Elisabeth Rethberg was one of the most highly-regarded sopranos of the decades between the world wars. For twenty years, her silvery spinto voice captivated Metropolitan Opera audiences, and her records were major staples in the Brunswick and Victor catalogues.
Born Lisbeth Sättler in Schwarzenberg, Germany, her earliest musical education was with her father who was a music teacher. At sixteen, she began studying voice and piano at the Dresden Royal Conservatory. Her debut took place at the Dresden Opera in 1915, as Arsena in Johann Strauss’s Der Zigeunerbaron opposite the rising tenor, Richard Tauber. The following year, she was entrusted with the Countess in Mozart’s Le nozze di Figaro and Eva in Wagner’s Die Meistersinger von Nürnberg. In 1919 She sang the Empress in Richard Strauss’s Die Frau ohne Schatten in the Dresden premiere, and nine years later sang the leading role in the world premiere of Strauss’s Die ägyptische Helena.
Rethberg’s Metropolitan Opera debut came in 1922 as Verdi’s Aida. She soon took up residence in New York and joined the Met where she remained for twenty years. There she performed thirty roles by Verdi, Mozart, and Wagner. She often returned to Europe to sing at La Scala, Covent Garden, and The Salzburg Festival.
Rethberg’s first group of records were made in Berlin between 1920 and 1922 for the Lindstrom company, appearing on their Odeon label. She returned to the company in 1931 and 1933 to record several additional selections. These recordings have never been reissued complete and are included here for the first time. This set includes all of her recordings for Brunswick, Victor, and the Gramophone Company, with the notable addition of six previously unpublished Brunswick records remastered from the singer’s own test pressings. The set concludes with three selections recorded by the Bell Telephone Laboratory, excerpts from a 1933 performance of Der Freischütz at the Vienna State Opera, and several appearances on US radio programs between 1937 and 1940.
Born Lisbeth Sättler in Schwarzenberg, Germany, her earliest musical education was with her father who was a music teacher. At sixteen, she began studying voice and piano at the Dresden Royal Conservatory. Her debut took place at the Dresden Opera in 1915, as Arsena in Johann Strauss’s Der Zigeunerbaron opposite the rising tenor, Richard Tauber. The following year, she was entrusted with the Countess in Mozart’s Le nozze di Figaro and Eva in Wagner’s Die Meistersinger von Nürnberg. In 1919 She sang the Empress in Richard Strauss’s Die Frau ohne Schatten in the Dresden premiere, and nine years later sang the leading role in the world premiere of Strauss’s Die ägyptische Helena.
Rethberg’s Metropolitan Opera debut came in 1922 as Verdi’s Aida. She soon took up residence in New York and joined the Met where she remained for twenty years. There she performed thirty roles by Verdi, Mozart, and Wagner. She often returned to Europe to sing at La Scala, Covent Garden, and The Salzburg Festival.
Rethberg’s first group of records were made in Berlin between 1920 and 1922 for the Lindstrom company, appearing on their Odeon label. She returned to the company in 1931 and 1933 to record several additional selections. These recordings have never been reissued complete and are included here for the first time. This set includes all of her recordings for Brunswick, Victor, and the Gramophone Company, with the notable addition of six previously unpublished Brunswick records remastered from the singer’s own test pressings. The set concludes with three selections recorded by the Bell Telephone Laboratory, excerpts from a 1933 performance of Der Freischütz at the Vienna State Opera, and several appearances on US radio programs between 1937 and 1940.
