This website uses cookies to ensure you get the best experience on our website. Learn more

Playlist of Walter Berry (opera singer)

  • 100 Singers - WALTER BERRY


    Walter Berry, Bass-baritone (1929-2000)
    Wolfgang Amadeus Mozart: DON GIOVANNI
    Madamina, il catalogo è questo
    Conducted by Herbert von Karajan / recorded live 1960 at the Salzburg Festival

    My personal opinion: The Austrian bass-baritone Walter Berry was still a youngster when he came fresh from the academy to the newly established team of the 'Vienna ensemble', created by Josef Krips (note my comment in the Maria Reining video). It was the time of farewelling the old Mozart ideal with the bombast of a voluminous orchestra. The new concept was marked by more playful sounds: Clearer, lighter and sweeter than before. In this intimacy, voices like that of Reining, Irmgard Seefried, Elisabeth Schwarzkopf, Wilma Lipp, Anton Dermota or Erich Kunz, to name but a few, matured. After an audition, Berry received his contract for a scholarship to sing small roles. Later he said: For me it was a fantastic opportunity to be on stage with such greats as Cesare Siepi, George London or veteran Paul Schoeffler. Gradually, Berry took over the roles of the aging bass-baritone Erich Kunz, twenty years his senior. Kunz was a darling of the Viennese audience; an arch-comedian and most beloved for his emotional portrayals of Mozart's Figaro and Papageno; two characters soon thereafter in the hands of Berry, whose voice was more vigorous and virile. In rapid succession, Berry expanded his repertoire and changed from a 'basso buffo' to a heroic baritone. In 1961, HMV producer Legge chose Berry to sing Pizarro in Klemperer's famous recording of Beethoven's FIDELIO with the recently deceased Jon Vickers and Christa Ludwig, Berry's spouse since 1957.
    The baritone's first appearance at the 'Salzburg Festival' was already in 1953 as Masetto in DON GIOVANNI; a part he repeated two years later at the 'Vienna State Opera' in the first season of the re-opened house. At that time, in the pre-Karajan era, all operas were sung in German. The same year, Berry recorded DON GIOVANNI under Rudolf Moralt and switched from Masetto to Leporello - still one of the best versions, though I must admit, I'm not a devoted fan of George London in the title role. Thereafter, Walter Berry sang a brave and aggressive Figaro in Karl Boehm's recording of LE NOZZE DI FIGARO. An international career followed. The bass-baritone repeated Leporello in the sluggish Otto Klemperer DON GIOVANNI with Ghiaurov as the Don. Beside Mozart, Berry also sang baroque operas by Handel as well as Strauss (Barak), Verdi, Smetana, Borodin, Humperdinck, Mascagni, Lortzing and modern compositions: For many critics, Berry was the best recorded WOZZECK. He sings the role, wrote John Steane, ...and 'sings' is the word. One hears a true legato and well-rounded beauty of tone.
    Most admirable also Berry's Hungarian sung Bluebeard in the 1965 recording of Bartók's only opera A KÉKSZÁKÁLLU HERCEG VÁRA under István Kertész with Christa Ludwig, who sings a radiant top C over the full orchestra when the fifth door of DUKE BLUEBEARD'S CASTLE opens.
    Walter Berry first hesitated to sing Wagner, later he performed Wotan (in Salzburg and New York) and Kurwenal (on records). Much of his sunny nature exposed Berry in operetta recordings. As Frank in the underrated FLEDERMAUS recording led by Robert Stolz, he is simply hilarious (notably in the Act I finale). One must hear him also in the Stanislaus - Baron Weps duet from Zeller's VOGELHAENDLER with Gerhard Unger; an amusing equivalent to Cheti, cheti immantinente from Donizetti's DON PASQUALE. The rhythm of the interjected laughs is infectious.
    It was one of Berry's most talented skills, to represent equally compelling sympathetic figures as well as villains and enemies. The relevant repertory ranged from Mozart's Papageno to Beethoven's evil Don Pizarro. In the 1962 FIDELIO live document from Vienna under Karajan, Berry is a snarling devil. Of his two ZAUBERFLOETE recordings (Klemperer, Sawallisch) I prefer the latter with dialogue. No idea what prompted Otto Klemperer and producer Walter Legge to omit all the important spoken words ...
    Walter Berry was one of those singers who became an instituion, and especially in Vienna he has left his traces as an indispensable, compelling and charismatic artist. To remember him in this series was merely only a matter of time. The world of opera always needed strong personalities, and Berry, with his combination of humanity and highest artistic standards, was without doubt one of them.

