Martha Mödl - Portrait of a Legend -
Anniversary Edition
Martha Mödl (soprano, mezzo) and others
Full performance and cast details at end of review.
rec. 1950-82
PROFIL EDITION GÜNTER HÄNSSLER DCD PH12006 [79:04 + 79:13]
At the time of Martha Mödl’s death in
2001 I remember reading her obituary. Since then I have heard her recordings
only very occasionally on the radio. The present set was released at
the end of 2012 to mark the centenary of her birth. I initially dismissed
it, thinking that the sound quality would be far too problematic for
my tender ears. In fact I cannot praise Mödl’s wonderful
voice enough. I would imagine that she is as fondly regarded in Germany
as Ferrier and Baker are in Britain. It is no wonder that Portrait
of a Legend has become a bestseller in Germany and that Mödl
was the subject of a special exhibition in 2012 in Bayreuth.
Profil state that all the tracks here are previously unreleased live
recordings.
They derive from the collection of a friend and devotee of the singer. Most
of
the transfers are from radio broadcasts with the remainder from the
collector’s
private archive. As with most historical recordings the rareness and
excellence
have to be balanced with often difficult and uneven sound quality. There are
no
sung texts included.
Born in Nuremberg in 1912 Mödl came to a career as a
professional singer relatively late. She worked as a bookkeeper and
secretary through most of her twenties and did not make her stage debut
until 1942 at age of thirty-one. A mezzo-soprano she later took on
dramatic-soprano roles for a time before returning to home territory as a
mezzo.
As one of the leading Wagnerians of her day she was a natural for
Isolde, Kundry and Brünnhilde. She first sang Wagner in 1950 at La
Scala, Milan and made her Bayreuth debut as Kundry in Wieland Wagner’s
staging of Parsifal at the newly re-opened theatre in 1951. Mödl
continued on stage well into her eighties in comprimario roles. She
appeared aged eight-seven as the Countess in Tchaikovsky’s Pique
Dame (The Queen of Spades) and even later at an amazing
eight-nine as the Mummy in Aribert Reimann's opera Die
Gespenstersonate.
Given her reputation as a marvellous actress it must have been quite
something to have seen Mödl live. On more than one occasion people have
compared her in this respect to Maria Callas. Furtwängler who often
worked with Mödl is reported to have said “Other singers can
sing what they like, you'll always recognise them. With Martha Mödl,
her voice identifies so closely with the role that you are only aware of the
character on stage.”
The first disc in this all-Wagner double set commences with
Gerechter Gott!,Adriano’s great act 3 scene and aria
from Rienzi. It was recorded in Berlin in 1951. In this trouser role
Mödl pushes firmly upwards under hard-driven conducting from Heinrich
Hollreiser and the RIAS Symphonie-Orchester. The voice is as rich and mellow
as the finest ground coffee and despite some minor strain is in fine
condition.
Next come three scenes and arias from Tristan und Isolde.
Here she is caught in 1958 in München as part of the annual
Opernfestspiele. The city’s Prinzregententheater was used because the
National Theatre had been destroyed by bombing in 1943; it didn’t
reopen until 1963. Mödl is there as Isolde with Joseph Keilberth
conducting the Orchester der Bayerischen Staatsoper. Alongside contralto
Hertha Töpper as Brangäne she conveys dark-hued and tender
expression in Doch nun von Tristan, Isolde’s narrative and
curse from act 1. Keilberth’s conducting produces highly dramatic
orchestral playing. In Begehrt, Herrin was ihr wünscht from act
1 Mödl articulates great drama; one can’t help but notice her
well defined diction. With significant amplitude Ludwig Suthaus as Tristan
matches her in bell-like clarity and in War Morold dir so wert Ludwig
Suthaus is no less admirable. For the most part Mödl is able to slide
up to her high register although occasionally having to grab at the top
notes. Both Mödl and Suthaus are evidently inspired by
Keilberth’s drive and intensity. One negative note about these Munich
recordings: lurking in the background behind the orchestra is a low aqueous
noise which I found a touch annoying. It’s part of the price we have
to pay.