CD 1 (78:20) | ||
I. Odeon Acoustical Process Recordings, Berlin, 1920–1922 | ||
| with orchestral accompaniment except where noted | ||
| 1. | LE NOZZE DI FIGARO: Porgi, amor, qualche ristoro (Heil’ge Quelle reiner Triebe) (Mozart) | 3:14 |
| April 1921; xxB 6639 (Rxx 80166) | ||
| 2. | DIE ZAUBERFLÖTE: Ach, ich fühl’s, es ist verschwunden (Mozart) | 4:17 |
| September 1920; xxB 6563-2 (Jxx 81060) | ||
| 3. | DIE ZAUBERFLÖTE: Ach, ich fühl’s, es ist verschwunden (Mozart) | 4:13 |
| September 1920; xxB 6563-3 (Rxx 80165) | ||
| 4. | Ridente la calma (Der Sylphe des Friedens) (Myslivecˇek, arranged by Mozart)) | 3:56 |
| October 1920; xxB 6570 (Rxx 80168) | ||
| 5. | L’AFRICAINE: Adieu, mon doux rivage (Leb’ wohl, freundlich Gestade) (Meyerbeer) | 4:01 |
| September 1920; xxB 6564 (Rxx 80160) | ||
| 6. | CARMEN: Votre mère avec moi sortait de la chapelle (Sonntag war’s, aus der Kirche) [Act 1 duet, side 1] (Bizet) | 3:40 |
| Richard Tauber, tenor | ||
| 8 April 1921; xxB 6643 (Rxx 80712) | ||
| 7. | CARMEN: Tu la verras! Eh bien! (Bei meiner Mutter?) [Act 1 duet, side 2] (Bizet) | 4:10 |
| Richard Tauber, tenor | ||
| 8 April 1921; xxB 6644 (Rxx 80713) (21 bars are omitted between sides 1 and 2 of this duet recording) | ||
| 8. | CARMEN: Je dis que rien ne m’épouvante (Ich sprach, daß ich furchtlos mich fühle) (Bizet) | 4:31 |
| September 1920; xxB 6562-2 (Rxx 80161) | ||
| 9. | MADAMA BUTTERFLY: Quest’obi pomposa (Die prunkende Schleife) [Act 1 duet, side 1] (Puccini) | 4:10 |
| Richard Tauber, tenor; orchestra conducted by Carl Besl | ||
| April 1922; xxB 6743 (Rxx 80732) | ||
| 10. | MADAMA BUTTERFLY: Un po’ di vero c’è (’s ist schon was Wahres dran) [Act 1 duet, side 2] (Puccini) | 4:07 |
| Richard Tauber, tenor; orchestra conducted by Carl Besl | ||
| April 1922; xxB 6744 (Rxx 80733) (46 bars are omitted between sides 1 and 2 of this duet recording) | ||
| 11. | PRODANÁ NEVEˇSTA: Jako matka požehnánim (Nun in Lust und Leide) (Smetana) | 3:07 |
| Richard Tauber, tenor | ||
| 8 April 1921; xxB 6646 (Rxx 80749) | ||
| 12. | DER ZIGEUNERBARON: So elend und so treu ist keiner auf Erden (Johann Strauss II) | 2:51 |
| September 1920; xxB 6566 (Rxx 80167) | ||
| 13. | Pastorale—Un jour de printemps (Im holden Mai), Op. 21, No. 9 (Bizet)) | 3:52 |
| October 1920; xxB 6568 (Rxx 76215) | ||
| 14. | Ständchen, Op. 17, No. 2 (Richard Strauss) | 2:34 |
| with Max Jaffé, piano | ||
| April 1922; xxB 6641 (Rxx 80086) | ||
| 15. | Freundliche Vision, Op. 48, No. 1 (Richard Strauss) | 3:54 |
| with Max Jaffé, piano | ||
| April 1922; xxB 6640 (Rxx 76229) | ||
| 16. | Die Einsame from CHINESISCHE LIEDER, Op. 5, No. 1 (Patáky) | 2:55 |
| with unidentified pianist | ||
| October 1920; xxB 6573 (Rxx 76216) | ||
II. Brunswick Acoustical Process Recordings, New York City, 1923–1925 | ||
| with orchestral accompaniment, except where noted | ||
| Note: Brunswick’s procedure was to assign a matrix number for each take recorded. The surviving recording ledgers often list two matrix numbers for a selection, indicating that two takes were recorded, with no indication as to which take was published. Matrix numbers are not usually visible on Brunswick’s published discs, but occasionally complete or partial matrix numbers can be seen. For this reason, we have given the published matrix number when it is known, but in most cases, we have simply listed the two numbers representing the two takes recorded. | ||
