This section contains a mixture of private recordings of live performances, “air-checks”, tapes of radio and tv performances, film and video documentation of Lehmann’s work. The dating is often only approximate (especially with radio broadcasts which may have been recorded and broadcast later) and the contents, especially of the master-classes, is open to conjecture. Also with master-classes, how much is there of Lehmann “demonstrating” and teaching, and how much of students’ efforts? She usually introduces the aria by telling some of the story; she recites the Lied in English. During the class she interrupts to make suggestions & comments. If no LP format exists, there follows a possible location of an acetate, tape or cassette. The Lotte Lehmann Archive at UCSB has many listings unless another location is indicated.
In the non-commercial section, unless otherwise stated, the speaking is in English. The location of unique items not held by the University of California at Santa Barbara, (if not 78s, then as LPs or tapes), will be evident in the listing.
422 TANNHÄUSER: Dich teure Halle (Wagner); 1 Nov. ’30; Chicago Opera Company; with Paul Althouse, Hans Nisson; c. Egon Pollak; opening of act 2; LP: 31; poor sound.
422.1 ANDRÉ CHÉNIER: “Ich war verlassen”; (Giordano); 4 Apr ’33; Vienna State Opera Orchestra; c. Robert Heger; CD: 3-1462-2; Koch Wiener Staatsoper Live; Vol. 12.
422.2 DIE WALKÜRE: excerpts from Acts 1, 2 & 3; (Wagner); 14 Sep ’33; Vienna State Opera Orchestra; with Friedrich Schorr, Franz Völker, Maria Jeritza; c. Clemens Krauss; CD: 3-1462-2; Koch Wiener Staatsoper Live; Vol. 12.
422.3 TANNHÄUSER: excerpts from Act 2; 25 Sep ’33; (Wagner); Vienna State Opera Orchestra; with Josef Kalenberg, Richard Mayr, Friedrich Schorr; c. Robert Heger; CD: 3-1462-2; Koch Wiener Staatsoper Live; Vol. 12.
423 Broadcast: FIDELIO: Komm Hoffnung (Beethoven); TANNHÄUSER: Dich teure Halle; 11 Feb. ’34; General Motors Symphony Orchestra; c. Arturo Toscanini broadcast on “Cadillac Hour”; Broadcast; LP: none; Rodgers & Hammerstein Record Sound Archive is supposed to have the complete Toscanini recordings, but as of October 2000 we have been unable to locate it.
424 TANNHÄUSER: 24 Feb. ’34; Metropolitan Opera; Melchior, Olszewska, Ludwig Hoffmann, Hans Clemens; c. Artur Bodanzky; broadcast by American Tobacco Co. (Lucky Strike); LP: none; CD:
425 OTHELLO: excerpts: act 1 duet, act 4 Willow Song & Ave Maria; (Verdi); 1 Jun. ’35; Vienna State Opera Orchestra with Gotthelf Pistor; c. Walter; J.: c. Victor de Sabata; LP: none; UCSB: fragments, poor sound.
426 FIDELIO: act 1 (to end of Komm Hoffnung) (Beethoven); 16 Aug. ’36 (sic) (this listing is out of chronological order); Vienna Philharmonic at Salzburg; with Alfred Jerger, Anton Baumann; Luise Helletsgruber; c. Toscanini; LP: 76 (shortwave noise.) CD: The Radio Years RY 70 (includes only the Aubschelicher)
427 DIE MEISTERSINGER: Act 3 Quintet (Wagner); 20 Sep. ’35; with Kerstin Thorborg, Eyvind Laholm, William Wernigk, Ludwig Hofmann; Vienna State Opera Orchestra; c. Felix Weingartner; LP: 87; “Jerum! Jerum!…O Eva, hör mein’ Klageruf” as well as the Act 3 Quintet on CD: 3-1462-2; Koch Wiener Staatsoper Live; Vol. 12.
428 Broadcast: a)LOHENGRIN: Einsam in trüben Tagen (Wagner) b)Wiegenlied (R. Strauss); 24 Nov. ’35; RCA Magic Key; NBC Orchestra; c. Frank Black; LP: none; LOC; Since this isn’t a recording made to fit onto a limited 78rpm format, we hear the orchestra introduction and a measured performance by Lehmann of the LOHENGRIN aria. Though there’s surface noise, the dynamic range is well captured, as is Lehmann’s dramatic nuance; As part of the introduction of the Lied, the announcer quotes someone: “It was for such singers as Lotte Lehmann that Lieder were written.” The Strauss suffers because of the orchestra accompaniment. Lehmann takes a breath before the last not “singt” and there’s a break in the recording before the last verse.Still, it’s the only Lehmann performance of this Lied that we have.
428.1 LOHENGRIN: (Wagner); 21 Dec. ’35; Metropolitan Opera broadcast with Lauritz Melchior, Marjorie Lawrence, Emanuel List, Friedrich Schorr; c. Artur Bodanzky; sound quality of original acetates varies; LP: none; CD???
429 DER ROSENKAVALIER: excerpts from Acts 1, 2 & 3; (R. Strauss); 22 Apr.’36; Vienna State Opera Orchestra; Elisabeth Schumann, Eva Hadrabova, Berthold Sterneck; c. Hans Knappersbusch; Belvedere LP 76.23589; CD: Koch Wiener Staatsoper Live; Vol. 12; 3-1462-2
430 Broadcast (contents unknown); 27 Feb. ’36 (sic) (this listing is out of chronological order); Kraft Phoenix Cheese Corp.; LP: none; existence ?.
431 DIE MEISTERSINGER: act 1 (Wagner); 8 Aug. ’36; Vienna Philharmonic at Salzburg; with Kerstin Thorborg, Hans Hermann Nissen, Charles Kullmann, Hermann Wiedemann, Anton Dermota, Richard Sallaba; c.Toscanini; LP: 78 (shortwave noise and, since it’s only act 1, there’s not a lot of Lehmann.)
See 426 FIDELIO: act 1 (to end of Komm Hoffnung) (Beethoven); 16 Aug. ’36
432 Broadcast (contents unknown); 26 Nov. ’36; (not listed in chronological order); Kraft Phoenix Cheese Corp. “Kraft Music Hall”; LP: none; existence ?.
433 DIE WALKÜRE: act 2 (Wagner); 13 Nov. ’36; San Francisco Opera Orchestra; with Kirsten Flagstad, Friedrich Schorr, Lauritz Melchior, Emanuel List, Kathryn Meisle; c. Fritz Reiner; LP: 28 & CD: Legato Classics LCD 133-1.
434 Broadcast 10 Jan. ’37; RCA Magic Key; LOHENGRIN: Du Aermste kannst wohl nie ermessen (Wagner); Romance (arranged for soprano & piano) (Rubinstein) (Eng.); p. Balogh; NBC Orchestra; c. Black; LP: none; LOC
434.1 Broadcast interview (fragment): Jul ’37 with a Mr. Moses in Australia; Lehmann speaks of her wonderful times there, the book she hopes to write (based on her diaries of her Australian tours) called: “Singing ‘Neath the Southern Cross,” Moses asks about the animals that she has met and she replies that she isn’t allowed to take home any live ones but has been given many stuffed ones; she also speaks of the Salzburg Festival and the upcoming MARRIAGE OF FIGARO in which she will sing the role of the Countess (in Italian) with Pinza as Figaro. As it happens she didn’t sing this role at Salzburg.
435 Broadcast interview on “Let’s Talk It Over”; 30 Dec. ’37; NBC radio; Lehmann discusses her art & recent book: “Eternal Flight”; plans for the next Salzburg Festival (which were never realized); etc. LP: none;
436 Lieder recital; 18 Jan. ’38; Town Hall, New York City; p.Paul Ulanowsky.; LP: 77; (Wolf unless noted); a)Kennst du das Land b)Frühling übers Jahr c)Und willst du deinen Liebsten sterben sehen d)Wenn du, mein Liebster steigst zum Himmel auf e)Verborgenheit f)In der Frühe g)Auch kleine Dinge h)Der Knabe und das Immlein (repeated) i)Peregrina I j)Er ist’s (Schumann) (encore) k)Storchenbotschaft (encore) l)An eine Äolsharfe m) In dem Schatten meiner Locken n)Gebet o)Nun lass uns Frieden schliessen p)Der Gärtner q)Ständchen (R. Strauss) (encore) r)Therese (Brahms) (encore) s)Auf ein altes Bild t) Du denkst mit einem Fädchen mich zu fangen (repeated) u)Heimweh v)Schweig einmal still w)Ich hab’ in Penna x)Zueignung (R. Strauss) (encore) y)Heimkehr vom Feste (Blech) (encore) z)Vergebliches Ständchen (Brahms) (encore); aa)Anakreons Grab from this recital not on LP, only acetate at UCSB.
437 Broadcast (discussing the role of Marschallin); 5 Feb. ’38 Met. Opera Intermission Feature; LP: none.
438 DER ROSENKAVALIER: complete (R. Strauss); 5 Feb. ’38 Metropolitan Opera Orch.; with Emanuel List, Kerstin Thorborg, Friedrich Schorr; Susanne Fisher, Doris Doe, Angelo Bada; c. Artur Bodanzky; LP: 33 (poor sound.)
