1932 MARIA IVOGUEN Rich Strauss ARIADNE ZERBINETTA 78

$

35

A series of great early Opera performances: From 1902 G&Ts to 40s wartime German records:

Maria Ivogün
This is another Island record - by many regarded the greatest characterization of the flirtatious (and technically gruelling) Arie Der Zerbinetta

Although Maria Ivogün is not well known to current opera lovers (in the US) she continues to be highly esteemed by critics and professionals. During her singing career, Richard Strauss and Bruno Walter held her in high regard. In his recently published book, Singers of the Century , J. B. Steane devotes an entire chapter to her. The recording companies, Nimbus and Preiser both have CDs solely devoted to her . She is also included on several of the compiled historical vocal recordings by Nimbus. However it was on Kolodan's old LP A Critic's Choice that I heard her for the first time as a teenager. I was immediately captivated by her voice.

When asked recently about who possessed "the most beautiful voice," I remembered Ivogün's voice even though I hadn't listened to a recording done by her in over twenty years.

One of the most exciting of German high sopranos, and the unforgettable Zerbinetta of Ariadne:

The best of the Best: The Definitive 1932 recording of
Rezitativ und Arie der Zerbinetta from Richard Strauss ARIADNE AUF NAXOS compl 1&2
Berlin State Opera Orch Leo Blech

12" 78 rpm record

Condition:

EXCELLENT unworn and shine, few small rubs, three short light scratches

Maria Ivogün
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Maria Ivogün (18 November 1891, Budapest - 3 October 1987, Beatenberg, Switzerland) was a distinguished soprano singer of Hungarian origin. She was especially an outstanding interpreter of the works of Mozart: her recording of the aria of the Queen of the Night (Die Zauberflöte) became legendary.

Biography and artistic career
Maria Ivogün was born Ilse Kempner. Her father was the Austro-Hungarian Colonel Pál Kempner. She created her professional name by contracting the maiden name of her mother, the Austrian operetta singer Ida von Günther. Probably through the second marriage of her mother to a Swiss man, she spent the greater part of her childhood and youth in Zürich. From 1909 (other sources say since 1907) she began to study singing at the Music Academy in Vienna with Irene Schlemmer-Ambros, and theatre with Professors Frauscher and Stoll.

When the young soprano sang in 1913 at the Vienna Hofoper, she was overlooked. However the house conductor there, Bruno Walter recognised her outstanding talent and engaged the artist for his new workplace at the Royal Hofoper in Munich. She gave her debut in Munich in the role of Mimi in Puccini's La bohème. Three years later, in 1916, she sang the Zerbinetta in the re-worked version of Ariadne auf Naxos in Vienna at the express wish of the composer Richard Strauss. In the same year she replaced an indisposed singer as Queen of the Night in Mozart's Die Zauberflöte, a role for which Maria Ivogün was very highly regarded and with which she laid the foundation of her success.

By 1916 Ivogün was reckoned among the best female singers in Europe and had roles in operas such as Fidelio (Marzelline), Così fan tutte, Le nozze di Figaro and many others. Moreover she became well known as Zerbinetta in Richard Strauss’ Ariadne auf Naxos.

In 1917 the title of Royal Bavarian Kammersängerin was bestowed upon her. In the same year she sang the boy-role of Ighino in the original production of Hans Pfitzner's Palestrina opposite the tenor Karl Erb in the title-role, whom she married in 1921. As artists, with their style of singing, the couple excited the press and the public to frenetic storms of enthusiasm.

In two further important original productions in Munich, Ivogün took on leading roles: in Der Ring des Polykrates of the then barely 19-year-old Erich Wolfgang Korngold (1st performance 28 March 1916) she sang Laura, and in Walter Braunfels’s Die Vögel (1st performance 4 December 1920) she took the part of the Nightingale. In the theatrical season of 1925/1926 the singer, whose artistic name was taken from the opening syllables of her mother's maiden name, followed Bruno Walter to the State Opera in Berlin. She remained there as a member of the regular company until 1932.

In 1932 Maria Ivogün was divorced from Karl Erb, and in 1933 she married their pianist-accompanist Michael Raucheisen.

The highly celebrated soprano made countless concert-tours and guest opera appearances both within Germany and beyond. She appeared above all at La Scala, Milan, the Vienna State Opera, Covent Garden, London, the Chicago Opera and at the Metropolitan Opera New York. When she fell ill with an eye-illness she ended her operatic career in 1932 and in 1934 her career as a singer of lieder.

From 1948 to 1950 Maria Ivogün taught at the Music High School in Vienna, and finally she became professor at the Hochschule in Berlin.

She spent her twilight years in Switzerland, virtually blind. The singer's last resting place was at the side of her second husband Michael Raucheisen in the city cemetery of Rain, Switzerland.

[edit] Work
The soprano Maria Ivogün is considered today to have been one of the best and most distinguished female opera singers of the twentieth century. In the period between the two world wars she gave very good account of operatic standards in Germany, through the whole of Europe. Very many recorded performances (also with the Erb, her first husband) are to be included among her artistic achievements.

Maria Ivogün worked as the teacher and mentor of many distinguished female singers of opera and entertainment music. Among her students are numbered above all the opera singers Elisabeth Schwarzkopf, Rita Streich, Renate Holm and Helga Kosta. But also the theatrical singer Gitta Lind, much loved in the 1950s, was her student.

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A note to grading Victrola/ Pathe/ Shellac 78 rpm discs:

Pls note that I try to be careful and consistent in my grading. All records are graded with the same criteria, regardless of genre.

My grading should give you a good idea how the record you receive will look like.

Surface VISUAL GRADING:

EXCELLENT - clean and shiny, as new. E minus is the same, with some scuffing.

Very Good Plus - Clean, with a little more scuffing. Some grooves spots may have some light greying. Little if any distortion.

Very Good - a clean copy, some scuffing, some greying on some grooves or a few small groove bands. Enjoyable record, maybe light distortion on some top notes.

=> Everything up to here is a great and enjoyable record

Very Good Minus - May have areas of visible wear, may have  scuffing or dulled surface. Still a great record, but ticks, pops and some distortion.

Good Plus - a worn and scuffed copy. May have other defects separately stated. Plays well, but with noise, may require filtering.

All other defects (if any: Chips, cracks, scratches, lamination cracks, label damage, needle digs) will be stated SEPARATELY. "BUT" means that they are significant. "Faint" usually does not sound.

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 ( Edison Diamond Discs count as TWO RECORDS)

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