color: #274e13; font-family: helvetica; font-size: large; font-style: italic;"><br /></span></b></p><p><b><span style="color: #274e13; font-family: helvetica; font-size: large; font-style: italic;"><br /></span></b></p><p><b><span style="color: #274e13; font-family: helvetica; font-size: large; font-style: italic;"><br /></span></b></p><p><b><span style="color: #274e13; font-family: helvetica; font-size: large; font-style: italic;">D e u t s c h :</span></b></p><div style="text-align: left;"><b style="font-family: georgia;"><span style="font-size: large; font-style: italic;"><span style="color: #274e13;">Ich stellte die beiden, kompletten '</span><span style="color: #990000;">Dichterliebe'-</span><span style="color: #274e13;">Aufnahmen</span><span style="color: #274e13;"> von </span><span style="color: #2b00fe;">Rudolf Schock</span><span style="color: #274e13;"> auf YouTube.</span></span></b></div><div style="text-align: left;"><b style="font-family: georgia;"><span style="font-size: large; font-style: italic;"><span style="color: #274e13;">Immer wieder in der Kombination aus einem</span><span style="color: #274e13;"> Lied von </span><span style="color: #990000;">1957 </span><span>mono</span><span style="color: #274e13;"> und demselben Lied von </span><span style="color: #990000;">1974 </span><span>stereo.</span></span></b></div><div style="text-align: left;"><span><span style="font-size: large;"><span><p><span style="font-family: georgia; font-size: medium; font-style: normal; font-weight: 400;"><i><span style="font-weight: 700;"><span style="font-size: large;">Es gibt 16 Lieder. </span></span></i></span><span><span><span style="font-family: georgia;"><b><i>Von jedem Video aus können Sie zum nächsten Lied weiterklicken</i></b></span></span></span><span style="font-family: georgia; font-size: medium; font-style: normal; font-weight: 400;"><i><span style="font-weight: 700;"><span style="font-size: large;"> </span></span></i></span></p><p style="font-family: "Times New Roman"; font-size: medium; font-style: normal; font-weight: 400;"><b style="font-family: georgia;"><span style="font-size: large; font-style: italic;"><span></span></span></b></p><p style="font-family: "Times New Roman"; font-size: medium; font-style: normal; font-weight: 400;"><span style="font-family: georgia;"><b><span><span style="color: red; font-size: x-large;">BITTE, FANGEN SIE AN</span><span style="font-size: x-large;"> mit</span><span style="color: red; font-size: x-large;"> </span><span style="font-size: x-large;">LIED 1: <span style="color: red;">"</span></span><span style="font-size: x-large;"><span style="color: red; font-style: italic;">Im wunderschönen Monat Mai"</span>:</span></span></b></span></p><p style="font-family: "Times New Roman"; font-size: medium; font-style: normal; font-weight: 400;"><b style="font-family: georgia; font-size: large; font-style: italic;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/nN-cmuvk20o" width="320" youtube-src-id="nN-cmuvk20o"></iframe></b></p><p style="font-family: georgia; font-style: italic; font-weight: bold;"></p><p style="font-family: "Times New Roman"; font-size: medium; font-style: normal; font-weight: 400;"><span style="color: red; font-size: x-large;"><b>UND SO WEITER!</b></span></p><p style="font-family: "Times New Roman"; font-size: medium; font-style: normal; font-weight: 400;"><b style="font-family: georgia;"><span><span style="color: #274e13; font-size: large;">****************************</span></span></b></p></span></span></span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b style="font-family: georgia;"><span style="font-size: large; font-style: italic;">LIEBE: "Es ist eine alte Geschichte, doch bleibt sie immer neu"</span><span style="color: #990000; font-size: large; font-style: italic;"> </span><span style="color: #2b00fe; font-size: medium; font-style: italic;">(</span><span style="font-size: medium;"><span style="color: #2b00fe; font-style: italic;">Heinrich Heine </span><span style="color: #2b00fe;">1797-1856<i>)</i></span>.</span></b></div><div style="text-align: left;"><b style="font-family: georgia;"><span style="font-size: medium;"><span style="color: #2b00fe; font-style: italic;"><br /></span></span></b></div><div><span style="font-family: georgia; font-size: medium;"><b><i><span style="color: #2b00fe;">Heinrich (Harry) Heine</span></i> ist einer der bedeutendsten, deutschen Dichter/Schriftsteller der europäischen Literaturgeschichte. Seine Lyrik- und Prosatexte konnten sich problemlos bis in die Gegenwart behaupten und erwiesen/erweisen sich als Inspirationsquelle für Komponisten von damals und heute.</b></span></div><div><br /></div><div><span style="font-family: georgia; font-size: medium;"><b>Vor allem Zeitgenosse <i><span style="color: #2b00fe;">Robert Schumann </span></i>(1810-1856) vertonte eine Vielzahl von Heine-Gedichten. Deren unvergessliche Musik ignorierte der Dichter</b></span><b style="font-family: georgia; font-size: large;"> auffallend. Nur ein einziger Auftritt einer schönen Sopranistin verführte ihn zu einer freundlichen Reaktion.</b></div><div><br /></div><div><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;">Rudolf Schock</span></i> sang <i>Schumann</i>s Liederzyklus <i>Opus 48</i> <i><span style="color: #990000;">'Dichterliebe'</span></i> auf Schallplatte. Er tat dies zweimal: <i>Januar 1957 </i>mit <i><span style="color: #2b00fe;">Adolf Stauch</span></i> als Klavierbegleiter und <i>Juli 1974</i> mit <i><span style="color: #2b00fe;">Ivan Eröd</span></i>. Außerdem führte Schock den Zyklus im Konzertsaal auf.</b></div><div><b style="font-family: georgia; font-size: large;"><br /></b></div><div><span><span style="font-family: georgia;"><b><div style="color: #274e13; font-style: italic;"><span style="color: #274e13; font-size: large;">Bei </span><span style="color: #2b00fe; font-size: large;">Rudolf Schocks</span><span style="color: #274e13; font-size: large;"> </span><span style="color: #990000; font-size: large;">„Dichterliebe“ </span><i style="font-size: large;">aus dem Jahre 1957 mussten wir lange auf eine CD-Veröffentlichung verzichten. Erst 2009 veröffentlichte GALA fast alle Liedaufnahmen von Rudolf Schock auf Kassette, aber der Ton war dumpf und farblos. Einige Jahre später veröffentlichte MEMBRAN Documents eine sehr gute Kassette mit Rudolf Schock in seiner ganzen stimmlichen Vielseitigkeit. Auch „Dichterliebe“ war präsent. Klanglich besser, aber noch nicht ganz auf dem richtigen - technisch machbaren - Schallpegel. Dann erhielt ich von "Schock-Verehrer" </i><i style="font-size: large;"><span>Wolfgang Mahrholz</span> </i><i style="font-size: large;">ein noch besseres Exemplar, wofür ich ihm noch heute dankbar bin. Im Jahre 2018 schließlich veröffentlichte das Schweizer CD-Label RELIEF von Rico Leitner nahezu sämtliche EMI-Lieder-aufnahmen von Schock. Darunter gab es eine klangtechnisch hervorragende </i><i style="font-size: large;"><span style="color: #990000;">„Dichterliebe“ </span><span style="color: #274e13;">unter Katalognummer: </span></i><i style="font-size: large;">Relief CR 3010</i><i style="font-size: large;">.</i></div></b><b><div style="color: #274e13; font-size: large; font-style: italic;"><br /></div><div style="font-size: large; font-style: italic;"><span style="color: #274e13;">Für YouTube verwendete ich, in bezug auf 1957 und mit seiner freundlichen Zustimmung, die digitale Bearbeitung von </span><span style="color: #2b00fe;">Wolfgang Mahrholz</span><span style="color: #274e13;">. </span><span style="color: #2b00fe;">Rudolf Schock</span><span style="color: #274e13;"> klingt hier besonders warm und weich. Was 1974 betrifft, blieb ich bei der eigenen LP-Kopie.</span></div><div style="color: #274e13; font-size: large; font-style: italic;"><br /></div></b></span></span></div><div><span style="font-family: georgia;"><span style="font-size: medium; font-weight: bold;">Weiterhin ist hier die Kombination <i>Heine/Schumann/Schock </i>im </span></span><b style="font-family: georgia;"><span style="font-size: medium;"><i>Drei-Lieder-Zyklus</i><span>: </span><i>Opus 53</i></span> <span style="color: #990000; font-size: large; font-style: italic;">'Der arme Peter' </span><span style="font-size: medium;">und in der Ballade</span></b><span style="font-family: georgia; font-weight: bold;"><span style="font-size: medium;"> </span><span><i><span style="color: #990000; font-size: medium;">'</span><span style="font-size: large;"><span style="color: #990000;">Belsazar' </span></span></i></span><span style="font-size: medium;">zu hören:</span></span></div><div><b style="font-family: georgia; font-size: large;"><i><span><span style="font-size: large;"><span><br /></span></span></span></i></b></div><div><b style="font-family: georgia; font-size: large;"><i><span><span style="font-size: large;"><span>Lieder-Zyklus: </span></span></span></i></b><b style="font-family: georgia; font-size: large;"><i><span><span style="font-size: large;"><span><span style="color: #990000;">'Der arme Peter / Poor Peter': </span></span></span></span></i></b></div><div><span style="font-family: georgia; font-weight: bold;"><span style="font-size: medium;"><p><b style="white-space-collapse: preserve;"><span><span style="color: #990000; font-size: large; font-style: italic;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/OKIKrNgoiCY" width="320" youtube-src-id="OKIKrNgoiCY"></iframe></span></span></b></p></span></span></div><div><b style="font-family: georgia; white-space-collapse: preserve;"><span><span style="color: #990000; font-size: large; font-style: italic;">'Belshazzar /Belsazar':</span></span></b></div><div><span style="font-family: georgia; font-weight: bold;"><span style="font-size: medium;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/fMA9XG8A0zI" width="320" youtube-src-id="fMA9XG8A0zI"></iframe></div></span></span><span style="font-family: georgia; font-size: x-large; font-weight: bold;"> </span></div><div><i style="font-weight: bold;"><span style="color: #274e13; font-family: helvetica; font-size: large;"><span>N e d e r l a n d s :</span></span></i></div><div><i style="font-weight: bold;"><span style="color: #274e13; font-family: helvetica; font-size: large;"> </span></i></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><span style="white-space: pre-wrap;"><b style="font-size: medium; white-space: normal;"><span><i><span style="color: #274e13; font-size: x-large;"><span>Ik zette </span></span><span><span style="color: #2b00fe; font-size: x-large;">Rudolf Schock's</span> <span style="color: #990000; font-size: x-large;">beide complete opnamen van 'Dichterliebe' op YouTube</span><span style="color: #274e13; font-size: x-large;">, telkens in de combinatie van één lied uit 1957 </span><span style="font-size: x-large;">mono</span><span style="color: #274e13; font-size: x-large;"> en het zelfde lied uit 1974 </span><span><span style="font-size: large;">stereo.</span></span></span></i></span></b></span></span></div><div style="text-align: left;"><span><span style="white-space: pre-wrap;"><b style="white-space: normal;"><span><p style="font-size: x-large; font-weight: 400;"><span><span><span><b><i>Er zijn 16 liederen te gaan. <span style="font-family: georgia;">Vanaf elke video kunt u doorklikken naar het volgende lied:</span></i></b></span></span></span></p><p style="font-weight: 400;"><span style="font-family: "Times New Roman";"><span style="font-weight: 700;"><span style="font-size: x-large;"><span style="color: red;">START</span><i> </i>met Lied 1: </span></span></span><b style="font-family: georgia;"><span><span style="font-size: x-large;"><span style="color: red;">"</span></span><span style="font-size: x-large;"><span style="color: red; font-style: italic;">Im wunderschönen Monat Mai"</span>:</span></span></b></p></span></b></span></span></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><span style="white-space: pre-wrap;"><b style="font-size: medium; white-space: normal;"><span><b style="font-size: large; font-style: italic;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/nN-cmuvk20o" width="320" youtube-src-id="nN-cmuvk20o"></iframe></b></span></b></span></span></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><span style="white-space: pre-wrap;"><b style="font-size: medium; white-space: normal;"><span><i><span><span><span style="font-size: large;"><br /></span></span></span></i></span></b></span></span></div><div style="text-align: left;"><span style="color: red; font-family: georgia; font-size: x-large;"><b>EN ZO VOORT !