439 Broadcast (contents unknown); 24 Feb. ’38; Kraft Phoenix Cheese Corp.; LP: none; existence ?.
440 Broadcast: 3 Apr. ’38 a)TOSCA: Vissi d’arte (It.) (Puccini) b)Zueignung c)Traum durch die Dämmerung d) Ständchen (R. Strauss); “Army Salute Day” (General Malin Craig of the Joint Chiefs of Staff was Lehmann’s?co-star!) on RCA Magic Key; WJZ was the key radio station of NBC-Blue; NBC Orchestra; c. Frank Black; LP: 7. Note: a) & b) listed above are correct, but from listening to the broadcast it is apparent that: c) Das Maedchen spricht (Brahms); d) Wiegenlied (Schubert); e) Gretel (Pfitzner) were broadcast on this date and all accompanied at the piano by Erno Balogh; LP: 7 and EJS 425
441 Broadcast: reading excerpts from her book Eternal Flight; 13 Apr. ’38; WHN. Interview of Lehmann by Dorothy Arnold as part of a literature course for N Y University; Lehmann speaks of how writing has calmed her after a performance; this novel isn’t autobiographical, the opera singer in the book wasn’t planned and Lehmann has kept her quite different from herself; some of the descriptions of locations were taken from her experiences in Austria, etc.; the dramatization which follows the interview does not include Lehmann, although she narrates a portion of the story.
442 Broadcast (contents unknown); 8 Sep. ’38; Kraft Phoenix Cheese Corp.; LP: none; existence ?.
443 Broadcast (contents unknown); 2 Oct. ’38; RCA Magic Key; NBC Orch.; c. Black; LP: none; LOC.
444 DER ROSENKAVALIER: complete (R. Strauss); 7 Jan. ’39; Metropolitan Opera; with Emanuel List, Risë Stevens, Marita Farell, Friedrich Schorr, Doris Doe, Karl Laufkoetter, Dorothea Manski ???; c. Artur Bodansky; LP: 39.
445 Broadcast (contents unknown); 17 Aug. ’39; Kraft Music Hall; existence ?.
446 Broadcast: 18 Sep. ’39; None but the Lonely Heart (Tchaikovsky) (Eng.); The Star (James Rogers) (Eng.); Ungeduld (Schubert) (Ger.); This doesn’t sound great with an under-rehearsed orchestra; Lehmann sings 3 verses; NBC Orchestra called the Victory Orchestra on the broadcast; Lehmann is announced as “die geliebte Lehmann”; c. Nathaniel Schilket; RCA Magic Key; LP: none; LOC on an aluminum disc that’s been transferred to tape. Original sound problems.
447 Broadcast (contents unknown); 14 Mar. ’40; Kraft Music Hall; existence ?.
448 DIE WALKÜRE: complete (Wagner); 30 Mar. ’40; Metropolitan Opera (on tour in Boston); with Lauritz Melchior, Friedrich Schorr, Marjorie Lawrence, Kirsten Thorborg, Emanuel List; c. Erich Leinsdorf; LP: 27, and soon on CD.
449 Broadcast interview; 18 Jan. ’41; Metropolitan Opera Intermission Feature; LP: none; LOC.
450 Broadcasts for Columbia: “Electrical Transcription licensed only for radio broadcasting”; aired 3 Oct. ’41 through 24 Dec. ’41; Frank Gallop host; p. U; Lehmann introduces each song; a)Andenken b)Wonne der Wehmut c)Die Trommel gerühret d)Der Kuss (Beethoven); e)An die Musik f)Ständchen g)Der Erlkönig (Schubert); h)Auf Flügeln des Gesanges i)Neue Liebe j)Venetianisches Gondellied (Mendelssohn); k)Abendempfindung l)Das Veilchen m)Warnung n)Gute Nacht o)Frühlingstraum p)Der Leiermann (Schubert); q)In der Fremde II r)Ich grolle nicht s)Der Nussbaum t)Aufträge (Schumann); u)Die Mainacht v)Ständchen w)Wiegenlied x)O liebliche Wangen (Brahms); y)Schmerzen z)Im Treibhaus aa)Träume (Wagner); bb)Zur Ruh; cc)Gesang Weylas dd)Verborgenheit ee)Wer tat deinen Füsslein weh (Wolf); ff)Allerseelen gg)Zueignung hh)Ständchen (Strauss); ii)Sehnsucht nach dem Frühling jj)Sei du mein Trost kk)Dans un bois solitaire (Mozart); ll)Der Doppelgänger (Schubert) mm)Die Lotosblume (Schumann); nn)Wiegenlied (Flies) oo)Vergebliches Ständchen (Brahms) pp)Es ist ein Ros’ entsprungen (Praetorius); qq)O du Fröhliche rr)O Tannenbaum (Trad.); ss)Silent night (Eng.) (Gruber); matrix numbers: Andenken, Wonne der Wehmut, YTNY 703; Die Trommel gerühret, Der Kuss, YTNY 705; An die Musik, YTNY 706; Ständchen, Erlkönig, YTNY 707; Auf Flügeln des Gesanges, YTNY 761; Neue Liebe, Venetianisches Gondellied, YTNY 762; Abendempfindung, YTNY 699; Das Veilchen, Warnung, YTNY 700; Gute Nacht, YTNY 708; Frühlingstraum, Der Leiermann, YTNY 709; In der Fremde II, YTNY 765; Ich grolle nicht, Der Nussbaum, Aufträge, YTNY 766; Die Mainacht, YTNY 767; Ständchen, Wiegenlied, O liebliche Wangen, YTNY 768; Schmerzen, YTNY 785; Im Treibhaus, Träume, YTNY 786; Zur Ruh, YTNY 787; Gesang Weylas, Verborgenheit, Wer tat deinem Füsslein weh, YTNY 788; Allerseelen, Zueignung, Ständchen, YTNY 834; Sehnsucht nach dem Frühling, Sei du mein Trost, Dans un bois solitaire, YTNY 835; Der Doppelgänger, Die Lotosblume, YTNY 878, Wiegenlied, Vergebliches Ständchen, YTNY 879; Es ist ein Ros’ entsprungen, O du Fröhliche, O Tannenbaum, Christmas message by Lehmann, Silent Night, YTNY 877; LP: LRT 1-3 (except for bb)Zur Ruh); LP: originally 33 rpm, 16″.
450.1 Broadcast Recital: Dichterliebe (Schumann); 24 Jan. ’43; Town Hall by WQXR (existence of complete?) Wenn ich in deine Augen seh’; Ich will meine Seele tauchen; Und wüssten’s die Blumen; Das ist ein Flöten und Geigen; Die alten, bösen Lieder; from collection of Philip Ulanowsky, now also available at Lehmann Archives; p. Ulanowsky.
451 Broadcast: 12 Dec. ’43; a) Ständchen (Schubert); Wiegenlied (Brahms); TRISTAN UND ISOLDE: Liebestod (Wagner); San Francisco Symphony; c. Pierre Monteux; The Standard Hour; LP: 7; CD Eklipse: EKR CD20
451.1 Broadcast: The Standard Hour: 26 Dec ’43; a) Drink to me only; b) MIGNON: Connais-tu; c) Londonderry Air; d)Music I heard with you (Hagemann); LP: none
452 Recital: 1944; p. Paul Ulanowsky; a)She never told her love (Haydn); b)Widmung (Schumann); c)Londonderry air d)Drink to me only (Trad.); e)Ständchen (Schubert); f)Auf Flügeln des Gesanges (Mendelssohn); all Eng.; LP: 34.
453 DER ROSENKAVALIER: Ich sag’: Pardon mein hübsches Kind (R. Strauss); 23 Feb. ’45; Metropolitan Opera; with List, Stevens, Conner; c. Szell; excerpt from live performance; LP:(?); acetate; existence ?.
453.1 Recital: 11 Aug ’45; a) Der junge Nonne b)Der Jüngling an der Quelle c)Der Erlkönig (Schubert); Träume (Wagner); Carl Bricker, cond., Seattle Symphony Orchestra; CD: Eklipse EKRCD 20
454 DER ROSENKAVALIER: act 3 (R. Strauss); 18 Oct. ’45; San Francisco Opera; with Risë Stevens, Lorenzo Alvary, Nadine Conner, Walter Olitzki, Herta Glaz, Alessio de Paolis; c. George Sebastian; LP: 32. (J.: Private collection: excerpts act 1)
455 Recital: Frauenliebe und Leben (Schumann); 20 Jan. ’46; Town Hall; p. Paul Ulanowsky; LP: 83.
456 Recital: 10 Feb. ’46; Town Hall; p.Paul Ulanowsky; a)An eine Quelle b)Der Tod und das Mädchen c)Der Jüngling und der Tod d)Auflösung e)Die Forelle f)Dass sie hier gewesen g)Schwanengesang (Wie klag’ ich’s aus) h)Die Männer sind mèchant (Schubert); i)Zigeunerlieder (8 songs) j)Wie bist du, meine Königin k)Die Kränze l)Es träumte mir m)Frühlingslied n)Willst du, dass ich geh’ (Brahms); LP: 82.
