The Art of Irmgard Seefried – Vol. 2: Arias
Irmgard Seefried
Label
DG
Catalogue No.
4807228
Barcode
00028948072286
Format
1-CD
About
TRACK LISTING / ARTISTS

WOLFGANG AMADEUS MOZART
Così fan tutte: Sorella … Prenderò quel brunettino
Nan Merriman, soprano
Berliner Philharmoniker
Eugen Jochum

CARL MARIA VON WEBER
Der Freischütz:
Wie nahte … Leise, leise, fromme Weise
Und ob die Wolke sie verhülle
Symphonieorchester des Bayerischen Rundfunks
Eugen Jochum

AMBROISE THOMAS
Mignon:
Kam ein armes Kind von fern
Dort bei ihm ist sie jetzt
Orchestre des Concerts Lamoureux
Jean Fournet

GUSTAV ALBERT LORTZING
Der Wildschütz:
Auf des Lebens raschen Wogen
Ihr Weib? / Mein teures Weib!
Ernst Haefliger, tenor
Bamberger Symphoniker
Christoph Stepp

RICHARD STRAUSS
Der Rosenkavalier:
Wie du warst! Wie du bist!
Marianne Schech, soprano
Rofrano! … Mir ist die Ehre
Rita Streich, soprano
Ilona Steingruber, soprano
Nein, nein! I trink’ kein Wein
Kurt Böhme, bass
Marie Theres’… Hab’ mir’s gelobt … Ist ein Traum
Marianne Schech, soprano
Rita Streich,
soprano
Dietrich Fischer-Dieskau, baritone
Staatskapelle Dresden
Karl Böhm

Irmgard Seefried, soprano

Recording information

Recording Producers: Wolfgang Lohse (1–3, 8–11); Hans Weber (4–5); Karl Faust (6–7)
Balance Engineers: Günter Hermanns (1, 4–5); Gerhard Henjes (2–3); Heinz Wildhagen (6–7); Heinrich Keilholz (8–11)
Recording Locations: Ufa-Studio, Berlin, Germany, 8–17 December 1962 (1); Herkulessaal, Munich, Germany, 12–21 December 1959 (2–3); Salle de la Mutualité, Paris, France, 15–19 November 1963 (4–5); Kulturraum, Bamberg, Germany, 19–22 September 1965 (6–7); Lukaskirche, Dresden, Germany, 12–20 December 1958 (8–11)

Reviews

‘[Her Octavian] was so charismatic that when she was on stage it could be difficult to look elsewhere for a moment unless … the Baron Ochs was Kurt Böhme. They played together in the opera quite frequently and with a matching ‘joie de vivre’ … their partnership was utterly positive, potent and great fun.’ John Steane

‘It is almost possible to see the adolescent fire in this young Octavian’s eye, as he rails against the arrival of day or declares himself lord of the Marschallin’s bedroom … The best of her portrayals, like the Octavian, combine vocal certainty with ardour, freshness and energy. There is an uplifting Agathe from ‘Der Freischütz’, singing her first aria with a lovely youthful impulsiveness’ Gramophone

‘She is appropriately bright and jolly in the ‘Wildschütz’ scenes, and wistful and concerned in the ‘Freischütz … her Octavian may well be her best complete role on disc.’ Fanfare