This disc is one of the first twenty, issued on the
Decca label, under the generic title ‘The Singers’. The series,
with another thirty in preparation, claims to present the artistry of
the greatest singers from the first century of recording. The selection
of these first releases was made by the late John Ardoin and is somewhat
idiosyncratic in chosen repertoire, despite having access to the recorded
annals of DG and Philips as well as Decca. More significantly, these
discs are more than merely sonic CDs but ‘multimedia’ items, being enhanced
for those with ROM facility, to include photo gallery, biographies and
texts. If you lack ROM facility you get a booklet with brief essay and
track listing, the latter lacking such basic information as to the operatic
character singing the aria! The presentation aims to be different and
unique, being a cardboard case within a plastic slip case emblazoned
‘The Singers’.
Erna Berger was born in 1900 and made her debut
in 1925, later singing at Bayreuth, Salzburg, Covent Garden and in 1949
at the New York Met. However, most of her singing was at the Berlin
State Opera, her international career being cut short by the outbreak
of World War II when she was at the height of her vocal powers. She
was the possessor of a light lyric coloratura soprano with an immaculate
legato and on this CD she is heard both in her fach and vocal prime.
First the bad news! A browser looking at the listing
on the back of the packaging might well miss the fact that all the tracks
are sung in German; they are listed in the language of their composition
and includes extracts from Figaro, Don Giovanni, Pearl Fishers, Rigoletto,
Butterfly, etc. Secondly, with surface noise evident (tks 5 and
13) and no effort made to equalise the sound levels –you need to sit
near the volume control.
The good news is the quality of the singing of Berger
and her partners. Her fresh voiced singing, fine legato, excellent phrasing,
security above the stave and convincing trill are all heard to good
effect. Her partners are amongst the most distinguished singers performing
in pre-war Germany. Certainly the baritone of Heinrich Schlusnus, with
her in Tutte le Feste from Rigoletto, a raw note apart,
would be very welcome today with the present dearth of Verdi baritones
(tk 15). Likewise, the redoubtable Viorica Ursuleac, who created three
of Richard Strauss’s great soprano roles, is heard first as Mozart’s
Countess duetting with Berger’s Susanna and then as the
Marschalin with Tiana Lemnitz as Octavian and Berger as
Sophie in the great trio from Rosenkavalier (tk 19), which
is only marred by mushy congestion at the peak – microphone overload
or poor mastering?
Berger makes an appealing Gilda in Caro Nome
(tk 14) and Violetta (tk 15). Only in the Don Pasquale
(tk 6) does she seem unidiomatic, and as Adele’s Spiel ich, from
Die Fledermaus, is she unsympathetic to the part. Put aside all
reservations and listen to Last Rose (tk 1), Pearl Fishers
(tk 9) and Là ci darem (tk 4) with Schlusnus, these will
convince of the virtues of this issue and its generally well-chosen
programme.
Orchestra of Staatsoper
Berlin, Various conductors