457 Concert: 11 Aug. ’46; Seattle Symphony Orchestra; c. Carl Bricker; a)Die junge Nonne b)Der Jüngling an der Quelle c)Der Erlkönig (Schubert); d)Träume (Wagner); LP: 34.
457.1 DER ROSENKAVALIER (part of act 1) (R. Strauss); 8 Oct. ’46; San Francisco Opera; w/Lorenzo Alvary; (begins w/ Pardon mein hübsches Kind); Wm. Moran collection.
458 Broadcast: radio sketch: “Duffy’s Tavern”; 13 Oct. ’46; sings a little and speaks (English); LP: 35.
458.1 Broadcast: Late ’40’s; Morgen (in Eng.?) (R. Strauss) on CBS Ford Show with Dinah Shore & Peter Lind Hayes; existence?
458.2 Recital: 9 Feb ’47; Town Hall; p. Paul Ulanowsky; a)Widmung b)Aus den östlichen Rosen c)Volksliedchen d)Rose, Meer, und Sonne e)Du bist wie eine Blume f)Mein Wagen rollet langsam g)Lieb’ Liebchen, legt’s Händchen h) Mit Myrten und Rosen i)Talismane j)Lied der Suleika k)Heiss mich nicht reden l)Sitz’ ich allein m)Im Westen n)Hochländisches Wiegenlied o)Aus den hebräischen Gesängen p)Zwei venetianische Lieder q)Die Soldatenbraut r) Der Nussbaum s)Wer machte dich so krak t)Alte Laute u)Er its’s; Musical America also lists: v)Leis’ rudern hier w) Wenn durch die Piazzetta; radio broadcast, WQXR; existence??
459 Recital: 7 Mar ’48; Town Hall; p. Paul Ulanowsky; a)Venetianisches Gondellied b)Die Liebende schreibt (Mendelssohn); c)An die ferne Geliebte (6 songs) (Beethoven); LP: 82.
460 Film: MGM’s “Big City”; released in 1948; with Karin Booth, Margaret O’Brien, George Murphy, Danny Thomas, Rbt. Preston; see 410. Songs listed as “410” appear in the film, but not the same performances. They are often truncated and different arrangements to fit the film’s needs. UCSB has recordings of several performances not used in the movie.
461 Recital: 5 Aug. ’48; Hollywood Bowl Orchestra; c. Eugene Ormandy; a)Morgen (vn. solo: Sascha Jacobson) b)Allerseelen c)Traum durch die Dämmerung d)Zueignung (R. Strauss); Encores: e)Ständchen (Schubert) f)Wiegenlied (Brahms); with piano accompaniment (J.: states Ulanowsky); LP: Armed Forces Radio Serv.
462 Recital: 27 Feb. ’49;Town Hall; p. Paul Ulanowski; a)Als Luise die Briefe b)Abendempfindung c)Dans un bois solitaire (Fr.) d)Die Verschweigung (Mozart); e)Dein blaues Auge f)Komm’ bald g)Bitteres zu sagen denkst du h)Schön war, dass ich dir weihte i)Am Sonntagmorgen j)Der Gang zum Liebsten k)Der Tod, das ist die kühle Nacht l)Liebestreu m)Frühlingstrost n)Der Kuss o)O wüsst’ ich doch den Weg zurück p)Wie froh und frisch (Brahms); LP: 83.
463 Broadcast: 8 Jan. ’49 (sic. recorded earlier for broadcast at this time; not listed in chronolgical order); a)Ständchen (Schubert) b)Londonderry air (Trad.) c)Widmung (Schumann) d)Drink to me only (Trad.); (all Eng.); Concert Hall; Lionel Barrymore host; (Concert Hall was not a regular radio show, rather a series of electrical transcriptions–recordings sent out for broadcast, primarily to American troops. They were distributed as 16 inch vinylite discs.); LP: EJS/GAO 536.
463.1 Recital: probably 3 Mar ’49;Town Hall; p. Paul Ulanowsky; (J.: lists “1949 Song recital; Paladilhe, Hahn, Duparc, Strauss, Schubert; private archive”).
464 Broadcast Recital: 7 May ’50; p. Bruno Walter; a)Ständchen (Schubert) b)Auf Flügeln des Gesanges (Mendelssohn) c)Wiegenlied (Brahms) d)Aufträge (Schumann); The Standard Hour; (though Bruno Walter conducted the San Francisco Symphony Orchestra in orchestral pieces, he accompanied Lehmann on the piano) LP: 7, 8; CD: Eklipse EKRCD 20
465 Interview (including E. Schumann) by James Fassett; 5 Feb. ’50; N. Y. Philharmonic Intermission Feature; on B. Walter & his importance in their careers; anecdotes.
465.1 Recital: Town Hall, NY; p. Paul Ulanowsky; Winterreise (Schubert); radio broadcast on WABF; existence?
466 Interview by M. Mc Bride; 13 Feb. ’51; ABC’s Mary Margaret Mc Bride Show; LP: none; LOC.
467 Recital (NY Farewell): 16 Feb. ’51; Town Hall; p.Paul Ulanowsky; a)Widmung b)O, Ihr Herren c)Ständchen d)Wer machte dich so krank e)Alte Laute (Schumann); f)Der Mond g)Venetianisches Gondellied (Mendelssohn); h)Ein Ton i)Wiegenlied (Cornelius); j)Träume (Wagner); k)Für Musik l)Ständchen m)Gute Nacht n)Weisst du noch o)Dies und das (Franz); p)Wohin? q)Danksagung an den Bach r)Der Neugierige s)Tränenregen t)Die liebe Farbe u)Des Baches Wiegenlied v)An die Musik (encore-incomplete) (Schubert); w)Farewell speech; LP: 47.
468 Recital (Santa Barbara Farewell): 7 Aug. ’51; Lobero Theatre; p. Gwendolyn Koldofsky; a)An mein Klavier b)Der Neugierige c)Fischerweise d)Im Abendrot e)Seligkeit (Schubert); f)Der Mond g)Venetianisches Gondellied (Mendelssohn); h)Ein Ton i)Wiegenlied (Cornelius); j)Träume (Wagner); k) A nos morts ignores l)Pholoe m)Phillis n)Offrande o)Le rossignol des lilas p)Si mes vers avaient des ailes (Hahn)(Fr.); q)Die Mainacht r)Lerchengesang s)Es träumte mir t)Botschaft (Brahms); u)Morgen (encore) (R. Strauss); LP: 79. First issue on LP (from tapes) privately cut for Wm. Moran by Allied Records in Hollywood; plate numbers were: Group 1 IRC 001; Group 2 IRC 002; Group 3 IRC 003; Group 4 IRC 004; issued with plain white labels & supplied with a photostat of the program.
469 Master Classes: Pasadena; from 4 Mar. ’52 to 2 Apr. ’52; p. Koldofsky; a)Heimkehr b)Cäcilie c)DER ROSENKAVALIER: Marschallin’s Monologue (R. Strauss); d)Ich grolle nicht (Schumann); e)Tu lo sai (Torelli); f)La flute de pan (Debussy); g)Gesang Weylas (Wolf); h)Im Abendrot (Schubert); i)Der Kuss (Beethoven); j)Warnung (Mozart); k)Les cloches (Debussy); l)Das Veilchen (Mozart); m)Hat dich die Liebe (Marx); n)Anakreons Grab (Wolf); o)Waldesgespräch (Schumann); p)Heimliche Aufforderung (R. Strauss); q)Requerdo (Castelnuevo-Tadesco); r)Chanson d’amour (Chausson); s)Die Verschweigung (Mozart); t)LA BOHEME: Mi chiamano Mimi (Puccini); u)Zur Ruh’ (Wolf); v)Hist! (Arnold); w)Zueignung (R. Strauss); x)Maman, dites moi (Folksong); y)Ein junger Dichter denkt (Marx); z)Feast of lanterns (Bartok); aa)In dem Schatten bb)Über Nacht (Wolf); cc)Der Nussbaum (Schumann); dd)HERODIADE: Il est doux (Massenet); ee)LOHENGRIN: In fernem Land (Wagner); ff)Nicht mehr zu dir (Brahms); gg)Stresa (Watts); hh)Im wunderschönen Monat Mai ii)Aus meinen Tränen jj)Die Rose, die Lilie (Schumann); kk)Die Nachtigall (Brahms); ll)Die heisse schwüle Sommernacht (Wolf); mm)Aufenthalt (Schubert); nn)Le tombeau des Naiades oo)Mandolin (Debussy); pp)Psyché (Paladilhe); qq)Carnaval (Fourdrain); rr)DER ROSENKAVALIER: Duet (R. Strauss); ss)Fischerweise (Schubert); tt)Das Mädchen spricht (Brahms); uu)Träume (Wagner); vv)Wiegenlied ww)Ruhe, meine Seele (R. Strauss); xx)OTHELLO: Credo (Verdi); yy)Auf einer Wanderung (Wolf); zz)D’une prison (Hahn); aaa)Du denkst mit einem Fädchen (Wolf); bbb)DIE WALKÜRE: Du bist der Lenz (Wagner); ccc)Immer leiser (Brahms); ddd)Die Nacht (R. Strauss); eee)LA BOHEME: Che gelida manina (Puccini); fff)A nun takes a veil (Barber); ggg)Die Krähe hhh)Der Jüngling an der Quelle (Schubert); iii)Unbewegte laue Luft (Brahms); jjj)What is sentimentality? kkk)Opening & concl. remarks by Lehmann; LP: priv. rec. & issued by John Campbell.