</b></span></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><span style="white-space: pre-wrap;"><b style="font-size: medium; white-space: normal;"><span><i><span><span><span style="font-size: large;"><br /></span></span></span></i></span></b></span></span></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><span style="white-space: pre-wrap;"><b style="font-size: medium; white-space: normal;"><span><i><span><span><span style="font-size: large;"><br /></span></span></span></i></span></b></span></span></div><div style="text-align: left;"><b style="font-family: georgia;"><span style="font-size: large;"><span style="font-style: italic;">"Het is een oud verhaal, Toch blijft het altijd nieuw"</span></span><span style="font-style: italic;"><span style="font-size: large;"> </span><span style="color: #2b00fe; font-size: medium;">(</span></span></b><b style="font-family: georgia;"><span style="font-size: medium;"><i><span style="color: #2b00fe;">Heinrich Heine</span> <span style="color: #2b00fe;">1797-1856)</span></i></span></b></div><div style="text-align: left;"><b style="font-family: georgia;"><span style="font-size: medium;"><i><span style="color: #2b00fe;"><br /></span></i></span></b></div><div style="text-align: left;"><b style="font-family: georgia;"><span style="font-size: medium;"><i><span style="color: #2b00fe;">Heinrich (Harry) Heine</span></i> is één van de belangrijkste <i>Duitse</i> dichters/schrijvers in de Europese literatuurgeschiedenis: </span></b></div><div style="text-align: left;"><b style="font-family: georgia;"><span>></span></b><b style="font-family: georgia;"><a href="https://nl.wikipedia.org/wiki/Heinrich_Heine">https://nl.wikipedia.org/wiki/Heinrich_Heine</a></b></div><div><br /></div><div style="text-align: left;"><b style="font-family: georgia;"><span style="font-size: medium;"><span>Zijn poëzie- en</span><span style="color: #783f04;"> </span>prozateksten wisten/weten zich tot in het heden probleemloos te handhaven en bleken/blijken een <i>inspiratiebron voor componisten</i> van toen en nu. Vooral tijdgenoot <i><span style="color: #2b00fe;">Robert Schumann </span></i>(1810-1856) zette een groot aantal <i><span style="color: #2b00fe;">Heine</span></i>-gedichten op onvergetelijke muziek, wat de dichter opvallend negeerde. Slechts een enkele uitvoering door een mooie sopraan verleidde hem tot een vriendelijke reactie.</span></b></div><div style="text-align: left;"><b style="font-family: georgia;"><span style="font-size: medium;"><br /></span></b></div><div style="text-align: left;"><b style="font-family: georgia;"><span style="font-size: medium;"><i><span style="color: #2b00fe;">Rudolf Schock</span></i> zong <span style="color: #2b00fe;"><i>Schumann</i></span>'s liederencyclus Opus 48 <i><span style="color: #990000;">'Dichterliebe'</span></i> op de grammofoonplaat. Hij deed dat tweemaal: januari 1957 met <i><span style="color: #2b00fe;">Adolf Stauch</span></i> aan de piano en juli 1974 met <i><span style="color: #2b00fe;">Ivan Eröd</span></i>. Daarnaast trad Schock ermee op in de concertzaal.</span></b></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b style="font-family: georgia;"><span style="font-size: medium;"><span style="color: #274e13;">Wat de </span><i><span style="color: #990000;">'Dichterliebe'</span></i><span style="color: #274e13;"> van </span><i><span style="color: #2b00fe;">Rudolf Schock</span></i><span style="color: #274e13;"><span> uit </span><span>1957 </span><span>betreft hebben we het lang zonder CD-uitgave moeten stellen. Pas in 2009 publiceerde GALA vrijwel alle </span></span><span style="color: #274e13;">liedopnamen</span><span style="color: #274e13;"> van Rudolf Schock in cassette, maar het geluid was dof en kleurloos. MEMBRAN-documents bracht een paar jaar later een zeer goede cassette uit met Rudolf Schock in al zijn vocale veelzijdigheid. Ook </span><i><span style="color: #990000;">'Dichterliebe'</span></i><span><span style="color: #274e13;"> was daarbij. Beter van klank, maar nog niet op het juiste - technisch beslist haalbare - klankniveau. Toen ontving ik van </span><i style="color: #274e13;">"Schock-Verehrer"</i> <span><i>Wolfgang Mahrholz</i></span><span style="color: #274e13;"> een nog betere kopie, waarvoor ik hem zeer dankbaar ben. In 2018 tenslotte bracht het Zwitserse CD-label RELIEF van Rico Leitner alle EMI-liedopnamen van Schock op de markt, waaronder een klanktechnisch voortreffelijke </span><i><span style="color: #990000;">'Dichterliebe'</span></i><span style="color: #274e13;"> </span><span><i>(Relief CR 3010)</i></span><span style="color: #274e13;">. </span></span></span></b></div><div style="text-align: left;"><b style="font-family: georgia;"><span style="color: #274e13; font-size: medium;"><br /></span></b></div><div style="text-align: left;"><b style="font-family: georgia;"><span style="font-size: medium;"><span style="color: #274e13;">Voor YouTube gebruikte ik - wat betreft 1957 - en met zijn vriendelijke toestemming de digitale bewerking van </span><i><span style="color: #2b00fe;">Wolfgang Mahrholz</span></i><span style="color: #274e13;">. </span><i><span style="color: #2b00fe;">Rudolf Schock </span></i><span style="color: #274e13;">klinkt hier bijzonder warm en soepel. Voor 1974 hield </span></span></b><b style="font-family: georgia;"><span style="font-size: medium;"><span style="color: #274e13;">ik het op mijn eigen LP-kopie.</span></span></b></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b style="font-family: georgia;"><span><span style="font-size: medium;">De combinatie </span><i style="font-size: large;">Heine/Schumann/Schock is op YouTube</i><span style="font-size: medium;"> in verscheidene liederen en balladen te horen, waaronder </span><span style="font-size: large;"><i><span style="color: #990000;">'Der arme Peter'</span></i> </span></span><span style="font-size: medium;">én </span></b><b style="font-family: georgia;"><span><span style="color: #990000; font-size: large; font-style: italic;">'Belsazar''</span><span style="font-size: medium; font-style: italic;">(zie de Duitse tekst)</span><span style="font-size: large; font-style: italic;">!</span></span></b></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b style="font-family: georgia;"><span style="font-size: x-small;"><i>Krijn de Lege, 24.6.2023</i></span></b></div>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-58559465321697690512022-07-25T13:29:00.122+01:002023-05-11T14:55:00.704+01:00RUDOLF SCHOCK>EINE NACHT IN VENEDIG/A NIGHT IN VENICE by JOHANN STRAUSS Jr & ERICH WOLFGANG von KORNGOLD <p><span style="color: #2b00fe; font-family: georgia;"><b><span style="color: #2b00fe; font-size: x-large;"></span></b></span></p><div class="separator" style="clear: both; text-align: left;"><span style="color: #2b00fe; font-family: georgia;"><b><span style="color: #2b00fe; font-size: x-large;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/XS3YnqD5-Eo" width="320" youtube-src-id="XS3YnqD5-Eo"></iframe></span></b></span></div><p></p><p><b style="color: #2b00fe; font-family: georgia;"><span style="color: #2b00fe; font-size: x-large;"><i>Johann Strauss Jr. (1825-1899)</i></span></b></p><p><b style="font-family: georgia; font-size: large;">When we hear that name, we don't think of <i>dance compositions</i>, but of <i><span style="color: #990000;">OPERETTA</span></i>! <i><span style="color: #990000;">'Die Fledermaus/The Bat'</span></i> (1874) or <i><span style="color: #990000;">'Der Zigeunerbaron/The Gepsy Baron'</span></i> (1885) usually come to mind. Classical operettas, of which the <i>'Fledermaus'</i> is considered <i><span style="color: #990000;">"comic opera"</span></i> for many musicologists. If you think about it a little bit longer, you might still get a few impulses: <i><span style="color: #990000;">'Eine Nacht in Venedig/A Night in Venice'</span></i> (1883) and <i><span style="color: #990000;">'Wiener Blut/Viennese Blood</span></i> (1899).</b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #990000;">'Wiener Blut'</span></i> is an operetta for which composer and conductor <span style="color: #2b00fe;"><i>Adolf Müller Jr.</i></span> - with the approval of <i><span style="color: #2b00fe;">Johann Strauss</span></i>, who had almost burned out in 1899 - grouped all kinds of older <i>Johann Strauss</i> compositions around the music of his successful waltz <i><span style="color: #990000;">'Wiener Blut'</span></i> from 1873.</b></p><p><b style="font-family: georgia; font-size: large;"></b></p><div class="separator" style="clear: both; text-align: center;"><b style="font-family: georgia; font-size: large;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh2q8wlHFOTfLeGa-lAy2t8EiBwQ04xzFEp6tnCja4lDg7Cek7Ms-Lv9FvtRdFGCBrwwzy8g4Y5botB31B0iMmfqobrGejUlP15b6tWDaYxlc91hsPkJCua_8jEDoDP64TRbAok-TmY-yDzTeUYhQY7yFAStUJzrADJ41Xc7rZPlLKwK6OhQwN0K4Mz" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" data-original-height="96" data-original-width="172" height="179" src="https://blogger.googleusercontent.com/img/a/AVvXsEh2q8wlHFOTfLeGa-lAy2t8EiBwQ04xzFEp6tnCja4lDg7Cek7Ms-Lv9FvtRdFGCBrwwzy8g4Y5botB31B0iMmfqobrGejUlP15b6tWDaYxlc91hsPkJCua_8jEDoDP64TRbAok-TmY-yDzTeUYhQY7yFAStUJzrADJ41Xc7rZPlLKwK6OhQwN0K4Mz" width="320" /></a></b></div><b style="font-family: georgia; font-size: large;"><br /><br /></b><p></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;">The premiere of <i><span style="color: #990000;">'Eine Nacht von Venedig' </span></i>in 1883 was poorly received in BERLIN. In VIENNA, on the other hand, welcomed. Nevertheless, the attention for the<i> 'Night in Venice'</i> gradually waned. Perhaps that is why a <i>musically</i> and <i>lyrically</i> revised version was premiered in 1923, which is still the most performed to this day.</b></p><p><b style="font-family: georgia; font-size: large;"><i></i></b></p><div class="separator" style="clear: both; text-align: center;"><b style="font-family: georgia; font-size: large;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyDSSrCHJHsaDemfOy14uFF_Pw5TqRIS-f96DV31jR4BdYtik0F2s7Qal1Xbnt3EUDZGcJpYWiXa8aKxXcXiHnBd2qae4YSpx3Fue-ZqIo_Al_7hXhLpF00iSBghsxo2w4gAf7oX6B7j5XEXjQyLWd1cyYb5df-dcTIERnXe4wJpNsq5wlCLwqtD8u/s220/Korngold.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="151" data-original-width="220" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyDSSrCHJHsaDemfOy14uFF_Pw5TqRIS-f96DV31jR4BdYtik0F2s7Qal1Xbnt3EUDZGcJpYWiXa8aKxXcXiHnBd2qae4YSpx3Fue-ZqIo_Al_7hXhLpF00iSBghsxo2w4gAf7oX6B7j5XEXjQyLWd1cyYb5df-dcTIERnXe4wJpNsq5wlCLwqtD8u/s1600/Korngold.jpg" width="220" /></a></i></b></div><b style="font-family: georgia; font-size: large;"><i><br /><span style="color: #2b00fe;"><br /></span></i></b><p></p><p><b style="font-family: georgia;"><span style="font-size: x-large;"><i><span style="color: #2b00fe;">Erich Wolfgang von Korngold</span></i> </span></b><b style="font-family: georgia; font-size: large;">- then 23 years old and shortly after the premiere of his masterpiece <i><span style="color: #990000;">'The dead City/Die tote Stadt' </span></i>- adapted the instrumentation and added two striking operetta arias especially for <i><span style="color: #2b00fe;">Richard Tauber</span></i>, who would sing the <i>'Duke of Urbino'</i> in 1923. It is true that was inspired by music by <i>Johann Strauss</i>, but used completely differently.</b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFfLpOmBX0M0RLzwTyV1wPrm9dkW55pgjYEjXKBMmSFetBxer2bCKGHZKrYk6R0jlOV_231LS-Y_F6pVNFLJugcHH4LPo8_uUhg4k8ua3PI64CJSJNgnh4f1_LuWqNlsgGL72ZG-Obr3rJnGX18fRe_ep4NCo_rafKuM19QHHS4sY9S8KXGmYS7ngL/s132/Ernst%20Marischka.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="132" data-original-width="100" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFfLpOmBX0M0RLzwTyV1wPrm9dkW55pgjYEjXKBMmSFetBxer2bCKGHZKrYk6R0jlOV_231LS-Y_F6pVNFLJugcHH4LPo8_uUhg4k8ua3PI64CJSJNgnh4f1_LuWqNlsgGL72ZG-Obr3rJnGX18fRe_ep4NCo_rafKuM19QHHS4sY9S8KXGmYS7ngL/w151-h200/Ernst%20Marischka.jpg" width="151" /></a></div><br /><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4NEvdAm9E74IGCTdPT__1TgM52MNkVIs5lIz2t9p1trdruO0ERUd3aunbHIKujqxX-H1F9UOVmHKqROKNy0PO3RO6HzlnMRVHrizba-Utd_kaWzPr92VLUcjzhAsUlmqkh99BJXFo3gUryytek4Mzg3qftTQ4_qSUT14gJ5MhiUpAzQU1kp85Xq_8/s132/Ernst%20Marischka.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><span style="font-family: georgia; text-align: left;"><i><b><span style="color: #20124d; font-size: medium;">The lyrics were greatly improved by most likely </span><span style="color: #2b00fe; font-size: x-large;">Ernst Marischka</span></b></i><span style="color: #20124d; font-size: medium;"><i><b>, e</b></i><b>xtremely skilled film director of, among others, the </b></span><i style="color: #20124d; font-size: large; font-weight: bold;">Sissy series with Romy Schneider</i><span style="color: #20124d; font-size: medium; font-weight: bold;"> and three cleverly made </span><i style="color: #20124d; font-size: large; font-weight: bold;">music films with Rudolf Schock</i><span style="color: #20124d; font-size: medium; font-weight: bold;">. I write: </span><i style="color: #20124d; font-size: large; font-weight: bold;">"most likely"</i><span style="color: #20124d; font-size: medium; font-weight: bold;">, because here and there Ernst Marischka's brother </span><i style="color: #20124d; font-size: large; font-weight: bold;"><span>Hubert Marischka</span></i><span style="color: #20124d; font-size: medium; font-weight: bold;"> is </span><i style="color: #20124d; font-size: large; font-weight: bold;">also</i><span style="color: #20124d; font-size: medium; font-weight: bold;"> mentioned as text revisionist.