| 17. | Ständchen—Leise flehen meine Lieder, No. 4 from SCHWANENGESANG, D. 957 (Schubert) | 2:49 |
| with orchestral accompaniment; Fredric Fradkin, violin | ||
| 29 February 1924; 12595 or 12596 (10134) | ||
| 18. | Ave Maria, D. 839 (Schubert) | 2:39 |
| with harp accompaniment; Max Rosen, violin | ||
| 14 April 1924; 12867 or 12868 (10163) | ||
| 19. | Wiegenlied, D. 498 (Schubert) | 2:58 |
| with piano accompaniment | ||
| 23 January 1925; 14670 or 14671 (assigned 10165 but likely unpublished) Transferred from a test pressing owned by Elisabeth Rethberg | ||
| 20. | Der Lindenbaum (arranged by Friedrich Silcher as a folksong based on Schubert)) | 3:08 |
| 23 January 1925; 14668 or 14669 (assigned 10165 but likely unpublished) Transferred from a test pressing owned by Elisabeth Rethberg | ||
| 21. | Hans und Liesl—Und der Hans schlich umher (Woyna) | 2:30 |
| with Friedrich Schorr, bass baritone | ||
| 10 March 1925; 15100 or 15102 (unpublished) Transferred from a test pressing owned by Elisabeth Rethberg | ||
| 22. | Auf Flügeln des Gesanges, Op. 34, No. 2 (Mendelssohn) | 2:41 |
| with orchestra and harp accompaniment | ||
| 9 April 1924; 12841 or 12842 (10163) | ||
| 23. | Wiegenlied, Op. 49, No. 4 (Brahms) | 2:00 |
| 14 April 1924; 12871 (unpublished) Transferred from a test pressing owned by Elisabeth Rethberg | ||
| Languages: | ||
| All tracks sung in German | ||
CD 2 (80:02) | ||
II. Brunswick Acoustical Process Recordings, New York City, 1923–1925 | ||
| with orchestral accompaniment, except where noted | ||
| 1. | AIDA: Ritorna vincitor (Verdi) | 4:23 |
| 30 October 1923; X11764 (50043) | ||
| 2. | AIDA: O patria mia (Verdi) | 4:42 |
| 30 October 1923; X11763 (50043) | ||
| 3. | ANDREA CHÉNIER: La mamma morta (Giordano) | 4:18 |
| 14 April 1924; X12863 or X12864 (50054) | ||
| 4. | LA BOHÈME: Sì, mi chiamano Mimì (Puccini) | 4:38 |
| 9 April 1924; X12839 or X12840 (50054) | ||
| 5. | TOSCA: Vissi d’arte (Puccini) | 3:22 |
| 30 March 1925; X15338 or X15339 (50065) | ||
| 6. | MADAMA BUTTERFLY: Piangi? Perchè? … Un bel dì, vedremo (Puccini)) | 4:26 |
| 30 March 1925; X15340 or X15342 (50065) | ||
| 7. | Au printemps (Gounod) | 2:19 |
| 10 March 1924; 12672 or 12673 (10166) | ||
| 8. | Élégie (Massenet) | 3:14 |
| with unidentified pianist and Frederic Fradkin, violin | ||
| 26 March 1925; 15307 or 15309 (10189) | ||
| 9. | Solveig’s Song from PEER GYNT, Op. 23 (Grieg) | 2:56 |
| 29 February 1924; 12597 or 12598 (10134) | ||
| 10. | Jeg elsker dig (Ich liebe dich), No. 3 from HJERTETS MELODIER, Op. 5 (Grieg)) | 2:44 |
| 10 March 1924; 12669 or 12670 (10124) | ||
| 11. | Nur wer die Sehnsucht kennt, Op. 6, No. 6 (Tchaikovsky) | 3:16 |
| with Willem Willeke, cello | ||
| 28 January 1925; 14743 or 14744 (10166) | ||
| 12. | Canzonetta — War schöner als der schönste Tag (Loewe) | 2:36 |
| 14 April 1924; 12865 or 12866 (10124) | ||
| 13. | La serenata (Angel’s Serenade) (Braga) | 3:22 |
| with Fredric Fradkin, violin | ||
| 26 March 1925; 15310 (10189) | ||
| 14. | Verlassen bin I, Op. 4, No. 1 (Koschat) | 2:42 |
| 28 January 1925; 14745 or 14746 (unpublished on 78rpm) Transferred from a magnetic tape copy of a test pressing now lost | ||