470 Master class: Music Academy of the West; 28 Aug. ’52; LP: private label; 470-474 Contents known but dates perhaps mixed up; sound varies from disc to disc, Lehmann generally introduces the scene or translates the song to English and comments during the “performance”; many students that are now well-known: Marilyn Horne, Benita Valente, Marcela Reale etc.; Aug. ’52 (?); MARRIAGE OF FIGARO act 2 (Eng.) (Mozart); many stage directions, psychological details demanded in the recitatives, short demonstration; Spleen (Fr.) (Fauré); student translates; poem analyzed by Lehmann who suggests expressive breath and a point for a sigh; Ständchen (Strauss); discussion with student over the merits of translating the poems of art songs to English (Lehmann is opposed); comments that the song needs to be more legato; a few demonstrations and asks that “sitz nieder” be sung with more tenderness, not like you were a dentist asking the patient to sit down!; Denk es, o Seele! (Wolf); song examined to stress “paralyzed mankind waiting for death, he knows not when”; Der Zauberin (Mozart); suggests that the singer should be upset that the mother has interrupted the tryst; Le Manoir du Rosemonde (Fr.) (Duparc); demonstrations to indicate the savage, wild nature of the song, that the man isn’t a martyr but takes a wild delight in this terrible adventure; When death will knock at my door (Carpenter); suggestions for a more contemplative interpretation; philosophical analysis of death; Der Nussbaum (Schumann); more legato, demonstration; indicates that the end should be softer, as if falling into a dream; Der Engel (Wagner); more emotion, illustrates; requests imagination and “your heart”, to give the feeling that an angel comes down with great wings; Wir wandelten (Brahms); emphasizes serenity in demonstrations; Der Neugierige (Schubert); this should be a dreamy, poetic boy, not matter of fact; Lehmann gives background to the character; the boy sees his whole world balanced on the answer the brook gives; Liebesbotschaft (Schubert); sing it like a running brook with no desperate or sad face; Widmung (Schumann); no translation; Lehmann reminds student not to be sad in this song when speaking of the grave; p. Tilly Zweig; concluding remarks by Lehmann, who says that such farewell speeches are depressing; may sit in an audience and applaud one or another of these students and think “now this is too much Lotte Lehmann”. They should kill that and let their own interpretations come through; the imagination should be given freedom and they should be sincere. Everyone approaches things from their own point of view…if you feel something strongly, do it! Don’t go for a cheap success, but what is artistically right; 15 Aug. ’53; Die Forelle (Schubert); don’t use a tragic face, just sorrow & pity for the fish; short whispered demonstrations; Lehmann describes the scene and the divisions of the song; at the end like talking to a child, sorry but with half a smile: “that’s life”; La chevelure (Debussy); demonstrations with & without accompaniment; analysis; not too quick, it can destroy the expression; the hands of your lover are on your shoulder, not your father and it makes you shiver; Zueignung (R. Strauss); no translation; should be three different people, first the shadow of the past, second free from the past and third, whole; whispered demonstration with piano (complete); Erlkönig (Schubert); Lehmann “shows” beginning and demonstrates in a whisper; don’t be so strict with the child; don’t exaggerate movements, if you do too much, one steps from the sublime into the ridiculous; Lehmann tells Bruno Walter’s story of this song as sung by Lilli Lehmann and the comic reaction of an audience member; Music I heard with you (Richard Hageman); more contemplative, some analysis, Lehmann demonstrates different modes of expression, but also likes that of the student; Chanson a boire (Ravel); (poor recording); some analysis, “too sober”; Gesang Weylas (Wolf); analysis; talk of Lehmann’s dream home called Orplid; sing the word “Kind” with tenderness; breathe after “sich”; corrects German pronunciation; Botschaft (Brahms); asks student Marilyn Horne to study German; emphasize the word “vielleicht”; sing the whole song more lightly; corrects pronunciation of the word “spricht”; Sweet little Jesus boy (Spiritual); even someone of such a different culture, Lehmann says, can notice if enough expression & variety is given; some demonstration; Der Tod, das ist die kühle Nacht (Brahms); talks of Heine writing the poem when he was dying; some analysis of the words; short demonstration; Spleen (Debussy); feel the heartbeat of the music; not light, but with inner feeling and at a certain point Lehmann wants to see a change in the face, reflecting the drama; Der Neugierige (Schubert); don’t be too sure of yourself, this boy is a shy dreamer; demonstration without piano; Opera Master class; Aug. ’53 (?); DER FREISCHÜTZ: Ännchen-Agathe duet through trio act 2 (German arias, English recitatives); Lehmann demands that the dialogue have moods & drama; some whispered demonstrations; this scene is divided between several discs; L’ENFANT PRODIGUE: Aria de Lia and scene; some instructions during first aria, afterwards the scene is sung uninterrupted; p. Fritz Zweig; summary by Lehmann, asking that the students live and experience the roles, not just sing, tells the story of the barber; looks forward to seeing the students singing professionally; Song Master class: 22 Aug. ’53; Biterolf (Wolf); analysis; Lehmann asks to see different expressions in the face; energy then emotion; finally the difference between duty & a longing for peace; Die Soldatenbraut (Schumann); (Benita Valente, student); short unaccompanied demonstrations, the singer should be proud of her lover and not sad that he’s not a gerneral, you’d prefer him to be a civilian; Freundliche Vision (R. Strauss); not too quick or violent, but serene & quiet; short demonstrations; Und willst du deinen Liebsten sterben sehen (Wolf); Lehmann asks for exaggeration, not pedestrian, the girl has tried to please her lover by putting her hair up in curls & he could die if she’d loosen it; tells story about her trying to please her husband-to-be on one of their first dates; Auf das Trinkglas eines verstorbenen Freundes (Schumann); Lehmann analyzes the spiritualism she finds in the poem & asks that the student (Harvey Pressnell, later known as Harve Presnell) not sing it in such an “everyday” manner, rather each verse reveals more of the magic of the moment as the glass is used as a way to be in touch with the dead friend, though the glass is emplty the friend’s voice seems to echo from it; (471.1 at this point in the Sproule tape, but probably done at an opera master class.) Traüme (Wagner); Lehmann forget the opening words (rare occasion!) & is prompted by the student, “shows” introduction, some singing demonstration as well as explanation: the singer should not be thinking “I hope I will sing this song right”, it will show on the face; Allnächtlich in Träume (Schumann); demonstration, not so quiet, full of breath, unfulfilled, first thought to throw myself at your feeth, then tears from the eyes give a different expression, then the loved one gives a bouquet of cypress (instead of roses) & there’s astonishment & disappointment, demonstration of the need to use the eyes while singing; Nun hast du mir… (Schumann); Lehmann says that this is one of the few places where she recommends a slide (to–des Schlaf), not too much reproach, talks of the importance of the first chord for setting the mood of the whole song, wait for the dissonant chord at “die Welt ist leer”, her life has slipped away though her hands she can demonstrate this at the end of the song; difference between the position of the hands which receive and that which shows that she has nothing more to wish for, but each singer must find her own way of showing this; Brauner Bursche führt zum Tanze (Brahms); accent the “rr’s”; sing second verse differently; the three coins that are tossed are perhaps a grand gesture where only one was expected; short demonstrations; Geheimes (Schubert); asks that the audience understands that the singer is amused that others see something different in the lover’s actions; short demonstration; O wüsst ich doch den Weg zurück (Brahms); Lehmann hopes for a really beautiful “piano” from this student who has trouble controling a large voice; p. Koldofsky; a former Chancellor tells a “Lehmann story” from his youth in Switzerland; Concluding remarks by Lehmann; says eight weeks too short, needs a year-round school to be a good gardener; tells story of her youth in Perleberg where she wanted to be the lamplighter or the one who lit the fuse for fireworks, and notices she is now both with her students; would only rather be the lamplighter where the glow will last longer.
471 Master class: see 470; 30 Aug. ’52.
471.1 Master class at MAW; 13 Aug. ’53; FIDELIO: Komm Hoffnung (Beethoven); Shirley Sproule (student); Lehmann goes to considerable lengths to set the scene; demonstrates how to say the word “abscheulicher”, change the face to reflect that only love and belief that she’ll save Florestan, with “komm’ Hoffnung more emotion, conviction & voice, fanaticism, inner strength, above human strength, recommends a breath before “dringen”.
472 Master class: see 470; 15 Aug. ’53.
473 Master class: see 470; 21 Aug. ’53.
474 Master class: see 470; 22 Aug. ’53.
Non-Commerical Recordings II
This section continues with the second half of the “non-commercial” recordings and contains off the air recordings, interviews, master-classes, video tapes and films. The listing of these items must be considered limited by the date of this publication because new material constantly appears (much held Lotte Lehmann Archives at University of California at Santa Barbara.)