</span></span></a></p><p><b><span style="color: #741b47;"><span style="font-family: georgia; font-size: medium;">I devote my video on YouTube to </span><i style="font-family: georgia; font-size: large;">the 1923 version of 'Eine Nacht in Venedig':</i></span></b></p><p><b><span style="font-family: georgia; font-size: medium;">As an intro you will hear a shortened recording of </span><i style="font-family: georgia; font-size: large;"><span style="color: #990000;">Caramello's 'Gondellied'</span></i><span style="font-family: georgia; font-size: medium;"> by </span><i style="font-family: georgia; font-size: large;"><span style="color: #2b00fe;">Rudolf Schock</span></i><span style="font-family: georgia;"><span style="font-size: medium;">, which was intended to serve as a tastemaker in the 1950s for a great radio performance of the operetta under </span><i><span style="color: #2b00fe; font-size: x-large;">Franz Marszalek</span></i><span style="font-size: medium;">:</span></span></b><b style="font-family: georgia;"><span style="font-size: medium;"> </span></b></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxT1SRIcYiQ_45WZ1ZSlp8T6INE9ykZjuDhScSEnyDOn7Iva1WNwnSgaBnEFW2eKxs4mBo4r__CnT-BXAyqET0dhsfNlxrHI8OV65t0JiRjOVT0nXNV-Ajj7yD8V9tHpB15XWUEK7j33nxYoP17ywM1UJ3ZxC_Neb5UM6PrG7KAFK5hSCddEUmUQU-/s139/Franz%20Marszalek%20(2).jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="107" data-original-width="139" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxT1SRIcYiQ_45WZ1ZSlp8T6INE9ykZjuDhScSEnyDOn7Iva1WNwnSgaBnEFW2eKxs4mBo4r__CnT-BXAyqET0dhsfNlxrHI8OV65t0JiRjOVT0nXNV-Ajj7yD8V9tHpB15XWUEK7j33nxYoP17ywM1UJ3ZxC_Neb5UM6PrG7KAFK5hSCddEUmUQU-/w320-h246/Franz%20Marszalek%20(2).jpg" width="320" /></a></div><p><b style="font-family: georgia; font-size: large;">Later in the video you hear the complete <i><span style="color: #990000;">'Gondellied'</span></i> under his regular opera director of the fifties/sixties <i><span style="color: #2b00fe;">Wilhelm Schüchter</span></i>.</b></p><p><b style="font-family: georgia; font-size: large;"><span>At the end of the video </span><span style="color: #2b00fe; font-style: italic;">Werner Schmidt-Boelcke</span> conducts <i>Schock</i> <i><u>live</u></i> (1968) in the <span style="color: #990000;"><i>'</i></span><i><span style="color: #990000;">Lagoon Waltz'</span></i>.</b></p><p><span style="color: #274e13; font-family: georgia; font-size: medium;"><b><i>D e u t s c h :</i></b></span></p><p><span style="color: #2b00fe; font-family: georgia; font-size: x-large;"><b><i>Johann Strauss Sohn (1825-1899)</i></b></span></p><p><b style="font-family: georgia; font-size: large;">Denkt man bei diesem Namen nicht an <i>Tanzkompositionen</i>, sondern an <i><span style="color: #990000;">Operetten</span></i>, fallen einem meist <i><span style="color: #990000;">„Die Fledermaus“</span></i> (1874) oder <span style="color: #990000;"><i>„Der Zigeunerbaron“</i></span> (1885) ein. Klassische Operetten, von denen die <i><span style="color: #990000;">„Fledermaus“</span></i> für viele Musikwissenschaftler als <i>„komische Oper“ </i>gilt. Wenn man länger darüber nachdenkt, sprudelt vielleicht noch <span style="color: #990000;"><i>„Eine Nacht in Venedig“</i> </span>(1883) und <i><span style="color: #990000;">„Wiener Blut“</span></i> (1899) heraus!</b></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTDmjYHFmlzUH0vQKF9ur_G8ck1KDQdtMV6QJCpkHzqkHlHP0yw5ieOIuF7SBc8PnbCqChlfb7opXsMEX6nY96BpYCK7pbDYErgKX1P5QGoAPNvqQ0iygEQpfXkQyaoEbpqKljApACYKr2vhmsYru_Oyge1vC63870tW09Ted2fEOAzgo5M2WoUTTz/s484/Adolf%20M%C3%BCller%20Sohn.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="484" data-original-width="330" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTDmjYHFmlzUH0vQKF9ur_G8ck1KDQdtMV6QJCpkHzqkHlHP0yw5ieOIuF7SBc8PnbCqChlfb7opXsMEX6nY96BpYCK7pbDYErgKX1P5QGoAPNvqQ0iygEQpfXkQyaoEbpqKljApACYKr2vhmsYru_Oyge1vC63870tW09Ted2fEOAzgo5M2WoUTTz/w136-h200/Adolf%20M%C3%BCller%20Sohn.jpg" width="136" /></a></div><b style="font-family: georgia;"><span><span><p style="font-size: x-large;"><b><span style="font-size: medium;"><span><span style="color: #990000;"><i>„Wiener Blut“</i></span></span><span> ist eine Operette, für die der Komponist und Dirigent</span></span><span> </span><span><span style="color: #2b00fe; font-size: x-large;"><i>Adolf Müller Sohn</i></span><span> </span><span style="font-size: medium;">– </span></span><span style="font-size: medium;"><span>mit Zustimmung des 1899 fast ausgebrannten </span><span>Johann Strauss </span><span>– </span><span>allerlei ältere Kompositionen von </span>Johann Strauss<span> um die Musik dessen erfolgreichen Walzers (1873) </span><span>„Wiener Blut“</span><span> gruppierte.</span></span></b></p></span></span></b><p></p><p><b style="font-family: georgia; font-size: large;">Die Uraufführung von <i><span style="color: #990000;">„Eine Nacht von Venedig“</span></i> im Jahre 1883 wurde in BERLIN schlecht aufgenommen. In WIEN hingegen bejubelt. Dennoch ließ die Aufmerksamkeit für die <i>„Nacht in Venedig"</i> allmählich nach. Vielleicht wurde deshalb 1923 eine <i>musikalisch</i> und <i>textlich </i>gründlich überarbeitete Fassung uraufgeführt, die bis heute die meistgespielte ist.</b></p><p><b style="font-family: georgia; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyDSSrCHJHsaDemfOy14uFF_Pw5TqRIS-f96DV31jR4BdYtik0F2s7Qal1Xbnt3EUDZGcJpYWiXa8aKxXcXiHnBd2qae4YSpx3Fue-ZqIo_Al_7hXhLpF00iSBghsxo2w4gAf7oX6B7j5XEXjQyLWd1cyYb5df-dcTIERnXe4wJpNsq5wlCLwqtD8u/s220/Korngold.jpg" style="clear: left; font-style: italic; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="151" data-original-width="220" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyDSSrCHJHsaDemfOy14uFF_Pw5TqRIS-f96DV31jR4BdYtik0F2s7Qal1Xbnt3EUDZGcJpYWiXa8aKxXcXiHnBd2qae4YSpx3Fue-ZqIo_Al_7hXhLpF00iSBghsxo2w4gAf7oX6B7j5XEXjQyLWd1cyYb5df-dcTIERnXe4wJpNsq5wlCLwqtD8u/s1600/Korngold.jpg" width="220" /></a></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe; font-size: x-large;">Erich Wolfgang von Korngold</span></i><span style="font-size: medium;"> – damals 23 Jahre alt und kurz nach der Uraufführung seines Meisterwerks </span><i style="font-size: large;"><span style="color: #990000;">„Die tote Stadt“</span></i><span style="font-size: medium;"> – bearbeitete die Besetzung eingehend und fügte eigens für </span><i style="font-size: large;"><span style="color: #2b00fe;">Richard Tauber</span></i><span style="font-size: medium;">, der 1923 den </span><i style="font-size: large;">„Herzog von Urbino“</i><span style="font-size: medium;"> singen sollte, zwei markante Operettenarien hinzu. Zwar inspiriert von der Musik von </span><i style="font-size: large;">Johann Strauss</i><span style="font-size: medium;">, aber völlig anders eingesetzt.</span></b></p><p><b style="font-family: georgia;"></b></p><div class="separator" style="clear: both; text-align: center;"><b style="font-family: georgia;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiytgjU_HCFkgzzAcv6Y4Bm2LMd7CADQOwrCO9sEIDG6vgZ4_luVWXSsSO-tB4r04FuQDUhyNqVLW1dX1A3nT5kdhw51vME0_yjcDkR3aYgXOIlZi85xN0KPzjxxnuoRzSi0ZwCXl6FbVsXVIrG17e-J7s5bUL-1YwpIJcdoX5U4ZXevas9mDKIebbF/s132/Ernst%20Marischka.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="132" data-original-width="100" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiytgjU_HCFkgzzAcv6Y4Bm2LMd7CADQOwrCO9sEIDG6vgZ4_luVWXSsSO-tB4r04FuQDUhyNqVLW1dX1A3nT5kdhw51vME0_yjcDkR3aYgXOIlZi85xN0KPzjxxnuoRzSi0ZwCXl6FbVsXVIrG17e-J7s5bUL-1YwpIJcdoX5U4ZXevas9mDKIebbF/w151-h200/Ernst%20Marischka.jpg" width="151" /></a></b></div><b style="font-family: georgia;"><b><span style="font-size: medium;">Die Texte wurden stark verbessert von - höchstwahrscheinlich - </span><i><span style="color: #2b00fe; font-size: x-large;">Ernst Marischka</span></i><span style="font-size: medium;">, äußerst geschicktem Filmregisseur u.a. der </span><i style="font-size: large;">Sissy-Reihe mit Romy Schneider</i><span style="font-size: medium;"> und drei fachmännisch </span></b><b style="font-size: large;">gemachter <i>Musikfilme mit Rudolf Schock</i>. Ich schreibe: <i>„höchstwahrscheinlich“,</i> weil hier und da auch Ernst Marischkas Bruder <i><span>Hubert Marischka</span></i> als Textrevisionist genannt wird.</b></b><p></p><p><b style="font-family: georgia;"><span style="font-size: medium;">Ich widme dem Video auf YouTube der </span><i style="font-size: large;"><span style="color: #990000;">1923er Version von „Eine Nacht in Venedig“</span></i><span style="font-size: medium;">. </span><span style="font-size: medium;">Als Intro hören Sie von </span><i style="font-size: large;"><span style="color: #2b00fe;">Rudolf Schock </span></i><span style="font-size: medium;">eine gekürzte Aufnahme von </span><i style="font-size: large;"><span style="color: #990000;">Caramellos „Gondellied“</span></i><span style="font-size: medium;">, das in den frühen fünfziger Jahren als Vorgeschmack für eine ausgezeichnete Rundfunkaufnahme der Operette unter </span><i style="font-size: large;"><span style="color: #2b00fe;">Franz Marszalek</span></i><span style="font-size: medium;"> dienen sollte. Später erlebt man das</span></b><b style="font-family: georgia; font-size: large;"> vollständige <i><span style="color: #990000;">Gondellied </span></i>unter Schocks festem und vertrautem Operndirigenten <i><span style="color: #2b00fe;">Wilhelm Schüchter</span></i>. Zum Schluss dirigiert <i><span style="color: #2b00fe;">Werner Schmidt-Boelcke</span></i> <i>Schock</i> <u>live</u> (1968) in dem <i><span style="color: #990000;">'Lagunenwalzer'</span></i>.</b></p><p></p><p><b style="font-family: georgia;"><i><span style="color: #274e13; font-size: medium;">N e d e r l a n d s :</span></i></b></p><p><span style="color: #2b00fe; font-family: georgia;"><b><i><span style="font-size: x-large;">Johann Strauss jr.</span><span style="font-size: large;"> (1825-1899)</span></i></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b>Als</b></span><span style="font-family: georgia;"><b><span style="font-size: medium;"> we bij die naam</span><i style="font-size: large;"><span style="color: #2b00fe;"> </span></i><span style="font-size: medium;">niet aan </span><i style="font-size: large;">danscomposities</i><span style="font-size: medium;">, maar aan </span><span style="color: #990000;"><i><span style="font-size: large;">operettes</span></i> </span><span style="font-size: medium;">denken, dan schieten ons meestal </span><i style="font-size: large;"><span style="color: #990000;">'Die Fledermaus'</span></i><span style="font-size: medium;"> (1874) of </span><i style="font-size: large;"><span style="color: #990000;">'Der Zigeunerbaron'</span></i><span style="font-size: medium;">(1885) te binnen. Klassieke operettes, waarvan de </span><span style="font-size: large;"><span style="color: #990000; font-style: italic;">'Fledermaus' </span><span>v</span></span><span style="font-size: medium;">oor veel musicologen als </span><i style="font-size: large;">"komische opera"</i><span style="font-size: medium;"> geldt. </span></b></span><b style="font-family: georgia; font-size: large;">Bij een beetje langer nadenken borrelen misschien nog: <i><span style="color: #990000;">'Eine Nacht in Venedig'</span></i> (1883) en <i><span style="color: #990000;">'Wiener Blut' </span></i>(1899) op.</b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #990000;">'Wiener Blut'</span></i> is een operette, waarvoor componist en dirigent <i><span style="color: #2b00fe;">Adolf Müller junior </span></i>- met goedkeuring van de in 1899 nagenoeg opgebrande Johann Strauss - allerlei oudere composities van Johann Strauss groepeerde rond de muziek van diens succeswals <i><span style="color: #990000;">'Wiener Blut'</span></i> uit 1873.</b></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-gDKNyBcmgtGzpZ2S3yWwZuXpATsf0pWPJ9ki-BxYCmQE4_M6VvQQT-4DC7dsWzlGeKl851OH4EBOpUjK8Umg2cqQ5xBovL_hR241N0rxyNmHohph9Tutmg68jqTDLsFeW97ivWHr-Tz6bZtV8OKAR8suyhMM8onT1YDNOfyVoI0Bq-2KmOYgfYKf/s319/Caramello%20Lagune%201.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="158" data-original-width="319" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-gDKNyBcmgtGzpZ2S3yWwZuXpATsf0pWPJ9ki-BxYCmQE4_M6VvQQT-4DC7dsWzlGeKl851OH4EBOpUjK8Umg2cqQ5xBovL_hR241N0rxyNmHohph9Tutmg68jqTDLsFeW97ivWHr-Tz6bZtV8OKAR8suyhMM8onT1YDNOfyVoI0Bq-2KmOYgfYKf/w400-h198/Caramello%20Lagune%201.