In Memoriam Christel Goltz

Editorial Reviews

All Music Guide - Uncle Dave Lewis
Soprano Christel Goltz was a discovery of conductor Karl Böhm; before she became a singer, Goltz had been a dancer and was physically the antithesis of the typical operatic soprano: small, lithe, and energetic. Despite her diminutive stature, Goltz had a big voice that easily made it out to the farthest tier, and it is said that when the character Narraboth killed himself in Strauss' "Salome," that Goltz would leap over his dead body during the "Dance of the Seven Veils"; sopranos, do not try this at home. It was in dramatic roles such as Salome and Elektra that Goltz made her mark, and by all accounts in performance she was extremely effective at them. The only ...
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Editorial Reviews

All Music Guide - Uncle Dave Lewis
Soprano Christel Goltz was a discovery of conductor Karl Böhm; before she became a singer, Goltz had been a dancer and was physically the antithesis of the typical operatic soprano: small, lithe, and energetic. Despite her diminutive stature, Goltz had a big voice that easily made it out to the farthest tier, and it is said that when the character Narraboth killed himself in Strauss' "Salome," that Goltz would leap over his dead body during the "Dance of the Seven Veils"; sopranos, do not try this at home. It was in dramatic roles such as Salome and Elektra that Goltz made her mark, and by all accounts in performance she was extremely effective at them. The only sizable studio recordings she made -- "Salome" with Clemens Krauss and "Elektra" with Georg Solti -- were in such roles. Early in her career, Goltz also created roles in works of Carl Orff and Swiss composer Heinrich Sutermeister; excerpt performances of these can be heard toward the end of the second disc of Preiser's In Memoriam Christel Goltz 1912-2008 and are among the most interesting selections to be found on this two-disc set. Preiser's research into the work of the seldom-recorded Goltz is so comprehensive that it even includes one of the recordings she made singing in the chorus of the Dresden Opera in 1939, before she appeared there in a role. Goltz is easy to recognize in the chorus as she doesn't blend in with the rest of the voices. Indeed, the quality of Goltz's voice was not her strongest asset; she was a singing actress and her sense of pitch rather often goes awry, to a hair-raising extent in the "Oberon" excerpt featured here. In terms of tone, at times she sounds more like Susan Alexander Kane than, say, contemporaries such as Birgit Nilsson and Irmgard Seefried. Her French is not particularly good, and although her Italian was better, one can see why Goltz would prefer to sing in her native German. Goltz was a major star in postwar German opera and one can see why Preiser would want to devote a two-disc set of her recordings as a tribute in the wake of her passing; there's hardly anything out there for her, except for live opera performances in which she serves as a cast member. Nevertheless, for rare opera buffs, the bit from Sutermeister's otherwise unrecorded opera "Romeo und Julia," heard in recordings made in 1944, may prove too strong to resist, and these -- along with the Strauss selections -- don't sound so bad. It's a lot to take on, though, to gain a little, and a little of this goes a long way.
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Product Details

  • Release Date: 9/8/2009
  • Label: Preiser Records
  • UPC: 717281934558
  • Catalog Number: 93455

Tracks

Disc 1
  1. 1 Alceste (French version), opera in 3 acts, Wq. 44: Divinités du Styx - Christel Goltz & Christoph Willibald Gluck (4:37)
  2. 2 Fidelio, opera, Op. 72: Abscheulicher, wo eilst du hin? - Ludwig van Beethoven & Christel Goltz (7:07)
  3. 3 Oberon, opera, J. 306: Ozean, du Ungeheuer - Carl Maria von Weber & Christel Goltz (9:47)
  4. 4 Tannhäuser, opera, WWV 70: O Furstin! - Richard Wagner & Bernd Aldenhoff (9:59)
  5. 5 Tristan und Isolde, opera, WWV 90: O sink' hernieder, Nacht der Liebe - Richard Wagner & Christel Goltz (19:41)
  6. 6 Tristan und Isolde, opera, WWV 90: Mild und leise wir er lächelt - Richard Wagner & Christel Goltz (6:49)
  7. 7 Der Widerspenstigen Zähmung (The Taming of the Shrew), opera in 4 acts: Die Kraft versagt - Hermann Goetz & Christel Goltz (6:26)
  8. 8 Aida, opera: Ritorna vincitor! - Giuseppe Verdi & Christel Goltz (6:33)
  9. 9 Aida, opera: Qui Radames verrà! - Giuseppe Verdi & Christel Goltz (6:42)
Disc 2
  1. 1 Salome, opera, Op. 54 (TrV 215): Ah! Du wolltest mich nicht deinen Mund küssen lass - Richard Strauss & Christel Goltz (15:20)
  2. 2 Elektra, opera, Op. 58 (TrV 223): Allein! Weh, ganz allein - Richard Strauss & Christel Goltz (8:45)
  3. 3 Elektra, opera, Op. 58 (TrV 223): Ich will nichts hören - Richard Strauss & Christel Goltz (16:30)
  4. 4 Elektra, opera, Op. 58 (TrV 223): Was willst du, fremder Mensch? - Richard Strauss & Ferdinand Frantz (20:13)
  5. 5 Cavalleria rusticana, opera (melodramma) in 1 act: Laßt und preisen den Herrn - Pietro Mascagni & Karl Bohm (4:09)
  6. 6 Romeo und Julia, opera: O Romeo, dein Nam' ist nur mein Feind - Heinrich Sutermeister & Hans Schmidt-Isserstedt (6:34)
  7. 7 Die Kluge, opera: Schushuhu, es fallen dem König die Augen zu - Carl Orff & Dresden State Opera Chorus (4:00)
  8. 8 Die Kluge, opera: Es war dein Wunsch, mein lieber Mann - Dresden State Opera Chorus & Carl Orff (4:02)
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Album Credits

Performance Credits
Christel Goltz Primary Artist
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