In the non-commercial section, unless otherwise stated, the speaking is in English. The location of unique items not held by the University of California at Santa Barbara, (if not 78s, then as LPs or tapes), will be evident in the listing.
475 TV Interview by Dr. Jan Popper on “Spotlight on Opera”; discusses career; includes master-class, 1954 or 3 Sep. ’61?
476 TV Appearance “An Evening With Lotte Lehmann”; 8 May ’54; 30 minute film; p. Zweig; LL introduces arias; students sing .
476.1 Master class at MAW; Aug. ’54 (?); ARIADNE AUF NAXOS: Trio and Monologue (R. Strauss); collection of M. I. Shirley Sproule.
477 Interview by Louis Palmer; 30 Sep. ’55; on her life, career, MAW, opera in U.S., requirements for singers, about DER ROSENKAVALIER, accompanists, translating opera.
477.1 Interview with unknown reporter; Nov ’55???Lehmann speaks of her departure from the stage and talks about her teaching; (Ger.) 2′ 45″; Deutches Rundfunkarchiv.
477.2 Speech by Lehmann at MAW after her return from the re-opening of the Vienna Opera in November 1955. The exact date of this talk is not given. Includes: extensive remembrances of her trip including many comic details; her favorite painting in Florence; the receptions & the many special events to which she was invited; memories of the past and her emotional response to them. LP: original LP acetates.
478 Interview by Walter Todds for BBC; 20 Oct. ’56; on her first visit to London in 19 years, impressions of recent trip to Vienna, her shock on seeing the modern opera house in Hamburg, recalls first visit to Covent Garden which she finds unchanged, describes recording DER ROSENKAVALIER with anecdote of E. Schumann singing last two notes, memories of working with Strauss & his consideration for singers, her role as Composer in ARIADNE AUF NAXOS, favorite roles, present life teaching in Calif., forthcoming master-classes at Wigmore Hall, modern Bayreuth productions, anecdote about Tauber & a bar of chocolate; BBC.
479 TV show: “This Is Your Life, Constance Hope”; 6 Feb. ’57; tape possibly with the Hope estate.
480 Interview by John Gutman; 22 Feb. ’58; Met. Opera Intermission Feature on her interpretation of the role of the Marschallin in DER ROSENKAVALIER, Strauss, teaching.
481 Master class at MAW; Aug. ’58; on DER ROSENKAVALIER: “play-by-play” interpretation.
482 TV show: “This Is Your Life, Lauritz Melchior”; 10 Dec. ’58; tape possibly w/ Melchior estate.
483 Interview by Roy Plomley for BBC; 14 May ’59; from series called “Desert Island Discs”, where he introduces his cast-away who queries anyone’s ability to swim ashore carrying 8 records. Lehmann’s first choice is the Prelude to DIE MEISTERSINGER which reminds her of singing Eva at Salzburg with Toscanini; next Mahler’s Um Mitternach, for the artistry of Kathleen Ferrier & Walter; recalls singing as a child, earliest professional experience, admiration for E. Schumann, experience with Vienna Opera, London, first big roles, what opera and Lieder have meant to her, her “14 day retirement”, then teaching, of young singers today; chooses a recording of Gerard Souzay, then one conducted by Franz Schalk which reminds her of his kindness, then the trio from DER ROSENKAVALIER to remind her of Vienna; a luxury (on the desert island) would be a box of paints and a book…Goethe’s Faust; BBC.
484 Interview by Irene Slade on BBC program in a series called “People Today”; 26 Jul. ’59; compares London of 1914 with that of today, tribute to London audiences, on early studies, career at Hamburg, Freia under Nikisch, Elsa under Klemperer, necessity of losing oneself in a role, Vienna in 1916, its claques, role of Composer, memories of first visit to US, Lieder singing & its technique, teaching, impressions of Toscanini, preferences for Romantic composers & her feeling that she lacked the control for Mozart, tribute to Melchior & E. Schumann, her tastes in dress & food, hobbies; BBC dates this (possibly of actual broadcast) 23 Aug. ’59; with the following information also included in the interview: Lehmann talks of singing Sophie, the Covent Garden contract, first solo role was as Anna in the MERRY WIVES OF WINDSOR; Hamburg’s regard for her when she decided to leave Hamburg for Vienna; her life in the US after leaving Vienna after the Anschluss; mentions singing with Chaliapin in FAUST; BBC: 2 LP’s 24810
485 Interview by Studs Terkel; 18 Apr. ’60; on Lieder, master-class series at Northwestern University, career, what she learned from the Marschallin, retirement, goal as a singer, today’s singers, MAW, Grace Bumbry, modern opera productions, opera in translation, advice to young singers.
486 Master class: NWU; 25, 27, 29 Apr. ’60; a) Die junge Nonne b)Am Grabe Anselmos (Schubert) c)An den Sonnenschein d)Aufträge e)Geisternähe (Schumann); f)Eine gute, gute Nacht (Brahms); g) Heb’ auf dein blondes Haupt (Wolf); h)Der Mond (Mendelssohn); i)Mit einem gemalten Band (Beethoven); j)Fleur Fanée (Hahn); k)Wozu noch, Mädchen (Strauss); l)Paysage (Hahn); m)Nuits d’été (complete) (Berlioz); n)Schéhérezade (complete) (Ravel); o)Poème d’un jour (complete) (Fauré); p)TANNHÄUSER: Dich teure Halle (Wagner); q)SUOR ANGELICA: Senza madre (Puccini); r)CARMEN: Habanera (Bizet); s)MIGNON: Connais-tu le pays (Thomas); t)WERTHER: Les larmes (Massenet); u)LOHENGRIN: Duet (act 3) (Wagner); v)DIE ZAUBERFLÖTE: O Isis und Osiris (Mozart); w)MERRY WIVES OF WINDSOR: Anna’s aria (Nicolai); x)DIE MEISTERSINGER: Wahnmonolog (Wagner); y)DER FREISCHÜTZ: Agatha’s aria (Weber); z)MANON: Duet of Manon & des Grieux (act 1); p. Donald Isaak; NWU; (possibly at UCSB).
487 Interview by Peter Jacobi; WRMQ; 1 May ’60; on retirement, teaching (interpretation not imitation); her career, Bumbry, Vienna, technique, many other roles besides the Marschallin.
488 Interview by Dick Johnson; KDB; 14 Jun. ’60; on MAW, teaching in Europe in 1959, plans for production of ARABELLA at MAW.
489 Interview by John Gutman; WOR; 21 Jan. ’61; for Met. Opera Intermission on ARABELLA, its similarities to DER ROSENKAVALIER, reason for not creating title role, MAW performance, its English translation (by Gutman.)
490 TV Master classes at MAW; 28 Jul. ’61; a)O Liebliche Wangen b)Waldeinsamkeit (Brahms); c)Benedeit die selge Mutter (Wolf); d)Die liebe Farbe (Schubert); e)DER ROSENKAVALIER: Monologue (Eng.), Lehmann sings in German, (R. Strauss); f)MARRIAGE OF FIGARO: Dove sono (Mozart); g)Ich kann’s nicht fassen h)Schöne Wiege i)Nun hast du mir (Schumann); p. Koldofsky; original series “Master Classes in Opera & Lieder” for NET totaled 4 hours.Add: Broadcast: Master Classes from the Music Academy of the West; late July 1961; NET/TV; all introduced & translated by Lehmann with comments for each student; extensive demonstrations as noted; ROSENKAVALIER: Monologue (R. Strauss); complete scene demonstrated by Lehmann; MARRIAGE OF FIGARO: act 3 recit. & Dove Sono (Mozart); recitative demonstrated in German by Lehmann; FIDELIO: beginning of act 3; many stage movement suggestions; LOHENGRIN: Elsa-Ortrud duet, act 2 (Wagner); Elsa not too dramatic or proud, but softer & more poetic; Ortrud more demonic & poisonous; many demonstrations both acting & singing; some effective close-ups of Lehmann; tells of her early success when Klemperer allowed her to sing Elsa; tells story of Leo Slezak singing “when does the next swan leave?”; DER FREISCHÜTZ: Wie nahte mir der Schlummer (Weber); Lehmann tells story of her outdoor performance of this with Richard Tauber and the joke of the chocolate; short very impressive demonstrations; movements should be youthful, impetuous; handkerchief should be waved with the music; p. Irving Beckman; O liebliche Wangen (Brahms); (p. Beaumont Glass); complete song demonstrated by Lehmann; In Waldeinsamkeit (Brahms); short demonstration of how “Windes Atem” must soar not walk; Benedeit die sel’ge Mutter (Wolf); some demonstration; Die liebe Farbe (Schubert); Lehmann speaks of sharing with the audience…but not her nervousness; short demonstrations; Der Wegweiser (Schubert); Frühlingsnacht (Schumann); Da unten im Tale (Brahms); In dem Schatten meiner Locken (Wolf); complete song demonstrated by Lehmann; Ich kann’s nicht fassen (Schumann); several short demonstrations; Schöne Wiege meine Leiden (Schumann); a few short demonstrations; Nun hast du mir…(Schumann); considerable number of comments & short demonstrations; Kennst du das Land (Wolf); Gott in Frühling (Schubert); Das Mädchen spricht (Brahms); Sonntag (Brahms); p. Koldofsky; concluding remarks by Lehmann; she continues to sing through her students.
