Before listening to this recital, I knew and admired Dutch
soprano Gré Brouwenstijn (1915-1999). This was down to her contribution
as a vibrant Sieglinde to the famous 1961 studio recording of
Die Walküre conducted by Leinsdorf. She was also a shining
soloist in Beethoven’s Choral Symphony conducted by Cluytens
and Desdemona in the live Covent Garden performance of Otello
conducted by Kubelik. These all require a big, secure, imposing
voice and although Brouwenstijn had her detractors, on account
of an intermittently tremulous quality in her tone and a lack
of variety in expression, she was also one of the most admired
and sought after lyric-dramatic sopranos of the 1950s and 1960s
throughout Europe. While I recognise her many gifts, I admit
to being a little disappointed by the evidence of her art on
this compilation of mono recordings from two sessions in 1952
and 1956; there is sometimes a wearing shrillness in alt
and a monotony in her characterisation which for me compromises
her art.
An elegant and striking woman of an unorthodox beauty often
compared to that of Ingrid Bergman, she evidently made quite
an impact onstage. On record, certain vocal flaws are more in
evidence. Her forays into Verdi evince a lack of Italianate
sensuousness and warmth; hence her Elisabetta and two Leonoras
sound almost boyishly plaintive and disembodied in tone, lacking
the heroic steadiness and refulgence of voice which mark out
the greatest Verdian sopranos. Ah, perfido has never
struck me as one of Beethoven’s more inspired compositions and
it is over-long at over thirteen minutes, but Brouwenstijn’s
cooler, more Germanic temperament and vocal lay-out suit both
this and the Weber aria better. The four arias from three Wagner
operas are best of all; the steely quality and sense of ecstasy
engendered by the flicker in her vibrato lend them the same
febrile intensity she brought to her Sieglinde in the complete
recording but there is more than a suspicion of uncertain intonation
in the quieter, slower sections of “Dich, teure Halle”. Her
concluding top B, however, is thrilling. The conducting of Rudolf
Moralt – who was in charge of the first, excellent and complete
post-war recording of the “Ring” in 1949 - is sprung and alert;
the mono sound acceptable and undistorted. I do not think that
this is a disc I shall return to often but Brouwenstjin fans
who have more of a taste for her voice will want this new issue
from Newton, as she did not make that many recordings.
Ralph Moore
Track-listing
Ludwig van BEETHOVEN (1770-1827)
1. Ah, Perfido! Op.65
Carl Maria von WEBER (1786-1826)
Der Freischütz
2. Wie nahte mir der Schlummer... Leise, Leise, fromme Weise
Richard WAGNER (1813-1883)
Tannhäuser
3. Dich, teure Halle, grüß' ich wieder
4. Allmächt'ge Jungfrau, hör mein Flehen!
Lohengrin
5. Einsam in trüben Tagen
Der fliegende Holländer
6. Johohoe! Traft ihr das Schiff im Meere an
Giuseppe VERDI (1813–1901)
Don Carlo
7. Tu che le vanità
Il trovatore
8. Timor di me...D'amor sull'ali rosee
La forza del destino
9. Son giunta! Grazie, o Dio!
10. Pace, pace, mio Dio!
Gré Brouwenstijn (soprano) 
