Martha Mödl (1912–2001) is generally regarded as one of the three most
important dramatic sopranos during the second part of the 20th century – the
other two being Astrid Varnay and Birgit Nilsson. All three can actually be
heard together in the same performance of
Die Walküre at Bayreuth
in 1954, where Mödl sang her only Sieglinde, Varnay was Brünnhilde and
Nilsson was Ortlinde (CD 8 tr. 5).
Martha Mödl’s soubriquet
The Queen of Drama in Opera is certainly
justified. All accounts of her abilities point in the same direction: she
was a supreme actress and even when her singing voice failed her towards the
end of her career, her acting was still superb. She was a late starter and
didn’t begin taking singing lessons until she was 28. She made her debut in
1942, aged thirty. Her great decade was the 1950s, when she sang almost
every summer at Bayreuth and this compilation covers just that period. She
didn’t make many studio recordings –
Fidelio and
Die
Walküre with Furtwängler and also
Parsifal with Knappertsbusch
in 1951, the first season after the reopening of the festival after the war.
This was a live recording but it was issued commercially at the time and has
always been regarded as one of the classic Wagner performances. Excerpts
from all three are included here.
The first disc opens with several excerpts from the inauguration of the
restored Vienna State Opera on 5 November 1955. The sound is fairly distant
and the bass is boomy but one gets quickly involved in the performance and
Mödl’s intense
Abscheulicher, wo eilst du hin? The cast as a whole
is starry: Ludwig Weber is Rocco, Paul Schöffler is Pizarro, Anton Dermota
is a youthful Florestan, Waldemar Kmentt a very young Jacquino and
Marzelline is sung by Irmgard Seefried. In the pit presides Karl Böhm.
Variable sound, stage noises and long pauses in the dialogue
notwithstanding, this is a performance to savour. There is also an excerpt
from a
Fidelio conducted by Herbert von Karajan with Otto Edelmann
and Elisabeth Schwarzkopf and three numbers from Furtwängler’s studio
recording, where the sound is so much better. Here we get
Abscheulicher again, just as intense, and together with Wolfgang
Windgassen a jubilant
O namenlose Freude.
A little incongruously Dido’s lament from
Dido und Aeneas is
squeezed in between
Fidelio and the six songs Op. 48 by Beethoven.
Dido is sung in German but the aria is deeply felt and good to have as a
reminder that she wasn’t always
hochdramatisch. With the immensely
experienced Michael Raucheisen at the piano the Beethoven songs get
sympathetic readings, sensitive and very attractive. The best known is no
doubt
Die Himmel rühmen, which big-voiced singers tend to blow to
pieces. Mödl is monumental but also restrained – and she doesn’t over-egg
the climaxes.
On CD 2 we meet the mezzo-soprano, and it is true that she didn’t always
feel comfortable in the highest reaches of her soprano range. She sings the
arias invariably in German. Her Eboli (
Don Carlos) is grandiose,
presumably a radio studio recording. Her Ulrica (
Un ballo in
maschera) is hefty and ominous. Here we get some glimpses of Lorenz
Fehenberger as Riccardo and a young Fischer-Dieskau as Renato. Preziosilla
(
La forza del destino) is great and Lady Macbeth (
Macbeth)
is simply magnificent. Here the singing-actor is in her element.
The French repertoire on CD 3 is less interesting. Her Carmen is dramatic
enough but a bit four-square and Giulietta isn’t really her role at all.
Marina in
Boris Godunov is more her cup of tea and Klytämnestra in
Elektra live opposite Anny Konetzni is a thriller. The excerpt from
Orff’s
Antigonae is valuable, since it reminds us that she sang
quite a lot of modern works and premiered several roles. Not Antigonae, by
all means, but the premiere was only seven years back when this recording
was made. Her declamation is unforgettable. Highly interesting is also
Oedipus Rex with the composer conducting and Peter Pears taking the
title role.
