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Thread: Recordings Canceled or Modified...

  1. #46
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    Some remarks about the mentioned Rosenkavalier recordings on the first page:

    - Karajan wanted Rita Streich and Irmgard Seefried for his first recording (like in Ariadne), but Legge preferred Christa Ludwig as Octavian and Streich was ill or pregnant and had to be replaced by Teresa Stich-Randall.
    - Both then sang in the 1958 Böhm recording from Dresden. The planned Marschallin was Leonie Rysanek. I think Della Casa was asked as replacement first (but Decca didn't let her go), then Schech. Both stories are told by Thomas Voigt in the booklet of the Böhm recording.
    Last edited by alanmichael1; Jan-05-2018 at 20:25.

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  3. #47
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    Some non-opera recordings would be a cancelled recording by RCA of Fritz Reiner conducting The Rite of Spring due to Reiner`s ill health.Reiner recorded Brahms 4th Symphony with the RPO for Reader`s Digest,but these same sessions were to include him conducting the 5th Symphony of Tchaikovsky but, once again,ill health intervened sending him and his wife back to the States.Jascha Horenstein ended up recording the work.Sir Adrian Boult recorded The Planets by Holst with the London Philharmonic in digital but there was a glitch of some sort forcing EMI to go with the analogue version.Boult would be the only musician ever to record both in acoustical(1920)and digital(though aborted)medium.
    Last edited by brahms4; Jan-05-2018 at 21:16.

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  5. #48
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    Quote Originally Posted by alanmichael1 View Post
    Some remarks about the mentioned Rosenkavalier recordings on the first page:

    - Karajan wanted Rita Streich and Irmgard Seefried for his first recording (like in Ariadne), but Legge preferred Christa Ludwig as Octavian and Streich was ill or pregnant and had to be replaced by Teresa Stich-Randall.
    - Both then sang in the 1958 Böhm recording from Dresden. The planned Marschallin was Leonie Rysanek. I think Della Casa was asked as replacement first (but Decca didn't let her go), then Schech. Both stories are told by Thomas Voigt in the booklet of the Böhm recording.
    There is a live recording of Karajan with Jurinac and Della Casa

  6. #49
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    Yes, the wonderful 1960 broadcast from Salzburg - but Jurinac sings Octavian. As far as I can see, she never sang Sophie (as suggested on page 1), but changed from Octavian to Marschallin in 1966.

    Another modified recording is Kubelik's 1985 Don Giovanni. German press reported that both Don Giovanni Bernd Weikl and Don Ottavio Vinson Cole fell ill and had to be replaced by Alan Titus and Thomas Moser. The result is nevertheless great.

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    Quote Originally Posted by Becca View Post
    I don't know about a full Ring but there is a recording of act 1 of Walkure and the last scene from act 3. Klemperer was not able to do all the rehearsing for it so Reginald Goodall was asked to prepare it, which he did for a nominal fee. It is interesting that Klemperer considered Goodall as an acceptable 'assistant'!
    It's interesting that people think Klemperer was a great conductor.
    Last edited by gellio; Jan-08-2018 at 00:51.

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    Quote Originally Posted by gellio View Post
    It's interesting that people think Klemperer was a great conductor.
    I must admit, Mahler's : Das Lied von der Erde is stunning.

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    Quote Originally Posted by Pugg View Post
    I must admit, Mahler's : Das Lied von der Erde is stunning.
    Yes despite some slow tempi

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    Quote Originally Posted by nina foresti View Post
    I could have sworn there was an "Otello" planned for Corelli but never made.
    The Barbirolli recording for EMI: Originally conceived for Corelli & Caballé (Then replaced with McCracken and Jones)

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  13. #54
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    http://listserv.bccls.org/cgi-bin/wa...&F=&S=&P=45222


    Decca had a project, from which the roles were already assigned. The recording of "Les Huguenots" (Gli ugonotti) with Sutherland-Corelli-Tebaldi-Ghiaurov and Marilyn Horne with Georg Solti conducting. Tebaldi had gone to La Scala specifically to attend the rehearsals and better understand the role of Valentina in the revival of 1962 with Sutherland-Corelli-Simionato.The recording was going to be made in 1963-64, then the recording was suspended because Tebaldi had canceled all her commitments , schedule for 1963. Finally the recording was made in 1969 with Sutherland- Arroyo-Anastasios Vrenios- Ghiuselev-Bacquier.