  • Walter Berry; Per questa bella mano; KV 612; Wolfgang Amadeus Mozart


    Walter Berry--Bass
    Leopold Heger--Conductor
    Salzburg Mozarteum Orchester

  • x
  • Humperdinck: Hänsel und Gretel - Cluytens; Seefried, Rothenberger, Höngen, Berry - Viena, 1964


    Engelbert Humperdinck (1854-1921)

    DIRETTORE D'ORCHESTRA......André Cluytnes

    HÄNSEL.....................................Irmgard Seefried
    GRETEL......................................Anneliese Rothenberger
    HEXE..........................................Elisabeth Höngen
    VATER........................................Walter Berry
    MUTTER....................................Grace Hoffman
    SANDMANN/TAUMANN..........Liselotte Maikl
    KUCHENKINDER.......................Wiener Sängerknaben

    Wiener Philharmoniker

    Musikvereinssaal -Viena
    Marzo, 1964

    Immagine sullo sfondo/Imagen al fondo/Background image
    Hänsel und Gretel - Kay Nielson (1886-1957)

    All credits must go to EMI Classics

    For cultural purposes only - Únicamente con própositos culturales - Unicamente a scopo educativo

    Disclaimer: No copyright infringement intended

    I own nothing

    My favorite version after Karajan's edition with Grümmer and Schwarzkopf, although in contrast to the first, vocally speaking, in terms of colour, the difference between Hänsel and Gretel might not be that visible.

  • Walter Berry - Fidelio - Ha! welch ein Augenblick


    George Clooney lookalike Walter Berry gives a terrific performance in Beethoven's Fidelio.

  • x
  • Alva / Prey / Berry / Miljakovic / Ludwig / Janowitz - Alla bella Despinetta - Cosi fan tutte


    Christa Ludwig as Dorabella, Gundula Janowitz as Fiordiligi, Olivera Miljakovic as Despina, Luigi Alva as Ferrando, Hermann Prey as Guglielmo and Walter Berry as Don Alfonso sing 'Alla bella Despinetta' (1972) Cosi fan tutte (1790) Karl Böhm (conductor) Wiener Philharmoniker * Cosi fan tutte * Mozart (English script below)

  • Le nozze di Figaro , K. 492: Act IV: Barbarina coshai? (Figaro,...


    Provided to YouTube by Kontor New Media

    Le nozze di Figaro (The Marriage of Figaro) , K. 492: Act IV: Barbarina cos'hai? (Figaro, Barbarina, Marcellina) · Walter Berry, Dresden State Opera Chorus, Dresden Staatskapelle, Otmar Suitner, Annelies Burmeister, Rosemarie Ronisch

    Wolfgang Amadeus Mozart: Nozze di Figaro (Le) (The Marriage of Figaro) (Opera) (Suitner)

    ℗ edel Gesellschaft für Produktmarketing mbH

    Released on: 2009-01-23

    Choir: Dresden State Opera Chorus
    Conductor: Otmar Suitner
    Orchestra: Dresden Staatskapelle
    Composer: Wolfgang Amadeus Mozart
    Lyricist: Wolfgang Amadeus Mozart
    Music Publisher: Copyright Control

    Auto-generated by YouTube.

  • x
  • 41 Mache dich, mein Herze, rein


    Johan Sebastian Bach, St. Matthew Passion, Karl Richter, Walter Berry

  • Walter Berry; Da lieg ich!...Ohne mich; DER ROSENKAVALIER; Richard Strauss


    Walter Berry--Baron Ochs
    Leonard Bernstein--conductor
    Wiener Philharmoniker

  • Christa Ludwig; Walter Berry; Schweigt doch...Mir anvertraut; DIE FRAU OHNE SCHATTEN; R. Strauss


    Christa Ludwig--Dyer's Wife
    Walter Berry--Barak
    Margarita Llova--Stimme
    Herbert von Karajan--conductor
    Orchester der Wiener Staatsoper
    1964; LIVE

  • x
  • Walter Berry; Un bacio di mano; KV 541; Wolfgang Amadeus Mozart


    Walter Berry--Bass
    Leopold Heger--Conductor
    Salzburg Mozarteum Orchester

  • Schwarzkopf/Ludwig/Berry Soave sia il vento Cosi fan tutte


    Elisabeth Schwarzkopf, Christa Ludwig & Walter Berry
    sing Soave sia il vento from Cosi fan tutte by
    Wolfgang Amadeus Mozart
    Philharmonia Orchestra
    Karl Böhm, Conductor

  • le nozze di Figaro part 1


    Rara edizione del 1966. Salzburger Festspiele.
    Dirigent Karl Boehm
    Conte Almaviva Ingvar Wixell
    Contessa Claire Watson
    Susanna Reri Grist
    Cherubino Edith Mathis
    Figaro Walter Berry
    Marcellina Margarete Bence
    Bartolo Zoltan Kelemen
    Basilio David Thaw
    Don Curzio Alfred Pfeifle
    Antonio, giardiniere, Klaus Hirte
    Barbarina Deirdre Aselford

  • Georg Frideric Handel - Giulio Cesare in Egitto - Va tacito e nascosto


    As a point of interest, I'm uploading two pieces (one of them - in two versions) from Giulio Cesare, connected by the fact that they could be considered (and, basically, are) the wrong representation of the work, in spite of the musical merits of the singers involved. First, Sesto's brilliant oath of vengeance to his father, here sung by a tenor, Fritz Wunderlich (rather wonderfully sung), though this decision seems to be backed up by historic precedences, in German, which is not exactly a part of the tradition. And, secondly, the title hero's symbolic Va tacito e nascosto, presented in two versions, the first one - as sung by a bass, Walter Berry (interestingly he treats the piece in a way that makes it sound as if Caesar is making conversation with Tolomeo), again in German; the other one - as sung by a baritone, Dietrich Fischer-Dieskau (in some ways, despite the travesty that such a decision involves, I prefer a lower male voice for the part of Caesar, as it makes the role a bit more believable as a a master of the world), though this rendition is sung as written in Italian.