On CD 4 we reach the Wagner repertoire and there we’ll remain for the rest
of the box. Almost 80 minutes of
Tristan und Isolde is something to
rejoice in, and with Wolfgang Windgassen and Ludwig Suthaus as Tristan she
is partnered by the very best.
Mild und leise is duplicated and is
always worth hearing. The 1954 recording with Windgassen and Artur Rother
is, if I remember correctly, a studio recording for Telefunken. The sound is
surprisingly good.
More
Tristan follows on CD 5, another near 80 minutes recorded at
Bayreuth in 1952 with Karajan conducting. Ramon Vinay’s dark Tristan has
authority but he is rather dry and unimaginative in the first act. He warms
during the interval and in
O sink hernieder he
is the
lover with deeply felt lyrical singing. He still has the stamina to manage
the third act with flying colours. Ira Malaniuk is a worthy Brangäne. Mödl
is superb throughout.
CD 6 opens with Adriano’s
Gerechter Gott from
Rienzi,
where she sings beautifully with lighter-than-usual tone. Then follows three
excerpts from Furtwängler’s studio
Walküre (his very last
recording). Ludwig Suthaus’s Siegmund and Ferdinand Frantz’s Wotan are
legendary impersonations. Then, from Bayreuth 1953, she sings opposite Hans
Hotter’s mighty and all-embracing Wotan. He sings with as much face as Mödl
does. There is in fact more Hotter than Mödl here.
On CD 7 we are treated to the complete act I of
Die Walküre, also
from Bayreuth in 1954 with Joseph Keilberth at the helm. Mödl, with
hindsight, thought it was a mistake to take on Sieglinde and she never sang
the role again. Keilberth, who was rather underrated during his lifetime,
leads a strong performance right from the rugged prelude – rather in the
Furtwängler mould – where the powers of nature explode in Siegmund’s arrival
into the dwellings of Hunding and his wife. One even hears the wind howling.
Later on Keilberth draws a lot of beautiful playing from the Bayreuth
forces. Martha Mödl, in spite of her second thoughts, is a fine Sieglinde,
though missing the last ounce of lyrical beauty. Josef Greindl was one of
the great Wagnerian basses for many years and Hunding, unsubtle but
monumental, was one of his greatest roles. A year or two before this
Bayreuth performance he sang the role on a studio recording of act I for DG,
with Windgassen an ardent Siegmund and Maria Müller a well-considered but
over-aged Sieglinde. Ferdinand Leitner was the conductor and it was through
that LP that I first came to grips with this music. The weak link among the
soloists on the present recording is Max Lorenz’s Siegmund. Lorenz was a
leading dramatic tenor in Germany and later Vienna and even sang at the
Metropolitan and Covent Garden. By 1954 his voice had deteriorated and even
though he retained his dramatic involvement he is sorely strained,
lustreless and wobbly. All this rules out this performance from being a
first choice for a recording of this act. Bruno Walter with Melchior and
Lehmann (
review) is the one to have but there is also a recording from
Dresden in 1944 conducted by Karl Elmendorff with Margarete Teschemacher and
Max Lorenz and with the young Kurt Böhme a superb Hunding (
review). From the mid-fifties there is also a Decca set,
conducted by Hans Knappertsbusch with Kirsten Flagstad and Set Svanholm
(review).
We get more from this
Walküre performance on CD 8, from act II
and the short excerpt in which we hear the three greatest dramatic sopranos
of the era, as mentioned above. Lorenz's energetic but unlovable
singing is again a liability but there is a lot to savour – not least
Greindl’s Hunding and Hotter’s Wotan. Mödl is occasionally shrill and
unattractive of tone but her dramatic involvement is as strong as anywhere
else on these discs.
Starke Scheite from
Götterdämmerung
is from what I believe to be studio recordings on Telefunken with Artur
Rother. Strong and intense are the keywords for her reading. The Wesendonck
songs are sung warmly in good sound – a radio recording I believe. Mödl
doesn’t have a truly lyrical voice in the Régine Crespin class – hers has
since the sixties been my benchmark recording of these songs – but she has
her own approach and
Schmerzen rings out with luminous greatness.
