Elisabeth Schwarzkopf

The daughter of the teacher, Elisabeth Schwarzkopf begun to study voice in 1934 on the Berliner Musikhochschule with Lula Mysz-Gmeiner with Maria Ivogun. She also researched lieder interpretation with Michael Raucheisen, Ivogun’s hubby. In 1938, Schwarzkopf debuted in Berlin being a Bloom Maid in Parsifal. She continued to be in Berlin until 1944 when she became a member of the Vienna Condition Opera producing her debut as Zerbinetta in Ariadne auf Naxos. Her initial international appearances had been in 1947 at London using the Vienna Condition Opera on tour as Donna Elvira in Don Giovanni and Marzelline in Fidelio. She became a normal visitor at Covent Backyard. That same season she produced her debut on the Salzburg Celebration and she made an appearance there just about any season until 1964. At Salzburg she was most widely known on her behalf Mozart jobs of Donna Elvira, Countess in Le nozze di Figaro and Fiordiligi in Così enthusiast tutte, but additionally got great achievement as Alice Ford in Falstaff as well as the Marschallin in Der Rosenkavalier. Her recitals with Gerald Moore as accompanist at Salzburg had been always respectable, however in 1953 the fantastic conductor Wilhelm Furtwängler followed her within an all Wolf recital. Her Teatro alla Scala debut in 1949 because the Countess in Le nozze di Figaro was an excellent achievement and she sang there until 1964 in a number of jobs including Melisande, Carmina burana, Catulli Carmina, and Il Trionfo of Orff, Elisabeth in Tannhäconsumer, Elsa in Lohengrin, Anne within the Rake’s Improvement, Iole in Handel’s Hercules, in addition to her Mozart and Strauss jobs. She produced her SAN FRANCISCO BAY AREA Opera debut in 1955, but didn’t sing on the Metropolitan Opera until 1964. Her belated debut there’s related to her ties towards the Country wide Socialist routine in Germany and Austria. As great as her popularity as an opera vocalist was, her focus on the recital and concert stage got also higher acclaim. Her popularity being a recitalist was matched up just by that of Dietrich Fischer-Dieskau. Her performances had been eagerly awaited all over the world. Specifically, her interpretations from the tracks of Schubert, Strauss, and Wolf had been admired. She actually is mostly of the singers who was simply in a position to fulfill all the requirements of the evening specialized in the tunes of Wolf. Around the concert stage she was frequently noticed in cantatas and Passions of Bach, along with the Verdi Requiem and symphonies of Mahler. The tone of voice of Elisabeth Schwarzkopf in her extremely early profession was a light high soprano with superb control of fioritura and breathing control. As she matured, the center and lower registers became stronger and she started to sing even more dramatic ratings while quitting the lighter functions. By the past due 1950s, she focused her operatic looks on five or six functions to which she dedicated great energy developing her interpretations with their highest level. This focus on detail and continuous probing for added interpretive depth ‘s the reason some authors find her shows as well mannered and researched. In the documenting studio, where she’d work all night perfecting one expression, she was aided by her hubby, record manufacturer Walter Legge, to find an ideal vocal color and phrasing to illuminate each piece. Also her most vocal critics stand in awe from the effort that she taken to keep on even the easiest of tracks. It is being a Mozart, Strauss and Wolf interpreter that Elisabeth Schwarzkopf will be remembered.