    Hope you'll enjoy :)!

  • Walter Berry - Da Capo - Interview with Walter Berry 1992


    Walter Berry - Da Capo - Interview with August Everding
    Im Gespraech mit August Everding
    January 18, 1992

  • 1963 Mozart : Le Nozze di Figaro - Deutsche Oper Berlin in Japan Disc2


    Conductor - Karl Bohm
    Producer - Gustav Rudolf Sellner

    Orchestra - Deutsche Oper Berlin
    Chorus - Deutsche Oper Berlin

    Figaro - Walter Berry
    Susanna - Erika Koth
    Conte Almaviva - Dietrich Fischer-Dieskau
    Contessa Almaviva - Elisabeth Grummer
    Cherubino - Edith Mathis
    Marcellina - Patricia Johnson
    Bartolo - Peter Lagger
    Basilio - Julius Katona
    Curzio - Martin Vantin
    Antonio - Walter (Wilhelm) Dicks
    Barbarina - Barbara Vogel

    23 Oct 1963 at Nissei Theatre, Tokyo (Live)

  • Sei mio cuore - Arno Argos Raunig & Wolfgang Marc Berry


    Sei mio cuore (You are my heart) - this song will take your HEART!
    Premiere of awesome song from two talented musicians:
    the unique voice with brilliant timbre, which can come so deep in your heart, in your soul - the opera singer, Sopranist Arno Argos Raunig
    flying melody from Wolfgang Marc Berry - professional composer who learned the best music from his legend parents - the opera singers Christa Ludwig & Walter Berry.

    #neobelcanto #electronic_music #opera #pop_music #gothic #soprano #sopranist #countertenor #modern #symphonic #neobelcanto #electronic_music

  • Don Giovanni, K. 527, Act I: Madamina, il catalogo è questo


    Provided to YouTube by The Orchard Enterprises

    Don Giovanni, K. 527, Act I: Madamina, il catalogo è questo · Walter Berry · Wolfgang Amadeus Mozart · Wien Philharmonic Orchestra · Wien State Opera Chorus · Herbert von Karajan

    Mozart: Don Giovanni

    ℗ 2010 Urania

    Released on: 2010-02-03

    Auto-generated by YouTube.

  • 1963 Mozart : Le Nozze di Figaro - Deutsche Oper Berlin in Japan Disc1


    Conductor - Karl Bohm
    Producer - Gustav Rudolf Sellner

    Orchestra - Deutsche Oper Berlin
    Chorus - Deutsche Oper Berlin

    Figaro - Walter Berry
    Susanna - Erika Koth
    Conte Almaviva - Dietrich Fischer-Dieskau
    Contessa Almaviva - Elisabeth Grummer
    Cherubino - Edith Mathis
    Marcellina - Patricia Johnson
    Bartolo - Peter Lagger
    Basilio - Julius Katona
    Curzio - Martin Vantin
    Antonio - Walter (Wilhelm) Dicks
    Barbarina - Barbara Vogel

    23 Oct 1963 at Nissei Theatre, Tokyo (Live)

  • Christa Ludwig; Walter Berry; Sound the Trumpet!; Henry Purcell


    Christa Ludwig--mezzo-soprano
    Walter Berry--bass-baritone
    Gerald Moore--piano

  • Don Giovanni: Madamina, il catalogo e questo


    Provided to YouTube by The Orchard Enterprises

    Don Giovanni: Madamina, il catalogo e questo · Herbert Walter · Walter Berry

    Grandes Tenores

    ℗ 2012 Producciones AR

    Released on: 2012-04-27

    Composer: Wolfgang Amadeus Mozart
    Orchestra: Orquesta Sinfónica Clásica de Baviera
    Music Publisher: SGAE

    Auto-generated by YouTube.

  • x
  • Walter Berrys Agamemnon


  • Erna Berger & Walter Berry; Batti, batti, o bel Masetto; Don Giovanni; Wolfgang Amadeus Mozart


    Erna Berger--Soprano
    Walter Berry--Baritone
    Wilhelm Furtwängler--Conductor
    Wiener Philharmoniker
    Salzburger Festspiele

  • Die Zauberflöte, K 620 - Act 1: Hm! Hm! Hm! Hm!


