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Les Contes d'Hoffmann
This recording offers a tantalizing glimpse into what must have been a spectacular performance of Les Contes d'Hoffmann at the Vienna State Opera. One can assume the decision to isolate the Antonia act was made by a devoted admirer of Lotte Rysanek—and it's easy to hear why. Rysanek spins ravishing pianissimos reminiscent of her younger sister Leonie and rises to the act's vocal demands with ease, culminating in a thrilling C-sharp at the end of the trio. Waldemar Kmentt, though more reserved in this act, shines in "C'est une chanson d'amour," revealing a burly yet lyrical tenor with surprising delicacy. Gerhard Stolze delivers an over-the-top Franz, providing a welcome moment of comic relief in an otherwise dark act.
Track List
Antonia Act
1. Sie enfloh, die Taube, so minnig
2. Unglücksel'ges Kind, ach, ich zittre für dich!
3. Franz, lass niemand ein von all den Leuten
4. Tag und Nacht vierteil ich mich
5. Franz! hier ist's!
6. Hoffmann!... Antonia!
7. Hörst du es tönen mit süsser Melodie von ferne
8. Niemand hier?
9. Gefahren bannt man ohne Müh
10. Nicht mehr singen!
11. Du wirst nicht mehr singen? Hast du wohl bedacht
12. Antonia!... Himmel!
13. Ach, mein Kind! Meine Tochter! Antonia!
2. Unglücksel'ges Kind, ach, ich zittre für dich!
3. Franz, lass niemand ein von all den Leuten
4. Tag und Nacht vierteil ich mich
5. Franz! hier ist's!
6. Hoffmann!... Antonia!
7. Hörst du es tönen mit süsser Melodie von ferne
8. Niemand hier?
9. Gefahren bannt man ohne Müh
10. Nicht mehr singen!
11. Du wirst nicht mehr singen? Hast du wohl bedacht
12. Antonia!... Himmel!
13. Ach, mein Kind! Meine Tochter! Antonia!
BONUS
14. Je dis, que rien ne m'épouvante
Carmen — Micaëla
Wien, 1975
Carmen — Micaëla
Wien, 1975
Customer Reviews
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4.0
Based on 1 review
✓ Top Reviewer
United States
Would That We Had the Entire Performance!
I understand someone recording only the Antonia Act if they were a Lotte Rysanek fan. All the same I wish that person had recorded the entire performance. I would love to know who else was in the cast that night!Rysanek is a lovely Antonia who shirks no high notes including the top D in the offstage cadenza. She knocks out a great C# at the end of the trio, a note flubbed or left out altogether by a number of other Antonias (including Jessye Norman on the Jeffrey Tate studio recording). Kmentt sings very well as does Guthrie as Crespel. Stolze's Franz is deliciously self-indulgent and Wiener is a capable Miracle (or Mirakel as this is sung in German). Whoever sings the Mother's Voice is also good. Some ragged ensemble lets us know there probably wasn't a lot of rehearsal; Pleyer has his hands full keeping everyone together. The voices are clearly heard and the pitch of the tape is correct.For Lotte Rysanek fans.
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