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #2b00fe; font-size: medium;"><b><i>Venezia</i></b></span></td></tr></tbody></table><br /><b style="font-family: georgia; font-size: large;"><br /></b><p></p><p><b style="font-family: georgia;"><span style="font-size: medium;"><br /></span></b></p><p><b style="font-family: georgia;"><span style="font-size: medium;"><br /></span></b></p><p><b style="font-family: georgia;"><span style="font-size: medium;"><br /></span></b></p><p><b style="font-family: georgia;"><span style="font-size: medium;"><br /></span></b></p><p><b style="font-family: georgia;"><span style="font-size: medium;"><br /></span></b></p><p><b style="font-family: georgia;"><span style="font-size: medium;">De première van </span><i><span style="color: #990000; font-size: large;">'Eine Nacht von Venedig'</span></i><span style="font-size: medium;"> in 1883 werd in BERLIJN slecht ontvangen. In </span><i style="font-size: large;">WENEN</i><span style="font-size: medium;"> daarentegen toegejuicht. Toch verflauwde geleidelijk de aandacht voor de </span><i style="font-size: large;">'Nacht in Venetië'</i><span style="font-size: medium;">. </span></b><b style="font-family: georgia; font-size: large;">In 1923 ging misschien daarom een <i>muzikaal </i>en <i>tekstueel</i> grondig gereviseerde versie in première, die tot op de dag van vandaag het meest wordt uitgevoerd.</b></p><p><b style="font-family: georgia;"><span style="font-size: large;"><i><span style="color: #2b00fe;">Erich Wolfgang von Korngold</span></i> </span></b><b style="font-family: georgia;"><span style="font-size: medium;">- toen 23 jaar en kort na de première van zijn meesterwerk </span><i style="font-size: large;"><span style="color: #990000;">'Die tote Stadt'</span></i><span style="font-size: medium;"> - bewerkte de instrumentatie en voegde speciaal voor </span><i style="font-size: large;"><span style="color: #2b00fe;">Richard Tauber</span></i><span style="font-size: medium;">, die in 1923 de </span><i style="font-size: large;">'Hertog van Urbino' </i><span style="font-size: medium;">zou zingen, twee markante operette-aria's toe. Weliswaar geïnspireerd op muziek van Johann Strauss, maar totaal anders ingezet. De teksten werden sterk verbeterd door </span><i style="font-size: large;">zeer waarschijnlijk</i> <i><span style="color: #2b00fe; font-size: large;">Ernst Marischka</span></i><span style="font-size: medium;">, uiterst vakkundig filmregisseur van o.a. de Sissy-serie met </span><i style="font-size: large;">Romy Schneider</i><span style="font-size: medium;"> en drie slim gemaakte muziekfilms met </span><i style="font-size: large;">Rudolf Schock</i><span style="font-size: medium;">. Ik schrijf: </span><i style="font-size: large;">"zeer waarschijnlijk"</i><span style="font-size: medium;">, omdat hier en daar ook Ernst Marischka's broer </span><i style="font-size: large;"><span>Hubert Marischka</span></i><span style="font-size: medium;"> als tekstherziener wordt genoemd. </span></b></p><p><b style="font-family: georgia; font-size: large;">Ik wijd mijn video op YouTube aan <i><span style="color: #990000;">de 1923-versie</span></i> van <i><span style="color: #990000;">'Eine Nacht in Venedig'</span></i>. </b><b style="font-family: georgia; font-size: large;">Als intro hoort u van <i>Rudolf Schock</i> een <i>verkorte</i> opname van <i>Caramello's 'Gondellied'</i>, die destijds in de jaren vijftig als smaakmaker moest dienen voor een meeslepende radio-uitvoering van de operette onder <span style="color: #2b00fe; font-style: italic;">Franz Marszalek</span><span><i>. </i>Verderop in de video zingt Schock het complete</span></b><b style="font-family: georgia;"><span style="font-size: medium;"> </span><i style="font-size: large;"><span style="color: #990000;">'Gondellied'</span></i><span style="font-size: medium;"> onder zijn lijf-operadirigent van de jaren vijftig/zestig </span><i style="font-size: large;"><span style="color: #2b00fe;">Wilhelm Schüchter</span></i><span style="font-size: medium;">. De video eindigt o.l.v. <span style="color: #2b00fe; font-style: italic;">Werner Schmidt-Boelcke </span>met<span style="color: #2b00fe;"> <i> </i></span></span></b><b style="font-family: georgia;"><span style="font-size: medium;"><i><span style="color: #2b00fe;">Rudolf </span></i></span><i style="font-size: large;"><span style="color: #2b00fe;">Schock</span></i><span style="font-size: medium;"> </span><i style="font-size: large;"><u><span style="color: #274e13;">live</span></u> </i><span style="font-size: medium;">(1968) in de </span><i style="font-size: large;"><span style="color: #990000;">'Lagune-Wals'</span></i><span style="font-size: medium;">.</span></b></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOpnn6VRV3HCfFCQTt1SYc6MybQAX2Tnnfe7_osFE5DlsnrNAju0OVT_Fk7P8XpqLEA6R19GXdgxCLokQiSDzrRS0MLQ8FHJyylLRmyLVXkLRnyhSPZF9RO-9I0dyjmii8GpZ_IwPjJHkM7M-A_e3aq28ZMYJvgtoCspfrtk_SgTcQREgS_3EoXyjv/s275/Werner%20Schmidt-Boelcke.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="183" data-original-width="275" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOpnn6VRV3HCfFCQTt1SYc6MybQAX2Tnnfe7_osFE5DlsnrNAju0OVT_Fk7P8XpqLEA6R19GXdgxCLokQiSDzrRS0MLQ8FHJyylLRmyLVXkLRnyhSPZF9RO-9I0dyjmii8GpZ_IwPjJHkM7M-A_e3aq28ZMYJvgtoCspfrtk_SgTcQREgS_3EoXyjv/s1600/Werner%20Schmidt-Boelcke.jpg" width="275" /></a></p><p><b style="font-family: georgia;"><i>Krijn de Lege, 11.5.2023</i></b></p><p><br /></p>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-80210806932396978502022-06-20T08:28:00.000+01:002022-06-20T08:28:15.914+01:00RUDOLF SCHOCK>'LAMENTO' from 'L'ARLESIANA' UNKNOWN RADIO RECORDING 2<p><b style="font-family: georgia;"><span style="color: #241a2a; font-size: medium;"><span style="color: red; font-weight: 400;"><b>SEE INTRODUCTION: <br /></b></span><a href="https://tenorschock.blogspot.com/2022/05/rudolf-schockder-rosenkavalier-unknown.html"><i>https://tenorschock.blogspot.com/2022/05/rudolf-schockder-rosenkavalier-unknown.html</i></a></span></b></p><p><b style="font-family: georgia;"><span style="color: #241a2a; font-size: medium;">The 24-year-old </span><i style="color: #241a2a;"><span style="font-size: large;">Enrico Caruso</span></i><span style="font-size: medium;"><span style="color: #241a2a;"> had his first big Italian success in the opera </span><i><span style="color: #660000;">'L'Arlesiana' </span></i><span style="color: #241a2a;">by </span><i><span style="color: #2b00fe;">Francesco Cilea</span></i><span style="color: #241a2a;"> (1866-1950) with the role of <i>Federico</i>.</span></span></b></p><p><b style="color: #241a2a; font-family: georgia;"><span style="font-size: medium;">Farmer's son <i>Federico </i>is madly in love with a woman from Arles. <i>This woman remains invisible throughout the opera! </i></span></b><b style="color: #241a2a; font-family: georgia; font-size: large;"><span style="font-size: medium;"><b><span style="font-size: medium;"><b><span style="font-size: medium;">She only seems to live in Frederico's head. However, one single stable boy knows who and what she is: <i>"A 'slut' from the city"!</i></span></b></span></b></span></b></p><p></p><p><b style="font-family: georgia;"><span style="font-size: medium;"><i style="color: #241a2a;">Federico</i><span style="color: #241a2a;">'s grandiose </span><i><span style="color: #660000;">'Lamento (lament)'</span></i> <i><span style="color: #660000;">'E la solita storia del pastore ('It's the old story of the shepherd)'</span></i><span style="color: #241a2a;"> from act 2 has consistently been a great success on the repertoire of great tenors:</span></span></b></p><p><b style="font-family: georgia;"><span style="color: #2b00fe; font-size: large;"></span></b></p><div class="separator" style="clear: both; text-align: left;"><b style="font-family: georgia;"><span style="color: #2b00fe; font-size: large;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/x5gLu3Tr4Hk" width="320" youtube-src-id="x5gLu3Tr4Hk"></iframe></span></b></div><p></p><p><b style="font-family: georgia;"><span style="color: #2b00fe; font-size: large;"><i>Plot of the opera:</i></span></b></p><p><span style="color: #241a2a; font-family: georgia; font-size: medium;"><b>The widowed farmer's wife Rosa Mamai has two sons: a deranged little boy, who is probably called <i>'L'Innocente (the Unknown)'</i> for this reason, and an adult romantic <i>Federico</i>.</b></span></p><p><b style="font-family: georgia;"><span style="font-size: medium;"><span style="color: #241a2a;">In the <i>2nd act</i>, Rosa has everything for her godchild Vivetta to marry Federico. Frustrated, Federico leaves the farm. However, he runs into the younger brother, who is in the company of an old shepherd. When 'L'Innocente' falls asleep, the shepherd persuades Federico not to leave Arles. Federico then sings the </span><i><span style="color: #660000;">'lamento' 'E la solita storia...' </span></i><span style="color: #241a2a;">. He covers the sleeping boy and is jealous of the child because it can sleep so carefree.</span></span></b></p><p><span style="font-family: georgia; font-size: medium;"><b style="color: #241a2a;">In the </b><span style="color: #241a2a;"><b><i>third and final act</i></b></span><b><span style="color: #241a2a;">, Federico reluctantly marries Vivette, but the insatiable longing for </span><i><span style="color: #660000;">'L'Arlesiana'</span></i><span style="color: #241a2a;"> drives him insane. He imagines that 'his' beloved is calling him for help and jumps out of the hayloft window to meet his death.</span></b></span></p><p><b style="font-family: georgia;"><span style="color: #2b00fe; font-size: large;"><i>About 'L'Arlesiana' </i></span><span style="color: #241a2a; font-size: medium;">:</span></b></p><p><span style="font-family: georgia; font-size: medium;"><b></b></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj35TYSBLZ1tdIQ4rmEL_Pgge5Hws-vlrd95N9mIDMbsasgt1GP_clAs6mm493IfgJEsLeoNwREORG7_49un0zocFdqP--1pzVIwRdWz6v4dNNEQE_jQtzAGzJ2JtV5Jfb5L_fi6BaV5geVGE4fO_OV5Rhm9mC6FsI8sT3wsjeB1B4xhhcN0-DNSEcn/s260/Cilea.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="178" data-original-width="260" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj35TYSBLZ1tdIQ4rmEL_Pgge5Hws-vlrd95N9mIDMbsasgt1GP_clAs6mm493IfgJEsLeoNwREORG7_49un0zocFdqP--1pzVIwRdWz6v4dNNEQE_jQtzAGzJ2JtV5Jfb5L_fi6BaV5geVGE4fO_OV5Rhm9mC6FsI8sT3wsjeB1B4xhhcN0-DNSEcn/s1600/Cilea.jpg" width="260" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i><span>Francesco Cilea</span></i></b></td></tr></tbody></table><span style="font-family: georgia; font-size: medium;"><b><br /><span style="color: #241a2a;"><br /></span></b></span><p></p><p><span style="font-family: georgia; font-size: medium;"><b><span style="color: #241a2a;"><br /></span></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><span style="color: #241a2a;"><br /></span></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><span style="color: #241a2a;"><br /></span></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><span style="color: #241a2a;"><br /></span></b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><span style="color: #241a2a;">Perhaps with this opera from 1897, </span><i><span style="color: #2b00fe;">Francesco Cilea</span></i><span style="color: #241a2a;"> honored the French writer </span><i><span style="color: #073763;">Alphonse Daudet</span></i><span style="color: #241a2a;"> (1840 - 1897), who died in the same year. In any case, <i>Leopoldo Marenco</i>'s libretto is based on <i>'L'Arlésienne</i> <i>(Girls from Arles)'</i>, a play by <i>Alphonse Daudet</i> from 1872, for which none other than <i>Georges Bizet </i>wrote the incidental music (see also 'RS sings Bizet'). Bizet's <i>'L'Arlésienne suite' </i>lives on in the concert hall independently of Daudet's piece. Cilea's opera, on the other hand, was rarely performed.</span></b></span></p><p><b style="font-family: georgia;"><span><span style="color: #2b00fe; font-size: large;"><i>At the end of January 1954, </i></span></span></b><b style="font-family: georgia;"><span style="font-size: medium;"><i><span style="color: #2b00fe;">Rudolf Schock</span></i><span style="color: #241a2a;"> recorded the </span><i><span style="color: #990000;">'Lamento'</span></i><span style="color: #241a2a;">. </span></span></b><b style="font-family: georgia;"><span style="font-size: medium;"><span style="color: #241a2a;">Possibly without the opening recitativo. What I put on YouTube is a technically badly damaged recording. The orchestral sound is not good, but Schock's lyrical voice sounds more than passable anyway. His sensitive presentation impressively displays sometimes introversion, sometimes great passion. Schock's art of mezza voce singing makes one's eyes close in bliss as one listens.