    Provided to YouTube by The Orchard Enterprises

    Die Zauberflöte, K 620 - Act 1: Hm! Hm! Hm! Hm! · Wolfgang Amadeus Mozart · The Philharmonia Orchestra & Chorus · Otto Klemperer · Nicolai Gedda · Walter Berry

    Die Zauberflöte

    ℗ 2010 Unchained Melodíe

    Released on: 2010-11-04

    Music Publisher: Label Controlled

    Auto-generated by YouTube.

  • Set Svanholm; Christa Ludwig; Walter Berry; RIENZI; ; Richard Wagner;


    Set Svanholm--Rienzi
    Christa Ludwig--Adriano
    Walter Berry--Paolo Orsini
    Anne Lund Christiansen--Irene
    Paul Schoffler--Steffano Colonna
    Josef Krips--conductor
    Wiener Symphoniker

  • Christa Ludwig and Walter Berry Duet In Die Frau Ohne schatten act 3


    ludwig and berry... barak and his wife

    wonderful duet in act3

    metropolitan 1966 with Karl Bohm

  • Beethoven--In Praise of Punch--Walter Berry


    Punschlied, composed by Beethoven in 1790.

    Performed by bass Walter Berry; Pianist Erik Werba; and the Chorus of the Bavarian State Opera, Wolfgang Baumgart conducting. A sprightly, delightful drinking song.

    Straight from the 1971 vinyl. For entertainment purposes only--I own nothing here.

  • Wixell & Watson; Le Nozze di Figaro -66


    Act 2, scene 5 & 6. Salzburger Festspiele 1966. Karl Böhm. The rest of the cast includes Walter Berry and Rire Grist. Available on DVD, buy it.

  • Le Nozze di Figaro K. 492: Act IV: Holla, Leute!


    Provided to YouTube by Kontor New Media

    Le Nozze di Figaro K. 492: Act IV: Holla, Leute! · Staatskapelle Dresden, Otmar Suitner, Peter Schreier, Edith Mathis, Hermann Prey, Walter Berry, Fritz Ollendorff, Siegfried Vogel, Anneliese Rothenberger, Jürgen Förster, Annelies Burmeister, Hilde Güden, Rosemarie Rönisch

    MOZART, W.A.: Nozze di Figaro (Le) (The Marriage of Figaro) (Sung in German) (Opera) (Suitner)

    ℗ edel Gesellschaft für Produktmarketing mbH

    Released on: 2009-03-02

    Conductor: Otmar Suitner
    Orchestra: Staatskapelle Dresden
    Composer: Wolfgang Amadeus Mozart
    Lyricist: Lorenzo da Ponte
    Music Publisher: Copyright Control

    Auto-generated by YouTube.

  • Luigi Alva / Hermann Prey / Walter Berry - La mia Dorabella - Cosi fan tutte - Mozart


    Luigi Alva as Ferrando, Hermann Prey as Guglielmo and Walter Berry as Don Alfonso sing 'La mia Dorabella' / 'E la fede delle femmine' / 'Una bella serenata' (1972) Cosi fan tutte (1790) Karl Böhm (conductor) Wiener Philharmoniker * Cosi fan tutte * Mozart (English script below)

    You might also wish to see two earlier renditions:

    1956: (Alva, Panerai, Calabrese)
    1957: (Alva, Panerai, Cortis)

    My Dorabella couldn't do such a thing:
    Heaven made her as faithful as she's fair.

    My Fiordiligi simply couldn't betray me:
    I believe her constancy equals her beauty.

    My hair is already grey,i speak with authority;
    But let's have done with argument.

    No, you've told us they could be faithless;
    If you're honest you will prove it.

    Let's not trouble with proof.

    No, no, we demand it:Or out with your sword
    And we'll break up this friendship,

    O what folly to try to discover
    The wrong which will make us wretched when we've found it!

    He strikes at my honour who allows his lips
    To utter a word which does her wrong.

    Draw your sword! Choose which of us you'd prefer.

    I'm a peaceable man and don't touch steel Except at table.

    Either fight, or say at once
    Why you suspect our sweethearts could possibly be untrue.

    Sweet simplicity, how I love it!

    A truce to your jests, or I swear, by heaven ...

    And I swear by this world, my friends, I'm not jesting;
    I'd only like to know what kind of creatures are these beauties of yours,
    if they're flesh and blood and bone like us, if they eat like us,
    and wear skirts, if, in fact, they're goddesses or women ...

    They're women, but the like of them ...

    And in woman you expect to find fidelity?
    How I love such simplicity!

    Woman's constancy is like the Arabian Phoenix;
    Everyone swears it exists, but no one knows where.

    The phoenix is my Dorabella.

    The phoenix is my Fiordiligi.

    It's neither one nor the other. It never existed, and never will.

    Poets' nonsense!

    Old men's drivel!

    Well then, listen, but without flying into a rage:
    What proof have you that your loves are always true to you?
    What makes you so sure that their hearts are steadfast?

    Long acquaintance.

    Their noble upbringing.

    Their sublime thoughts.

    Kindred feelings.


    Steadfast characters.

    Their promises.

    Their protests.