In 1955 the company of the Staatsoper Stuttgart visited the Royal
Festival Hall, London with the Royal Philharmonic Orchestra under Ferdinand
Leitner. From this event we hear three scenes and arias from act 2 of
Tristan un Isolde. As Isolde Mödl is accompanied to magical
effect by a talented group of singers. The fresh and vibrant tenor Wolfgang
Windgassen is there as Tristan, mellow sounding mezzo-soprano Grace Hoffman
is Brangäne and rock-steady bass-baritone Gustav Neidlinger take the
role of Kurwenal. Mödl’s vibrato is rather off-putting at times
but this is pretty much negated by the striking expression, stamina and
discipline that she brings to the role. From scene 2 I particularly enjoyed
So stürben wir, um ungetrennt which is framed by splendid
orchestral playing under Leitner who is not afraid to quicken the pulse. The
climax is tremendously exciting and is one of the highlights.
Next comes a recording of Mild und leise (Isolde’s
Liebestod) from act 3. For this we are returned in 1958 to the
Opernfestspiele held at the Prinzregententheater, München. Accompanied
by Joseph Keilberth conducting the Orchester der Bayerischen Staatsoper,
Mödl, displaying dramatic intensity and unshakable conviction, again
makes for a wonderfully expressive Isolde. The sound quality is an
improvement over most of the other recordings.
Closing disc one, we are taken back to the Kulturraum Bamberg in
1959 and the Wesendonck Lieder. Immediately I was struck by the fine
support Mödl receives from the Bamberger Symphoniker under Joseph
Keilberth. Although I could never recommend this over several of the
excellent rival versions in the catalogue it comes to us steeped in
sincerity. The first song, Der Engel demonstrates Mödl’s
imperious mid-range whilst Stehe still! sees her moving up the
register somewhat jerkily as if ratcheted. The wonderful Im Treibhaus
has a suitably dark tone if sounding a touch nasal with Schmerzen and
the lovely Träume given routine and occasionally unsteady
performances.
The second disc opens with Mödl in 1954 at Bayreuth singing two
of Sieglinde’s arias from act 1 of Die Walküre with the
Orchester der Bayreuther Festspiele under Joseph Keilberth. In Der
Männer Sippe Mödl has been in much better voice than this and
the metallic recording certainly doesn’t help her cause. Yes, the
vocal and expressive power is evident but there is little in the way of
beauty of tone. Du bist der Lenz has a better sound with the voice
closely recorded. Appearing rather rushed she finds it hard to centre her
voice in the registration.
Brünnhilde’s act 3 Schlussgesang was recorded at
the Villa Strauss, in Vichy in 1957. Here Mödl is accompanied by the
Orchestre Symphonique de Vichy under Georges Sebastian. Mödl claimed
that Brünnhilde in Götterdämmerung was her favourite
role. In Starke Scheite schichtet mir dort (Brünnhilde’s
Immolation Scene) the range of emotions that Mödl expresses in this
soprano role is remarkable; her weight of amplitude no less notable.
Although she does not sound especially attractive here this may be down to
the modest recording quality. In Mein Erbe nun nehm' ich zu Eigen her
timbre is dark and rich and this is once again balanced with a highly
assured grip on the drama of the music. Lofty intensity continues in
Grane, mein Ross, sei mir gegrüßt with the enunciation
striking and plenty of vocal colour on call.
The first non-Wagnerian material is from Strauss’s
Elektra. Mödl in the mezzo-soprano role of Klytämnestra is
recorded in the great entrance scene of the murderess: Was willst du?
Seht doch dort! This was recorded in 1967 at the rebuilt Staastoper
located in what was then East Germany. The Staatskapelle Berlin were there
on that occasion under their music director Otmar Suitner. Mödl is
joined on stage by sopranos Ingrid Steger as Elektra, Elisabeth Rose as
Vertraute and Rosemarie Rönisch as Schleppträgerin. The high drama
that Mödl brings to the proceedings is quite stunning and is of an
elevated intensity rarely encountered on record.
