Hermann Prey as Eisenstein?
Matthew B. Tepper
<Paul_Phillips-2...@level3-ppp-125.level3.brown.edu>,
Paul_P...@brown.edu pondered what I'm pondering as follows...
>
>The other day, a friend mentioned that Hermann Prey, the German
>baritone, used to perform the tenor role of Eisenstein in DIE
>FLEDERMAUS. If this is so, can anyone provide details? Was he ever
>recorded singing the role? Are there other baritones who have sung
>Eisenstein in performance?
>
>Paul
Good question! Say, isn't _Fledermaus_ the opera which has as a
character one Dr. Blind, a lawyer so incompetent that he gets his
client's sentence *increased* instead of reduced?
--
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Mike Richter
the score, I believe, but it is almost always sung by a baritone.
You can see Prey in excellent performances of the part under Mehta or
Domingo, both at Covent Garden. The Mehta may not have had commercial
release, however.
Mike
Paul Phillips wrote:
>
> The other day, a friend mentioned that Hermann Prey, the German baritone,
> used to perform the tenor role of Eisenstein in DIE FLEDERMAUS. If this
> is so, can anyone provide details? Was he ever recorded singing the
> role? Are there other baritones who have sung Eisenstein in performance?
>
> Paul
--
mric...@cpl.net
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Mike Richter
system crash (which did happen) and was out of sorts.
Eisenstein is sung by both baritones and tenors. In addition to Prey,
Waechter was a noted Eisenstein. Tenors such as Patzak and Gedda
recorded the role, but baritones sing it more frequently, especially in
Germanic countries.
Mike
Paul Phillips
Christian Ehinger
Hello Paul!
There is one excellent recording (my favourite) of the Fledermaus with Prey
as Eisenstein, Julia Varady as his wife, Lucia Popp as Adele, Rene Kollo
as Alfred, Bernd Falke as Falke , conducted by Carlos Kleiber (chorus and
orchestra of the Bavarian State Opera).
The lable is: Deutsche Grammophon.
You can order it e.g. at www.cduniverse.com for $27.
Christian Ehinger
Deborah Overes
Christian Ehinger wrote in message <37787C90...@informatik.de>...
>There is one excellent recording (my favourite) of the Fledermaus with Prey
>as Eisenstein, Julia Varady as his wife, Lucia Popp as Adele, Rene Kollo
>as Alfred, Bernd Falke as Falke , conducted by Carlos Kleiber (chorus and
>orchestra of the Bavarian State Opera).
I have this recording as well (being a huge Hermann Prey fan) but I find it
ruined by the Orlofsky of Ivan Rebroff, singing the role in a very annoying
falsetto. I much prefer the 1980's video from Covent Garden with Kiri Te
Kanawa as Rosalinde.
Deborah Overes
"If Barbie is so popular, why do you have to buy her friends?"
Peter
>
> My apologies for the tone of the first sentence. I was anticipating
> system crash (which did happen) and was out of sorts.
>
> Eisenstein is sung by both baritones and tenors. In addition to Prey,
> Waechter was a noted Eisenstein. Tenors such as Patzak and Gedda
> recorded the role, but baritones sing it more frequently, especially in
> Germanic countries.
>
> Mike
>
> Mike Richter wrote:
> >
> > Why would you consider Eisenstein a tenor role? It is so designated in
> > the score, I believe, but it is almost always sung by a baritone.
> >
> > You can see Prey in excellent performances of the part under Mehta or
> > Domingo, both at Covent Garden. The Mehta may not have had commercial
> > release, however.
> >
> > Mike
> >
> > >
> > > The other day, a friend mentioned that Hermann Prey, the German baritone,
> > > used to perform the tenor role of Eisenstein in DIE FLEDERMAUS. If this
> > > is so, can anyone provide details? Was he ever recorded singing the
> > > role? Are there other baritones who have sung Eisenstein in performance?
> > >
> > > Paul
> >
> > mric...@cpl.net
> > http://mrichter.simplenet.com
> > CD-R http://resource.simplenet.com
>
> --
> mric...@cpl.net
> http://mrichter.simplenet.com
> CD-R http://resource.simplenet.com
I believe that Johann Strauss wrote the Eisenstein role for baritone,
but I would be grateful if someone could verify this from an "authentic"
source, reference, or even from an actual score.
