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Meta Seinemeyer sings Puccini,
Verdi, Giodano and Wagner
Recorded
1926 - 1929
Download ID: 265041
(Duration 75'38")
Restoration by HTS Studio for Hänssler Classic
COMES WITH ENGLISH NOTES & COVERS
La mamma morta
Giordano - Andrea Chenier
»Who is Meta Seinemeyer?« That is a question
which many a famous soprano must have asked
herself when reading in Die großen Songer des
20. Jahrhunderts, Jürgen Kesting's book of
singers, that she unfortunately did not have
Meta Seinemeyer's ability to sing piano, unbroken
legato or mezzo voce. When the book
came onto the market nineteen years ago, the
Dresden soprano was no longer as well known
as the likes of Lotte Lehmann or Rosa Ponselle,
even in connoisseurs' and collectors' circles.
In the meantime, Meta Seinemeyer, who
died at the age of thirty-three, just as her
international career was beginning, is spoken of
in the same breath as those legendary singers.
The change is ascribable partly to the undeniable
boom in historic recordings that has come
with the CD era and partly to the eulogies of
important music journalists.
One of the first people to draw particular
attention to the soprano's recordings was the
record producer Waiter Legge. In a essay on Elisabeth Schwarzkopf, he describes playing
carefully selected records to the young singer
to expand her knowledge of what is possible in
voice production. In addition to recordings of
Rosa Ponselle, Lotte Lehmann, Frida Leider
and Elisabeth Rethberg. there were »Iarge
doses« of Meta Seinemeyer to show her how
an essentially German voice can produce a »brilliant Italianate sound.«
Legge summed up' very well what was
unique about Seinemeyer: a German voice
with an Italian sound. And as the present
recordings of duets from Madame Butterfly and
La Forza del Destino show, Seinemeyer even
sounded Italian when she sang in German - a
blissful relief for everyone who winces at the
way Italian legato phrasing is often destroyed
by strings of German consonants.
In the duets
with Tino Pattiera, Seinemeyer sounds altogether
more like the »Italian school« than her
partner, whose rich material and expressiveness
do not always make up for what he lacks in final polish. The scene Sieglinde-Siegmund
from the first act of Wagner's The Valkyrie is an
excellent example of the extent to which even
Wagner benefits from the »Italian sound«.
Like
Frida Leider and Lotte Lehmann, Meta Seinemeyer
was among the central sopranos who
freed Wagner from the curse of »Teutonic«
intonation. Her rendering of Sieglinde's »Du
bist der Lenz« shows how perfectly she could
meet Wagner's intentions: the best possible
marriage of tone and word, melos and expression...
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