491 Interview for KPFK; 6 Oct. ’62; on Bruno Walter.
491. 1 Master class at Boston’s Jordan Hall; Brahms song; data from Deutsches rundfunkarchiv: the student was Sandra Provost and the pianist Felix Wolfes; broadcast by WGBH Boston; Deutches Rundfunkarchiv, available at UCSB.
492 TV Tribute by NDR-German TV: “Besuch bei Lotte Lehmann”, 1963; Santa Barbara, contents include: Lehmann interviewed (in German) by Werner Baecker in her home in Santa Barbara; she talks of how she first came to Santa Barbara; hobbies, books; career: Hamburg, Vienna, Strauss, Toscanini; Vienna’s ensemble of her time; excerpt of LOHENGRIN master class (490); mentions Grace Bumbry; says that she was seldom happy with her own performances; tells of the importance of Lieder in her life; her favorite Lied: Morgen by R. Strauss; says that in the “evening” of her life she has achieved her dreams.
493 Interview by John Gutman; WQXR; Jan. 1963; Met. Opera Intermission Feature; on her stage direction of DER ROSENKAVALIER.
494 Interview with Lehmann & Maria Jeritza by Gutman; aired: 2 Feb. ’63; taped Nov. 1962; for Met. Opera Intermission Feature of ARIADNE AUF NAXOS; about this opera’s premiere, Strauss & his other operas, technique, singers in jet age, MAW; LP: 75.
495 Master class at Wigmore Hall, London; BBC; 14 Mar ’64; a)An die Geliebte (Wolf); b)Heimliche Aufforderung (R. Strauss); c)Gretchen am Spinnrade (Schubert); d)Schöne Wiege (Schumann); e)Das Wirtshaus (Schubert); f)DIE WALKÜRE: act 2 (Wagner); p. Ivor Newton.
496 Master class at Wigmore Hall, London; BBC; 15 Mar ’64; a)Liebst du um Schönheit (Mahler); b)Gute Nacht (Schubert); c)Mausfallen-Sprüchlein (Wolf); d)SUOR ANGELICA: excerpts (Puccini); p. Newton.
497 Master class at Wigmore Hall, London; BBC; 29 Mar ’64; a)Warnung (Mozart); b)Um Mitternacht (Mahler); c)Von ewiger Liebe (Brahms); d)ANDREA CHENIER: excerpts (Eng.) (Giordano);p. Newton.
498 Interview by Joan Cross & John Amis; BBC; 29 Mar ’64; on master classes, her early studies, talent; used as the introduction to the broadcast of the master classes listed above.
499 Presentation of Honorary Ring of Vienna by Franz Jonas, Mayor; 10 Jun. ’64; (Ger.); in short speech Lehmann accepts, happiest years of her life as woman & artist were in Vienna.
500 Speech (short); 10 Jun. ’64; feels at home in US, loves Austria, thinks of Vienna with the longing of youth; (Ger.).
501 Interview (Ger.) on the centennial of R. Strauss’ birth; 1964; his demands as conductor of his own works, on Schalk, B. Walter, Toscanini, why the latter liked her in spite of musical errors, Hoffmansthal, DER ROSENKAVALIER as both comic and tragic, Marschallin as a worldly wise person, sees stylized FIDELIO as robbing it of its living drama, Strauss probably wouldn’t mind modern interpretations, her discussion with Desmond Shawe-Taylor on the state of technique, on value of ensemble such as Vienna was, singing/acting should come from inside a person, Hermann Prey as example of one who sings from his soul, how one controls the emotions when singing (horse riding given as an example).
502 Interview by Malloch; KPFK; aired 16 Jan. ’65; recorded in her home; on state of opera & lieder singing past & present.
503 Reading from her book, Five Operas and Richard Strauss at Faulkner Gallery, Santa Barbara; KPFK; aired 16 Jan ’65.
504 Interview by Robert Chesterman; “Music Diary”; CBC; 30 May ’65.; on her “retirement”, teaching, today’s singers, state support for arts, Bumbry, modern opera productions, secret of her success.
505 Interview: 11 Nov. ’65; on Bruno Walter.
506 Interview: April 1966; Met. Opera’s “Singers Roundtable”; Bidu Sayao, Richard Crooks, Giovanni Martinelli, Lily Pons & Lehmann reminisce, tell anecdotes, Lehmann on new roles, acting, modern Wagnerian productions, jet age singers, MAW, advice to students, early studies, Old Met.
507 Interview by Peter Lehmann (stage director of 1967 Met. production of Wagner’s LOHENGRIN) for WQXR; 21 Jan. ’67; contents unknown; Rodgers & Hammerstein Archives.
508 Interview by Olin Downes; 1967; for Met. Opera Int. Feature; on Toscanini, their performances, anecdotes, fear & fondness for him.
509 Interview by Calhoun; Feb. ’67; for “Hall of Song”; on first appearances in US, Met., early career, Vienna, Strauss as a person, acting, Wagnerian roles, Covent Garden roles, B. Walter, anecdotes at Met., Melchior, other greats, her work on Met. production of DER ROSENKAVALIER, present activities.
510 Master class at NWU; 1 May ’67; Die schöne Müllerin (except # 10 & # 17) Schubert, p. Laurence Davis. Lehmann begins by saying that she is really too old for this and says each year that she won’t return, but then Spring returns and her hobbies don’t seem enough and wants to return to her own world of singing. Since she can’t sing any more, she sings with the voices of her students. She’s sure to hear beautiful voices, so she will sing beautifully. Talks about growing up in Perleberg. The house in which she lived was near the road to Hamburg. She saw apprentices passing her house on their way to a new master. They carried a sign to show what their trade was. She only remembers now that the millers wore white caps. And she connects this with the boy who goes through this whole cycle, who she likes especially. He is a poetic, sensitve, not rough. She saw the different types pass and her mother gave them something to eat, though they weren’t at all beggers. Lehmann chooses to omit the thrid verse saying that one doesn’t need to talk about the mill wheels. #1. Soprano student, Margaret Innes (?) sings it too stacatto according to Lehmann. The diction is good, but remeber that music doesn’t walk, it flows. #2. Lehamnn provides a fine translation and commentary, including the fatefull, mysterious quality inherent in the brook. Tenor student, Kenneth Eitzen (?) is told on “ich weiss nicht wie mir würde” something strange has happened to me and again not stacatto. Advice given on the hands…not to distract from the singing. And not too gay…this boy is different from the other boys. “Why have I to follow this brook?” #3. Again, more than a translation, a real setting of the story. Baritone Ronald Cooms (?) is instructed to sing “Ay Bächlein” in not so harsh a way, more thankful and with more warmth. #4. The story is followed by the singing of Elisa Roth, soprano, who is told to sing it mezzo forte, no great climax…see the sensitive boy; the student is singing too “vocal” want to show the voice, which isn’t appropriate here. A half voice is better. If you talk about a very great love you will talk about it in a gentle, overwhelmed sound. #5. Paul Loomis
511 Master class at NWU; 3 May ’67; a)Shéhérazade (Ravel); b)Nuits d’ete (Berlioz); c)L’invitation au voyage d)La vie antérieure e)Sérénade Florentine (Duparc); f)Songs and dances of death (Moussorgsky); p. Davis.
512 Master class at NWU; 5 May ’67; a)Geisternähe b)Schöne Wiege meiner Leiden c)Er ist’s d)In der Fremde I (Aus der Heimat) e)Intermezzo f)Waldesgespräch g)Die Stille h)Mondnacht i)Lust der Sturmnacht j)Frühlingsnacht k)Stille Liebe l)In der Fremde II (Ich hör’ die Bächlein) m)Schöne Fremde n)Wehmut o)Auf einer Burg p)Sehnsucht nach der Waldgegend (Schumann); p. Davis.
513 Master class at NWU; 8 May ’67; a)Blumengruss b) Um Mitternacht c)Nimmersatte Liebe d)Schlafendes Jesuskind e)Die Spröde f)Die Bekehrte g)Harfenspieler III h)Frühling über’s Jahr i)Er ist’s j)Denk es, o Seele k)Der Knabe und das Immlein l)Der Schäfer m)An eine Äolsharfe n)Elfenlied o)Lebe wohl (Wolf); p. Laurence Davis.
514 Master class at NWU; 10 May ’67; a)Nachtigallen schwingen b)Unbewegte, laue Luft c)Bitteres zu sagen…(Brahms); d)Neue Liebe (Mendelssohn); e)Sommerabend f)Mondenschein(Brahms)g) Und gestern hat er mir Rosen gebracht (Marx); h)Es traümte mir i)Die Mainacht (sung by Lehmann) (Brahms); j)Selige Nacht (Marx); k)Der Mond l)Die Liebende schreibt (Mendelssohn); m)Ruhe, Süssliebchen (Brahms); n)Hat dich die Liebe berührt (Marx); o)Dämmerung senkte sich p)Wenn du nur zuweilen lächelst q)Lerchengesang (Brahms); p. Davis.