    Their oaths.

    Tears and sighs, caresses, swoons. Excuse me if I laugh!

    Confound you! Stop taunting us!

    Gently, gently; what if I prove conclusively to you today
    That they're just like the others?

    It couldn't be!


    Shall we bet on it?

    We're on!

    A hundred sequins.

    A thousand, if you like.

    My hand on it!

    Both hands!

    Swear not to give a sign, a whisper,
    A hint of all this to your Penelopes.

    We swear.

    On your honour as soldiers?

    On our honour as soldiers.

    And you'll do everything I tell you to?


    Even more!

    Well done!

    And well done, dear Don Alfonso!

    We'll make merry at your expense.

    to Ferrando
    What shall we do with the hundred sequins?

    No. 3 - Trio

    I'll arrange a fine serenade for my goddess.

    In honour of Venus I will give a banquet.

    Shall I be invited?

    Yes, you shall be there.

    And many a toast we'll offer to the god of love.

  • Don Giovanni, K. 527: Act I: Duet: Fuggi, crudele


    Provided to YouTube by NAXOS of America

    Don Giovanni, K. 527: Act I: Duet: Fuggi, crudele (Anna, Ottavio) · Eberhard Wächter

    Mozart: Don Giovanni (1960)

    ℗ 2015 MYTO Historical

    Released on: 2015-02-01

    Artist: Eberhard Wächter
    Artist: Nicola Zaccaria
    Artist: Elisabeth Schwarzkopf
    Artist: Cesare Valletti
    Artist: Leontyne Price
    Artist: Walter Berry
    Artist: Rolando Panerai
    Artist: Graziella Sciutti
    Choir: Wiener Staatsopernchor
    Conductor: Herbert von Karajan
    Orchestra: Wiener Philharmoniker
    Composer: Wolfgang Amadeus Mozart

    Auto-generated by YouTube.

  • 100 Singers - HERMANN PREY


    Hermann Prey, Baritone (1929-1998)
    Mozart: DIE ZAUBERFLOETE Der Vogelfaenger bin ich ja*
    Rossini: IL BARBIERE DI SIVIGLIA Largo al factotum* 02:18
    *Due to copyright restrictions, I had to avoid commercial audio material

    My personal opinion: There's an old joke: What is a baritone? Answer: A baritone is the missing link between a tenor and a human being. Hermann Prey, once incredibly popular in Germany because of his omnipresence in radio and TV shows, was for a long time the missing link between the favor of the general public and the so-called high art of classical music - of course not without consequences: Prey's turn towards light entertainment was often criticized by those maledicious reviewers and ardent purists, who have not understand that versatility was the main characteristic of the singers long lasting popularity. In 'Die Grossen Saenger', a multi-volume book with many factual errors, the often inaccurate author Juergen Kesting blamed Prey for selling 'music of soul and salemanship'. The baritone defended himself: My repertoire stretches from Monteverdi, Telemann, Bach, Mozart, Rossini and Wagner to Berg and contemporary works - and from pop songs and operettas to virtually every known composer of Lieder. I feel that, if possible, a singer should strive to master all various styles, but with one important rule: Never singing beyond the natural vocal possibilities. It may be the case that constant grumbling is typically German, but it is also a fact, no singer ever was able to succeed in many different musical areas. Some well known crossovers were embarrassing, and to hear, for instance, tenor Peter Hofmann with rock songs from Elvis is, to put it mildly, really not neccessary...
    Spontaneity and immediacy were always characteristics of Prey's artistry. At an early stage of his career, obviously the baritone recognized the effects of his euphonious, warm and full-bodied voice on the audience. Many times, he took up the typical gallant and daring roles of a 'Kavaliersbariton'; roles we can find especially in the operas of Mozart and Strauss. Prey was clever enough to ignore the big dramatic parts of Verdi and Wagner, with which his great contemporary and competitor, Fischer-Dieskau, had disgraced himself. Both singers met on the field of art songs, and in my view it is just a matter of personal taste, which singer you prefer - the emotional, soulful and sometimes folklorish Hermann Prey or the academic, rational and undercooled Dietrich Fischer-Dieskau, who was always a narrator from the outside, a story-teller, an agent of music. Prey, by contrast, became the character he embodied - a perspective from within...
    A tailor-made role for me, Prey said about Rossini's Figaro, the only Italian role he has performed all over the world, including at the Salzburg Festival, Covent Garden London, La Scala Milan, Met New York and, of course, in Vienna (17 times between 1957 and 1984). Legendary the 1959 performance with his close friend and colleague Fritz Wunderlich from the Cuvilliés Theatre, Munich (issued on DVD). Surprisingly, it is precisely the bel canto role of Figaro that has not convinced some critics. Indeed, if we have a closer look, we can notice some interesting facts. Compared with the recordings of the young Giuseppe Taddei, Sesto Bruscantini or Thomas Allen (in the marvelous 1981 Marriner production), Hermann Prey served especially in the breaknecking 'prestissimo' of Largo al factotum a skillful bluff package with weird falsetto tones and feigned coloraturas (as you can hear here). It is almost the caricature of belcanto virtues. Prey sang Figaro like a jolly figure from an operetta. Author Jens Malte Fischer wrote, that Prey's singing, with its mix of throat-pressure and vocal blurring, frequently was close to 'knoedeln' - a German term for 'singing with a lump in the throat'. Clearly, Hermann Prey was not a well-versed bel canto singer, and also the most of Italian verismo was beyond his possibilities. To do justice to those difficult roles, you have to be a dramatic baritone like Gobbi or Taddei who can cut through heavy orchestrations, Prey explained. And indeed, Hermann Prey's operatic repertoire on records is small compared with his numerous recordings of Lieder by Schubert, Brahms, Wolf and Schumann. Also in my view, the baritone achieved more effect as a devoted interpreter of art songs. WINTERREISE is closer to my heart than any other work. In my musical thoughts, the 24 songs have a very important place, Hermann Prey admitted in his memoires 'Premierenfieber'.
    Again: Which interpretation and singer you choose, Fischer-Dieskau or Prey, it is up to you. We have two perceptions: One for the mind, one for the heart...

