Ljuba Welitsch, for the short time her star was in the ascendant, was undoubtedly a star, glamorous both of voice and personality. Renowned the world over for her Salome, a role in which Strauss himself had coached her, she was also known for her Tosca and Donna Anna. Unfortunately she had developed nodules by 1953 and thereafter, though she didn’t retire completely, confined herself to character roles, like the Duenna in the Schwarzkopf/Karajan recording of Der Rosenkavalier.
This two disc set showcases her Salome, Donna Anna and Tosca, as well as Johann Strauss (the Czardas from Die Fledermaus and Saffi’s Gypsy Song from Der Zigeunerbaron). The rest is devoted to Lieder and songs by Brahms, Schubert, Schumann, Darogmizhsky, Mussorgsky, Marx, Mahler and Strauss, all with piano accompaniment, even the Vier letzte Lieder.
Whilst we get a good impression of the glamour and the silvery purity on high, the recordings do also rather show up her limitations. Best of the items is the 1949 recording of the Final Scene from Salome under Reiner, though, even here, I prefer the earlier performance she made under Lovro von Matacic in 1944, which, to my mind, has a greater degree of specificity. There is just the suspicion here that she had sung the role too many times; there is a touch of sloppiness in the delivery, which is complelely absent from the earlier recording.
She makes an appreciable Tosca, and something of her stage personality comes across here, but, I hear little of Callas’s detail or Price’s or Tebaldi’s vocal opulence. A tendency to be careless of note values is even more evident in the Donna Anna excerpts, where we also become aware of an unwillingness to vary the volume or colour of her singing. John Steane had similar misgivings in his book The Grand Tradition.
It is hard to think of a voice with a brighter shine to it, or of a singer with greater energy and more sense of joy in that sheer act of producing these glorious sounds. Even here, however, one notes that subtlety is hardly in question; there is little of the lithe seductiveness which Schwarzkopf and Güden bring to the [Fledermaus] Czardas, for instance. And this limits much of her best work, even the Salome in which she made such an exciting impression on her audiences.
These limitations are even more evident in the songs with piano, and, though there is still much to enjoy in disc one, I found much of disc two something of a trial to listen to, the voice just too bright and unrelentingly mezza voce. The Strauss Vier letzte Lieder can work with piano, as witness a recording by Barbara Bonney, but here I just longed for the greater subtlety and range of expression of Schwarzkopf or Popp, of Norman or Fleming. The Mahler had me thinking of the shattering Lorraine Hunt Lieberson in the piano accompanied version, and the Schubert and Schumann songs hardly begin to challenge versions by a range of different sopranos from Welitsch’s time onwards.
If I were to choose but one representation of Welitsch’s art, it would absolutely be the 1949 live recording from the Met of Salome under Reiner, but, for a recital I’d go for EMI’s old LP and CD transfer of the 1944 Salome Final Scene, which also has on it a glorious version of Tatyana’s Letter Scene from Eugene Onegin, a disc I reviewed a couple of months back here. This present two disc set is, I’m afraid, a mite disappointing.