Erna Berger (1900-1990) - I
View record and artist detailsRecord and Artist Details
Composer or Director: Wolfgang Amadeus Mozart, Leo Blech, Edvard Grieg, Giacomo Puccini, Carl Maria von Weber, Johann Strauss II, Georges Bizet, Gioachino Rossini, Giuseppe Verdi, Daniel-François-Esprit Auber, Richard Strauss, (Carl) Otto (Ehrenfried) Nicolai
Label: Lebendige Vergangenheit
Magazine Review Date: 12/1991
Media Format: CD or Download
Media Runtime: 66
Mastering:
Mono
ADD
Catalogue Number: 89035
Tracks:
Composition | Artist Credit |
---|---|
(Le) nozze di Figaro, '(The) Marriage of Figaro', Movement: ~ |
Wolfgang Amadeus Mozart, Composer
Berlin State Opera Orchestra Clemens Krauss, Conductor Erna Berger, Soprano Viorica Ursuleac, Soprano Wolfgang Amadeus Mozart, Composer |
Don Giovanni, Movement: Là ci darem la mano |
Wolfgang Amadeus Mozart, Composer
Berlin State Opera Orchestra Clemens Krauss, Conductor Erna Berger, Soprano Heinrich Schlusnus, Baritone Wolfgang Amadeus Mozart, Composer |
(Il) Barbiere di Siviglia, '(The) Barber of Seville', Movement: ~ |
Gioachino Rossini, Composer
Berlin State Opera Orchestra Erna Berger, Soprano Fritz Zweig, Conductor Gioachino Rossini, Composer |
Rigoletto, Movement: ~ |
Giuseppe Verdi, Composer
Berlin State Opera Orchestra Clemens Schmalstich, Conductor Erna Berger, Soprano Giuseppe Verdi, Composer |
(La) traviata, Movement: ~ |
Giuseppe Verdi, Composer
Berlin State Opera Orchestra Erna Berger, Soprano Giuseppe Verdi, Composer |
(Die) Lustigen Weiber von Windsor, '(The) Merry Wives of Windsor', Movement: Nein, das ist wirklich doch zu keck! |
(Carl) Otto (Ehrenfried) Nicolai, Composer
(Carl) Otto (Ehrenfried) Nicolai, Composer Berlin City Opera Orchestra Charlotte Müller, Mezzo soprano Erna Berger, Soprano Wilhelm Franz Reuss, Conductor |
Fra Diavolo, Movement: Quel bonheur |
Daniel-François-Esprit Auber, Composer
Berlin State Opera Orchestra Daniel-François-Esprit Auber, Composer Erna Berger, Soprano Leo Blech, Composer |
(Les) Pêcheurs de Perles, '(The) Pearl Fishers', Movement: ~ |
Georges Bizet, Composer
Berlin State Opera Orchestra Erna Berger, Soprano Georges Bizet, Composer Leo Blech, Composer |
(Die) Fledermaus, '(The) Bat', Movement: ~ |
Johann Strauss II, Composer
Berlin State Opera Orchestra Erna Berger, Soprano Johann Strauss II, Composer Walter Schütze, Conductor |
(Die) Fledermaus, '(The) Bat', Movement: Spiel' ich die Unschuld |
Johann Strauss II, Composer
Berlin State Opera Orchestra Erna Berger, Soprano Johann Strauss II, Composer Walter Schütze, Conductor |
(La) Bohème, 'Bohemian Life', Movement: ~ |
Giacomo Puccini, Composer
Alois Melichar, Conductor Berlin State Opera Orchestra Erna Berger, Soprano Giacomo Puccini, Composer |
Madama Butterfly, Movement: Un bel dì vedremo |
Giacomo Puccini, Composer
Berlin State Opera Orchestra Erna Berger, Soprano Giacomo Puccini, Composer Leo Blech, Composer |
Peer Gynt, Movement: Solvejg's Song |
Edvard Grieg, Composer
Berlin State Opera Orchestra Edvard Grieg, Composer Erna Berger, Soprano Leo Blech, Composer |
(Der) Rosenkavalier, Movement: Ist ein Traum (Finale). |
Richard Strauss, Composer
Berlin State Opera Orchestra Clemens Krauss, Conductor Erna Berger, Soprano Richard Strauss, Composer Tiana Lemnitz, Soprano |
Non paventar mia vita |
Carl Maria von Weber, Composer
Berlin State Opera Orchestra Carl Maria von Weber, Composer Erna Berger, Soprano Johannes Schüler, Conductor |
Author: Alan Blyth
Few versions of Adele's airs from Die Fledermaus, except those by Schumann and Rita Streich, so delightfully and airily give us the essence of the flighty girl's nature. ''Mein Herr Marquis'' is sung with just the right lift and insouciance; ''Spiel' ich die Unschuld'' really comes to life, with Berger showing unexpected powers of soubrettish characterization by acting with her voice. Of course each is sung with impeccable ease and ideally focused tone. Just as enjoyable is the ebullient duet from Die lustigen Weiber von Windsor, where she is partnered by her little-known Berlin colleague Charlotte Muller. With a much more well-known one, Tiana Lemnitz, she sings a naturally phrased account of the closing duet from Der Rosenkavalier, quite famous in its day, the blend of the voices ideal. The one example of Berger singing in Italian, the concert aria by Weber (recently recorded on Opera Rara by Yvonne Kenny), is another item well worth having, not least because it suggests that Berger could provide a bigger tone than she is always credited with.
She sang roles such as Violetta, Musetta and Butterfly in Berlin, but in these she sounds overparted. She is much happier in the poised, sweetly sensuous versions of ''Caro nome'' and the two airs from French opera. Perhaps the expression isn't very individual, but one is grateful for the sheer poise and security of the singing. To that she adds just the right feeling of other-worldliness called for by Solveig's lovely song. In Mozart, the German text seems more acceptable than in Italian opera proper. The duet from Giovanni allows us to hear the seductive Don of Schlusnus. In the Letter duet from Figaro she is less happily partnered by the wobbly Ursuleac. As a whole I would say this is a fair representation of Berger's attractive art and as such is welcome.'
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