The Cologne Radio Orchestra are in top shape under Keilberth.
CD 9 has the long final duet from
Siegfried with Wolfgang
Windgassen at his freshest as the eponymous hero and from
Götterdämmerung a glowing
Zu neuen Taten. From
Furtwängler’s RAI concerts the same year (1953) we get
Starke
Scheite from
Götterdämmerung.
Finally, on CD 10 there is a good hour from arguably Martha Mödl’s
greatest role, Kundry in
Parsifal. The disc opens and ends with
excerpts from the legendary Bayreuth production of 1951, again with
Windgassen and we also catch a glimpse of Ludwig Weber’s Gurnemanz and
Hermann Uhde’s Klingsor. In between there are a couple of scenes from the
1953
Parsifal conducted by Clemens Krauss. These latter scenes are
in pretty bad sound and
Ich sah das Kind is rather blustery. Does
it have something to do with Krauss’s affected conducting?
In such extensive material with a total playing time of more than twelve
hours there have to be some flies in the ointment: variable sound, singers
in less than premium shape, but the overall impression is that here is some
of the most involved singing in some of the most demanding roles in the
soprano – and mezzo – repertoire. For admirers of Martha Mödl this box
shouldn’t be missed, but even those who have never heard her – or heard
about her – should find a goldmine here.
Göran Forsling
ContentsCD 1 [80:00]
Ludwig van BEETHOVEN (1770 – 1827)
Fidelio:
1.
Abscheulicher, wo eilst du hin? … Komm, Hoffnung [7:17]
2.
Nun sprecht, wie ging’s [4:50]
3.
Wie kalt ist es … Nur hurtig fort und frisch gegraben
[5:31]
4.
Er erwacht … Euch werde Lohn in besser’n Welten [8:25]
5.
Er sterbe! Doch er soll erst wissen … Es schlägt der Rache
Stunde [4:31]
6.
Wer ein holdes Weib errungen, stimm in unsern Jubel ein
[4:14]
7.
Gut, Söhnchen, gut, hab immer Mut [5:59]
8.
Abscheulicher, wo eilst du hin? … Komm, Hoffnung [7:55]
9.
Mir ist so wunderbar [4:44]
10.
O namenlose Freude [2:47]
Henry PURCELL (1659 – 1695)
Dido und Aeneas:
11.
Führ mich, Belinde [4:11]
Ludwig van BEETHOVEN
Sehs Lieder, Op. 48:
12.
Bitten (Gott, deine Güte reicht so weit) [2:23]
13.
Die Liebe des Nächsten (So jemand spricht: Ich liebe Gott)
[2:51]
14.
Vom Tode (Meine Lebenszeit verstreicht) [4:29]
15.
Die Ehre Gottes aus der Natur (Die Himmel rühmen des Ewigen
Ehre) [2:41]
16.
Gottes Macht und Vorsehung (Gott ist mein Lied!) [0:50]
17.
Busslied (An dir allein, an dir hab ich gesündigt) [6:00]
CD 2 [68:29]
Giuseppe VERDI (1813 – 1901)
Don Carlos:
1.
Verhängnisvoll war das Geschenk [4:40]
Ein Maskenball:
2.
Stille! Man darf ihren Zauber nicht stören … König des Abgrunds,
zeige dich [8:56]
3.
Wie tief seid ihr bewegt [5:03]
4.
Diese Hand hat im Kampfe gebieterisch den Degen gezogen … Nur
Scherze sind’s und Lügen [5:10]
5.
Bring deinen Spruch zu Ende [3:46]
Die Macht des Schicksals:
6.
Beim Schalle der Trommel [2:41]
7.
Ach, lasst doch … Rataplan [3:40]
Macbeth:
8.
Nun sinkt der Abend [4:22]
9.
Dieser Flecken kommt immer wieder (Wahnsinns-Szene) [6:38]
10.