</span></span></b></p><p><b style="font-family: georgia;"><span style="font-size: medium;"><span style="color: #241a2a;">In the middle of 1969 - <i>shortly before his first heart attack</i> - </span><i><span style="color: #2b00fe;">Rudolf Schock</span></i><span style="color: #241a2a;"> recorded the </span><i><span style="color: #990000;">'Lamento'</span></i><span style="color: #241a2a;"> again under </span><i><span style="color: #2b00fe;">Wilhelm Schüchter</span></i><span><span style="color: #241a2a;"> - </span><i style="color: #241a2a;">with</i> <i style="color: #241a2a;">recitative</i><span style="color: #241a2a;">. It is extraordinarily surprising that - 15 years later - the artistic result still commands great admiration less mezza voce, but extremely impressive in a lyrical sense!</span></span></span></b></p><p><b style="font-family: georgia;"><span style="font-size: medium;"><span><span style="color: #241a2a;"><i>This version is not available on CD, but</i></span><i><span style="color: #990000;"> </span>on</i></span></span></b><i><span><b style="font-family: georgia;"><span style="color: #241a2a; font-size: large;"> </span><span style="color: #241a2a; font-size: large;">YouTube </span><span style="font-size: large;"><span style="color: #2b00fe;">'Land der Erinnerung' </span></span><span><span style="color: #241a2a; font-size: medium;">offers this later </span><span style="color: #241a2a; font-size: large;">'Lamento' </span><span style="color: #990000; font-size: large;">+ </span><span style="color: #241a2a; font-size: medium;">recitative digitized: </span></span></b></span></i><i><b style="font-family: georgia; font-size: large;"><span style="color: #274e13;"><a href="LINK: https://www.youtube.com/watch?v=2yHYlkSmMCw">LINK: https://www.youtube.com/watch?v=2yHYlkSmMCw</a>!</span> <span style="color: #38761d;">Thanks for that</span></b><b style="color: #38761d; font-family: georgia;"><span style="font-size: large;">!!</span></b></i></p><p><strong style="background-color: #e5e5e5;"><span style="font-family: georgia;"><span style="color: #274e13; font-size: large;"><i>D e u t s c h :</i></span></span></strong></p><p><strong style="background-color: #e5e5e5;"><span style="font-family: georgia;"><span style="color: #241a2a;"><span style="font-size: medium;"><span style="color: red; font-weight: 400;"><b>SIEHE EINFÜHRUNG: <br /></b></span><a href="https://tenorschock.blogspot.com/2022/05/rudolf-schockder-rosenkavalier-unknown.html"><i>https://tenorschock.blogspot.com/2022/05/rudolf-schockder-rosenkavalier-unknown.html</i></a></span></span></span></strong></p><p><strong style="background-color: #e5e5e5;"><span style="font-family: georgia;"><span style="color: #241a2a;"><span style="font-size: medium;">Der 24-jährige </span><i><span style="font-size: large;">Enrico Caruso</span> </i><span style="font-size: medium;">verbuchte in der Oper </span></span><i style="font-size: large;"><span style="color: #990000;">'L'Arlesiana'</span></i><span style="color: #241a2a; font-size: large;"> von </span></span></strong><strong style="background-color: #e5e5e5; font-size: large;"><span style="font-family: georgia;"><span style="color: #2b00fe; font-style: italic;">Francesco Cilea </span>(1866-1950)</span></strong><strong style="background-color: #e5e5e5; font-size: large;"><span style="font-family: georgia;"><span style="color: #241a2a;"> mit der Rolle von <i>Federico</i> seinen ersten grossen, Italien-Erfolg. </span></span></strong></p><p><span style="font-size: medium;"><strong style="background-color: #e5e5e5;"><span style="font-family: georgia;"><span style="color: #241a2a;">Bauernsohn<i> Federico</i> ist wahnsinnig verliebt </span></span></strong><strong style="background-color: #e5e5e5;"><span style="font-family: georgia;"><span style="color: #241a2a;">in <i>eine</i> <i>Frau aus Arles. </i></span></span></strong><strong style="background-color: #e5e5e5;"><span style="font-family: georgia;"><span style="color: #241a2a;">Diese Arlesierin bleibt<i> in der ganzen Oper unsichtbar! </i></span></span></strong><strong style="background-color: #e5e5e5;"><span style="font-family: georgia;"><span style="color: #241a2a;">Sie scheint nur in Frederico's Kopf zu leben. Ein einziger Pferdeknecht aber weiss, wer und was sie ist: <i>"Eine "Schlampe" aus der Stadt"</i>!</span></span></strong></span></p><p><span style="font-size: medium;"><strong style="background-color: #e5e5e5;"><span style="font-family: georgia;"></span></strong></span><span style="color: #241a2a;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh65AFGbDmyzvLh1OexDfprPSfsH65O9xV0oy-izXsjiHipQNiKQ1__ADJuhqX3pWzS_9x_eUIgpRN-6BKn2K-TX__AVHdVZBokBTtxusiqs1m6ImqTpFRUbP7ze5oJCD7ATZBaZH8c2nW0yZTW4ZUkgJDB6h_raEecvHrwbit3qYX1cIOXUG9sFR3U/s834/Lamento%204%20-%20kopie.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="378" data-original-width="834" height="145" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh65AFGbDmyzvLh1OexDfprPSfsH65O9xV0oy-izXsjiHipQNiKQ1__ADJuhqX3pWzS_9x_eUIgpRN-6BKn2K-TX__AVHdVZBokBTtxusiqs1m6ImqTpFRUbP7ze5oJCD7ATZBaZH8c2nW0yZTW4ZUkgJDB6h_raEecvHrwbit3qYX1cIOXUG9sFR3U/s320/Lamento%204%20-%20kopie.jpg" width="320" /></a></span></p><p><strong style="background-color: #e5e5e5; font-size: large;"><span style="font-family: georgia;"><span style="color: #241a2a;"><i>Federico</i>'s grandioses </span></span></strong><strong style="background-color: #e5e5e5; font-size: large;"><span style="font-family: georgia;"><em style="color: #241a2a;">'Lamento (Klagegesang)'</em><span style="color: #241a2a;"> </span><span><em style="color: #990000;">'E la solita storia del pastore ('S'ist die alte Geschichte von dem Hirten)' </em>aus dem 2. Aufzug behauptete</span><span style="color: #241a2a;"> sich dauernd als grosser Erfolg auf dem Programm der Tenöre.</span></span></strong></p><p><strong style="background-color: #e5e5e5;"><span><span style="font-family: georgia;"><span style="font-size: medium;"><span style="color: #2b00fe;"><strong><em>Handlung der Oper:</em></strong></span></span></span></span></strong></p><p><strong style="background-color: #e5e5e5;"><span><span style="font-family: georgia;"><span style="font-size: medium;"><span style="color: #241a2a;"><strong>Die verwitwete Bauersfrau <em>Rosa Mamai</em> hat 2 Söhne: einen geistesgestörten, kleinen Jungen, den man wahrscheinlich deshalb <em>'L'Innocente (den Unbekannten)'</em> nennt, und einen erwachsenen Romantiker <em>Federico</em>. </strong></span><br style="color: #241a2a;" /></span></span></span></strong></p><p><strong style="background-color: #e5e5e5;"><span><span style="font-family: georgia;"></span></span></strong></p><p><strong style="background-color: #e5e5e5;"><span><span style="font-family: georgia; font-size: medium;"><span><strong><span style="color: #241a2a;">Rosa hat im 2. Aufzug alles dafür übrig, dass ihr Patenkind </span><em style="color: #241a2a;">Vivetta </em><span style="color: #241a2a;">sich mit Federico verheiratet</span><em style="color: #241a2a;">.</em><span style="color: #241a2a;"> Federico verlässt darum frustriert den Bauernhof. Er läuft jedoch dem jüngeren Bruder in die Arme, der sich in Gesellschaft von einem alten Hirten befindet. Wenn 'L'Innocente' einschläft, überredet der Hirt Federico, Arles nicht zu verlassen. Federico singt dann das </span><em style="color: #241a2a;">'lamento'</em><span style="color: #241a2a;"> </span><span style="color: #990000;"><em>'E la solita storia...' </em></span><em style="color: #241a2a;">. </em><i style="color: #241a2a;">Er deckt den schlafenden Knaben zu und ist eifersüchtig auf das Kind, weil es so sorglos schlafen kann.</i></strong></span><br style="color: #241a2a;" /><span style="color: #241a2a;"><strong>Im 3. und letzten Aufzug heiratet Federico widerwillig Vivette, aber die unstillbare Sehnsucht nach <em>'L'Arlesiana'</em> macht ihn wahnsinnig. Er bildet sich ein, dass 'seine' Geliebte nach ihm um Hilfe ruft, und springt aus dem Fenster des Heubodens dem Tode entgegen.</strong></span></span></span></strong></p><div><strong style="background-color: #e5e5e5;"><span><span style="font-family: georgia;"><span style="font-size: medium;"><strong style="font-family: "Times New Roman"; font-size: medium;"><span><span style="font-family: georgia;"><span style="font-size: medium;"><span><span><i><strong><span><span style="color: #2b00fe;">Über </span><span style="color: #990000;">'L'Arlesiana'</span><span style="color: #2b00fe;"> </span><span style="color: #2b00fe;">:</span><span style="color: #2b00fe;"> </span></span></strong><span style="color: #2b00fe;"> </span></i></span></span></span></span></span></strong></span></span></span></strong></div><div><strong style="background-color: #e5e5e5;"><span><span style="font-family: georgia;"><span style="font-size: medium;"><strong style="font-family: "Times New Roman"; font-size: medium;"><span><span style="font-family: georgia;"><span style="font-size: medium;"><i><br style="color: #241a2a;" /></i><span><strong><span style="color: #241a2a;"><span style="color: black;">Vielleicht ehrte </span></span><i><span style="color: #2b00fe;">Francesco </span></i></strong></span></span></span></span></strong></span></span></span></strong><strong style="background-color: #e5e5e5;"><span><span style="font-family: georgia;"><span style="font-size: medium;"><strong style="font-family: "Times New Roman"; font-size: medium;"><span><span style="font-family: georgia;"><span style="font-size: medium;"><span><strong><i><span style="color: #2b00fe;">Cilea </span></i></strong></span></span></span></span></strong></span></span></span></strong><strong style="background-color: #e5e5e5;"><span><span style="font-family: georgia;"><span style="font-size: medium;"><strong style="font-family: "Times New Roman"; font-size: medium;"><span><span style="font-family: georgia;"><span style="font-size: medium;"><span><strong><span>mit dieser Oper aus dem Jahre 1897 den französischen Schriftsteller </span><em style="color: #241a2a;">Alphonse Daudet (1840 - 1897),</em><span> der im selben Jahr starb. Jedenfalls beruht das Libretto von </span><em style="color: #241a2a;">Leopoldo Marenco</em><span> auf </span><em style="color: #241a2a;">'L'Arlésienne (Mädchen von Arles)'</em><span>, einem Schauspiel von Alphonse Daudet aus dem Jahre 1872, wofür niemand weniger als </span><em style="color: #241a2a;">Georges Bizet</em><span> die Bühnenmusik schrieb </span><span>(siehe auch <em>'RS singt Bizet'</em>)</span><span>. Bizets </span><em style="color: #241a2a;">'L'Arlésienne suite'</em><span> lebt bis auf heute selbständig - unabhängig von Daudets Stück also - im Konzertsaal weiter. Cileas Oper dagegen erlebte noch ganz selten eineAufführung.</span></strong></span></span></span></span></strong></span></span></span></strong></div><div><strong style="background-color: #e5e5e5;"><span><span style="font-family: georgia;"><span style="font-size: medium;"><strong style="font-family: "Times New Roman"; font-size: medium;"><span><span style="font-family: georgia;"><span style="font-size: medium;"><span><strong><span><br /></span></strong></span></span></span></span></strong></span></span></span></strong></div><div><strong style="background-color: #e5e5e5;"><span><span style="font-family: georgia;"><span><strong style="font-family: "Times New Roman";"><span><span style="font-family: georgia;"><span><span><strong><span style="color: #2b00fe;"><i><span style="font-size: large;">Ende Januar 1954</span> </i></span></strong></span></span></span></span></strong></span></span></span></strong><strong style="background-color: #e5e5e5;"><span><span style="font-family: georgia;"><span style="font-size: medium;"><strong style="font-family: "Times New Roman"; font-size: medium;"><span><span style="font-family: georgia;"><span style="font-size: medium;"><span><strong><span>nahm <i><span style="color: #2b00fe;">Rudolf Schock</span></i> das <i><span style="color: #990000;">'Lamento'</span></i> auf. Möglicherweise ohne das einleitende Rezitativo. Was ich auf YouTube gesetzt habe, ist eine technisch schwer beschädigte Aufnahme. Der Orchesterklang ist sowieso schlecht, aber Schocks lyrische Stimme klingt ohnehin mehr als passabel. Sein sensibler Vortrag stellt bald Introvertiertheit, bald grosse Leidenschaft beeindruckend zur Schau. Schocks Kunst des Mezza voce-Singens macht, dass sich die Augen beim Zuhören glückselig schliessen. </span></strong></span></span></span></span></strong></span></span></span></strong></div><div><strong style="background-color: #e5e5e5;"><span><span style="font-family: georgia;"><span style="font-size: medium;"><strong style="font-family: "Times New Roman"; font-size: medium;"><span><span style="font-family: georgia;"><span style="font-size: medium;"><span><strong><span><br /></span></strong></span></span></span></span></strong></span></span></span></strong></div><div><strong style="background-color: #e5e5e5;"><span><span style="font-family: georgia;"><span style="font-size: medium;"><strong style="font-family: "Times New Roman"; font-size: medium;"><span><span style="font-family: georgia;"><span style="font-size: medium;"><span><strong><span>Mitte 1969 - <i>kurz vor einem ersten Herzinfarkt </i>- nahm <i><span style="color: #2b00fe;">Rudolf Schock</span></i> unter <i><span style="color: #2b00fe;">Wilhelm Schüchter</span></i> - <i>mit Rezitativo</i> - das <i><span style="color: #990000;">'Lamento'</span></i> noch einmal auf. Ausserordentlich überraschend ist, dass 15 Jahre später das künstlerische Resultat noch immer grosse Bewunderung abzwingt. Weniger mezza voce, aber in lyrischem Sinne äusserst eindringlich! <i>Diese Ausführung gibt es nicht auf CD, <span style="color: #990000;"><u>ABER</u></span> auf </i></span></strong></span></span></span></span></strong></span></span></span></strong><strong style="background-color: #e5e5e5;"><span><span style="font-family: georgia;"><span><strong><span><span style="font-family: georgia;"><span><span><strong><i><span style="font-size: medium;">YouTube bietet <span style="color: #2b00fe;">'Land der Erinnerung'</span> dieses spätere Lamento </span><span style="color: #990000; font-size: large;">+</span><span style="font-size: medium;"> Rezitativo digitalisiert an: </span></i></strong></span></span></span></span></strong></span></span></span></strong></div><div><strong style="background-color: #e5e5e5;"><span><span style="font-family: georgia;"><span style="font-size: medium;"><strong><span><span style="font-family: georgia;"><span style="font-size: medium;"><span><strong><span><i>LINK:</i> <a href="https://www.youtube.com/watch?v=2yHYlkSmMCw"><i>https://www.youtube.com/watch?v=2yHYlkSmMCw</i></a></span></strong></span></span></span></span></strong></span></span></span></strong></div><div><strong style="background-color: #e5e5e5;"><span><span style="font-family: georgia;"><span style="font-size: medium;"><strong><span><span style="font-family: georgia;"><span style="font-size: medium;"><span><strong><i>Dank dafür!!