Thanks in advance.
james jorden
> I believe that Johann Strauss wrote the Eisenstein role for baritone,
> but I would be grateful if someone could verify this from an "authentic"
> source, reference, or even from an actual score.
The part is notated in treble clef, which strongly suggests that the composer
intended for a tenor to take the role.
--
james jorden
jjo...@ix.netcom.com
http://www.parterre.com
"No matter how golden an age is, there will always be someone
who thinks everything looks too yellow." -- Gore Vidal
Michael Black
> I believe that Johann Strauss wrote the Eisenstein role for baritone,
> but I would be grateful if someone could verify this from an "authentic"
> source, reference, or even from an actual score.
My Schirmer score says tenor for Eisenstein. Of course, Schirmer is HARDLY a
definitive source.
With that said, I could care less if a baritone or tenor sings the role. I've done
both roles; Eistenstein and Alfred. Both present their problems and joys. Either
way, if a baritone does sing Eisenstein I don't want to hear a slaughtered version
of the role. I think I saw a video a number of years ago with I think Waechter. I
could be wrong, I probably am. Anyhow, whoever it was he was a baritone and since
he had trouble with the top he completely rewrote the role. If a baritone does
sing the role they MUST have a good and solid top and easily be able to sing
several high Gs throughout the evening.
--
Michael Black
http://www.michaelblack.com
"Birds of a feather, flock together."
dtritter
dietz version that had about 30 years' run, the role was in the hands of
charles kullman, but the mantle passed to teddy uppman, who is most
certainly not a tenor. for a lyric baritone, the role holds no terrors
whatever.
dft
james jorden
baritones omit, and a phrase or two they sings down an octave. Otherwise
the role is quite suitable for a lyric baritone.
dtritter wrote:
--
Michael Black
> prey and waechter were both noteworthy eisensteins. at the met in its
> dietz version that had about 30 years' run, the role was in the hands of
> charles kullman, but the mantle passed to teddy uppman, who is most
> certainly not a tenor. for a lyric baritone, the role holds no terrors
> whatever.
In theory that is true and in a number of cases like Prey and perhaps
Waechter. As I said, the person in the video may not be Waechter, in fact,
the more I think about it the more I'm certain it wasn't. Anyhow, not all
baritones, even though they should, have a dozen or so high Gs solidly
enough to sing throughout the evening, not to mention a couple A flats.
Mike Richter
Kobbe says tenor. I do not have access to the manuscript.
Mike
> I believe that Johann Strauss wrote the Eisenstein role for baritone,
> but I would be grateful if someone could verify this from an "authentic"
> source, reference, or even from an actual score.
>
> Thanks in advance.
Mark D. Lew
<jjo...@ix.netcom.com> wrote:
> The part is notated in treble clef, which strongly suggests that the composer
> intended for a tenor to take the role.
I'm not familiar with the conventions of Viennese operetta, so I trust
James on the immediate point.
I would add, however, that the same logic cannot necessarily be applied in
all contexts. There are some traditions in which it is common to write a
baritone part on a treble clef -- eg, musical theater, 20th century
British. (In terms of keeping most notes off the ledger lines, the treble
clef makes more sense for most baritone roles.)
mdl
Peter
I was fascinated by the many replies in reference to the role of
Eisenstein and whether it was written by Johann Strauss for a tenor
or a baritone, or perhaps "both."
I still hope that someone in the vast Internet sphere might have, or
have access to, an actual score of the "Fledermaus" so that we would
truly know what the composer intended.
Thanks in advance!
J. Reid
version says Eisenstein is a tenor role.
Since this firm supposedly published the libretto as well as the vocal
score, I wonder if anyone could give me contact info. for the firm-or a
source for the libretto? I found the Columbia LP for the concert
performance done over 30 years ago but have trouble remembering the jokes
in the libretto that are not in the vocal score.
The ending in this recording (as well as in the Odyssey reissue) is too
abbreviated to see how everything turns out!
J. M. Reid
Issaquah WA