Voller Ehrgeiz bist du … Komm, das ich reize dein träges Blut
[4:24]
11.
Rings liegt alles im Schlafe … Hier, den Dolch, gib ihn den Wachen
… Komm, dass dem Argwohn wir entrinnen [8:05]
12.
Nun sinkt der Abend [3:51]
13.
Dieser Flecken kommt immer wieder [6:47]
CD 3 [78:41]
Georges BIZET (1838 – 1875)
Carmen:
1. Habanera:
Ja, die Liebe hat bunte Flügel [4:14]
2.
Wenn die Karten einmal bitt’res Unheil künden [3:56]
Jacques OFFENBACH (1819 – 1880)
Hoffmanns Erzählungen:
3. Barcarole:
Schöne Nacht, du Liebesnacht [3:53]
4.
Teuer Engel … Ha, wie in meiner Seel‘ … Teurer Freund, soll ich
glauben … O Gott, mein Herz erliegt auf’s neue [12:13]
Modest MUSSORGSKY (1839 – 1881)
Boris Godunov:
5.
Langweilig ist’s mir … Ach, ehrwürd’ger Vater [10:57]
6.
Dimitri! Zarewitsch … Weiss es, weiss alles [9:42]
Richard STRAUSS (1864 – 1949)
Elektra:
7.
Was willst du? … Ich habe keine guten Nächte [16:35]
Carl ORFF (1895 – 1982)
Antigonae:
8.
O Grab! O Brautbett! Unterirdische Behausung [6:54]
Igor STRAVINSKY (1882 – 1971)
Oedipus Rex:
9.
Non erubescite, reges … Pavesco subito, Iocasta [9:53]
CD 4 [79:12]
Richard WAGNER (1813 – 1883)
Tristan und Isolde:
1.
Weh, ach wehe! dies zu dulden [21:08]
2
. Isolde! Geliebte! – Tristan! Geliebter! …
O sink
hernieder, Nacht der Liebe [17:59]
3.
Lausch, Geliebter! – Lass mich sterben [17:03]
4.
Mild und leise wie er lächelt [7:10]
5.
War Morold dir so wert [9:25]
6.
Mild und leise wie er lächelt [6:16]
CD 5 [78:49]
Richard WAGNER (1813 – 1883)
Tristan und Isolde:
Act one:
1.
Entartet Geschlecht! Unwert der Ahnen [3:38]
2.
Begehrt, Herrin, was ich wünscht … Was schwurt ihr, Frau? … War
Morold dir so wert [10:21]
Act two:
3.
Hörst du sie noch? … Meinst du Herrn Melot? … Dein Werk? O tör’ge
Magd! [12:06]
4.
Isolde! Geliebte! – Tristan! Geliebter! … Was mir so rühmlich
schien [16:00]
5.
O sink hernieder, Nacht der Liebe [4:52]
6.
Einsam wachend in der Nacht [4:29]
7.
Unsre Liebe? Tristans Liebe? … So stürben wir, um ungetrennt … O
ew’ge Nacht, süsse Nacht [12:11]
Act three:
8.
O diese Sonne! … Ich bin’s, ich bin’s, süsser Freund!
[8:18]
9.
Mild und leise wie er lächelt [6:41]
CD 6 [65:09]
Richard WAGNER
Rienzi:
1.
Gerechter Gott [7:29]
Die Walküre:
2.
Siegmund! Sieh auf mich! Erdenluft muss sie noch atmen
[8:20]
3.
War es so schmälich, was ich verbrach … Deinen leichten Sinn lass
dich denn leiten [15:49]
4.
Du zeugtest ein edles Geschlecht [5:51]
5.
Schlimm, fürcht‘ ich, schloss der Streit [5:33]
6.
Als junger Liebe Lust mir verblich … Ein andres ist’s
[9:30]
7.
Doch der Wälsung … O sag! Künde, was soll nun dein Kind
[9:21]
8.
