Comments on: Elisabeth Söderström 1927 – 2009

By: Buster

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

By: WindyCityOperaman

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.

By: Zerbinetta

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?

By: MontyNostry

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.

By: The Overseer

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!

By: Tamerlano

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.

By: MontyNostry

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.

By: La Cieca

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

Lehmann as Turandot

By: MontyNostry

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.

By: richard

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 ?

By: MontyNostry

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.

By: richard

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.

By: The Overseer

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.

By: Harry

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.

By: MontyNostry

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.

By: rogwood

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?

By: alex

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

I find her recording of Luonnotar to be spectacular.

By: sibiryakov

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.

By: Despina

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.

By: messa di voce

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

“some very forgettable English
soprano”

The Vicar would say no such creature exists.

By: Harry

Harry — Sat, 21 Nov 2009 17:16:37 +0000

And don’t forget that 3CD set of Rachmaninoff Songs she did with Ashkenazy on piano. As for Janacek, her three roles of Kata, Emilia and Jenufa ……..true benchmarks!

By: Indiana Loiterer III

Indiana Loiterer III — Sat, 21 Nov 2009 16:58:16 +0000

She was my first big-house diva–Jenufa in San Francisco in 1980. You can read about it in Parterre Box zine # 23 “Forbidden Love”, albeit under my real name (gadzooks! now it can be told!)

By: Gualtier M

Gualtier M — Sat, 21 Nov 2009 15:55:01 +0000

I think that the ultimate statement from Soderstrom about Schwarzkopf was her Hexe in the “Hansel und Gretel” recording under Pritchard – a dead-on and hilarious Schwarzkopf parody that has me ROTFL!!

By: mrmyster

mrmyster — Sat, 21 Nov 2009 15:53:38 +0000

To grasp the magic of an Elisabeth Soederstrom performance, I think
one had to be in the recital hall or music room. Her art was a bit fey
for a huge opera house, but even Schwarzkopf could not exceed her
in recital. I recall one amusing episode in San Francisco when we went
to the symphony to hear Soederstrom sing Strauss’ orchestral songs, only
to learn she was “indisposed” and some very forgettable English
soprano took her place. Yet, at the interval there was the Swedish
soprano, dressed to the nines in shiny black and surrounded by a
coven of eager young opera queens, having a merry time.
The least she could have done was stay in her hotel and BE indisposed.
Sort of a sour note I thought. Let’s see now, who was that
English soprano . . . ?

By: Will

Will — Sat, 21 Nov 2009 14:53:51 +0000

I read an article written by someone who had been at the rehearsals. It was made to seem polite in the quotes but may have been frosty in person. German Liz objected to anything but the strictly traditional stance of the Marschallin in the final part of act 3. Swedish Liz was playing it sympathetic to Sophie and preparing the way for the Sophie/Octavian pairing. “That’s a different libretto, darling!” came out of the auditorium and the author said Swedish Liz backed off to observe the developing situation cooly.

Later in the article he did quote German Liz: :She’s one of the great artists with whom I’ve worked.”

I loved her final exit on the MET tour–she did the traditional grasp of the hand while facing upstage, began to walk off stage left, then suddenly turned around and blew Octavian a kiss with a lovely smile as she walked off three paces ahead of Faninal. Clearly a Marschallin who would live to love again.

By: Will

Will — Sat, 21 Nov 2009 14:43:39 +0000

Thanks for the correction, Krunoslav–I’d forgotten the three earlier roles and thought she’d debuted in the wildly popular new production of L’elisir.

By: Graciella Scusi

Graciella Scusi — Sat, 21 Nov 2009 09:11:05 +0000

I remember that Gretchen am Spinnrade, Hans…VERY intense! and on “Und ach,sein Kuss” the Kuss was lengthened, as if she didn’t want to let go, and then deflated slowly on the final s. A mistress of her art.
I saw two of her final Marschallins at the Met. Fassbaender was all over her in the first act, breaking a clasp on her peignoir in one performance. Soderstrom just reacted in character and used it to motivate her exasperation with Octavian. I thought her voice was perfect for the part; at it’s best it had a kind of shimmer to it that was very appealing and feminine, but it was never just about making beautiful sounds. In the last act, her exit just before the final duet was played differently the two times I saw it. Once with a touch of vulnerability as he took her hand, turning to look at him quickly before taking her hand away and exiting on Faninal’s arm (fairly conventional). But the second time she took a step back, facing Octavian, tossed her head back a little and gave him this dazzling smile, this beautifull woman, gracious and sexy, releasing him in the most loving way… “Und in dem Wie” indeed.

By: MontyNostry

MontyNostry — Sat, 21 Nov 2009 08:52:11 +0000

As I understand, Elisabeth S[öderström] didn’t get on too well with Elisabeth S[chwarzkopf] when the latter directed the former in Rosenkavalier in, I believe Brussels. I read that Swedish Lis dared to stand up to German Lis when she disagreed with her. Having met German Lis a couple of times in her senior years, I can imagine that required quite some spirit.

By: Camille

Camille — Sat, 21 Nov 2009 07:50:01 +0000

Gee, Herr Hanslick–I’m so happy you have contributed this reminiscense about a Schubert song as E. S sang the song “Erlkonig” in a way, that is in the manner of differentiation amidst the three voices — distinct, individual, and quite separate one from the other — in a way which I have never heard equalled by any other artist. So happy you should speak about her Schubert singing, as I do not recall very much about Pikovaya Dama.

By: Krunoslav

Krunoslav — Sat, 21 Nov 2009 06:54:07 +0000

Hey Hans

If you’re going to flaunt “Grafinya”, why not say “Pikovaja dama”? “Pique Dame” is the *German* title of the opera…

-Krunoslav