Wagner Operas-Rudolf Schock

September will mark the 100th birthday of Rudolf Schock and in his honor Documents ("Intense Media AG" a German outfit) has issued this box and given Wagnerites a splendid present. Now I have usually ignored most of the invariably "10 CD BOX" issues from Documents as I abhor opera snips or excerpts of any kind (especially Wagner!) And while they have already issued several boxes of this kind containing Schock recordings, this box contain 3 complete operas and 2 interesting fillers.To my knowledge, Schock had no career at all in the USA, but in Germany he was looked upon as something approaching "matinee idol" status with work in both TV and film. We have had no such phenomenon here in the USA. He was active in operetta as well, as are many tenors who sing in Germany (Wunderlich, Gedda, Kollo and Jerusalem also come to mind). His operatic repertoire included both the Italian and German traditions. Indeed, at his passing a German newspaper called him "The German Gigli." Personally, I will always remember him with great fondness for his Wagner roles, Bacchus in ARIADNE and Max in FREISCHUETZ. As to why he didn't do more Wagner, one can only guess. I suppose he didn't want to be pegged as a Wagner tenor, what with so much else going on in his career. It's a pity that Bayreuth called him as late as '59 and only after having done what is in my estimation his greatest work on commercial recordings, his Stolzing in the Kempe/EMI MEISTERSINGER. What a wonderful Parsifal he might have been at Bayreuth in the late 'fifties, far better than the bullish Vinay or Beirer. Oh, well, let us rather be glad at what we do have in this great Documents box.This DUTCHMAN has always been one of the best ever recorded. The casting is almost flawless, except for maybe Schech's matronly Senta. And Dieskau makes up in dramatic sense what he lacks in vocal weight. Interestingly, barely 8 months after this recording was done in Berlin (Feb. '60) EMI/Electrola gathered the same conductor (Konwitschny) and most of the same forces for TANNHAEUSER, but with Hopf in the title role. One can only guess as to why Schock was not there instead.The MEISTERSINGER in this box still stands as one of the very best ever recorded. Here the cast literally is flawless. A great pity that Electorla began recording stereo only a year later (in '57 with Stokowski's brilliant Stravinsky and Karajan's lethargic Bruckner 8) as the '56 mono sound was never anything special even in its day. Indeed, the excerpts from a '59 Bayreuth MEISTERSINGER used as a filler after Act 3 sound less thick and boxy. But this is a glorious MEISTERSINGER from beginning to end, and it's surely my own "desert island" choice.The LOHENGRIN in this box was done by Electrola in Hamburg in '53. It contains the usual cuts in Act 3 and isn't by any means an "also ran" of a performance. Besides Schock, we have a really nasty Ortrud by Klose who's in fairly good voice here toward the end of her career.In addition to the (very well chosen) MEISTERSINGER excerpts described above, the other "bonus" in this box are excerpts from a complete RHEINGOLD also done in Hamburg with Schuechter a year earlier than the LOHENGRIN, in 1952. Now this is one of the best RHEINGOLDS I've ever heard. The cast is splendid, and the sound is amazing. To my ears at least it sounds like genuine (if primitive) stereo. There are real directional effects and a sonic "spread" which are the hallmarks of stereo recording. This was done about 16 months before RCA and DECCA began in '54, but as NDR was then the most prestigious of the German radio networks, I wouldn't be at all surprised if they we working with stereo experimentally. A serious Wagner addict (like myself!) will want this whole recording and it's been on AMAZON from time to time either on MYTO or WALHALL. The selection here is made in such a way to include all of Schock's work from Scenes 2 and 4. Please do not confuse these excerpts with the disc done in '59 with Kempe!The sound in this box is good throughout, given the age and variability of recordings. My copy of DUTCHMAN on Berlin Classics (BC 2097-2) sounds a bit softer and less aggressive that what Documents offers here. My EMI original of MEISTERSINGER (764 154 2) conversely sounds less thick and boxy than it does here. The LOHENGRIN (565 517 2) is a tossup. And I was impressed at how Documents chose the excerpts from both the Bayreuth MEISTERSINGER and the '52 RHEINGOLD. The one disappointment was no putting the entire Act 1 of MEISTERSINGER on a single CD (79:45). SONY Classical (also headquartered in Germany) might borrow a few people from the Documents staff as SONY has pulled some awful blunders, like their Wagner and Verdi bicentenary boxes. I recommend this Documents Schock-Wagner with great enthusiasm. It's a steal!Finally, if you haven't heard Schock's Bacchus in the '54 ARIADNE with Della Casa and Boehm, you must do so. I think it's the greatest thing we have of his fine voice on records.

