This is not a recital as such, but a collection of off the air recordings made by Schwarzkopf between the years 1941 and 1952. We get the opening of a Berlin Das Rheingold, conducted by Artur Rother (Schwarzkopf as Woglinde), Nie werd ich deine Hulde verkennen from a Vienna performance of Die Entführung aus dem Serail, conducted by Rudolf Moralt (with Emmy Loose, Anton Dermota, Peter Klein and Herbert Alsen), a duet from Weber’s Abu Hassan from 1942, with Michael Bohnen, and part of the Act II finale of Le Nozze di Figaro from La Scala in 1948, with Imrgard Seefried and W Hoefermeyer (who he?) under Karajan. We also get a couple of excerpts from the 1950 Salzburg Festival, both conducted by Furtwängler; Mi tradi from Don Giovanni (on which unusually she takes an unwritten upward ending, presumably sanctioned by Furtwängler though absent from all other versions by her) and Marzelline’s opening duet and aria from the famous performance of Fidelio at which Flagstad sang Leonore. In all Schwarzkopf displays her familiar virtues of pure, firm tone, excellent legato and elegant phrasing, the voice shot through with laughter in the lighter pieces. Marzelline’s aria is sung with a fuller tone than we often hear in this music, but captures perfectly her wistful charm. Ilia’s Zeffiretti lusinghieri is taken from a 1951 Turin Radio Mario Rossi broadcast, but it is not quite so accomplished as the one on her studio recital of the following year.
The rest is is given over to a Hamburg broadcast from 1952, beginning with a lovely performance of He shall feed his flock, from Handel’s Messiah (sung in German). The Act I monologue from Der Rosenkavalier is perhaps less detailed than the one on the complete set under Karajan and no doubt some might prefer it for that reason, though I wouldn’t necessarily be one of them. It’s a lovely performance nonetheless. Schwarzkopf’s Countess is also justly well known, and Porgi amor is sung with creamy tone and matchless legato, but the excerpts from Madama Butterfly (sung in German) don’t really work for her, and indeed Schwarzkopf herself, when she heard them in later years, thought them “rather screechy on top”. She did however approve the aria from Korngold’s Die tote Stadt (the soprano version of the duet Glück das mir verblieb) and rightly so, as this is without doubt the prize of the whole disc. I have never heard it sung better, not by Te Kanawa, not by Fleming, not even by Lehmann, who recorded the duet with Richard Tauber. The pianissimi on the top notes, the diminuendi, the way she fades the tone are absolutely miraculous, no other word for it. Everyone needs to hear this, but getting the recital on disc is quite difficult these days. Fortunately you can hear it on youtube, though you will need to go to the youtube site to hear it.
The whole disc is a fitting repost to all those who think Schwarzkopf was a studio creation, catching her live and on the wing, but treasured mostly for that sensational and unfortunately unrepeated performance of the Korngold.