Rosette Anday (1903-1977)
View record and artist detailsRecord and Artist Details
Composer or Director: Johann Sebastian Bach, Wilhelm Kienzl, Georges Bizet, Giuseppe Verdi, Felix Mendelssohn, Richard Wagner, Camille Saint-Saëns, Gaetano Donizetti, Siegfried Ochs, Christoph Gluck, Johann Nepomuk Hummel
Label: Lebendige Vergangenheit
Magazine Review Date: 5/1992
Media Format: CD or Download
Media Runtime: 69
Mastering:
Mono
Acoustic
ADD
Catalogue Number: 89046
Tracks:
| Composition | Artist Credit |
|---|---|
| (La) Favorita, Movement: ~ |
Gaetano Donizetti, Composer
Gaetano Donizetti, Composer Karl Alwin, Conductor Rosette Anday, Contralto (Female alto) Vienna State Opera Orchestra |
| (Il) trovatore, Movement: ~ |
Giuseppe Verdi, Composer
Giuseppe Verdi, Composer Karl Alwin, Conductor Rosette Anday, Contralto (Female alto) Vienna State Opera Orchestra |
| (Der) Ring des Nibelungen: Part 4, 'Götterdämmerung', Movement: ~ |
Richard Wagner, Composer
Berlin State Opera Orchestra Julius Prüwer, Conductor Richard Wagner, Composer Rosette Anday, Contralto (Female alto) |
| Samson et Dalila, Movement: Printemps qui commence |
Camille Saint-Saëns, Composer
Berlin State Opera Orchestra Camille Saint-Saëns, Composer Julius Prüwer, Conductor Rosette Anday, Contralto (Female alto) |
| Samson et Dalila, Movement: ~ |
Camille Saint-Saëns, Composer
Camille Saint-Saëns, Composer Karl Alwin, Conductor Rosette Anday, Contralto (Female alto) Vienna State Opera Orchestra |
| Carmen, Movement: L'amour est un oiseau rebelle (Habanera) |
Georges Bizet, Composer
Georges Bizet, Composer Karl Alwin, Conductor Rosette Anday, Contralto (Female alto) Vienna State Opera Orchestra |
| Carmen, Movement: ~ |
Georges Bizet, Composer
Georges Bizet, Composer Karl Alwin, Conductor Rosette Anday, Contralto (Female alto) Vienna State Opera Orchestra |
| St Matthew Passion, Movement: Erbarme dich |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Karl Alwin, Conductor Rosette Anday, Contralto (Female alto) Vienna State Opera Orchestra |
| Dank sei dir, Herr |
Siegfried Ochs, Composer
Karl Alwin, Conductor Rosette Anday, Contralto (Female alto) Siegfried Ochs, Composer Vienna State Opera Orchestra |
| Elias, Movement: Sei stille dem Herrn |
Felix Mendelssohn, Composer
Felix Mendelssohn, Composer London Symphony Orchestra Robert Heger, Conductor Rosette Anday, Contralto (Female alto) |
| Hallelujah |
Johann Nepomuk Hummel, Composer
Herbert Dawson, Organ Johann Nepomuk Hummel, Composer Rosette Anday, Contralto (Female alto) |
| Orphée et Eurydice, Movement: J'ai perdu mon Eurydice |
Christoph Gluck, Composer
(Anonymous) Orchestra Christoph Gluck, Composer Rosette Anday, Contralto (Female alto) |
| Tristan und Isolde, Movement: ~ |
Richard Wagner, Composer
(Anonymous) Orchestra Richard Wagner, Composer Rosette Anday, Contralto (Female alto) |
| (Der) Evangelimann, Movement: O schöne Jugendtage |
Wilhelm Kienzl, Composer
(Anonymous) Orchestra Rosette Anday, Contralto (Female alto) Wilhelm Kienzl, Composer |
Author:
The plum in this pie is Delilah’s first solo, “Printemps qui commence”. If that were extracted, Jack Horner fashion, not much would be left for Christmas. “O mio Fernando” shows the singer firm at forte on her upper notes but uneven in the middle register, particularly in declamation. The first visual image is not at all that of the pretty young lady shown on the cover, with her pearls, her bobbed hair and ruched opera cloak, but rather of the joke-operatic gorgon, who is to reappear round the camp-fire aged a little for “Stride la vampa” on the next track. Her account of Waltraute’s narrative has grandeur and eloquence in the Schumann-Heink tradition and sounds not all that much younger. Her Carmen is as severe as her Waltraute, the Habanera having much the same grimness as the Card scene. Bach suffers from too much vibrato and excessive speed, while Hummel’s Hallelujah has Herbert Dawson accompanying in a way that recalls Saturday evenings of old at the Gaumont or Empire cinema.
Relatively acceptable for its time is the Orfeo aria, and the Handel has an impressive if anachronistic majesty. “O schone Jugendtage” displays the contralto depth to advantage, and the second Trovatore solo is a sufficiently fine and resourceful piece of singing to take us back to the starting-point which was that air of Delilah’s. Here, Anday, singing in French, becomes suddenly exquisite, tender, imaginative, lovely in the variety of her colours and the suppleness of her portamentos. She was a highly valued artist and greatly loved in Vienna, where she last sang in 1961, 40 years after her debut there at the age of 18. The quality of the transfers is good, and the compilers have found a particularly fine copy of the Handel aria. That, together with “Condotta ell’era” and “Printemps qui commence” (a previously unpublished take), with the Wagnerian excerpts too, should put the disc on the list of those to be considered.JBS
Relatively acceptable for its time is the Orfeo aria, and the Handel has an impressive if anachronistic majesty. “O schone Jugendtage” displays the contralto depth to advantage, and the second Trovatore solo is a sufficiently fine and resourceful piece of singing to take us back to the starting-point which was that air of Delilah’s. Here, Anday, singing in French, becomes suddenly exquisite, tender, imaginative, lovely in the variety of her colours and the suppleness of her portamentos. She was a highly valued artist and greatly loved in Vienna, where she last sang in 1961, 40 years after her debut there at the age of 18. The quality of the transfers is good, and the compilers have found a particularly fine copy of the Handel aria. That, together with “Condotta ell’era” and “Printemps qui commence” (a previously unpublished take), with the Wagnerian excerpts too, should put the disc on the list of those to be considered.
Rosette Anday (1903-1977)
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