Lotte Lehmann & Her Legacy: Volume 2

My introduction commentary to this music
Lehmann sings with my commentary on the monolog, words seen above.
Lehmann sings “Kann mich auch…” without commentary. This is taken from the famous 1933 HMV recording of Der Rosenkavalier with Robert Heger conducting. The Pristine Classical label has done the transfer.
Toscanini rehearsing Lehmann in Fidelio
I offer commentary on “Komm, Hoffnung” from Beethoven’s Fidelio
Lehmann sings “Komm, Hoffnung” from Beethoven’s Fidelio without commentary. This aria was recorded in 1927 with Manfred Gurlitt conducting members of the Berlin State Opera Orchestra. Lehmann had just made celebrity status for having sung this role for the Beethoven Centennial.
I provide commentary on Lehmann’s interpretation of Schubert’s “Auflösung”
Lehmann sings Schubert’s “Auflösung.” Paul Ulanowsky was the pianist, remaining unflappable at Lehmann’s wrong entrance. This was not a studio recording where such a thing could be corrected.

Lehmann frequently sang Schumann’s “Nußbaum” (like almost every other Lieder singer). It’s the perfect balance of nature, intimacy, and the advent of love and marriage.

There are three recordings of Lehmann performing “Der Nußbaum.” The 1928 Odeon version is the rare example for the time, of just hearing the Lied as Schumann wrote it, with no salon orchestra accompaniment. The pianist is Hermann Weigert, best known as a conductor. Lehmann’s voice is youthful sounding, but the quick tempo doesn’t allow her to make all of her interpretive choices. Although it’s an electric recording, the piano’s sound is metallic and distracting. It’s an interesting comparison, but not the version that I’ve chosen for the commentary.

Lehmann sings “Der Nußbaum” in 1928.

Lehmann recorded it again in June 1941 for Columbia with Ulanowsky the pianist. It’s a very good recording but I’ve decided not to use it for the commentary which you’ll hear afterwards.

“Der Nußbaum” in 1941

The one they performed for the Fall 1941 CBS radio broadcast series is rhythmically very wayward and the piano sound is not well recorded. Perhaps not believing that the performance would be heard more than the one broadcast, Lehmann and Ulanowsky allow the same impulsiveness and spontaneity that we expect from their live recitals. I delight in providing the commentary for this performance. We are lucky to have two performances recorded within a few months of each other offering history the opportunity to compare and analyze their efforts.

My commentary for Lehmann’s interpretation of Schumann’s “Der Nußbaum.”
Lehmann’s interpretation of Schumann’s “Der Nußbaum” for CBS radio in 1941.