Seventy three minutes of Lehmann. What a delight! Very many of her most famous roles are remembered here. Particularly in her early years, her Agathe was much admired and I think nobody else, not even Grummer, has quite so unerringly enacted the character's hopes and fears or expresssed them with such eagerness. That, and Frau Fluth's joyful, teasing outburst from Die lustigen Weiber, are my special favourites in this selection. In the Nicolai recitative and aria we hear that wonderous sense of spontaneity that Lehmann, almost more than any other soprano was able to bring off the stage into the studio. Here she fairly bubbles over with anticipatory glee as she contemplates what she will do to Falstaff—''jener, dicke Schlemmer'', the very acme of her ability to bring a phrase to life.
Then three of her most notable Strauss roles are recalled in famous solos, the most impressive of which here is Ariadne's ''Es gibt ein Reich'', which rises to a point of ecstatic fervour equalled on disc only by Maria Reining. The solos from early Wagner are good, but perhaps the acoustic versions are even more poised. The Liebestod is as womanly and outgoing as one would expect and makes one regret her perfectly understandable decision to eschew the part. The solo from Das Wunder der Heliane was apparently a huge success, both in the opera house and when it first appeared on disc. One can hear just why: the music and singing are so ethereal and eloquent.
Her account of Leonore's scena from Fidelio always seems to me to have caught Lehmann on an off day. She captures the desperation of the woman all right, but the vocalization is gusty and breathy at times. Would that she had recorded it again with Toscanini a few years later. Similarly, Rosalinde's Czardas shows her a bit flustered in the fast section. Interesting to note that Szell is the conductor in the beautiful Tote Stadt solo made as long ago as 1924, the only acoustic item here.
As I have commented elsewhere in this issue, it is a pity Lehmann reissues so often ignore her as Lieder singer, but we must be thankful that at least her centenary has produced so much to recall her great career. The transfers are as good as the poor quality of Odeon recording at the time will allow. Certainly a personality, and a unique one, leaps out at you in every item of this rewarding disc.'