    Does anyone know if it's true? It is the first time that I find that information.

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  15. #55
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    Quote Originally Posted by The Wolf View Post
    http://listserv.bccls.org/cgi-bin/wa...&F=&S=&P=45222





    Does anyone know if it's true? It is the first time that I find that information.
    I read the same post over there, we shall never know as all participants are gone.

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  17. #56
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    Quote Originally Posted by Pugg View Post
    I read the same post over there, we shall never know as all participants are gone.
    Double, double sadness, that they have all gone and that Corelli and Tebaldi didn't end up in the recording (why didn't they replace Tebaldi with Simionato if that story is true?) Although I like Arroyo in the studio recording.

    N.

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    Quote Originally Posted by The Conte View Post
    Double, double sadness, that they have all gone and that Corelli and Tebaldi didn't end up in the recording (why didn't they replace Tebaldi with Simionato if that story is true?) Although I like Arroyo in the studio recording.

    N.
    It seems to me that the studio recording of Les Huguenots which was made by Bonynge et al is a pretty unhappy solution given the options available during the period.

    If we hypothetically take it as granted that Joan Sutherland head the cast, it seems to me there were several ways of casting the opera that would have better reflected Decca's strengths.

    A recording of Gli Ugonotti with blood-and-thunder Italianate casting could have included Decca artists such as Corelli (or later Pavarotti or Aragall), a choice of baritones such as Bastianini, Taddei, Panerai or Gobbi and the lower voices of Siepi, Tozzi, Corena. Tebaldi would indeed be starry casting. Simionato and Cerquetti were also around depending on the dates. Gavazzeni (who conducted the opera at La Scala) also recorded for Decca as did Serafin who taped it for RAI.

    Alternatively there is the casting described above which presumably would also be an Italian language version given Tebaldi's reluctance to sing other languages? It is perhaps less idiomatic but Horne and Ghiaurov jump out among Decca artists and other international casting could include Fischer-Dieskau who appeared contemporaneously in Solti's Don Carlos. Presumably this would be based around Covent Garden given Solti's leadership?

    The French-language version chosen by Bonynge is the first difficulty since during this period Decca's recordings are not always notable for their authentic style with such international casts as Resnik, Del Monaco, Sutherland and Krause in Carmen and Corelli/Sutherland/Ghiaurov in Faust. It is plausible that a large-voiced French-language version with powerhouses like Crespin or Gorr could have been fielded which would, like the aforementioned sets, make up in thrills the lack of some graces. Like the others, perhaps a Swiss orchestra and chorus could have been used.

    As it was, the French-language version as taped by Bonynge is sometimes low in thrills and the results can be smaller scale such as the Raoul of Vrenios. At the same time, the singing rarely has the spark of such characterful singers as Gedda, Kraus, Vanzo, Callas, de Los Angeles, Blanc, Christoff who were usually signed by other labels. It also did not have a French orchestra or chorus but the New Philharmonic and Ambrosian chorus were electrifying in different circumstances with Muti in Macbeth on EMI so it remains to be seen why the result is so studio-bound...

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    Giulini replaced klemperer in the 1959 Don Giovanni. There is a also an interview with Berit Lindholm in which she says she was asked by Karajan to record Brunnhilde in Siegfried and Gotterdammerung.

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    Rysanek and G. Jones were not replaced by Nilsson, but by Marie Collier as Chrysothemis. btw i think Lindholm was also considered for that part since she had a great success in it when she sang it opposite Nilsson's first Elektra in Stockholm.
    Eva Marton was asked by Solti to record the Farberin in 1989 but had to turn it down and was replaced by Behrens. Tennstedt started recording Elektra with Vinzing in the title role and Marton as her sister but production was stopped because Tennstedt feld the two soprano's should switch roles.

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    Klemperer wanted to record just Die Walkure with Silja as Brunni and Baker as Fricka but because of his age EMI persuaded him to record Cosi fan tutte. It's all described in the booklet that goes with the cd that has the first act.

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