</i></strong></span></span></span></span></strong></span></span></span></strong></div><div><strong style="background-color: #e5e5e5;"><span><span style="font-family: georgia;"><span style="font-size: medium;"><strong style="font-family: "Times New Roman"; font-size: medium;"><span><span style="font-family: georgia;"><span style="font-size: medium;"><span><strong><br /></strong></span></span></span></span></strong></span></span></span></strong></div><div><strong style="background-color: #e5e5e5;"><span><span style="font-family: georgia;"><span><strong><span><span style="font-family: georgia;"><span><span><strong><div><i><span style="color: #274e13; font-size: large;">N e d e r l a n d s :</span></i></div><div style="font-size: large;"><br /></div><div style="font-size: large;"><span style="color: red; font-weight: 400;"><b>ZIE INLEIDING: <br /></b></span><a href="https://tenorschock.blogspot.com/2022/05/rudolf-schockder-rosenkavalier-unknown.html"><i>https://tenorschock.blogspot.com/2022/05/rudolf-schockder-rosenkavalier-unknown.html</i></a></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">De 24-jarige </span><i><span style="font-size: large;">Enrico Caruso</span></i><span style="font-size: medium;"> had zijn eerste grote Italiaanse succes in de opera <i><span style="color: #990000;">'L'Arlesiana'</span></i> van <span style="color: #2b00fe;"><i>Francesco Cilea</i></span> (1866-1950) met de rol van <i>Federico</i>.</span></div><div style="font-size: large;"><br /></div><div style="font-size: large;">Boerenzoon <i>Federico</i> is waanzinnig verliefd op een vrouw uit Arles. <i>Deze vrouw blijft de hele opera onzichtbaar! </i>Ze lijkt alleen in Frederico's hoofd te leven. Een staljongen echter weet wie en wat ze is: <i>"Een 'slet' uit de stad"</i>!</div><div style="font-size: large;"><br /></div><div style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlY_-toPG7-UnKn0LvVtIdG5G6GnyTXPm94j1ieYxY2L9InqFrjrMNHJ78t6CzCMIWyLx5frFR-NHQIx1myuiUAc5Q3oqcsM14aYS_leFPj03iIQM2Mv-DVogwMjpi8Fy2XEC9Pi1RA1Pm1B_CZcvbDmfRToCDAetWr8vdATWtZ4VMlDCCKXpVW1GB/s244/lamento_1.jpg%20extra.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="186" data-original-width="244" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlY_-toPG7-UnKn0LvVtIdG5G6GnyTXPm94j1ieYxY2L9InqFrjrMNHJ78t6CzCMIWyLx5frFR-NHQIx1myuiUAc5Q3oqcsM14aYS_leFPj03iIQM2Mv-DVogwMjpi8Fy2XEC9Pi1RA1Pm1B_CZcvbDmfRToCDAetWr8vdATWtZ4VMlDCCKXpVW1GB/w400-h305/lamento_1.jpg%20extra.jpg" width="400" /></a></div><div style="font-size: large;"><i><br /></i></div><div style="font-size: large;"><i>Federico</i>'s grandioze <i><span style="color: #990000;">'Lamento (klaagzang)'</span></i> <i><span style="color: #990000;">'E la solita storia del pastore' ('Het is het oude verhaal van de herder)' </span></i>uit het tweede bedrijf bleef altijd een groot succes op het programma van tenoren.</div><div style="font-size: large;"><br /></div><div><span style="color: #2b00fe; font-size: large;"><i>Verhaal van de opera:</i></span></div><div style="font-size: large;"><br /></div><div style="font-size: large;">De weduwe, boerin Rosa Mamai, heeft twee zonen: een gestoord jongetje, dat om die reden waarschijnlijk <i>'L'Innocente (de Onbekende)'</i> wordt genoemd, en een volwassen romanticus <i>Federico</i>.</div><div style="font-size: large;"><br /></div><div style="font-size: large;"><i>In de 2e akte </i>doet Rosa er alles aan om haar petekind Vivetta met Federico te laten trouwen. Gefrustreerd verlaat Federico de boerderij. Hij komt echter zijn jongere broertje tegen, die in het gezelschap is van een oude herder. Als 'L'Innocente' in slaap valt, haalt de herder Federico over om Arles niet te verlaten. Federico zingt dan het <i><span style="color: #990000;">'Lamento' 'E la solita storia...' </span></i>. Hij dekt de slapende jongen toe en is jaloers op het kind omdat het zo onbezorgd kan slapen.</div><div style="font-size: large;"><br /></div><div style="font-size: large;"><i>In de derde en laatste akte</i> trouwt Federico schoorvoetend met Vivette, maar het onverzadigbare verlangen naar <i><span style="color: #990000;">'L'Arlesiana'</span></i> maakt hem gek. Hij meent te horen, dat 'zijn' geliefde hem om hulp roept en springt uit het raam van de hooizolder zijn dood tegemoet.</div><div style="font-size: large;"><br /></div><div><span style="color: #2b00fe; font-size: large;"><i>Over 'L'Arlesiana' :</i></span></div><div style="font-size: large;"><br /></div><div style="font-size: large;">Misschien eerde <i><span style="color: #2b00fe;">Francesco Cilea</span></i> met deze opera uit 1897 de in hetzelfde jaar overleden Franse schrijver <i><span style="color: #2b00fe;">Alphonse Daudet</span></i> (1840 - 1897). Het libretto van <i>Leopoldo Marenco</i> is in ieder geval gebaseerd op <i>'L'Arlésienne</i> <i>(meisje uit Arles)'</i>, een toneelstuk van <i>Alphonse Daudet</i> uit 1872, waarvoor niemand minder dan <i>Georges Bizet</i> de toneelmuziek schreef <i>(zie ook 'RS zingt Bizet')</i>. Bizets <i>'L'Arlésienne suite'</i> leeft voort in de concertzaal, onafhankelijk van Daudets stuk. <i>Cilea's opera werd daarentegen zelden uitgevoerd.</i></div><div style="font-size: large;"><i><br /></i></div><div><i><span style="color: #2b00fe; font-size: large;">Eind januari 1954 </span></i><span style="font-size: medium;">nam </span><i style="font-size: large;"><span style="color: #2b00fe;">Rudolf Schock</span></i><span style="font-size: medium;"> het </span><i style="font-size: large;"><span style="color: #990000;">'Lamento'</span></i><span style="font-size: medium;"> op. Misschien zonder het inleidende recitatief. Wat ik op YouTube gezet heb, is een technisch zeer beschadigde opname. De orkestklank is sowieso slecht, maar </span><i style="font-size: large;">Schock</i><span style="font-size: medium;">'s lyrische stem klinkt toch nog meer dan passabel.</span><i style="font-size: large;"> Zijn gevoelvolle voordracht switcht indrukwekkend tussen introvertheid en grote hartstocht.</i> <i style="font-size: large;">Schock</i><span style="font-size: medium;">'s kunst van het </span><i style="font-size: large;">mezza voce</i><span style="font-size: medium;">-zingen zorgt ervoor, dat mijn ogen zich als vanzelf tijdens het luisteren gelukzalig sluiten.</span></div><div style="font-size: large;"><br /></div><div style="font-size: large;">Midden 1969 - kort voor zijn eerste hartinfarct - nam <span style="color: #2b00fe;"><i>Rudolf Schock</i></span> onder <i><span style="color: #2b00fe;">Wilhelm Schüchter</span></i> - <i>MET recitatief (!)</i> - het <i>'Lamento' </i>nog eens op. Buitengewoon verrassend is, dat 15 jaar later het artistieke resultaat nog altijd grote bewondering afdwingt. Minder mezza voce, maar in lyrische zin uiterst indringend. Op YouTube biedt <span style="color: #2b00fe;"><i>'LAND DER ERINNERUNG'</i> </span>dit latere 'Lamento' aan:</div><div style="font-size: large;"><strong><span><span style="font-family: georgia;"><span><strong style="font-family: "Times New Roman";"><span><span style="font-family: georgia;"><span style="font-size: medium;"><strong><span><span style="font-family: georgia;"><span style="font-size: medium;"><span><strong><span><a href="https://www.youtube.com/watch?v=2yHYlkSmMCw"><i>https://www.youtube.com/watch?v=2yHYlkSmMCw</i></a></span></strong></span></span></span></span></strong></span></span></span></strong></span></span></span></strong> <i> </i></div></strong></span></span></span></span></strong><strong><span><span style="font-family: georgia;"><span><span><strong><div style="font-size: large;"><br /></div><div style="font-size: large;"><div style="font-family: "Times New Roman"; font-size: medium; font-weight: 400;"><strong><span><span style="font-family: georgia;"><span><strong style="font-family: "Times New Roman";"><span><span style="font-family: georgia;"><span><span style="font-size: x-small;"><strong><i>Krijn de Lege 20 juni 2022</i></strong></span></span></span></span></strong></span></span></span></strong></div></div></strong></span></span></span></span></strong></span></span></span></strong></div><div><br /></div>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-22783797085642398532022-05-03T09:40:00.008+01:002022-09-19T13:31:25.889+01:00RUDOLF SCHOCK>DER ROSENKAVALIER: UNKNOWN RADIO RECORDING 1<p></p><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/99UBxTCMRdc" width="320" youtube-src-id="99UBxTCMRdc"></iframe></div><p></p><p><b style="font-family: georgia; font-size: large;">Recordings by <i><span style="color: #2b00fe;">Rudolf Schock</span></i> are still emerging that have slumbered in private possession for decades. </b><b style="font-family: georgia; font-size: large;">Not everything is of great importance, because then it concerns the umpteenth performance - whether or not playback sung - of a music fragment, which the singer has already recorded several times. Whether they are on film or on tape: they are not really important.</b></p><p><b style="font-family: georgia; font-size: large;">But there is always something suddenly that stands out qualitatively or that was recorded only once by <i><span style="color: #2b00fe;">Rudolf Schock</span></i>. I found THREE of these special recordings The sound quality leaves something to be desired at a number of moments, but they are special. I therefore hope that many of you will appreciate it if I wake them up from their Sleeping Beauty sleep on YouTube in the near future.</b></p><p><b style="font-family: georgia;"><span style="font-size: large;">The first revelation</span></b><b style="font-family: georgia; font-size: large;"> concerns the <i>Italian</i> sung confession of love <i><span style="color: #990000;">'Di rigori armato il seno'</span></i> from the opera <i><span style="color: #990000;">'Der Rosenkavalier'</span></i> by <i><span style="color: #2b00fe;">Richard Strauss</span></i>. <i>Strauss</i> and librettist <i>Hugo von Hoffmannsthal</i> took the text from <i><span style="color: #2b00fe;">Molière</span></i>'s play <i>'Le Bourgeois Gentilhomme'</i>, which contains a declaration of love with the same text set to music by <i>J.B. Lully</i>: <i><span style="color: #990000;">'Di rigori armato il seno (Of rigors armed the breast)'</span></i></b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;">Rudolf Schock</span></i> has always had a great affinity with the music of <i>Richard Strauss.</i> He can therefore be heard often in his great operas and songs.</b></p><p><b style="font-family: georgia; font-size: large;"><span style="color: #2b00fe;"><i>Schock</i></span>'s <i>Bacchus</i> role in the opera <i><span style="color: #990000;">'Ariadne auf Naxos' </span></i>is available on CD four times, of which twice live from Vienna (1954 and 1955) with <span style="color: #2b00fe;"><i>Lisa della Casa</i></span> and <i><span style="color: #2b00fe;">Hilde Zadek</span></i> in the title role. On record and CD <i><span style="color: #2b00fe;">Elisabeth Schwarzkopf</span></i> sings the role of <i>Ariadne</i> under <i><span style="color: #2b00fe;">Herbert von Karajan</span></i> (1954) and again <i><span style="color: #2b00fe;">Lisa della Casa</span></i> under <i><span style="color: #2b00fe;">Alberto Erede</span></i> (1959).