  • Questa è buona...O statua gentilissima George London-Walter Berry


    Enregistrement Philips, Mai 1955. Don Giovanni:George London, Leporello: Walter Berry. Vienna Chamber Chorus and the Vienna Symphony. Rudolf Moralt

  • Christa Ludwig; Walter Berry; Erhebe dich, Genossin meiner Schmach!; LOHENGIN; Richard Wagner


    Christa Ludwig--Ortrud
    Walter Berry-- Telramund
    Karl Böhm--conductor
    Orchester der Wiener Staatsoper
    LIVE; 1965

  • 100 Singers - GERDA SCHEYRER


    Gerda Scheyrer, Soprano (1923-1999)
    Giacomo Puccini. LA BOHÈME: Si, mi chiamano Mimi - O soave fanciulla - sung in German -
    with Waldemar Kmennt, Tenor (1929-2015)
    Conducted by Franz Bauer-Theussel

    My personal opinion: This time I would like to recall a lady who was mainly admired as an operetta diva, even if such honorary title do not justice to her. Still operetta is regarded as something that an opera singer is able to do standing on one hand. Sopranos like Elisabeth Schwarzkopf, Anneliese Rothenberger or Edda Moser underlined several times the difficulty of performing operetta in a right way. Gisela Storjohann, co-producer of many EMI recordings, said that operetta is even more difficult than opera: In addition a singer has dialogs to speak, and this is not easy. What do you think, why do many singers use for the spoken text a professional voice-double?
    The lady I've already indicated is the Austrian Gerda Scheyrer, a versatile soprano underrepresented on records. Maybe you have read her name before, printed among others on a record sleeve. Scheyrer was no widely known star. Her few operetta recordings were published by smaller companies and no rivalry for the EMI (Rothenberger) and Eurodisc (Schramm) productions. As a longtime member of the Vienna State Opera, Gerda Scheyrer also appeared several times in some abridged opera recordings with her colleagues Waldemar Kmentt, Eberhard Waechter and Walter Berry. Occasionally we can find her name moreover on flowery entitled LP-compilations like Im Zauberreich der ewig jungen Operette.
    This underrepresentation gives only a distorted picture of Scheyrer who sang from 1951 to 1978 more than 960 performances in Vienna, starting with GASPARONE and ending with Gerhilde in DIE WALKUERE. Often used for supporting roles, the soprano also sang main parts when the stars were not available. A typical ensemble member and second cast all-purpose weapon, Gerda Scheyrer performed even Bellini's NORMA, the highly dramatic Abigaille in Verdi's NABUCCO (hard to imagine), Leonora di Vargas in LA FORZA DEL DESTINO and Puccini's FANCIULLA DEL WEST.
    Such a repertoire speaks for the soprano's universality. Her recordings show a lyric voice with semi-dramatic tendency, a fine timbre and a charming Viennese accent, perhaps a little comparable to Hilde Gueden. Gerda Scheyrer's ladylike singing seemed to be predestinated for Mozart and operetta, although some shrill tones cannot be ignored.
    By a stroke of good fortune, Gerda Scheyrer owed her best recorded operetta part to the indisposition of Elisabeth Schwarzkopf, who was unable to repeat Rosalinde in another FLEDERMAUS some years after the failed 1955 Legge/Karajan version with good singers in wrong roles. This second version under Otto Ackermann in stereo sound is one of the best in the discography and to this day underestimated. Karl Terkal, with his exuberance, distances all tenors in the role of Eisenstein, and the young Christa Ludwig as hilariously bored Orlovsky is alone worth to buy this recording. Gerda Scheyrer's Rosalinde is 'la grand dame' - sophisticated, cheeky, capricious and very Viennese.
    An explanation for Gerda Scheyrer's rarity in the recording studios may have been the well-known contractual-policies of the large companies. It can also be that her voice was not euphonious enough for the microphones. There are some audible evidences for this assumption ...
    However, a singer exists primarily outside the recording studios. A singer's world is the stage, and Gerda Scheyrer's achievement during more than 25 years in Vienna is quite remarkable. We should never forget, posterity has only sound documents to judge a singer. And in most cases, recordings are not enough to give an adequate picture. Therefore it makes sense to rate the LA BOHÈME extract as a reminiscence to the glory times of the Vienna State Opera House. It's hardly a testimony of Gerda Scheyrer's long-standing artistry.