515 Master class at NWU; 12 May ’67; a)Pace, pace (not attributed); b)Amour, viens aider (SAMON ET DALILA) (Saint-Saens); c)Wo berg’ ich mich (EURYANTHE) (Weber); d)Wie nahte mir (DER FREISCHÜTZ) (Weber); e)Che faro (ORFEO ED EURIDICE) (Gluck); f)Und ob die Wolke (DER FREISCHÜTZ) (Weber); g)Eri tu (UN BALLO IN MASCHERA) (Verdi); h)Pleurez mes yeux (LE CID) (Massenet); i)Vissi d’arte (TOSCA) (Puccini); j)Avant de quitter ces lieux (FAUST) (Gounod); k)Gavotte (MANON) (Massenet); w/short speech of protest; p. Davis.
516 Interview (Ger.) by Marcel Prawy; 1960’s; on Vienna, jet set vs. ensemble, Schalk, Jeritza, farewell recital, books, MAW, her vocal technique, interpretation, “retirement”.
517 Speaking (Ger.); 1960’s; 2 bands of LP: 42; original source (?); on early studies & career, Vienna, the Marschallin, US & the Met., Lieder, farewell recital, Walter, Schalk, Toscanini, favorite role (Sieglinde), other roles in Vienna, ensemble missing today, modern “stylised” productions.?518 Master class; UCSB “College of Creative Studies”; 6 Jan. ’68; a)Dichterliebe (Schumann); b)Gretchen am Spinnrade c)Die Krähe (Schubert); d)Widmung e)Er, der Herrlichste (Schumann); p. La Verne Dayton.
518 Master class; UCSB; Jan. ’68;
519 Master class; UCSB (see 518); 13 Jan. ’68; a)AIDA: Ritorna vincitar (act 1) & Romanza (act 3) (It.) (Verdi); b)EUGEN ONEGIN: Letter scene (act 1) (Eng.)(Tchaikovsky); p. Dayton.
520 Master class; UCSB (see 518); 20 Jan. ’68; a)DER ROSENKAVALIER: Presentation of the rose b)ARABELLA: Duet (act 1) (R. Strauss); p. Dayton.
521 Master class; UCSB (see 518); 27 Jan. ’68; a)Lieder eines fahrenden Gesellen (Mahler); b)Allerseelen c)Heimkehr d)Zueignung (R. Strauss); e)Gesang Weylas f)In dem Schatten (Wolf); g)Morgen h)Ständchen (R. Strauss); p. Dayton.
521.1 Interview by Maurice Faulkner; Feb. ’68; for 80th birthday; childhood memories; early studies; early career; Vienna; Strauss; rehearsals in Vienna with solo rehearsals, with conductor & piano, then “Sitzproben”; weeks of rehearsal for FIDELIO, which was one of the high points of her life; Toscanini & Schalk approached it from a musical point of view, Bruno Walter from a psychological conception; interview continued later (28 Apr. ’68 see 521.3)
521.2 Private lessons of Alice-Marie Nelson (and others); students’ singing distorted on original tapes; Lehmann’s instructions usually clear, here paraphrased; 19 Feb. ’68; DER ROSENKAVALIER: act 1, scene 1 (R. Strauss); many stage direction comments & the reminder that many such things might have changed since Lehmann’s time; Quinquin shouldn’t shout at the Marschallin; some demonstrations as Octavian; psychological & detailed appreciation of the words, i.e. “schöner ist als ich” hurts because the Marschallin was such a beauty; Lehmann demonstrates “ich sag’ was Wahr ist”; she talks of expression in the hands; 2 Mar. ’68; Wir wandelten (Brahms); suggestions on mood and stance; Meine Liebe ist grün (Brahms); Lehmann advises that this would be a good song to end a group; very free, should soar, some demonstrations; Wie Melodien zieht es mir (Brahms); suggestions on phrasing; not so detached, don’t get caught up in technique, but be free; Lieder eines fahrenden Gesellen (Mahler); Lehmann demonstrates a bit; speaks of the use of the hands, body, etc., but says she shouldn’t suggest something, rather it should come from the student herself; not too technical, but as legato as possible; (incomplete); Feldeinsamkeit (Brahms); “blau” is a beautiful word; use a mysterious, breathy piano on “mir ist..”; the eyes shouldn’t look into death; Von ewige Liebe (Brahms); here “ja” is an unimportant word; don’t sing too furiously; demonstration of “leidest du Schmach….”; in the last line, “Liebe” & “ewig” should have an “ah” sound mixed into the “ee” sound; Vergebliches Ständchen (Brahms); not so staccato; should tease more; don’t send him away forever in the final “gute Nacht”; don’t lose sympathy or be annoyed with him; Botschaft (Brahms); too quick; more refinement on the final “denkst an ihn”; LOHENGRIN: Ortrud’s aria (Wagner); after a short time changes to SAMSON ET DALILA: Mon coeur…(Saint-Säens); don’t scold, but be seductive; sounds too much like a good girl; some demonstration on the use of the expressive breath; Lehmann speaks of Marian Anderson’s performance of the last phrase & encourages the student to overcome her inhibitions that “when you think you over-do, it will be just right”; CARMEN: Près de remparts des Séville & Habanera (Bizet); she’s giving him the address, so stress “Pastia”; speaks of stage movement and of seeing Corelli as Don José; psychological interplay between Carmen & Don José; be careful that the voice doesn’t become vulgar or harsh; don’t sing each verse the same; feel the music in the body; JEANNE D’ARC: Adieu forêts (Tchaikowsky); a fanaticism must be in the voice; advises work on the high notes; 5 Mar. ’68; FIGAROS HOCHZEIT: Non so piu (Mozart); not astonished, but confused; take time now & then; note arm movements and the difference between a concert & an opera performance; analyzes Cherubino’s state; advises student to follow heart, not the head, more instinctive; only now as a teacher does Lehmann understand why she did something; speaks of singing Angelica; SUOR ANGELICA: Principessa aria (Puccini); fanatic, uncanny; asks that student not “sing” “espirare” so much, more inner sound; LE PROPHETE: Prêtres de Baal (Meyerbeer); fanatic spirit is missing; should note change in mood in the eyes; discusses singing a lot of house concerts in Paris & earning a lot of money from them; SAMSON ET DALILA: L’amour! viens aider…(Saint Säens); suggests no high Bb; (incomplete); 9 Mar. ’68; AIDA: Aïda-Amneris duet (Verdi); harsh & fiery violence; should “feel” the music in the hands; the muscles should be taut with energy; SAMSON ET DALILA: Mon coeur…(Saint-Säens); more voice at the beginning; Lehmann demonstrates the “expressive” breath; the fire is missing, forget yourself; don’t stare at one point; Wir wandelten (Brahms); “so schön war alles” must be more expressive; don’t drag; Feldeinsamkeit (Brahms); try to achieve a feeling of flying in “nach oben”; LOHENGRIN: Elsa-Ortrud duet (Wagner); every word must be understood; Lehmann speaks/sings example of two important words: “verlassen” & “zauber”; Elsa’s most beautiful music “es gibt ein Glück” must be legato, demonstrates; SAMSON ET DALILA: L’amour! viens aider…(Saint Säens); Lehmann speaks of the meaning of the words and demonstrates; Von ewige Liebe (Brahms); Lehmann congratulates student “you are starting to forget yourself”; Wie Melodien zieht es mir (Brahms); asks how the student understand the words; it is an idea…(tape runs out); 16 Mar. ’68; Das Verlassene Mägdlein (Wolf); words go against the music; Wenn ich früh in den Garten geh’ (Schumann); Lehmann demonstrates first phrase, stresses correct pronunciation of “früh” & “grün”; Der arme Peter (Schumann); in the first song, don’t give him too strong a personality; a rather stupid boy; in the second song, more legato…one grows with sorrows; in the third, “der stieg wohl aus dem Grab hervor” shuddering, uncanny & mysterious; SUOR ANGELICA: Principessa aria (Puccini); no sliding which weakens & sentimentalizes; FIGAROS HOCHZEIT: Non so piu (Mozart); “un desio” with more sensuality; wild & untamed; at the end, repeated line different: first time childlike, second time more defiantly; LE PROPHETE: Prêtres de Baal (Meyerbeer); Lehmann provides tempo & accent suggestions; asks that the final “e” above high “c” be removed, not musical and says that this aria, so full of effects, technique and fireworks doesn’t appeal to her; 24 Mar. ’68; Zueignung (R. Strauss); portion only; Lehmann demonstrates; three different people should be portrayed; on “heilig” one should hear the “h”; should feel free; DER ROSENKAVALIER: Presentation of the rose, act 2 (R. Strauss); Octavian sung in German, Sophie in English; Octavian feels excited but later upon seeing Sophie becomes more of a man; he must tremble with the elemental power which strikes him; many stage suggestions; official message & message from the heart should be different; anecdote about studying Sophie with Becker in Hamburg & then later in Vienna when E. Schumann was ill for a rehearsal singing that role as well as her own; Schalk said he’d be happy if she learned her role (Octavian); the name “Quinquin” embarrasses him; Lehmann talks of recent 80th birthday party, Frances Holden; meaning of Orplid; Der arme Peter (Schumann); 30 Mar. ’68; Aufträage (Schumann); accent “Auftrag”; give feeling as if you see the dove; more secret…not too much voice; short demonstrations; Verschwiegene Liebe (Wolf) (sung in two keys); mysterious & fantastic; connect “verschwiegen” & “Gedanken”; must paint the “Wolken”; Lehmann prefers the lower key for this student; no crescendo on “verschwiegen”; AIDA: Aïda-Amneris duet (Verdi); Lehmann tells anecdote of hysterical vocal chord paralysis on stage with Slezak, who thought she was kidding; speaks of Manchester Guardian critic who called her the greatest actress; 13 Apr. ’68; Lehmann speaks of Hawaiian trip; anecdotes about her sending back scores as too difficult; Krauss and their mutual enmity; quintet in DIE MEISTERSINGER & how Bruno Walter told her to think herself into the mind of Eva to avoid being nervous; this last point can be carried into all roles…a movement this way or that isn’t important if one thinks in the role; DER ROSENKAVALIER: Marschallin-Octavian duet from “wie du warst” act 1 (R. Strauss); more passionate; Octavian not so happy to be called “Bub”, but “ich hab’ dich Lieb” has a strong effect; stage movements; Octavian shouldn’t really get violent against the day; gives psychological insights; Marschallin shouldn’t take her dream too seriously; “einmal” then the Marschallin stops herself before she reveals something she shouldn’t; p. Dayton.