</b></p><p><span style="color: #2b00fe;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIb7QS-GyHY93J-6-0F0pXWvEljklmgWSdDg7lskhWIe-GKXlL_PNBXQq2mx_fA9jE-ZvN8w2dExAEbkil7aZRUViBvMnBDEuUJIpBHS_n_rjlhCh-WjjzPli_hcSndgkPg1UtzSPqVzyWZy1FLFh16FTvN8KVcbv8bfouzdLUqx0x1S7SkCjrpqn7/s3082/33%20Ariadne%20auf%20Naxos%20-%20R.%20Strauss%201954%20mit%20H.%20von%20Karajan%20(2).jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2387" data-original-width="3082" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIb7QS-GyHY93J-6-0F0pXWvEljklmgWSdDg7lskhWIe-GKXlL_PNBXQq2mx_fA9jE-ZvN8w2dExAEbkil7aZRUViBvMnBDEuUJIpBHS_n_rjlhCh-WjjzPli_hcSndgkPg1UtzSPqVzyWZy1FLFh16FTvN8KVcbv8bfouzdLUqx0x1S7SkCjrpqn7/w400-h310/33%20Ariadne%20auf%20Naxos%20-%20R.%20Strauss%201954%20mit%20H.%20von%20Karajan%20(2).jpg" width="400" /></a></span><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;"><br /></b></p><p><b style="font-family: georgia; font-size: large;">There is also a complete, curiously neglected, but historically and qualitatively interesting recording of <i><span style="color: #990000;">'Capriccio'</span></i> (1953) under <i><span style="color: #2b00fe;">Clemens Krauss</span></i> from Munich with <i><span style="color: #2b00fe;">Rudolf Schock</span></i> in the role of <i>Flamand </i>and <i><span style="color: #2b00fe;">Viorica Ursuleac</span></i> in that of the <i>Countess</i>. Schock also sings fragments from <i><span style="color: #990000;">'Salome' </span></i>and <span style="color: #990000;"><i>'Der Rosenkavalier'</i></span>.</b></p><p><span style="font-family: georgia; font-size: medium;"><b>In <i><span style="color: #741b47;">1978</span></i> <i>Rudolf Schock </i>sings on the opera LP "For my Friends" from <i><span style="color: #990000;">'Der Rosenkavalier'</span></i> the famous, but feared, high-lying, Italian-language aria <i><span style="color: #990000;">"Di rigori armato il seno".</span></i> The performance is acceptable, but sounds forced. In my opinion, she is kept afloat by the necessary recording technical support.</b></span></p><p><span style="font-family: georgia; font-size: medium;"><b>In <i><span style="color: #741b47;">1954 </span>Rudolf Schock</i> also records the aria for the Bavarian radio. In the opera theaters of Berlin, London, Hamburg and Vienna he regularly sings the aria on the opera stage in the 1940s and 1950s. As <i>"An Italian singer" </i>in the first act of the German-language <span style="color: #990000;"><i>'Rosenkavalier'</i></span>. <i>That role lasts no longer than the aria lasts</i>: just over three minutes. A short stay on the stage, but with an aria that is extremely risky for the tenor image. There is no getting on steam. It is now or never. The evening off after that is long, but whether it will be fun depends on the success of three minutes of extreme vocal effort. There are - probably - no theater recordings of Schock with this aria. From those years we only have that one radio performance from 1954 under conductor <i><span style="color: #2b00fe;">Kurt Striegler</span></i>. It is up to you to judge whether <i><span style="color: #2b00fe;">Rudolf Schock</span></i> could handle the aria.</b></span></p><p><b style="color: #ff00fe; font-family: georgia; font-size: large;"><i>D e u t s c h :</i></b></p><p><span style="font-family: georgia; font-size: medium;"><b>Noch immer tauchen Aufnahmen von <i><span style="color: #2b00fe;">Rudolf Schock</span></i> auf, die seit Jahrzehnten in Privatbesitz schlummern. Nicht alles ist von großer Bedeutung, denn dann geht es um die x-te Aufführung - ob Playback gesungen oder nicht - eines Musikfragments, das der Sänger bereits mehrfach eingespielt hat. Ob sie auf Film oder auf Band sind: Sie sind nicht so wichtig.</b></span></p><p><b style="font-family: georgia; font-size: large;">Aber es gibt immer wieder etwas, das qualitativ auffällt oder nur einmal von Rudolf Schock aufgenommen wurde. Ich habe DREI dieser besonderen Aufnahmen gefunden. Die Tonqualität lässt an manchen Stellen zu wünschen übrig, aber sie sind etwas Besonderes. Ich hoffe daher, dass es viele von Ihnen zu schätzen wissen, wenn ich sie auf YouTube aus ihrem Dornröschenschlaf wecke.</b></p><p><b><span style="font-family: georgia; font-size: large;">Die erste Enthüllung</span><span style="font-family: Lobster; font-size: large;"> </span></b><b style="font-family: georgia; font-size: large;">betrifft das italienisch gesungene Liebesgeständnis <i><span style="color: #990000;">"Di rigori armato il seno"</span></i> aus der Oper <i><span style="color: #990000;">"Der Rosenkavalier" </span></i>von <i><span style="color: #2b00fe;">Richard Strauss</span></i>. <i>Strauss</i> und sein Librettist <i>Hugo von Hoffmannsthal</i> übernahmen den <i>Text</i> aus <i><span style="color: #2b00fe;">Molières</span></i> Stück "Le Bourgeois Gentilhomme", das eine gesungene, von <i>J.B. Lully</i> komponierte Liebeserklärung mit dem gleichen Text enthält: </b><b style="font-family: georgia; font-size: large;"><i><span style="color: #990000;">'Di rigori armato il seno (Meine Brust mit Strenge bewaffnet)'</span></i></b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;">Rudolf Schock</span></i> hatte schon immer eine große Affinität zur Musik von <i><span style="color: #2b00fe;">Richard Strauss</span></i>. Deshalb ist er oft in dessen großen Opern und Liedern zu hören.</b></p><p><b style="font-family: georgia; font-size: large;"><i></i></b></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxyUGfftAzKY7DfWiXUJkFHlRxp8ydwneoWFgyt39QD7nB7KNJIajZO8edYoSWqLpye2FKqWpVY2EKJNhZihdfnNRtzo-jE1-0hcvoMA-s9ypmUdQwXmUp61wWQc_8OzfVSQCcHQIh6JdxX3g0kGhRt3lDMtpRAs1AQ_Oy7OMKKxqSn06nhBGGOz84/s2113/Rudolf%20Schock%20Bacchus%201954.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2113" data-original-width="1462" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxyUGfftAzKY7DfWiXUJkFHlRxp8ydwneoWFgyt39QD7nB7KNJIajZO8edYoSWqLpye2FKqWpVY2EKJNhZihdfnNRtzo-jE1-0hcvoMA-s9ypmUdQwXmUp61wWQc_8OzfVSQCcHQIh6JdxX3g0kGhRt3lDMtpRAs1AQ_Oy7OMKKxqSn06nhBGGOz84/w276-h400/Rudolf%20Schock%20Bacchus%201954.jpg" width="276" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #783f04; font-size: x-small;"><b><i>Rudolf Schock (Bacchus) 1954</i></b></span></td></tr></tbody></table><b style="font-family: georgia; font-size: large;"><i><br /><span style="color: #2b00fe;"><br /></span></i></b><p></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;"><br /></span></i></b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;">Schocks </span>Bacchuspartie</i> in der Oper <i><span style="color: #990000;">"Ariadne auf Naxos"</span></i> ist viermal auf CD erhältlich, davon zweimal live aus Wien (1954 und 1955) mit <i><span style="color: #2b00fe;">Lisa della Casa</span></i> und <i><span style="color: #2b00fe;">Hilde Zadek</span></i> in der Titelrolle. Auf Schallplatte und CD singt <i><span style="color: #2b00fe;">Elisabeth Schwarzkopf </span></i>die Rolle der <i>Ariadne</i> unter <i><span style="color: #2b00fe;">Herbert von Karajan</span></i> (1954) und wiederum <i><span style="color: #2b00fe;">Lisa della Casa</span></i> unter <i><span style="color: #2b00fe;">Alberto Erede</span></i> (1959). Es gibt auch eine vollständige, merkwürdig ignorierte, aber historisch und qualitativ interessante Einspielung von <i><span style="color: #990000;">"Capriccio"</span></i> (1953) unter Clemens Krauss aus München mit <i><span style="color: #2b00fe;">Rudolf Schock</span></i> in der Rolle des <i>Flamand</i> und <i><span style="color: #2b00fe;">Viorica Ursuleac</span></i> in der Rolle der <i>Gräfin</i>. Daneben singt Schock auch Fragmente aus <i><span style="color: #990000;">"Salome"</span></i> und <i><span style="color: #990000;">"Der Rosenkavalier"</span></i>.</b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #741b47;">1978</span></i> singt <i><span style="color: #2b00fe;">Rudolf Schock </span></i>auf der Opern-LP "<i>Für meine Freunde"</i> aus <i>"Der Rosenkavalier"</i> die berühmte, aber gefürchtete, hochgelegene, italienischsprachige Arie "Di rigori armato il seno". Die Leistung ist akzeptabel, klingt aber forciert. Über Wasser gehalten wird sie meiner Meinung nach durch den nötigen, aufnahmetechnischen Support.</b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #741b47;">1954 </span></i>nimmt <i><span style="color: #2b00fe;">Rudolf Schock</span></i> die Arie auch für den Bayerischen Rundfunk auf. In den Opernhäusern von Berlin, London, Hamburg und Wien singt er in den 1940er und 1950er Jahren regelmäßig die Arie auf der Opernbühne. Als <i><span style="color: #2b00fe;">"Ein italienischer Sänger"</span></i> im ersten Akt des deutschsprachigen <i><span style="color: #990000;">"Rosenkavalier"</span></i>. <i>Diese Rolle dauert nicht länger als die Arie dauert: </i>ein wenig mehr als drei Minuten. Ein Blitzauftritt auf der Bühne, aber mit einer Arie, die für das Tenor-Image äußerst riskant ist. Da kommt man nicht in Fahrt. Es ist: Jetzt oder nie. Der Feierabend danach ist lang, aber ob er Spaß macht, hängt vom Erfolg dreier Minuten extremer Stimmanstrengung ab.</b></p><p><b style="font-family: georgia; font-size: large;">Es gibt - wahrscheinlich - keine Theateraufnahmen von Schock mit dieser Arie. Aus denselben Jahren gibt es nur jenen einzelnen Rundfunkauftritt von 1954 unter dem Dirigenten <i><span style="color: #2b00fe;">Kurt Striegler</span></i>. Die Beurteiling, <i><span style="color: #2b00fe;">Rudolf Schock</span></i> käme damals mit der Arie zurecht, überlasse ich gerne Ihnen.</b></p><p><b style="font-family: georgia;"><i><span style="color: #ff00fe; font-size: medium;">N e d e r l a n d s :</span></i></b></p><p><b style="font-family: georgia; font-size: large;">Nog altijd duiken er van <i><span style="color: #2b00fe;">Rudolf Schock</span></i> opnamen op, die decennialang in privé-bezit hebben gesluimerd.</b></p><p><span style="font-family: georgia; font-size: medium;"><b>Niet alles is van groot belang, omdat het dan gaat om de zoveelste uitvoering - al dan niet geplaybackt - van een muziekfragment, dat de zanger al meerdere malen heeft opgenomen. Of ze op film staan of op geluidsband: echt belangrijk zijn ze niet.</b></span></p><p><span style="font-family: georgia; font-size: medium;"><b>Maar altijd is er plotseling weer iets, dat kwalitatief eruit springt of eenmalig door Rudolf Schock is opgenomen. Van dit soort bijzondere opnamen heb ik er <i>drie</i> gevonden. De geluidskwaliteit laat op een aantal momenten zeker te wensen over, maar bijzonder zijn ze. </b></span><b style="font-family: georgia; font-size: large;">Ik hoop dan ook, dat velen van u het zullen waarderen, als ik ze in de komende tijd op YouTube uit hun Doornroosje-slaap laat ontwaken.</b></p><p><b style="font-family: georgia; font-size: large;">De eerste onthulling betreft de Italiaans gezongen liefdesbekentenis <i><span style="color: #990000;">'Di rigori armato il seno'</span></i> uit de opera <span style="color: #990000;"><i>'Der Rosenkavalier'</i></span> van <span style="color: #2b00fe;"><i>Richard Strauss</i></span>. </b><b style="font-family: georgia; font-size: large;"><i>Strauss </i>en librettist <i>Hugo von Hoffmannsthal</i> plukten de <i>tekst</i> uit <i>Molière</i>'s theaterstuk </b><b style="font-family: georgia; font-size: large;"><i>'Le Bourgeois Gentilhomme'</i></b><b style="font-family: georgia; font-size: large;">, waarin een liefdesverklaring voorkomt met dezelfde tekst op muziek van <i>J.B. Lully:</i> <span style="color: #990000;"><i>'Di rigori armato il seno (Mijn borst met strengheid gewapend)"</i></span></b></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;">Rudolf Schock</span></i> heeft altijd een grote affiniteit met de muziek van <i><span style="color: #2b00fe;">Richard Strauss</span></i> gehad. Hij is dan ook volop te beluisteren in diens prachtige opera's en liederen<span style="color: #38761d;">.</span></b></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3miV3fqQcrqqOPsY1lkVtd5-P0OAq74ClrEVGnVvN0notlAGFgNW301V7C2yFTEJkcy2oEbz9sB1tz1Rjgnf-Nw56u9JB2kIKzDvfnDwN13OFhZvBqKURzmcvxp3Au5VRIPdyJw1L6RTe2abdM6G5OS9KssLHAuw1hOf43_pSk0wofZtsKhdwSUei/s495/49%20Ariadne%20auf%20Naxos%20-%20R.%20Strauss%201958%20(HF)%20mit%20C.%20Goltz.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="330" data-original-width="495" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3miV3fqQcrqqOPsY1lkVtd5-P0OAq74ClrEVGnVvN0notlAGFgNW301V7C2yFTEJkcy2oEbz9sB1tz1Rjgnf-Nw56u9JB2kIKzDvfnDwN13OFhZvBqKURzmcvxp3Au5VRIPdyJw1L6RTe2abdM6G5OS9KssLHAuw1hOf43_pSk0wofZtsKhdwSUei/w400-h266/49%20Ariadne%20auf%20Naxos%20-%20R.%20Strauss%201958%20(HF)%20mit%20C.%20Goltz.