  • 100 Singers - BENNO KUSCHE


    Benno Kusche, Bass-Baritone (1916-2010)
    Gaetano Donizetti: DON PASQUALE
    Duet Pasquale - Malatesta: Cheti, cheti, immantinente (sung in German)
    with Hermann Prey, Baritone (1929-1998)
    Conducted by Mario Rossi (Cologne 1959)

    My personal opinion: The Freiburg born bass-baritone Benno Kusche was a national identification-figure. During his forty years at the Bavarian State Opera Munich, he had a very close down-to-earth connection with his country and his audience. Omnipresent in radio and TV of the 1960's, Kusche was a German institution - just like Rudolf Schock, who even wandered with ordinary like-minded-people through their homeland nature. They were one-of-us idols. These cozy times are long over. Seemingly there is no place for a sense of nationality in a motley world that abandons almost all of its traditions due to a policy of unlimited global thinking. Also Germany became a multicultural gathering place and lost so much of centuries-old cultur and spirit. But this is not the right place to discuss grievances, notwithstanding the fact that the survival of cultur highly depends on politics ...
    Described as a bass-baritone, some say that Benno Kusche was a bass-buffo. For me, first and foremost, he was a singing character actor. Admittedly his voice was not a first-class instrument (sometimes unstable, slightly wobbly), but for music expert John B. Steane, Benno Kusche's Beckmesser in Wagner's DIE MEISTERSINGER VON NÜRNBERG was the most vivid on records: Snarling, malicious, ridiculous and always good at the funny hypocrisy of this figure, he wrote in 'The Grand Tradition'. The 1956 HMV production under Rudolf Kempe with Benno Kusche as the tricky town clerk is still a key recording, especially as Ferdinand Frantz gives a very human Sachs and Elisabeth Grümmer as Eva is a model of vocal culture and expression.
    One of Kusche's signature roles was Leporello in DON GIOVANNI, a part he never recorded (the companies preferred more renowned international artists). Fortunately we have two live documents: A 1955 Cologne radio concert under Otto Klemperer and a 1962 Munich performance conducted by Joseph Keilberth - both with George London as the Don. Kusche's Leporello neither has the vocal power of Walter Berry nor the parlando verve of Fernando Corena or Giuseppe Taddei - and yet he brings to life the ambivalent character of this figure: Cheeky and even impertinent in Madamina, spineless and scared in O statua gentilissima.
    Paradoxically Benno Kusche's voice was unattractive in an attractive way. Characterized by an odd gnarly timbre (a kind of raspy texture), the singer even gave comic figures a more in-depth background. He could emphasize certain words in a hilarious ironically way - a talent that made him a fine mercurial interpreter of two-faced characters like Mozart's Figaro, Papageno and Don Alfonso as well as Donizetti's DON PASQUALE, recorded live 1959 in Cologne under Mario Rossi with Hermann Prey as Malatesta. The German sung version of Cheti, cheti, immantinente has probably not the overwhelming flamboyance we know from Italian singers, nevertheless it is a recording I would prefer, compared, for example, to the crude Yevgeny Nesterenko / Bernd Weikl 1980 studio performance.
    Many critics rate a singer only with regard to his operatic work, but we do not do justice to Kusche, if we ignore his numerous operetta productions. Simply unrivaled is his organ master Blasius Römer in a 1953 radio broadcast of SCHWARZWALDMÄDEL, conducted by Franz Marszalek. In this he sings a heart-warming duet with the lovely Gretl Schörg (Erklingen zum Tanze die Geigen). For Eurodisc (later RCA) he played Kálmán Zsupán in Strauss' ZIGEUNERBARON. One of his favorite operetta roles he recorded four times: Frank in DIE FLEDERMAUS (also his very last part at the Munich Opera House). He is imperious and hilarious as Jupiter in Willy Mattes 1978 recording of Offenbach's ORPHEUS (especially in the spoken dialog scenes), an arch-comedian in the fly-duet (with Anneliese Rothenberger far beyond her prime). His last HMV operetta was in 1980 LA BELLE HÉLÈNE. As the wary high priest Calchas, Kusche has some funny prosa, though his singing voice shows clear signs of aging. It should be added that the young Kusche also recorded popular songs on 78-rpm discs with Adalbert Luczkowski and his Orchestra. In melancholy I remember this pleasant artist. When Benno Kusche died in 2010 at the age of 94, one of the last good old days singers left us.