The next two scenes are from operas by two more German composers.
First there is a scene from Bluthochzeit, a lyric tragedy by Wolfgang
Fortner composed in 1957. Mödl is nicely recorded at
Erstaufführung, Stuttgart in 1971 under Ferdinand Leitner in
Nachbarinnen! Mit einem Messer. Once againit feels as if she
is living the music, such is her commitment. Secondly there is a scene from
Aribert Reimann’s music-drama, Melusine from 1971. The composer
dedicated Melusine to Mödl which she recorded in 1971 at the
Schwetzinger Festspiele. In this excerpt conducted by Reinhard Peters,
Reimann’s music sounds brassy and raucously percussive. Mödl as
Pythia and bass Josef Greindl as Oger are in convincing voice. These are not
operas that I am familiar with but these recordings demonstrate the
singer’s fondness and support for what were then contemporary works.
Tchaikovsky’s Pique Dame (The Queen of Spades) is
represented
by Mödl in the Countess’s celebrated act 2 scene and
chorus
Schweigt doch endlich! Alles Lüge. Ich bin müde. Nikša
Bareza
conducts the Chor und Orchester der Grazer Oper. She was seventy when this
1982
Graz recording was made yet her voice still seems remarkably agile and
fluid.
The final work is Beethoven’s Sechs Lieder von Gellert,
Op. 48 with Michael Raucheisen. This was recorded in 1950 at a RIAS recital
in Berlin. From 1950 these are the oldest recordings on the disc and despite
the excellence of Mödl’s performance I was left disappointed by
Raucheisen’s instrument, sounding much of the time like a pub piano.
Mödl’s voice is caught in fine condition with the registration of
these songs suiting her admirably. I enjoyed the expressive force with which
she imbues the opening song Bitten; her strength and clarity in
Die liebe des Nächsten is striking too. In Vom Tode
Mödl moves up securely to the high notes and in Die ehre Gottes aus
der Natur is again remarkable in her high register. There is plenty of
drama generated in Gottes Macht und Vorsehung and she copes admirably
with the high tessitura of the final song Bußlied.
I congratulate Profil for releasing this excellent set of previously
unreleased live recordings. Sincere thanks are also owed to the Mödl
enthusiast who provided these recordings. Opera-lovers everywhere will
delight in this stunning voice.
Michael Cookson
Track listing
CD 1
Richard WAGNER (1813-1883)
Rienzi:
1. Gerechter Gott! - (Adriano’s scene, act 3) [7:29]
RIAS Symphonie-Orchester Berlin/Heinrich Hollreiser
rec. 1951, Berlin, Germany
Tristan und Isolde:
2. Doch nun von Tristan. - Erzählung Und Fluch Der Isolde act 1
(Isolde's narrative and curse) [10:23]
Hertha Töpper (contralto as Brangäne),
Orchester der Bayerischen Staatsoper/Joseph Keilberth
rec. 10 August 1958, Münchner Opernfestspiele,
Prinzregententheater, München, Germany.
3. Begehrt, Herrin was ihr wünscht. - act 1 (Tristan, Isolde)
[7:20]
Ludwig Suthaus (tenor as Tristan);
Orchester der Bayerischen Staatsoper/Joseph Keilberth
rec: 10 August 1958, Münchner Opernfestspiele,
Prinzregententheater, München, Germany.
4. War Morold dir so wert. - act 1 (Tristan, Isolde) [9:25]
Ludwig Suthaus (tenor as Tristan);
Chor und Orchester der Bayerischen Staatsoper/Joseph Keilberth
rec: 10 August 1958, Münchner Opernfestspiele,
Prinzregententheater, München, Germany.