521.3 Interview by Faulkner in Santa Barbara; 28 Apr. ’68; Lehmann talks of Wagner’s Ring; Anna Russell; sang Freia because someone ill; kindness of Nikisch; sang Orlofsky in FLEDERMAUS with Nikisch; reminisces about singing Sieglinde with Melchior under B. Walter; some conversation about present-day productions; preferred conducting of Schalk & Walter to that of Strauss; recalls Strauss complementing her on an “A#” in DIE FRAU OHNE SCHATTEN, thereafter she never sang it so well; tells stories of reprimands for jokes with Slezak when she sang Gutrune & Eva; mentions that Toscanini forgave her errors because her singing came from her emotion; talks of how the Marschallin grew over the years and when asked if she’d do it differently now, she replies, yes, that she didn’t always do it the same & now she’d do it differently & better!
522 Interview by a Vienna radio station; 25 Jun. ’68; mc sent questions which Lehmann answered in her hotel at Bad Gastein (German); on early career, Vienna, roles, teaching, writing.
523 Master class; UCSB (see 518); 12 Oct. ’68; Winterreise (first 5 songs) (Schubert) (remarks that it is ok for women to sing songs originally written for men). p. Dayton.
524 Master class; UCSB (see 518); 19 Oct. ’68; a)DIE WALKÜRE: Duet (act 1) (Wagner); b)LA BOHEME: Che gelida manina (Puccini); p. Dayton.
525 Master class; UCSB (see 518); 26 Oct. ’68; a)DER ROSENKAVALIER: Monologue (Strauss); b)LA BOHEME: Mimi (act 3) (Puccini); p. Dayton.
526 Master class; UCSB (see 518); 2 Nov. ’68; a)Liebestreu b)Am Sonntag Morgen c)Der Tod, das ist die kühle Nacht d)Auf dem Kirchhofe (Brahms); e)DER FREISCHÜTZ: Scene & aria (act 2) (Weber); f)DIE LUSTIGEN WEIBER VON WINDSOR: Duet (act 1) (Nicolai); p. Dayton.
527 Interview by Gutman; 8 Feb. ’69; Met. Intermission Feature; dub of earlier interview; 3 different sopranos who sang the Marschallin.
528 Interview by Hans Fischer Karwin; Summer (?) ’69; on Wessling’s Lehmann biography, Mehr als eine Sängerin; great names associated with her, technique vs. personality, early Lieder attempts probably too “operatic”, early period in Vienna as a “wild Prussian”; then became more at home and finally “Viennese”; (Ger.).
529 TV Interview (in German) in Salzburg by Karwin; Summer (?) ’69; on her life, early studies, career, anecdotes, fate, Vienna, early roles in Vienna, husband, Strauss as director, as a conductor, ensemble, B. Walter, Schalk, Toscanini, Isolde, Nazis, US, return to Vienna, most exciting event in career.
530 Master class; UCSB (see 518); 11 Oct. ’69; a)FIDELIO: from act 1 (Beethoven); b)Die Georgine c)Wiegenlied d)All’ mein Gedanken e)Zueignung (R. Strauss); p. Dayton.
531 Master class; UCSB (see 518); 25 Oct. ’69; a)DIE MEISTERSINGER: from act 2 (Wagner); b)Es muss ein Wunderbares sein c)Die Lorelei (Liszt); d)Ich bin der Welt e)Ich atmet’ einen linden Duft f)Um Mitternacht (Mahler).
532 Master class; UCSB (see 518); 1 Nov. ’69; a)CARMEN: part of act 1 (Bizet); b)DER FREISCHÜTZ: from act 2 (Weber); c)INTERMEZZO: from act 1 d)DER ROSENKAVALIER: Trio (act 3) (R. Strauss); p. Dayton.
533 Interview for “Singer not the Song”; BBC; 1969; on early career when everything slower than for today’s “stars”, giving all until end, farewell recital when public still wanted more.
534 Interview for BBC; 1969; recollections of Strauss; he not bothered by her vocal & musical imperfections; Dresden premiere of INTERMEZZO; his wife & the story of their engagement, preparation for FRAU OHNE SCHATTEN, singing Strauss’ Lieder for him.
535 Interview by Richard Calhoun WBUR’s “Hall of Song” story of Met.; for NPR; aired Jan. ’71; prog. #22=1933 season; she talks of her early efforts at the Met; may be duplication of entry #509.
536 TV Interview by Neville Cardus from Hyde Park Hotel, London; BBC; 2 Aug. 1971; on her recent book on Lieder cycles, teaching, his recollections of her from 1925; Strauss, role of Eva with Toscanini; Schalk anecdote, Beecham, Walter as teacher of opera & Lieder, understanding roles, interpretation, DER ROSENKAVALIER as theater, Hoffmansthal, her hobbies, favorite roles.
537 Interview by Sylvia Vickers from Hyde Park Hotel, London; BBC; 3 Aug. ’71; Vickers makes many embarrassing errors; on early career, INTERMEZZO, working with a composer, how she brought a role to life, relinquishing teaching, how to recognize talent, intelligence vs. voice, jet-set stars of today, technique, Toscanini, teaching interpretation, Bumbry, critics from country to country, future of opera.
538 Interview: aired 16 Sept. ’71; contents unknown.
538.1 Talks about her professional association with Toscanini, from the first radio broadcast, through the Salzburg years. Jan. ’72; WFCR-FM, Amhurst, MA; Museum of Television and Radio.
539 Interview by Gary Hickling for 85th birthday tribute; WBAI; taped 18 Dec. ’72; on favorite roles & recordings, students.
539.1 Interview by Frank Malloch?; 28 Feb ’73; CD???
539.2 Interview (in German); Apr 1973; with Walter Slezak for Vienna TV show on Leo Slezak; existence???
540 Interview by Hickling for Melchior memorial program; WBAI; 15 Aug. ’73; on singing with Melchior, his Siegmund, anecdotes.
541 Broadcast: Coaching Jeanine Altmeyer in the role of Eva; Salzburg; Apr 1973; on stage movement, important words, psychological interpretation.
542 Interview (Ger.) by Frieda Jahre for “Kultur Interview”; 22 Aug. ’73; on Vienna in 1914, 1916, first roles there, at first not fitting in, Strauss, Puccini, Toscanini, Lieder as another world, third career as teacher, Vienna as “home”, no “stars” then, writing a book on Lied interpretation.
LATER INPUT: RECORDINGS WITH INCOMPLETE DATA (some possibly taken from Columbia radio broadcasts; see 450, or perhaps acetates recorded from WQXR or another New York City radio station of Town Hall performances.)
543 Es weiss und rät es (Mendelssohn); no date, 1940’s?; p. Ulanowsky; VOA 16″ acetate, 33 rpm.
544 Pagenlied (Mendelssohn); see 543.
545 Schilflied (Mendelssohn);see 543.
546 Neue Liebe, neues Leben (Beethoven); see 543.
547 Das Veilchen (Mozart); live; no date, possibly mid 1940’s; p. Ulanowsky?; no data.
548 Andenken (Beethoven); see 543.
549 Freiheit, die ich meine (C. Groos); 1 Nov. 1943; p. ?; OWI Series; in Deutsches Rundfunkarchiv listed as “Stimme aus Amerika”, available at UCSB.
550 Frühlingstraum (Schubert); see 543.
551 Gute Nacht (Schubert); see 543.
552 Abendemfindung (Mozart); see 543.
553 Anakreons Grab (Wolf); see 450.
553 Interview/class by Jan Popper; no date; DER OPERNBALL: Im chambre separé; (Heuberger); Lehmann sets the scene.
554 Interview? “Die Saengerin grüsst Oesterreich” broadcast by Austrian Radio Vienna, unknown reporter; Deutches Rundfunkarchiv