| 15. | Der Spielmann (Hildach) | 3:08 |
| 10 March 1925; 15103 or 15104 (unpublished on 78rpm) Transferred from a magnetic tape copy of a test pressing now lost | ||
III. Brunswick Electrical Process Recordings, New York City, 1926 | ||
| with orchestral accompaniment, except where noted | ||
| 16. | SOSARME: Rendi’l sereno al ciglio (Handel) | 4:23 |
| 27 May 1926; XE19372 or XE19373 (30119) | ||
| 17. | SERSE: Ombra mai fù (Handel) | 4:13 |
| 27 May 1926; XE19374 or XE19376 (30119) | ||
| 18. | LE NOZZE DI FIGARO: Deh vieni, non tardar (Mozart) | 3:17 |
| 20 May 1926; E19342 or E19344 (15122) | ||
| 19. | DIE ZAUBERFLÖTE: Ach, ich fühl’s, es ist verschwunden (Mozart) | 3:41 |
| 20 May 1926; E19345 or E19347 (15122) | ||
| 20. | DER FREISCHÜTZ: Leise, leise, fromme Weise (Weber) | 4:21 |
| 20 May 1926; XE19340 or XE19341 (50154) | ||
| 21. | LOHENGRIN: Einsam in trüben Tagen (Wagner) | 4:25 |
| 19 April 1926; XE18825 or XE18826 (50086) | ||
| 22. | LOHENGRIN: Euch Lüften, die mein Klagen (Wagner) | 3:35 |
| 26 April 1926; E18903 or E18904 (15116) | ||
| Languages: | ||
| Tracks 1–6, and 16–18 sung in Italian | ||
| Track 7 sung in French | ||
| Tracks 8 and 13 sung in English | ||
| Tracks 9–12, 14, 15, and 19–22 sung in German | ||
CD 3 (75:41) | ||
III. Brunswick Electrical Process Recordings, New York City, 1926 | ||
| with orchestral accompaniment, except where noted | ||
| 1. | TANNHÄUSER: Dich, teure Halle (Wagner) | 3:34 |
| 19 April 1926; E18827 or E18829 (15116) | ||
| 2. | TANNHÄUSER: Allmächt’ge Jungfrau (Wagner) | 4:36 |
| 26 April 1926; XE18905 or XE18907 (50086) | ||
| 3. | AIDA: Ritorna vincitor (Verdi) | 4:21 |
| 26 April 1926; XE18908 or XE18909 (50084) | ||
| 4. | AIDA: O patria mia (Verdi) | 4:46 |
| 19 April 1926; XE18830 or XE18831 (50084) | ||
| 5. | OTELLO: Ave Maria (Verdi) | 4:33 |
| 14 June 1926; XE19562 or XE19563 (50154) | ||
| 6. | Ave Maria, D. 839 (Schubert) | 2:51 |
| with Frederic Persson, piano, and Max Rosen, violin | ||
| 2 June 1926; E19436 or E19437 (15145) | ||
| 7. | Der Nussbaum, No. 3 from MYRTHEN, Op. 25 (Schumann) | 2:57 |
| with Dan Lieberfeld, piano | ||
| 16 June 1926; E19579 or E19580 (15145) | ||
| 8. | Es steht ein Baum in jenem tal (Taubert) | 3:01 |
| 16 June 1926; E19581 or E19582 (10259) | ||
| 9. | Murmelndes Lüftchen from GESÄNGE AUS DEM SPANISCHEN LIEDERBUCH (Jensen) | 2:39 |
| with string quartet and piano | ||
| 15 June 1926; E19564 or E19566 (15148) | ||
| 10. | Du bist wie eine Blume (Rubinstein) | 3:14 |
| with Dan Lieberfeld, piano, and Fredric Fradkin, violin | ||
| 16 June 1926; E19583 or E19584 (15148) | ||
| 11. | Élégie (Massenet) | 3:15 |
| with Frederic Persson, piano, and Max Rosen, violin | ||
| 2 June 1926; E19431 or E19432 (10253) | ||
| 12. | La serenata (Angel’s Serenade) (Braga) | 3:31 |
| with Frederic Persson, piano, and Max Rosen, violin | ||
| 2 June 1926; E19433 or E19434 (10253) | ||
| 13. | The cuckoo song (When daisies pied and violets blue) (Arne)) | 3:28 |
| 20 May 1926; E19337 or E19339 (assigned 10247 but likely not published) Transferred from a test pressing owned by Elisabeth Rethberg | ||
| 14. | The plausible lover (Carey) | 3:15 |