good deal

In this box set published by Documents or Intense media, which are sub companies of Membran international Ltd, there is Lohengrin recorded 1953, Die Meistersingers von Nurnberg 1956 and Der Fliegende Hollander 1960. Last but not least, scene two and four from Rhinegold. What you may ask has this to do with Schock's Birthday? Rudolf Schock was born on the 4th September 1915, so he would be 100. Also, what better way to celebrate his Birthday then having him singing a role in a complete Wagner opera.SCHOCK (1915-1986)He was a lyric tenor with a warm flexible voice and a strong top voice. At the age of thirty he attracted attention to himself as a singer of Mozart. Perhaps it has something to do with the accidental death of Peter Anders killed in a car accident. He was a tenor with a lyrical voice like Schock, (see Flotow-Martha, Anders and Berger, recorded 1944-Brilliant classics. 2 CDs) that Rudolf took on more demanding roles at the beginning of the 1950's with Kempe, Von Karajan and Keilberth. But in the second half of his career, he was a superstar in Germany, because he sung lighter songs. Whats wrong with that. Opera soprano Caballe sung Barcelona with Freddie Mercury of the group Queen. Schock was touted as the next Tauber, which he was not. However, Tauber thought that Joseph Schmidt had more in common with him. When the Nazi's came to power, Schmidt a Jew and popular singer had to leave Germany. So he and Tauber toured together, Schmidt singing and Tauber conducting. Eventually, Schmidt a small man under 5 ft, died 1942 in a refugee camp in Switzerland aged 38.(The complete EMI recordings Joseph Schmidt)LOHENGRIN: Heinrich Gottlob Frick. Lohengrin Rudolf Schock. Elsa Maud Cunitz. Telramund Josef Metternich. Ortrud Margarete Klose. Chor und Sinfonie orchester des Nordwestdeutschen Rundfunks, Hamburg. Mannerchor des Nordwestdeutschen Rundfunks Koln. Conductor Wilhelm Schuchter. July 5-12, 1953.This is a very fine set from the point of view of the conductor and the singers. Schuchter (1911-1974) can match the anger of Telramund and is capable of tenderness after the wedding of Elsa and Lohengrin. In 1940 the conductor worked under Von Karajan for two years at Aachen, then joined the Berlin state opera. From 1965 he remained artistic director of Dortmund Orchestra and Theater for the rest of his life. He had a hands on approach to recording.Schock's beautiful singing brings forth the romantic at the expense of the spiritual in the role, passion over subtlety; which Lohengrin does invite because of the stunning melodies. Maud Cunitz, whose power in the top register never encourages her to sacrifice tonal beauty, partners Schock well in the love scenes. For Schuchter, Klose's Ortrud brings forth a terrifyingly intense performance in Act 2. Josef Metternich's Telramund is one of the best on CDs. His ruthlessness is projected forcefully. Hermann Uhde in the same part is equally as good in the 1953 Keilberth Bayreuth version. Frick as King Heinrich places authority on the proceedings.There are other versions of this opera. Thomas, Grummer, Fischer-Dieskau, Ludwig and Frick. Wiener Philharmoiker conducted by Rudolf Kempe. Released in 1964. Keilberth's 1953 Bayreuth version with Varnay, Windgassen, Steber and Uhde. Or even the 1943 Met Lohengrin with Melchior, Varnay, Thorborg, Sved, Cordon, Conducted by Leinsdorf. They are very good, but there is always a place for another approach to this opera.DIE MEISTERSINGERS VON NURNBERG:Charles Osbourne the great Australian critic once stated "That Rudolf Kempe (1910-1976) was one of the finest conductors of the post-war years". And why is this so? For example, in this opera there is countless subtleties of phrasing, but there is always a total inevitability, a sort of rightness, that is striking. The lead in, for example, from the prelude to the opening chorus is achieved with naturalness not managed by anyone else. Kempe conducts the Deutschen Staatsoper Berlin. Recorded April 7-19 1956.The cast is a very fine one. Bass baritone, dark toned Ferdinand Franz, his Sachs, a commanding figure who captures the man's humour. He was married to Helena Braun, Isolde in the opera Tristan und Isolde. Chor und Orchester der Bayerischen Staatsoper, conductor Hans Knappertsbusch. Live recording 1950. Gerhard Unger in his time had few equals as David. Frick brings nobility to Pogner. Schock is a melodic, light, Stolzing and gives the finest of his performances. Benno Kusche, an excellent Beckmeister. Eva Elisabeth Grummer is a singer that weaves a spell of beauty and is obviously a favourite of Kempe. She is cast in the EMI recording of Lohengrin. This is a classic set, as the cast has no weak links. Also, there is a clarity and sharpness of focus with the voices. This recording is worth more then the cost of this set.BONUS: Erich Leinsdorf conducts the Orchester der Bayreuther Festspiele. August 6, 1959. Am stillen Herd. (Otto Wiener, Toni Blankenheim, Wachter, Georg Paskuda). Fanget an! Da ist er! Geliebter, spare den zorn.