So sah ich Siegvater nie [3:05]
CD 7 [64:15]
Richard WAGNER
Die Walküre: Act one:
1. Prelude [3:43]
2.
Wes Herd dies auch sei, hier muss ich rasten … Ein fremder
Mann [4:42]
3.
Dies Haus und dies Weib sind Hundings Eigen [7:57]
4.
Müd‘ am Herd fand ich den Mann [4:42]
5.
Friedmund darf ich nicht heissen … Wunder und wilde Märe
[2:59]
6.
Ein starkes Jagen auf uns [3:44]
7.
Ein trauriges Kind [3:21]
8.
Ich weiss ein wildes Geschlecht [5:54]
9.
Ein Schwert verhiess mir der Vater [5:24]
10.
Schläfst du, Gast? … Der Männer Sippe sass hier im Saal
[5:29]
11.
Dich, selige Frau, hält nun der Freund [1:18]
12.
Winterstürme wichen dem Wonnemond [3:01]
13.
Du bist der Lenz … O süsseste Wonne [6:39]
14.
Wehwald heisst du fürwahr … Siegmund heiss‘ ich, und Siegmund bin
ich [5:19]
CD 8 [66:03]
Richard WAGNER
Die Walküre: Act two:
1.
Raste nun hier, gönne dir Ruh’ [3:12]
2.
Hinweg! Hinweg! Flieh die Entweihte … Horch, die Hörner
[7:20]
3.
Zauberfest bezähmt ein Schlaf der Heldin Schmerz … Kehrte der Vater
nun heim [4:36]
4.
Wehwald! Wehwald! Steh mir zum Streit … Geh hin, Knecht!
[4:32]
Act three:
5.
Nicht sehre dich Sorge um mich … Lebe, o Weib, um der Liebe Willen
… O hehrstes Wunder [5:31]
Götterdämmerung:
6.
Starke Scheite schichtet mir dort … Mein Erbe nun nehm ich zu eigen
… Fliegt heim, ihr Raben … Grane, mein Ross! [20:10]
Fünf Lieder:
7.
Der Engel [3:16]
8.
Stehe still [3:38]
9.
Im Treibhaus [6:18]
10.
Schmerzen [2:28]
11.
Träume [4:37]
CD 9 [77:15]
Richard WAGNER
Siegfried:
1.
Erwache! Erwache! Heiliges Weib! Sie hört mich nicht … Heil dir,
Sonne [7:49]
2.
O Siegfried! Siegfried! Seliger Held [6:25]
3.
Dort seh ich Grane, mein selig Ross … Kein Gott nahte mir je
[7:33]
4.
Ewig war ich, ewig bin ich [7:14]
5.
Ob jetzt ich dein? [4:47]
Götterdämmerung:
6.
Zu neuen Taten, teurer Helde … Lass ich, Liebste, dich hier
[19:50]
7.
Schweigt eures Jammers jauchzenden Schwall [4:02]
8.
Starke Scheite schichtet mir dort … Mein Erbe nun nehm ich zu
eigen [11:24]
9.
Fliegt heim, ihr Raben … Grane, mein Ross … Zurück vom Ring
[8:02]
CD 10 [61:12]
Richard WAGNER
Parsifal:
1.
Nun sag: nichts weisst du, was ich dich frage … Ich hab eine
Mutter, Herzeleide sie heisst … Den Vaterlosen gebar die Mutter
[7:13]
2.
Herauf! Herauf! Zu mir! … Ach! Ach! Tiefe Nacht … Ho! Ihr
Wächter! [12:37]
3.
Parsifal! Weile! … Dies Alles hab ich nun geträumt? … Ich sah das
Kind an seiner Mutter Brust [9:44]
4.
Wehe! Wehe! Was tat ich? Wo war ich? … Amfortas! Die Wunde!
[14:35]
5.
Grausamer! Fühlst du im Herzen [12:39]
6.
Vergeh, unseliges Weib! [4:11]