| 20 May 1926; E19334 or E19336 (assigned 10247 but likely unpublished) Transferred from a test pressing owned by Elisabeth Rethberg | ||
| 15. | Believe me, if all those endearing young charms (Moore) | 3:17 |
| with string quartet and harp | ||
| 4 June 1926; E19484 or E19485 (10256) | ||
| 16. | Would God I were the tender apple blossom (County Derry air) | 4:09 |
| 20 May 1926; XE19331 or XE19333 (50118) | ||
| 17. | The snowy-breasted pearl (Old Irish air) | 4:23 |
| 27 May 1926; XE19377 or XE19378 (50118) | ||
| 18. | Home, sweet home (Bishop) | 3:08 |
| 16 June 1926; E19577 or E19578 (10256) | ||
| 19. | Es war ein Traum [It was a dream] (Lassen) | 2:33 |
| 15 June 1926; E19567 or E19569 (15147) | ||
| 20. | A moonlight song (Cadman) | 2:30 |
| 15 June 1926; E19570 or E19571 (15147) | ||
| 21. | Auf geheimen Waldespfade [By a lonely forest pathway] (Griffes) | 3:01 |
| with Frederic Persson, piano | ||
| 2 June 1926; E19480 or E19481 (15146) | ||
| 22. | A spring fancy (Densmore) | 2:36 |
| with Frederic Persson, piano | ||
| 4 June 1926; E19478 or E19479 (15146) | ||
| Languages: | ||
| Tracks 1, 2, and 6–10 sung in German | ||
| Tracks 3–5 sung in Italian | ||
| Tracks 11–22 sung in English | ||
CD 4 (78:10) | ||
IV. RCA Victor Recordings, New York City, Liederkranz Hall, 1929–1931 | ||
| with orchestra, conducted by Rosario Bourdon (except tracks 1 and 2) | ||
| 1. | AIDA: Ritorna vincitor (Verdi) | 4:18 |
| Berlin State Opera Orchestra, conducted by Fritz Zweig | ||
| 11 November 1927; Gramophone Company CWR1331-2 (EJ185) | ||
| AIDA: Act 3 (Nile Scene) (Verdi) | ||
| with Giuseppe De Luca, baritone and Giacomo Lauri-Volpi, tenor | ||
| 2. | Qui Radames verrà ... O patria mia | 3:42 |
| with Berlin State Opera Orchestra, conducted by Fritz Zweig | ||
| 11 November 1927; Gramophone Company CWR1332-2 (EJ185) | ||
| 3. | Ciel, mio padre! | 4:19 |
| 20 January 1930; RCA Victor CVE-58610-1 | ||
| 4. | Su dunque! sorgete | 3:55 |
| 20 January 1930; RCA Victor CVE-58611-1 (8207) | ||
| 5. | Pur ti riveggo mia dolce Aida | 3:25 |
| 1 February 1929; RCA Victor CVE-49707-2 (8160) | ||
| 6. | Là, tra foreste vergini | 3:45 |
| 1 February 1929; RCA Victor CVE-49708-3 (8160) | ||
| 7. | Ah no! fuggiamo! | 2:18 |
| 1 February 1929; RCA Victor CVE-49709-2 (8206) | ||
| 8. | Ma, dimmi: per qual via | 3:27 |
| 20 January 1930; RCA Victor CVE-58609-1 (8206) | ||
| 9. | ATTILA: Te sol, te sol quest’anima (Verdi) | 3:14 |
| Beniamino Gigli, tenor, and Ezio Pinza, bass | ||
| New York City, studio 2 31 December 1930; RCA Victor CVE-67749-1 (unpublished on 78rpm) | ||
| 10. | ATTILA: Te sol, te sol quest’anima (Verdi) | 3:05 |
| Beniamino Gigli, tenor, and Ezio Pinza, bass | ||
| New York City, studio 2 31 December 1930; RCA Victor CVE-67749-2 (8194) | ||
| 11. | I LOMBARDI: Qual voluttà trascorrere (Verdi) | 4:22 |
| Beniamino Gigli, tenor, and Ezio Pinza, bass | ||
| New York City, studio 2 31 December 1930; RCA Victor CVE-67748-1 (unpublished on 78rpm) | ||
| 12. | I LOMBARDI: Qual voluttà trascorrere (Verdi) | 4:20 |
| Beniamino Gigli, tenor, and Ezio Pinza, bass | ||
| New York City, studio 2 31 December 1930; RCA Victor CVE-67748-2 (8194) | ||
| 13. | UN BALLO IN MASCHERA: Ma dall’arido stelo divulsa (Verdi) | 4:41 |
| 23 December 1929; RCA Victor CVE-58138-2 (7582) | ||