( Grummer, Schartel, Donald Bell). Gruss Gott, mein Junker/ Morgenlich lechtend/ Das neen ich mir einen Abgegang (Otto Wiener). Die selige Morgentraum Deutweise/ Selig wie die onne. (Otto Wiener, grummer, Schartel, Gerhard Stolze)DER FLIGENDE HOLLANDER:Daland Gottlob Frick, Senta Marianne Schech, Erik Rudolf Schock, Mary Sieglinde Wagner, Steurmann Fritz Wunderlich, Hollander Dietrich Fischer-Dieskau. Deutschen Staatsoper Berlin, conductor Franz Konwitschny (1901-1962). He played in the Leipzig Gewandhaus Orchestra under Wilhelm Furtwangler. Until his death he was principal conductor of the Leipzig Gewandhaus orch. From 1955 onwards he led the Berlin State opera. Like Furtwangler, Konwitschny used expansive gestures and like him hated directness. Recorded February 15-20 1960. This recording sounds like it is stereo.This opera is swiftly conducted by Konwitschny and magnificently played by the EAST Berlin State orchestra.(Remember East Berlin and the wall) Frick is a superb Daland. This is a fine interpretation of the Dutchman by Fischer- Dieskau who is obviously influenced by his Lieder singing. This is a masterly account and projected with power. Schech is marvellous as Senta and Schock is good as Erik. I can throughly recommend this opera. Is it better then the Classic 1955 Keilberth Bayreuth live recording with Varnay and Uhde?. This Konwitschny recording is different thats all, and should be placed beside the great 1955 Keilberth recording.DAS RHEINGOLD: Scene 2 and Scene 4. (Excerpts)Wotan Franz, Fricka Res Fischer, Freia Lore Hoffmann, Froh Rudolf Schock, Donner Metternich, Loge Windgassen, Erda Res Fischer, Fasolt, Frick, Fafner, Greindl. Sinonieorchestra des Nordwestdeutschen rundfunks, Hamburg. Cond Schuchter. October 7th 1952. These Rhinegold excerpts makes one wonder what he would have done with a complete Ring cycle for it sounds interesting. I own many Ring cycles, and my favourites are the 1953 Keilberth Ring cycle with Modl and Hotter. The Rome Ring conducted by Furtwangler with Modl, and the Old Testament of Wagner Ring cycles the 1926- 1932 Vol 1 & 2.Released by Gala. London Symphony orchestra conducted by Albert Coates.( who conducted at the fast speeds that Wagner wanted.) Orchester der Berliner Staatsoper Cond Leo Blech. With singers Walter Widdop, Gota Ljungberg, Friederich Schorr, Frida Leider, Emmi Leitner & Melchior. What a cast.THE BOX SET is made of tough cardboard with the lip opening backwards. The sleeves are made of cardboard. On the top there is a big CD number. Each opera has one CD sleeve with the cast and singers. On the back the track numbers and arias. The colour of the sleeves are a light grey, with a blue tinge, thus no original covers. The CDs are white with the opera's name and the CD number. No translations, CD ROM or booklet. The sound is excellent, ADD. According to EMI this means " analogue tape recorder used during session recording, digital tape recorder used during subsequent mixing &/or editing and during mastering (transcription).I hope you enjoy this set as much as I have.VOTES: 2 out of 3. USA and Brit Amazon did not replace my votes during the Change. Brit amazon refuses to do anything about it.

A birthday present commemorating Rudolf Schock but WE are the beneficiaries, here! Included is Rudolf Kempe's sublime 1956 Meistersinger, in many ways the finest ever recorded: although ti should have been recorded in stereo, the mono sound is full and rich and the voice are balanced in from of the orchestra. This is a magical recording and if you're any kind of Wagner lover, you need to own it: it's worth the modest outlay on its own. But we also get Konwitschny's highly recommendable version of Der Fliegende Hollander, in very atmospheric stern sound and a very fine radio recording of Lohengrin (in full and clear mono) from 1952 and the Froh scenes from Das Rheingold from a radio broadcast of similar provenance. Ten excellent discs, ranging from the very good to the absolutely essential. You need not hesitate before clicking 'Buy'.

wonderful

Gran calidad en las voces, maravilloso sonido remasterizado y limpias grabaciones. De la mejor calidad de grabaciobes de la edad de oro de los años 50.

Ce coffret comprend l'intégrale d'une des versions de référence des "Maîtres chanteurs" (Kempe). Cela suffit à justifier son acquisition. Et comme il propose en plus une intégrale du Vaisseau Fantôme avec Fischer-Dieskau, c'est le bonheur...