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #783f04; font-family: georgia; font-size: x-small;"><b><i>Rudolf Schock (Bacchus) & Christel Goltz (Ariadne)<br />Holland Festival 1958, Amsterdam<br />Dirigent: Alberto Erede</i></b></span></td></tr></tbody></table><br /><div style="text-align: left;"><b style="font-family: georgia; font-size: large;"><br /></b></div><div style="text-align: left;"><b style="font-family: georgia; font-size: large;"><br /></b></div><div style="text-align: left;"><b style="font-family: georgia; font-size: large;"><br /></b></div><div style="text-align: left;"><b style="font-family: georgia; font-size: large;"><br /></b></div><div style="text-align: left;"><b style="font-family: georgia; font-size: large;"><br /></b></div><div style="text-align: left;"><b style="font-family: georgia; font-size: large;"><br /></b></div><div style="text-align: left;"><b style="font-family: georgia; font-size: large;"><br /></b></div><div style="text-align: left;"><b style="font-family: georgia; font-size: large;"><br /></b></div><div style="text-align: left;"><b style="font-family: georgia; font-size: large;"><br /></b></div><div style="text-align: left;"><b style="font-family: georgia; font-size: large;"><br /></b></div><div style="text-align: left;"><b style="font-family: georgia; font-size: large;"><br /></b></div><div style="text-align: left;"><b style="font-family: georgia; font-size: large;"><br /></b></div><div style="text-align: left;"><b style="font-family: georgia; font-size: large;"><br /></b></div><div style="text-align: left;"><b style="font-family: georgia; font-size: large;">Op CD is Schock's <i>Bacchus</i>-rol in de opera <i><span style="color: #990000;">'Ariadne auf Naxos' </span></i>viermaal verkrijgbaar, waarvan tweemaal live uit Wenen (1954 en 1955) met <i><span style="color: #2b00fe;">Lisa della Casa</span></i> en <span style="color: #2b00fe;"><i>Hilde Zadek</i></span> in de titelrol. Op plaat en CD zingt </b><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;">Elisabeth Schwarzkopf</span></i></b><b style="font-family: georgia; font-size: large;"> de rol van Ariadne onder <i><span style="color: #2b00fe;">Herbert von Karajan</span></i> (1954) en </b><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;">Lisa della Casa</span></i></b><b style="font-family: georgia; font-size: large;"> onder <i><span style="color: #2b00fe;">Alberto Erede </span></i>(1959). Verder bestaat er een complete, merkwaardig veronachtzaamd gebleven, maar historisch en kwalitatief belangwekkende opname van <i><span style="color: #990000;">'Capriccio'</span></i> (1953) onder <i><span style="color: #2b00fe;">Clemens Krauss</span></i> uit München met <i><span style="color: #2b00fe;">Rudolf Schock</span></i> in de rol van <i>Flamand</i> en <i><span style="color: #2b00fe;">Viorica Ursuleac </span></i>in die van de <i>gravin</i>. Ook zingt Schock nog fragmenten uit <i><span style="color: #990000;">'Salome'</span></i> en <i><span style="color: #990000;">'Der Rosenkavalier'</span></i>.</b></div><p><b style="font-family: georgia; font-size: large;">In <span style="color: #2b00fe;">1978 </span>zingt <i><span>Rudolf Schock</span></i> op de opera-LP <i>"Für meine Freunde"</i> uit <i><span style="color: #990000;">'Der Rosenkavalier'</span></i> de befaamde, maar gevreesde, hoog liggende, Italiaanstalige aria <i><span style="color: #990000;">"Di rigori armato il seno"</span></i>. </b><b style="font-family: georgia; font-size: large;">De uitvoering is acceptabel te noemen, maar klinkt zeer</b><b style="font-family: georgia; font-size: large;"> geforceerd. M.i wordt zij overeind gehouden door de nodige, opnametechnische ondersteuning. <i>In</i></b><b style="font-family: georgia; font-size: large;"><i> <span style="color: #2b00fe;">1954</span> neemt <span>Rudolf Schock</span> de aria ook op voor de Beierse radio</i>. In de operatheaters van Berlijn, Londen, Hamburg en Wenen zingt hij in de jaren veertig en vijftig de aria regelmatig op het operatoneel. Als <span style="color: #2b00fe;"><i>"Een</i></span> <i><span style="color: #2b00fe;">Italiaanse zanger"</span></i> in de eerste akte van de <i>Duitstalige</i> </b><b style="font-family: georgia; font-size: large;"><i><span style="color: #990000;">'Rosenkavalier'</span></i></b><b style="font-family: georgia; font-size: large;"><i>.</i> <i>Die rol duurt niet langer dan de aria duurt:</i> <i>iets meer dan drie minuten. </i></b><b style="font-family: georgia; font-size: large;">Een kortstondig verblijf op de Bühne, maar wél met een voor het tenor-imago buitengewoon risicovolle aria. Op stoom komen is er niet bij. Het is nu of nooit. De vrije avond erna is lang, maar of hij ook leuk zal zijn, hangt af van het welslagen van drie minuutjes uiterste vocale inspanning. T</b><b style="font-family: georgia; font-size: large;">heateropnamen van Schock met deze aria zijn er - waarschijnlijk - niet. We hebben uit die tijd alleen die ene radio-uitvoering uit <i><span style="color: #2b00fe;">1954</span></i> onder dirigent <i><span style="color: #2b00fe;">Kurt Striegler</span>. </i>Het is aan u om te beoordelen of <i><span style="color: #2b00fe;">Rudolf Schock</span></i> de aria aankon.</b></p><p><b style="font-family: georgia;"><span style="font-size: x-small;"><i><br /></i></span></b></p><p><b style="font-family: georgia;"><span style="font-size: x-small;"><i>Krijn de Lege, 3.5.2022 / 19.9.2022</i></span></b></p><p><br /></p>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0tag:blogger.com,1999:blog-4378936048504507513.post-77474734468638110662022-04-23T18:37:00.004+01:002022-09-21T18:26:23.839+01:00Sopranistin RENATE HOLM am 21 April 2022 gestorben<p><span style="font-family: georgia; font-size: medium;"><b><i></i></b></span></p><p><span style="font-family: georgia;"><i><span style="color: #2b00fe;"><b>Renate Holm in 'Der Zarewitsch' :</b></span></i></span></p><p></p><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/I8Urbk_v9x0" width="320" youtube-src-id="I8Urbk_v9x0"></iframe></div><p></p><p><b style="font-family: georgia; font-size: large;"><i><span style="color: #2b00fe;">RENATE HOLM</span></i> (born in 1931) was <i>Rudolf Schock</i>'s youthful partner in the 1957 film <i><span style="color: #990000;">'Schön ist die Welt </span>(The world is beautiful)<span style="color: #990000;">'.</span></i></b></p><p><b style="font-family: georgia; font-size: large;"></b></p><div><b style="font-family: georgia; font-size: large;"><b>Later <i>Renate Holm</i> sang many records together with <i>Rudolf Schock</i>: amongst them <i>The world is beautiful (Lehár), The Bat (J. Strauss Jr.), Boccaccio (Von Suppé), Wildschütz (Lortzing), Tsarevich (Lehár)</i>. With her, <i>Rudolf Schock</i> appeared as <i>Franz Schubert</i> in <span style="color: #990000;"><i>Berté/Schubert's 'Dreimäderlhaus'</i></span>. The record of this was Schock's last major operetta recording (1974).</b></b></div><p></p><p><b style="font-family: georgia; font-size: large;">In 1975, in the Benelux countries, <i><span style="color: #2b00fe;">Renate Holm</span></i> was <i><span style="color: #2b00fe;">Schock</span></i>'s partner in a number of performances of <i><span style="color: #990000;">'Ein Abend in Wien'</span>. </i>Musical director was <i><span style="color: #2b00fe;">Willi Boskovsky</span></i>. </b><b style="font-family: georgia; font-size: large;">In 1958, the attractive soprano sang the role of Fiametta in <i><span style="color: #990000;">'Die schöne Galathée' </span></i>by <i>Franz von Suppé </i>alongside <i>Rudolf Schock</i> on German television.</b></p><p><b><span style="font-family: georgia; font-size: medium;"><i><span style="color: blue;">Renate Holm</span></i>'s singing style was of an enchanting directness. Spontaneity characterized her appearance, acting and singing. Diva mannerisms were strange to her. The crystal-clear sound of her voice enchanted me to this day and will certainly enchant me in future.</span></b></p><p><b style="font-family: georgia;"><i><span style="color: #2b00fe;">Renate Holm & Rudolf Schock: 'Der Vetter aus Dingsda':</span></i></b></p><p><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/XeN-LVvHz6I" width="320" youtube-src-id="XeN-LVvHz6I"></iframe></p><p><span style="color: #274e13; font-family: georgia; font-size: medium;"><b></b></span></p><div class="separator" style="clear: both; text-align: left;"><span style="color: #274e13; font-family: georgia; font-size: medium;"><b><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/SISnAey8OaA" width="320" youtube-src-id="SISnAey8OaA"></iframe></b></span></div><p></p><p><span style="color: #274e13; font-family: georgia; font-size: medium;"><b><i>D E U T S C H :</i> </b></span></p><p><span style="font-family: georgia; font-size: medium;"><b><i><span style="color: #2b00fe;">RENATE HOLM </span></i></b></span><b style="font-family: georgia; font-size: large;">(1931 geboren)</b><b style="font-family: georgia; font-size: large;">war <i>Rudolf Schock</i>s jugendliche Partnerin im Film <i>'Schön ist die Welt'</i> aus dem Jahre 1957.</b></p><p><span style="font-family: georgia; font-size: medium;"><b>Später sang <i><span style="color: #2b00fe;">Renate Holm</span></i> zusammen mit <i>Rudolf Schock</i> viele Schallplatten ein: z. B. <i>Schön ist die Welt (Lehár), Fledermaus (J. Strauss Jr.), Boccaccio (Von Suppé), Wildschütz (Lortzing), Zarewitsch (Lehár). </i>Mit ihr trat <i>Rudolf Schock</i> als Franz Schubert in <i>Berté/Schuberts 'Dreimäderlhaus'</i> auf. Die Schallplatte davon war Schocks letzte, grössere Operetten-Aufnahme (1974). </b></span></p><p><span style="font-family: georgia; font-size: medium;"><b>In den Beneluxländern war <i><span style="color: #2b00fe;">Renate Holm</span></i> 1975 Schocks Partner in zahlreichen <i>'Ein Abend in Wien'</i>-Vorstellungen unter <i>Willi Boskovsky. </i>1958 </b></span><b style="font-family: georgia; font-size: large;">sang die reizvolle Sängerin neben Schock im deutschen Fernsehen die Rolle von Fiametta in <i>'Die schöne Galathée' </i>von Franz von Suppé.</b></p><p><b><span style="font-family: georgia; font-size: medium;"><span style="font-weight: 400;"><b><i><span style="color: blue;">Renate Holm</span></i>s Gesangsstil was von herzerregender Direktheit. Spontanität kennzeichnete ihr Aussehen, Schauspiel und ihren Gesang. Diva-Manierismen waren ihr fremd. Der kristallklare Klang ihrer Stimme wird mich in der Zukunft nach wie vor verzaubern!</b></span><br style="font-weight: 400;" /></span></b></p><p><b style="font-family: georgia;"><i><b><span style="color: #2b00fe;">Renate Holm & Rudolf Schock in 'Boccaccio':</span></b></i></b></p><p><b style="font-family: georgia, "times new roman", serif;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/P4NyWAs2u8A" width="320" youtube-src-id="P4NyWAs2u8A"></iframe></b></p><p><b style="font-family: georgia, "times new roman", serif;"><i><span style="color: #aa00ff; font-size: medium;">N E D E R L A N D S </span></i></b></p><p><span style="font-family: georgia; font-size: medium;"><b><span style="color: #2b00fe;"><i>RENATE HOLM</i></span> (geboren in 1931) was de nog zeer jonge partner van <i>Rudolf Schock</i> in de speelfilm<i> </i><span style="color: #990000;"><i>'Schön ist die Welt'</i> </span>uit 1957. Die rol was baanbrekend voor haar. In de jaren daarna was zij met de zanger veelvuldig te horen in diverse operette-opnamen, zoals</b></span><b style="font-family: georgia; font-size: large;"> <i>'Schön ist die Welt' (Lehár), Die Fledermaus (J. Strauss Jr.), Boccaccio (Von Suppé) </i>en <i>Der Zarewitsch (Lehár)</i>. Ook trad zij in het theater op in </b><b style="font-family: georgia; font-size: large;"><i><span style="color: #990000;">Berté/Schuberts 'Dreimäderlhaus'</span></i>, waarin</b><b style="font-family: georgia; font-size: large;"> <i><span style="color: #2b00fe;">Rudolf Schock</span></i> de rol van <i>Franz Schubert </i>zong<i>.</i> De grammofoonplaat daarvan was Schock's laatste grotere operette-opname (1974). </b></p><p><span style="font-family: georgia; font-size: medium;"><b>In 1975 was <i><span style="color: #2b00fe;">Renate Holm</span></i> in de Benelux-landen Schock's partner in talrijke uitvoeringen van <i><span style="color: #990000;">'Ein Abend in Wien' </span></i>onder <i><span style="color: #2b00fe;">Willi Boskovsky</span></i>. In 1958 zong zij de rol van Fiametta in <i><span style="color: #990000;">'Die Schöne Galathée' </span></i>van <i>Franz von Suppé </i>naast <i>Schock</i> op de Duitse televisie.</b></span></p><p><i><span style="font-family: georgia; font-size: medium;"><b><span style="color: #2b00fe;">Renate Holm </span><span>zang</span> was van een hartverwarmende directheid. Spontaniteit kenmerkte haar uiterlijk, acteren en zingen. Diva-maniertjes waren haar vreemd. De kristalheldere klank van haar stem zal mij in de toekomst blijven betoveren!</b></span><b style="font-family: georgia; font-size: large;"> </b></i></p><p><b style="font-family: georgia;"><i><span>Krijn de Lege, 23.4.2022 / 21.9.2022</span></i></b></p><p><br /></p>Krijn de Legehttp://www.blogger.com/profile/09221002869312923329noreply@blogger.com0