Comments on: Elisabeth Söderström 1927 – 2009

Buster commented

Buster — Mon, 23 Nov 2009 11:45:24 +0000

Anny Schlemm sang four roles in Rosenkavalier too, with a gap of 27 years between the first (Sophie) and the last (Annina):

http://annyschlemm.de/pages/repertoire.php

WindyCityOperaman commented

WindyCityOperaman — Mon, 23 Nov 2009 04:07:40 +0000

Very nice on-air tribute to Madame Sodestrom on the Lyric Opera of Chicago live broadcast this afternoon of Katya Kabanova. Recorded it on minidisc off the live WFMT feed as I was at a terffic CSO concert at the same time (Anja Silja’s ex, von Dohnanyi conducted, Bartok, Mozart, Schumann) and a young pianist named Paul Lewis (cute, looks like Villarzon). Matilla was the Katya today. Will give the mp3 a listen-to later.

Zerbinetta commented

Zerbinetta — Mon, 23 Nov 2009 02:25:01 +0000

With a last name like Franklin-Kitchen, you can hardly blame her. And it sounds like she might be able to live up to “Meister.” I guess “Meisterin” would have been too tricky?

MontyNostry commented

MontyNostry — Mon, 23 Nov 2009 00:45:51 +0000

Meister really does sound exciting — Callas-like range there, plus I see she does modern stuff too. Weird that she has germanised the spelling of her first name to go with a new surname … Her bio says: ‘Elisabeth Meister (formerly Elizabeth Franklin-Kitchen)’. We’ve lost an Elisabeth, but it looks like we’ve gained a new one.

The Overseer commented

The Overseer — Mon, 23 Nov 2009 00:41:01 +0000

The same is still happening with Kurzak, although thankfully she delivered upon her much proclaimed potential in Matilde di Shabran. Ms Koch is apparently abandoning all Mozart and Rossini roles, and will concentrate on Strauss and Wagner. From what I have been led to believe, we can expect to see a lot more of her at the ROH. As for Elisabeth Meister, she is easily the most impressive recruit they have yet attracted to the Jette Parker Programme. It’s not everyone who can sing Lucia, Constanza, Turandot and Aida! My only experience of her so far has been gobsmackingly good, so here’s hoping a few of the artists she will be cover will develop a cold or two!

Tamerlano commented

Tamerlano — Sun, 22 Nov 2009 23:03:18 +0000

Apparently Lehmann had some pretty major nodes, which Marilyn Horne suggested in her autobiography, might have been the reason she snatched so many breaths.

MontyNostry commented

MontyNostry — Sun, 22 Nov 2009 20:47:56 +0000

Thank you for that audio, La Cieca. Very beautiful — and what dicition. The combo of Alfano and German text does make it seem like one of Korngold’s more tuneful moments, though.

La Cieca commented

La Cieca — Sun, 22 Nov 2009 17:39:15 +0000

Lehmann as Turandot

MontyNostry commented

MontyNostry — Sun, 22 Nov 2009 16:18:03 +0000

richard, she would probably have taken a few extra breaths in ‘Gli enig-[breath]-mi sono [breath] tre’ . I often wonder whether La Bumberina’s habit of extra breaths in strenuous passages (eg the last phrase of ‘O don fatale’) might have been inherited from her distinguished mentor.

richard commented

richard — Sun, 22 Nov 2009 15:44:32 +0000

MN, I too have trouble imagining Lehmann floating Sophie’s phrases. But it was the role of her London debut.

She also sang Turandot in the vienna premiere so maybe her top was a little easier in her younger days. She recorded the aria but it doesn’t include the final phrases. Hmmm….confines of the 78 recording ?

MontyNostry commented

MontyNostry — Sun, 22 Nov 2009 15:13:36 +0000

Ms Meister sounds exciting (just looked her up on the Web). She might be a bit overpowering beside the exquisite Isokoski, though, whose voice is beautifully produced and projected, but not exactly meaty. Koch seems to be very in fashion with the ROH. It goes through these patches of casting a singer in roles in close succession (the same happened with Alexandra Kurzak.)

I’ve never heard recordings of the young Lehmann. Did she ever have a realy floaty top? It always sounds pretty short and effortful in her mature work.

richard commented

richard — Sun, 22 Nov 2009 15:05:28 +0000

rogwood, Lotte Lehmann and Lisa Della Casa did all three roles. Lehmann said she sang Sophie while she could manage the high notes, then moved to Octavian.
When her behind got too big for pants she moved to Marschallin.

Della Casa also sang Annina bringing her total to 4 roles. She claimed to like to sing Sophie best.

The Overseer commented

The Overseer — Sun, 22 Nov 2009 15:01:17 +0000

The ROH have cast Sophie Koch as Octavian, but have taken the unusual decision of casting Elisabeth Meister, a dramatic soprano, as the cover for the role. She has a wonderful rich lower register and a Turandot-sized top! The former should hold her in good stead for the role, should Ms Koch become ill.

Harry commented

Harry — Sun, 22 Nov 2009 14:48:18 +0000

Soderstrom is another: that represents those singers that never got caught in the ‘big diva mill’ but went about their career with diligence and true dedication, delighting many fans. Just watching that clip of Dvorak with her on parterre, is a great example of a singer showing proper placement and positioning of her voice, just by observing her face closely. Quietly it is up to us to remember and revere the wonderful memories and how we experienced something ‘more richer’ in our lives, by the presence and efforts of certain singers. It is Soderstrom that first made me ‘dare’ to fully appreciate Janacek. That final Emilia scene from Makopoulos Case with Soderstrom …..I place ‘up there’ with the best that Opera can offer anywhere.

MontyNostry commented

MontyNostry — Sun, 22 Nov 2009 14:23:17 +0000

Interesting that no-one wants to cast sopranos as Octavian anymore. I heard a young America soprano in the summer who I thought would make a fantastic Octavian or Composer (tall, slim, juicy lower voice) but everyone seems to want to give those parts exclusively to mezzos these days. I really have this feeling that the Composer, certainly, is better with a soprano.

rogwood commented

rogwood — Sun, 22 Nov 2009 12:35:08 +0000

Yes, the Swedish Society SCD1117 “Flickan under nymånen – A Swedish Song Collection” is still available and represents Söderström at her very best.

BTW, do we know of more sopranos who sang all three leads in Der Rosenkavalier?

alex commented

alex — Sun, 22 Nov 2009 03:37:17 +0000

I find her recording of Luonnotar to be spectacular.

sibiryakov commented

sibiryakov — Sun, 22 Nov 2009 01:02:45 +0000

I am surprised that there are not more comments on this thread. Söderström was a very beloved artist in New York. She had a great ability to let her personality shine through the music, and hence was a first class recitalist. Her Countess, too, was really something else, with a great trill to boot.

The Janacek recordings are indispensable, as are the Swedish song albums from the 1950s, one of which was called, “A Tribute to Jenny Lind,” I believe. They were at one point available on a CD on something called the Swedish Society label. On it are some very lovely a cappella songs, as well as little-known gems from Stenhammar, Rangström and other Swedish composers. “Flickan under Nymanen” is a particular favorite.

Despina commented

Despina — Sat, 21 Nov 2009 20:15:23 +0000

I, too, saw her on tour in Boston as the Marshallin with von Stade and Battle. I have never forgotten that performance and all the little nuances she brought to the character.

messa di voce commented

messa di voce — Sat, 21 Nov 2009 17:23:23 +0000

“some very forgettable English
soprano”

The Vicar would say no such creature exists.