Lotte Lehmann enjoyed a forty-year career spanning 1910 to 1950 on stage in opera and on the concert platform. Remembered now primarily for her portrayals of Wagner and Strauss roles and as a consummate interpreter of German lieder, her early recordings, not widely known, give us a broader picture of this great artist. It will, perhaps, not come as a surprise to hear Lehmann in her now familiar roles: Sieglinde, Elsa, Eva, and the Marschallin. What really makes these records outstanding is the ease and beauty of Lehmann's vocal production, and the opportunity of hearing her in repertoire not associated with her. We are treated to a generous sprinkling of Mozart, including three duets with baritone Heinrich Schlusnus, as well as arias by Weber, Lortzing, and Nicolai. Although she sings in German, you can hear French opera arias from La Juive, Faust, Mignon, Carmen, Tales of Hoffmann, and Manon. From Italian opera, we hear the Willow Song from Otello and Puccini arias from Manon Lescaut, La Bohème, Tosca, Butterfly, and two rare recordings from Suor Angelica. Other highlights include Lehmann's recording of Tatyana's Letter Scene from Eugene Onegin, an aria from d'Albert's Die toten Augen, and the exquisite aria and duet from Korngold's Die tote Stadt with tenor Richard Tauber. These are among the greatest treasures of the acoustic recording era. The booklet contains a biographical essay by Dr. Daniel Jacobson, Professor of Music at Western Michigan University, an essay on the recordings by Michael Aspinall, and a personal reminiscence by André Tubeuf, who has also provided numerous rare and lovely photos from Lehmann’s early career prior to her emergence on to the international operatic scene. Since there is some extra space at the end of the fourth CD, we are offering a selection of operatic and lieder recordings from her electric Odeon discography, 1927-1932.

Note: Original CD set is Sold Out; you will receive a CDR Version

Hermann Jadlowker (1877-1953) is one of the greatest coloratura tenors on record. He is a master of phrasing and displays a remarkable command of fioritura. Singing trills and runs effortlessly and accurately, Jadlowker exhibits unbelievable agility and virtuosity. This two-CD compilation highlights Jadlowker's distinguished career. It includes “Ecco ridente in cielo” from Rossini's Barber of Seville (one of the finest tenor records of all time;) the exceedingly rare “Fuor del mar” from Mozart's Idomeneo; and six, electrically recorded sides marking the end of his extraordinary career.

Lotte Lehmann (1888–1976) was a lyric soprano with a beautiful, rich voice, combined with impeccable musicianship and an innate skill for poetry and storytelling. This six-CD set presents Lehmann’s complete electrical recordings for the Odeon label, all made in Berlin between 1927 and 1933. Lehmann embraced and took full advantage of the new medium of electrical recording while still in her vocal prime. Remembered especially for her portrayals of Wagner and Strauss roles and as a consummate interpreter of German Lieder, her Odeon electrical recordings do not disappoint. Here, Lehmann expands her more famous repertoire to include selections from French and Italian opera to operetta, popular favorites of the time, and some lovely hymns and chorales accompanied by organ. This collection offers selections from Wagner’s Tannhäuser, Lohengrin, Die Walküre, and Lehmann’s only recording of Isolde’s Liebestod. Selections from Richard Strauss’s Ariadne auf Naxos and Arabella may also be enjoyed. Many gems are included on this set, including: “Leise, leise” from Der Freischütz; “Komm’ Hoffnung” from Fidelio; “Porgi amor” from Le nozze di Figaro; “Kennst du das Land” from Mignon; and Rosalinde’s two songs from Die Fledermaus. There is also a substantial selection of Lieder by Schubert, Schumann, Brahms, and Strauss. The recordings have all been meticulously remastered from original pressings, adding luster to Lehmann’s incomparable singing. The set is completed by a substantial booklet containing an abundance of photos, a biographical overview by Dr. Daniel Jacobson, essays on the recordings by Michael Aspinall and Gary Hickling, and a technical note by Ward Marston.