5. Nicht Hörnerschall tönt so hold. - act 2 (Isolde,
Brangäne) [6:15]
Grace Hoffman (mezzo-soprano as Brangäne)
Royal Philharmonic Orchestra, London/Ferdinand Leitner
rec. 14 September 1955, Royal Festival Hall, London, England
6. Dein Werk? O tör’ge Magd! - act 2 (Tristan,
Brangäne) [3:27]
Grace Hoffman (mezzo-soprano as Brangäne)
Royal Philharmonic Orchestra, London/Ferdinand Leitner
rec. 14 September 1955, Royal Festival Hall, London, England
7. So stürben wir, um ungetrennt. - act 2 (Tristan, Isolde,
Brangäne, Kurwenal) [8:26]
Wolfgang Windgassen (tenor as Tristan), Grace Hoffman (mezzo-soprano
as Brangäne), Gustav Neidlinger (bass-baritone as Kurwenal), Guest
appearance by the Staatsoper Stuttgart/Ferdinand Leitner,
rec. 1955, Royal Festival Hall, London, England
8. Mild und leise. - act 3 Isolde's Liebestod [6:20]
Orchester der Bayerischen Staatsoper/Joseph Keilberth,
rec. 10 August 1958, Münchner Opernfestspiele,
Prinzregententheater, München, Germany
Wesendonck Lieder:
9. Der Engel [2:55]
10. Stehe still! [3:37]
11. Im Treibhaus [6:10]
12. Schmerzen [2:25]
13. Träume [4:44]
Bamberger Symphoniker/Joseph Keilberth
rec. May 1959, Kulturraum, Bamberg, Germany
CD 2
Richard WAGNER (1813-1883)
Die Walküre:
1. Der Männer Sippe. act 1 (Sieglinde) [4:29]
rec. 25 July 1954, Bayreuth, Germany
2. Du bist der Lenz. Act 1 (Sieglinde) [2:08]
Orchester der Bayreuther Festspiele/Joseph Keilberth
rec. 25 July 1954, Bayreuth, Germany
Götterdämmerung:
Brünnhildes Schlussgesang, act 3:
3. Starke Scheite schichtet mir dort (Brünnhilde’s
Immolation Scene) [7:40]
4. Mein Erbe nun nehm' ich zu eigen [3:25]
5. Grane, mein Roß, sei mir gegrüßt [5:58]
Orchestre Symphonique de Vichy/Georges Sebastian
rec. 1 July 1957, Villa Strauss, Vichy, France.
Richard STRAUSS (1864-1949)
6. Elektra: Was willst du? Seht doch dort!
(Klytämnestra’s entrance) [16:25]
Ingrid Steger (soprano as Elektra), Elisabeth Rose (soprano as
Vertraute), Rosemarie Rönisch (soprano as Schleppträgerin),
Staatskapelle Berlin/Otmar Suitner
rec. 25 February 1967, Staastoper, Berlin, Germany
Wolfgang FORTNER (1907-1987)
7. Bluthochzeit: Nachbarinnen! Mit einem Messer. Schlusszene der Mutter,
act 2 [3:39]
Orchester der Württembergischen Staatsoper/Ferdinand Leitner
rec. 30 May 1961, Erstaufführung, Stuttgart, Germany
Aribert REIMANN (b.1936)
8. Melusine: Heut, hier und jetzt wird es entschieden. Szene der
Pythia, act 3 [8:13]
Josef Greindl (bass as Oger),
Südfunk-Sinfonieorchester (now Radio-Sinfonieorchester
Stuttgart des SWR)/Reinhard Peters
rec. live: 29 April 1971 Aufnahme im Rahmen der Schwetzinger
Festspiele, Germany
Pyotr Ilyich TCHAIKOVSKY (1840-1893)
9. Pique Dame: Schweigt doch endlich! Alles Luge, Ich bin mude. Chor und
Szene der Gräfin, act 2 [7:52]
Chor und Orchester der Grazer Oper/Nikša Bareza
rec. 18 September 1982, Graz, Austria
Ludwig van BEETHOVEN (1770-1827)
Sechs Lieder von Gellert, Op. 48:
10. Bitten [2:22]
11. Die liebe des Nächsten [2:53]
12. Vom Tode [4:28]
13. Die ehre Gottes aus der Natur [2:41]
14. Gottes Macht und Vorsehung [0:05]
15. Bußlied [6:00]
Michael Raucheisen, piano
rec. 1950, RIAS Berlin, Germany