| 14. | UN BALLO IN MASCHERA: Morrò, ma prima in grazia (Verdi) | 4:36 |
| 30 January 1930; RCA Victor CVE-58630-1 (7582) | ||
| 15. | OTELLO: Piangea cantando (Verdi) | 4:30 |
| New York City Studio 2; 29 December 1930; RCA Victor CVE,67743-2 (7393) | ||
| 16. | OTELLO: Ave Maria (Verdi) | 4:15 |
| New York City Studio 2; 29 January 1930; RCA Victor CVE-58628-1 (7393) | ||
| 17. | IL RE PASTORE: L’amerò, sarò costante (Mozart) | 4:33 |
| Yacob Zayde, violin | ||
| New York City Studio 2 29 December 1930; RCA Victor CVE-58139-4 (7472) | ||
| 18. | DON GIOVANNI: Batti, batti, o bel Masetto (Mozart) | 3:48 |
| New York City Studio 2 29 December 1930; RCA Victor CVE-67742-2 (7472) | ||
| 19. | FAUST: Il était un roi de Thulé (Gounod) | 3:58 |
| 10 December 1929; RCA Victor CVE-57592-2 (7179) | ||
| 20. | FAUST: Ah! je ris de me voir (Gounod) | 3:35 |
| 10 December 1929; RCA Victor CVE-57593-2 (7179) | ||
| Languages: | ||
| All tracks sung in Italian except tracks 19 and 20, which are sung in French | ||
CD 5 (72:35) | ||
IV. RCA Victor Recordings, New York City, Liederkranz Hall, 1929–1931 | ||
| with orchestra, conducted by Rosario Bourdon (except tracks 1 and 2) | ||
| 1. | TANNHÄUSER: Dich, teure Halle (Wagner) | 3:21 |
| Berlin State Opera Orchestra, conducted by Fritz Zweig | ||
| 11 November 1927; Gramophone Company CWR1329-2 (D1420 and EJ184) | ||
| 2. | LOHENGRIN: Einsam in trüben Tagen (Wagner) | 4:19 |
| Berlin State Opera Orchestra, conducted by Fritz Zweig | ||
| 11 November 1927; Gramophone Company CWR1330-2 (D1420 and EJ184) | ||
| 3. | DER FLIEGENDE HOLLÄNDER: Traft ihr das Schiff (Wagner) | 6:15 |
| 30 January 1930; RCA Victor BVE-58631-2 and BVE-58632-1 (1477) | ||
| 4. | DIE MEISTERSINGER VON NÜRNBERG: Sieh Ev’chen! Dacht’ ich doch (Wagner) | 4:35 |
| Friedrich Schorr, bass-baritone | ||
| 30 December 1929; RCA Victor CVE-58145-2 (8195) | ||
| 5. | DIE MEISTERSINGER VON NÜRNBERG: Hat man mit dem Schuhwerk (Wagner) | 4:32 |
| Friedrich Schorr, bass-baritone | ||
| 30 December 1929; RCA Victor CVE-58146-2 (8195) | ||
| 6. | BOCCACCIO: Hab’ ich nur deine Liebe (von Suppé) | 4:16 |
| New York City Studio 1 30 April 1931; RCA Victor CVE-53074-1 (7415) | ||
| 7. | DIE FLEDERMAUS: Klänge der Heimat [Czardas] (Johann Strauss II) | 4:22 |
| New York City Studio 1 30 April 1931; RCA Victor CVE-53075-1 (7415) | ||
V. Odeon Recordings, Berlin, 21 May 1931 | ||
| with orchestra, conducted by Frieder Weissmann | ||
| 8. | LE NOZZE DI FIGARO: Porgi, amor, qualche ristoro (Heilige Quelle reiner Triebe) (Mozart) | 3:18 |
| Be 9005 (O-4976) | ||
| 9. | CARMEN: Je dis que rien ne m’épouvante (Ich sprach, daß ich furchtlos mich fühle) (Bizet) | 3:58 |
| xxB 8486 (O-8378;7184-M and 9050-M) | ||
| 10. | MADAMA BUTTERFLY: Un bel dì, vedremo (Eines Tages seh’n wir) (Puccini) | 3:45 |
| xxB 8487 (O-8378;7184-M and 9050-M) | ||
| 11. | DER ZIGEUNERBARON: So elend und so treu ist keiner auf Erden (Johann Strauss II) | 2:40 |
| Be 9004 (O-4976) | ||
VI. Odeon Recordings, Berlin, 22 June 1933 | ||
| with unidentified orchestra and conductor | ||
| 12. | L’AFRICAINE: Adieu, mon doux rivage (Leb’ wohl, freundlich Gestade) (Meyerbeer) | 3:11 |
| Be 10391 (O-4530 and O-4848) | ||
| 13. | CAVALLERIA RUSTICANA: Voi lo sapete (Als euer Sohn einst fortzog) (Mascagni) | 3:10 |
