Karin Branzell (1891-1974) - I
View record and artist detailsRecord and Artist Details
Composer or Director: Charles-François Gounod, Christoph Gluck, Wilhelm Kienzl, Georges Bizet, Giuseppe Verdi, Giacomo Meyerbeer, Camille Saint-Saëns, (Charles Louis) Ambroise Thomas, Gaetano Donizetti, Amilcare Ponchielli, Richard Wagner
Label: Lebendige Vergangenheit
Magazine Review Date: 8/1992
Media Format: CD or Download
Media Runtime: 62
Mastering:
Mono
ADD
Catalogue Number: 89039

Tracks:
Composition | Artist Credit |
---|---|
Orfeo ed Euridice, Movement: Che farò senza Euridice |
Christoph Gluck, Composer
(Anonymous) Orchestra Christoph Gluck, Composer Karin Branzell, Contralto (Female alto) |
(La) Favorita, Movement: ~ |
Gaetano Donizetti, Composer
(Anonymous) Orchestra Gaetano Donizetti, Composer Karin Branzell, Contralto (Female alto) |
(Il) trovatore, Movement: ~ |
Giuseppe Verdi, Composer
(Anonymous) Orchestra Giuseppe Verdi, Composer Karin Branzell, Contralto (Female alto) |
(Un) ballo in maschera, '(A) masked ball', Movement: ~ |
Giuseppe Verdi, Composer
(Anonymous) Orchestra Giuseppe Verdi, Composer Karin Branzell, Contralto (Female alto) |
(Le) Prophète, Movement: Ah! mon fils, sois béni! |
Giacomo Meyerbeer, Composer
(Anonymous) Orchestra Giacomo Meyerbeer, Composer Karin Branzell, Contralto (Female alto) |
(Le) Prophète, Movement: Donnez, donnez pour une pauvre âme |
Giacomo Meyerbeer, Composer
(Anonymous) Orchestra Giacomo Meyerbeer, Composer Karin Branzell, Contralto (Female alto) |
Mignon, Movement: Connais-tu le pays? |
(Charles Louis) Ambroise Thomas, Composer
(Anonymous) Orchestra (Charles Louis) Ambroise Thomas, Composer Karin Branzell, Contralto (Female alto) |
Faust, Movement: Faites-lui mes aveux |
Charles-François Gounod, Composer
(Anonymous) Orchestra Charles-François Gounod, Composer Karin Branzell, Contralto (Female alto) |
Faust, Movement: Si le bonheur (When all was young) |
Charles-François Gounod, Composer
(Anonymous) Orchestra Charles-François Gounod, Composer Karin Branzell, Contralto (Female alto) |
Carmen, Movement: L'amour est un oiseau rebelle (Habanera) |
Georges Bizet, Composer
(Anonymous) Orchestra Georges Bizet, Composer Karin Branzell, Contralto (Female alto) |
Carmen, Movement: ~ |
Georges Bizet, Composer
(Anonymous) Orchestra Georges Bizet, Composer Karin Branzell, Contralto (Female alto) |
Samson et Dalila, Movement: Printemps qui commence |
Camille Saint-Saëns, Composer
(Anonymous) Orchestra Camille Saint-Saëns, Composer Karin Branzell, Contralto (Female alto) |
Samson et Dalila, Movement: ~ |
Camille Saint-Saëns, Composer
(Anonymous) Orchestra Camille Saint-Saëns, Composer Karin Branzell, Contralto (Female alto) |
(La) Gioconda, Movement: ~ |
Amilcare Ponchielli, Composer
(Anonymous) Orchestra Amilcare Ponchielli, Composer Karin Branzell, Contralto (Female alto) |
(Der) Ring des Nibelungen: Part 1, '(Das) Rheingold', Movement: Weiche, Wotan, weiche! (Erda's warning) |
Richard Wagner, Composer
(Anonymous) Orchestra Karin Branzell, Contralto (Female alto) Richard Wagner, Composer |
(Der) Evangelimann, Movement: O schöne Jugendtage |
Wilhelm Kienzl, Composer
(Anonymous) Orchestra Karin Branzell, Contralto (Female alto) Wilhelm Kienzl, Composer |
Author:
The most satisfying are probably those from the German repertoire: the fine, authentic Erda-voice in Das Rheingold and the rich, true contralto, warm but avoiding sentimentality, in Der Evangelimann. In the French operas, she suits best, and indeed superlatively well, as Fides, the mother in Le prophete. To Siebel's Flower song in Faust she brings an unexpectedly light touch, but the tone is too mature for Mignon and too godly for Carmen and Delilah, well as the music of both of them is sung. The lack of Latin vibrancy and a sexually challenging chest register would limit the appeal of her Verdi and Donizetti to Italian listeners, but ''Stride la vampa'' has a real trill such as their own singers rarely offered, and her voice is ideal for the deep, baleful utterances of Ulrica in Un ballo in maschera (a role she never sang at the Met). In EMI's ''Record Of Singing'', Vol. 3 (10/85—nla) she was represented by her solo from La Gioconda and that too is a fine example of her art at its most sensitive. On the present record the transfer of this is a little surfacy at first, but the voice comes out beautifully. If we failed to remember Karin Branzell in her centenary year, now is the time to make amends.'
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