1938 MEISTERSINGER ACT III DRESDEN RALF TESCHEMACHER NISSEN Karl Boehm Bohm 78

$

30

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I am currently selling a series of great Richard Wagner and classic European 78 rpm orchestral recordings on all the great European labels:

These two volumes come from an East Coast collection which is famous for having the finest and quietest pressings

This 1938 COMPLETE RECORDING of

ACT III (Festwiese) of Wagner's MEISTERSINGER von NUREMBERG

is the last complete opera set commercially recorded in Germany before the war.

Hear Wagner's own orchestra, his magic harp, the DRESDEN STAATSKAPELLE in Gottfried Sempers famous Dresden Court Opera House before it perished in the terrible firestorm of February 13 1945

Superb Swedish Tenor Torsten Ralf

(who also recorded the complete 3rd Act 1938 with Karl Boehm in Dresden, his Scenes from Otello with Tiana Lemnitz, issued on Victor are devastatingly Beautiful), great Sachs Herman Nissen and Eva Margarethe Teschemacher  here in a star studded performance at with Karl Boehm conducting.

 Die Meistersinger von Nürnberg: Act 3  (111:12)   

   Composer   Richard Wagner (1813 - 1883)
   Conductor   Karl Bohm
   Performer  

Hans Hermann Nissen (Baritone - Hans Sachs)
Eugen Fuchs (Bass - Beckmesser)
Torsten Ralf (Tenor - Stolzing)
Margarete Teschemacher (Soprano - Eva)
Helena Jung (Alto - Magdalene)
Martin Kremer (Tenor - David)
Sven Nilsson (Bass - Veit Pogner)
Rudolf Dittrich (Tenor - Kunz Vogelgesang)
Hans Lange (Tenor - Augustin Moser)
Hermann Greiner (Baritone - Hans Schwarz)
Sergei Smirnov (Bass - Hans Folz)
Rudolf Schmalnauer (Baritone - Hermann Ortel)
Ludwig Eybisch (Tenor - Balthasar Zorn)
Robert Bussel (Baritone - Konrad Nachtigall)
Klaus Hermanns (Tenor - Ulrich Eisslinger)
Arno Schellenberg (Baritone - Fritz Kothner)
   Genre   Opera / Romantic Period
   Date Written   1862-1867
   Ensemble   Dresden Staatskapelle 
      Language   German
   Country   Germany 
  
   Venue   State Opera House, Dresden, Germany
   Recording Date   1938

Original issue lyre style albums, very quiet pre war gold circle label records
Complete issue on 15 x 12" Victor 78 rpm records in two albums M 537 & 538 and notes

Condition: Excellent, close to pristine, possibly unplayed, plays exceptionally quiet rare ticks

Albums like new, 537 has a small tear top of spine

A CHOICE COPY

A review of THIS recording:

This set is self-recommending for the 'Meistersinger' fanatic (and I'm one). It is with some of the leading singers of the day -- some of them great singers, all of them at the very least more than competent -- with one of Germany's great orchestras, the Dresden Staatskapelle and with a great Wagnerian, Karl B_hm, at the helm. Böhm went on to record the entire opera as late as 1968 and certainly had conducted it many times even at this early date when he was already forty-four and an acknowledged master. The recording technique was advanced for its time, amazingly so when one considers the requirements of recording the huge orchestra and chorus as well as the soloists. The recording, originally issued in a double-album of fifteen double-sided discs on the Electrola label, became famous in its day and with good reason. This is, with all acknowledgement to Böhm, his orchestra and chorus, due primarily to the masterly performances by the leading singers. I will not hesitate in saying that Hans Hermann Nissen is one of the greatest portrayers of Hans Sachs I've ever heard. He sounds masculine, wise, and in the scene with Eva has yet the air of a man hesitatingly in love. His rounded bass-baritone has particular appeal. Margarete Teschemacher was simply one of the great Wagnerian lyric sopranos of her time and her Eva is endearingly sung (and thrillingly -- her opening lines in the great quintet 'Wie selig die Sonne' cause goosebumps). Torsten Ralf makes a great Walther von Stolzing with just the right amount of young man's ardor coupled with bearing of a knight. He has a baritonal, burnished, sweet yet clarion tenor. In the opening scene of the act, Martin Kremer's David is attractive, bumptious, credulous -- in a word, a marvelous apprentice. Eugen Fuchs makes a marvelous Beckmesser, singing rather than barking the role as so many Beckmessers do. One actually feels a bit sorry for him; he is, after all, more than a caricature, at least in this performance. As for individual highlights, Sachs's 'Wahn, _berall Wahn' is noble and moving as he is in his final peroration. Ralf's 'Preislied' (as well as its early appearances) is sensational.

Böhm's management of the sometimes difficult tempo adjustments and dynamics is above reproach. It is, for me, actually more 'right' than his much later complete recording of the opera, and certainly the singers are better on the whole. The Dresden Staatsoper choir is marvelous in its significant contributions (the entry of the masters, and of the apprentices and in the great 'Wach-auf' chorus leading into the final scene). The same can be said for the orchestra. Even with this relatively primitive sound -- and it's actually quite good for its era -- one can hear silken strings, glorious burnished brass and perky winds in proper balance for all it being in mono sound.

Scott Morrison

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