| Be 10390 (O-4530 and O-4848) | ||
| 14. | CAVALLERIA RUSTICANA: Voi lo sapete (Mascagni) | 3:12 |
| Qu558 (English Parlophone RO 20307) Note: the matrix prefix Qu was used by the Lindström company to designate recordings intended for foreign markets. This Italian sung version was issued on English and Australian Parlophone. | ||
VII. The Gramophone Company Recordings, Berlin, 21 September 1934 Recordings made for the Hugo Wolf Society | ||
| with Coenraad V. Bos, piano | ||
| 15. | No. 29 from ITALIENISCHES LIEDERBUCH: Wohl kenn’ ich Euren Stand, der nicht gering | 1:31 |
| 16. | No. 21 from ITALIENISCHES LIEDERBUCH: Man sagt mir, deine Mutter woll’ es nicht | 0:59 |
| 2RA93-2 (DB2370) | ||
| 17. | No. 36 from ITALIENISCHES LIEDERBUCH: Wenn du, mein Liebster, steigst zum Himmel auf | 1:35 |
| 2RA93-2 (DB2370) | ||
| 18. | No. 11 from ITALIENISCHES LIEDERBUCH: Wie lange schon war immer mein Verlangen | 1:56 |
| 19. | No. 28 from ITALIENISCHES LIEDERBUCH: Du sagst mir, daß ich keine Fürstin sei | 1:06 |
| 20. | No. 26 from ITALIENISCHES LIEDERBUCH: Ich ließ mir sagen und mir ward erzählt | 1:28 |
| 2RA94-1 (DB2369) | ||
| 21. | No. 32 from ITALIENISCHES LIEDERBUCH: Was soll der Zorn, mein Schatz, der dich erhitzt? | 1:24 |
| 22. | No. 24 from ITALIENISCHES LIEDERBUCH: Ich esse nun mein Brot nicht trocken mehr | 1:31 |
| 2RA95-3 (DB2369) | ||
| 23. | No. 31 from ITALIENISCHES LIEDERBUCH: Wie soll ich fröhlich sein und lachen gar | 1:46 |
| 2RA95-3 (DB2369) | ||
| 24. | No. 7 from SPANISCHES LIEDERBUCH, GEISTLICHE LIEDER: Mühvoll komm’ ich und beladen | 4:20 |
| 2RA96-1 (DB2703) | ||
| Languages: | ||
| All tracks sung in German except track 14, which is sung in Italian | ||
CD 6 (75:15) | ||
VIII. RCA Victor Recordings, New York City, Studio 2, 1939–1940 | ||
| with chamber orchestra, conducted by Bruno Reibold | ||
| 1. | DON GIOVANNI: Là ci darem la mano (Mozart) | 3:22 |
| Ezio Pinza, bass | ||
| 8 May 1939; BS-036864-2 (2154) | ||
| 2. | LE NOZZE DI FIGARO: Se a caso madama (Mozart) | 2:36 |
| Ezio Pinza, bass | ||
| 11 May 1940; BS-050556-2 (2154) | ||
| 3. | LE NOZZE DI FIGARO: Porgi, amor, qualche ristoro (Mozart) | 3:35 |
| 11 May 1940; BS-050558-2 (2155) | ||
| 4. | LE NOZZE DI FIGARO: Crudel, perché finora (Mozart) | 2:49 |
| Ezio Pinza, bass | ||
| 11 May 1940; BS-050555-1 (2155) | ||
| 5. | LE NOZZE DI FIGARO: Dove sono i bei momenti (Mozart) | 4:22 |
| 11 May 1940; CS-050559-2 (18015) | ||
| 6. | DIE ZAUBERFLÖTE: Bei Männern, welche Liebe fühlen (Mozart) | 3:00 |
| Ezio Pinza, bass | ||
| 10 May 1940; BS-050557-1A (10-1104) | ||
IX. Non-commercial recordings, 1932 and 1933 | ||
Lyric Theater, Hoboken, New Jersey, 28 December 1932 | ||
| Test Recordings made by the Bell Telephone Laboratory Kurt Ruhrseltz, piano | ||
| 7. | Auf Flügeln des Gesanges, Op. 34, No. 2 (Mendelssohn) | 3:33 |
| BTL2467 | ||
| 8. | Vergebliches Ständchen, Op. 84, No. 4 (Brahms) | 1:44 |
| BTL2467 | ||
| 9. | TANNHÄUSER: Dich, teure Halle (Wagner) | 3:14 |
| BTL2468 | ||
Vienna State Opera House, 10 May 1933 | ||
| Recordings made on a home recording machine | ||
| Three fragments from DER FREISCHÜTZ (Weber) | ||
| Vienna State Opera Orchestra, conducted by Josef Krips | ||
| 10. | Wie nahte mir der Schlummer | 4:08 |
