Soprano Elisabeth Rethberg : Die Fledermaus: Klänge Der Heimat ~ Czardas (1931)

[@Beevac]

This is the very first Rethberg record I ever owned. I was a junior in High School at the time. I have heard other versions of this aria I i must say Rethberg has the honors.

[@billwood5246]

There's two parts to singing, the technical ability and also the vocal quality. Elisabeth Rethberg was 10 out of 10 on both. My wife, a very good soprano, and I didn't agree on everything, but we agreed on that. Her voice was like crisp celery and her releases, and one can tell a lot from releases, were like it being cut off with a sharp knife. This selection shows it all off very well. w3

[@fourstrings48]

A marvelously spirited performance. But given its date, I can't listen to this glorious recording without also thinking of the hell that was about to break loose in Germany....

[@ilirllukaci5345]

Thanks.

[@hermajesty52]

Rethberg---an old favorite of mine. Thank you

[@MrSkylark1]

THERE HAS NEVER BEEN ANYONE LIKE RETHBERG SINCE THEN

[@mka7741]

Brawississimo !!! Platine Damme und Stimme und interpretation !!!

[@SilverSingingMethod]

She was TREMENDOUS!

[@AulicExclusiva]

Kiri te Kanawa was a lovely Met Rosalinde, 1986-87.

[@CurzonRoad]

Hi MrCafiero: Agreed... ... many thanks! Cheers, etc. Doug --

[@somersetuk525]

One of the special voices of the old German school there's a version of Lotte Lehmann in 1930 with Bruno Walter. Zigeunerbaron, I Lombardi trio,& Atilla w Gigli/Pinza all good examples. Thanks Doug and Mr Nate.

[@CurzonRoad]

Oh, not a problem... 'tis MY pleasure! Thank YOU, Nate! Doug --

[@magnusjonsson1316]

Maybe the best singer ever technically speaking, proffessional and could sing everything.

[@AulicExclusiva]

While Die Fledermaus was not given at the Metropolitan between 1905 and 1950, it is part of the operatic repertoire in Central Europe. It would not suprise me if Rethberg had sung Rosalinde in Germany. Anyway, this was a concert specialty of hers, as was the beautiful number from Zigeunerbaron that was its coupling on 78. I love the fact that she sings it with Melba-like seriousness-even imperiousness-and full Ungarisch passion. And the woman could trill!!!

[@MrSkylark1]

RETHBERG WAS SUPERIOR TO ALL THE SOPRANOS TODAY. TOSCANINI AND THE MUSIC CLUBS OF AMERICA DECLARED THAT SHE HAD THE MOST BEAUTIFUL VOICE OF ALL BACK THEN WHICH REINFORCES THE FACT THAT RETHBERG REPRESENTED THE GOLDEN ERA

[@65attila]

Doug This is the first performance of Rethberg I heard. It was and is still magnificent. The clarity of her voice and attack are stunning. Thanks-John

[@CurzonRoad]

Hah! Yes, sources indicate the Maestro also liked her voice! Many thanks! ;-D Doug --

[@MrSkylark1]

@rupepill The MUSIC CLUBS of AMERICA voted RETHBERG as having the most beautiful voice in the nation. And, this was in an era where Americans who resided in isolated areas only had RADIO/records to listen to "great" singers. There is NO one on the operatic stage now, indeed from that past era, who could or will ever sing as Rethberg sang.

[@rupepill]

For a lady who occasionally entertained at least one gentleman caller in the absence of her husband, this Rosalinda sounds rather an unlikely participant in a bit of slap and tickle and emission of the odd giggle or two. However, the singer surely has a ravishing voice and clearly must have been, in the right role, a great artist indeed. Toscanini, a practised judge of the gentle sex, was said to have admired her, and quite probably her voice and singing also, very much.

[@doGreatartistsgrowontrees]

This is transposed down a semi tone, no? Still, lovely. I have just re-uploaded the splendid Studer Czardas for those interested in hearing it. Happy Holidays!

[@anonymous-cq7wj]

yea i'm not sure why... she also sang Konstanze, which requires like 20 high ds.

[@rupepill]

The final section of this recording seems to indicate that the Wagnerian side of the singer has triumphed. Almost one expects to hear a Valkyrie war whoop.

[@ashleythomasadams]

Thank you for this comment, and for the ensuing conversation. I am being forced to sing things that hurt my voice at my school - things that don't suite my voice, music that I can't sing well! I am unsure about what to do...this whole conversation is validating. I had wonderful training for 7 years, only to be screwed over by people without common sense. It makes me want to drop out of this dumb program.

[@rupepill]

@MrSkylark1 The unfortunate, vocally crippling reliance placed by singers on the microphone, and the tyranny of ignorant and/or unsympathetic and/or unscrupulous managers, stage directors and conductors, all these factors have contributed to damage to voices, particularly those of young singers. It is a cause then for gratitude to CurzonRoad and other generous youtube contributors for their providing these recordings of singers such as Madame Rethberg.

[@rupepill]

@MrSkylark1 It is a very sad and disappointing situation. A young singer would be more than lucky to find a capable and caring teacher and then later be mentored to negotiate carefully through or around the ratbag demands of concert and/or opera tyrants. The dice are loaded against all singers, whether starting out or established. Maybe the pendulum might swing back to a time when saner, more healthy ways of training and employing singers might become the norm - something to hope for.

[@mvcpastkambcstccr8563]

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

[@MrSkylark1]

@rupepill Yes, not to mention the Vocal Teachers/Assassins, who occupy universities, colleges and conservatories while exposing their young charges to the devastation of their ignorance. There is no one today who can match the singers of the Golden Era.

[@stephenlord9]

PREACH!!

[@rupepill]

"Rosalinde", yes, of course - must have confused Strauss's librettist with Shakespeare for the moment.

[@MrSkylark1]

@rupepill Agreed. But the pendulum can only return if the Vocal Assassins (VTeachers, Impressarios, Conductors) all accoustically challenged, who are lodged in their lofty positions in universities, colleges and conservatories by virtue of degrees awarded in return for lucre, have to be challenged. With opera being the "playground of the rich," it appears that the descent of singing will continue downhill as noted by tickets being offered at half-price, a telling situation.

[@stephenlord9]

This is spot on.Keep it up

[@doGreatartistsgrowontrees]

In my years, I've never heard this piece delivered with more flair than Cheryl Studer, live from Covent Garden. It's in my channel.

[@silverkitty2503]

no one can sing this....so i don't mean this as saying she is a bad singer but she doesn't manage the second part ....but no one can sing this so ...

[@PeterMBauer]

Elisabeth Rethberg Mir ist die Interpretation von Elisabeth Rethberg viel zu schwermütig, viel zu langsam und dadurch langweilig. Sie kommt nur etwas langsam in Schwung. Und das wars dann auch. Feurig und heiss dagegen ist der Czardas und die Stimme von Ljuba Welitsch. kzbin.info/www/bejne/qHvZenyDg61ohs0