| Note: the recording ends with “sende deine Engelschaaren” | ||
| 11. | Nur die Nachtigall und Grille | 3:34 |
| Note: the recording begins with the third syllable of “Nachtigal.” Fifteen bars are missing between Tracks 10 and 11 | ||
| 12. | Und ob die Wolke sie verhülle | 2:29 |
| Note: The orchestral introduction was not recorded | ||
X. Selected Radio Appearances, 1937–1940 | ||
The Magic Key of RCA, New York City, 28 March 1937 | ||
| with the Philadelphia Orchestra, conducted by Eugene Ormandy | ||
| 13. | Milton Cross introduces Elisabeth Rethberg | 0:45 |
| 14. | OTELLO: Ave Maria (Verdi) | 4:32 |
| 15. | Marienlied (Marx) | 2:20 |
| 16. | Hat dich die Liebe berührt (Marx) | 2:51 |
The Magic Key of RCA, New York City, 24 October 1937 | ||
| with the NBC Symphony, conducted by Frank Black | ||
| 17. | Milton Cross introduces Elisabeth Rethberg | 0:22 |
| 18. | LA FORZA DEL DESTINO: Pace, pace, mio dio (Verdi) | 5:12 |
| 19. | Morgen, Op. 27, No. 4 (Richard Strauss) | 3:18 |
| 20. | Er ist’s, No. 6 from MÖRIKE LIEDER (Wolf) | 1:24 |
The Ford Sunday Evening Hour, 30 January 1938 | ||
| with the Detroit Symphony, conducted by Eugene Ormandy | ||
| 21. | Truman Bradley introduces Elisabeth Rethberg | 0:26 |
| 22. | FIDELIO: Abscheulicher! Wo eilst du hin? (Beethoven) | 7:12 |
Civic Concert Anniversary Program, New York City, 25 February 1940 | ||
| with the NBC Symphony, conducted by Edwin McArthur | ||
| 23. | Milton Cross introduces Elisabeth Rethberg and Ezio Pinza | 0:42 |
| 24. | LE NOZZE DI FIGARO: Crudel, perché finora (Mozart) | 2:46 |
| with Ezio Pinza, bass | ||
XI. Appendix | ||
| 25. | Lucky Strike Presents Miss Elisabeth Rethberg | 4:57 |
| ca. April 1937; RCA Victor CS 07760 | ||
| Note: On Wednesday evening, 31 March 1937, Elisabeth Rethberg appeared on the radio program “Your Hit Parade” sponsored by the American Tobacco Company. A portion of the program, including her endorsement of Lucky Strike cigarettes, was rerecorded by RCA Victor and reproduced on a twelve-inch single-faced vinyl pressing for airing on local radio stations. | ||
| Languages: | ||
| Tracks 1–5, 14, 18, and 24 sung in Italian | ||
| Tracks 6–12, 15, 16, 19, 20, and 22 sung in German | ||
Producers: Ward Marston and Scott Kessler
Audio Conservation: Ward Marston and J. Richard Harris
Photos: Gregor Benko, Harold Bruder, Bill Ecker/Harmonie Autographs and Music, Russ Hornbeck, Jeffery McMillan, Rudi van den Bulck/Charles Mintzer Collection, Barbara Rominski, curator of the San Francisco Opera Archive, and Nestor H. Maskauchan/Tamino Autographs
Booklet Coordinator: Mark S. Stehle
Booklet Design: Takeshi Takahashi
Booklet Foreword: Will Crutchfield
Booklet Essay: Michael Aspinall
This project is fully sponsored by William DePeter
Marston would like to thank Will Crutchfield and Jeffery McMillan for their invaluable assistance with editorial advice.
Marston would like to thank Christian Zwarg for providing discographic data for Rethberg’s Odeon recordings.
Marston would like to thank Mark Bailey, Director of the Yale Collection of Historical Sound Recordings, for providing a digital transfer of a primary disc source for CD 6, tracks 21 and 22.
Marston is grateful to the Estate of John Stratton (Stephen Clarke, Executor) for its continuing support.
Liner Notes coming soon!