  • Set Svanholm; Christa Ludwig; Walter Berry; RIENZI; ; Richard Wagner


    Set Svanholm--Rienzi
    Christa Ludwig--Adriano
    Walter Berry--Paolo Orsini
    Paul Schofler--Stefano Colonna
    Teresa Stich-Randall--Messenger of Piece
    Josef Krips--conductor
    Orchester der Wiener Staatsoper

  • 100 Singers - JEROME HINES


    Jerome Hines, Bass (1921-2003)
    Gioachino Rossini: IL BARBIERE DI SIVIGLIA (1816)
    Aria of Don Basilio: La calunnia è un venticello
    Conducted by Max Rudolf
    Recorded live at the Met December 21, 1957

    My personal opinion. Both critics and admirers were astonished that the towering American bass Jerome Hines (a man of 6 feet 6 inches) has made only a few commercial recordings. It is all the more strange since his vocal prime coincided with the rise of the LP and stereophony, when record-companies began to produce complete operas in abundance. It is also rather odd in view to Hines' huge popularity and longevity at the Metropolitan Opera, where he portrayed 45 characters in more than 870 performances within a period of 41 years. Also surprising is the underrepresentation of his name in music-literature: He is rarely mentioned in encyclopedias, essays or other publications about opera singers. Even careful authors like Henry Pleasants or John B. Steane name him only in passing. And also Peter G. Davies' remark in The American Opera Singer is not what I would call a compliment: Hines' vocal quality took him around the world, but in many respects he was a pioneering example of the busy but bland professional American singer; a breed destined to multiply ...
    I'm well aware, it's always a risk to write something negative about a singer with a large fan base; following the principle of Never slaughter a holy cow. Any kind of bad review, even when reflecting the truth, is uncomfortable and only a few can cope with it. As for Mr. Hines, I've heard him in many Met broadcasts and in some of his studio recordings; for example as Banco in MACBETH and as the Duke in an English sung production of BLUEBEARD'S CASTLE. Each time I was impressed by his dark bass voice. But this is only one side of the coin. It is in the nature of things that a deep voice with its limited sound spectrum is not as flexible as higher voices - the reason, why baritones and tenors have a more distinct timbre. Consequently a bass needs stronger expression to characterize the embodied figures. With all admiration and due respect, I dare to say that Mr. Hines did not possess this ability. Although he has sung in operas from Handel to Stravinsky, his vocal physiognomy was always the same. Please do not misunderstand me: His voice was a deluxe instrument of splendid grandeur, seemingly made for all the great bass-characters such as Boris, King Philip, Sarastro, Don Basilio, Fiesco, King Marke or Prince Gremin. But the same time, Jerome Hines was a surprisingly unimaginative interpreter who mantled his figures in uniformity, which immediately becomes apparent when you listen first to him (singing, for example, Méphistophélès' Vous qui faites l'endormie with the demonic laughter or King Philip's Ella giammai m'amo) and right afterwards Boris Christoff or Cesare Siepi with the same scenes. To list all the differences in details would mean to degrade Mr. Hines - and this is not my intention. Nevetheless, please allow me to quote again Peter G. Davies: When Hines relinquished the role of the Grand Inquisitor in DON CARLO to Hans Hotter, one suddenly heard how terrifying this cameo could be, even when delivered by a less vocally gifted interpreter.
    Opera on records is a performance on an imaginary sound-stage. There is a great difference between the sound of a voice in the free space of theater and its quality in front of a microphone. Hines was not an ideal phonogenic singer and probably for this reason a rare guest in the studios. Let me use a symbolization: Imagine a sombre landscape-painting with dark hills, woods and buildings after sunset. All is dusky, and yet you can see some contours. Also Hines' voice was dark, but without any acoustic contours in his expression; like a canvas painted over completely in black. A YouTube commentator even wrote: Nice voice, but no phrasing and only one dynamic - forte ...
    Now let us suppose that every coin has a third side: The career of a singer, who was constantly present for decades in American music life, cannot be appreciated enough. Highly intelligent, witty and educated, Jerome Hines (who studied chemistry and mathematics) even composed the religious opera I AM THE WAY, in which he created the role of Jesus for himself.
    People always say I'm a basso profondo, but that's wrong. I'm a basso cantante with a low E and not a low C, which is the precondition for a true profondo, Hines explained. But however named, he was for many years at the helm as one of the most important Met singers, a conscientious and reliable pillar of the company - and this is a greater achievement than rapid stardom who often enough came over night and vanished in the morning. For the future, Jerome Hines didn't see much positive: We are facing a generation of young singers who are much more diminutive in their approach to singing ...

  • Cenerentola


    Walter Berry sings Cenerentola's Miei Rampolli Femimini,Riccardo Chailly conducting.

  • Die Zauberflöte, K 620 - Act 2: Ein Mädchen Oder Weibchen


    Provided to YouTube by The Orchard Enterprises

    Die Zauberflöte, K 620 - Act 2: Ein Mädchen Oder Weibchen · Wolfgang Amadeus Mozart · The Philharmonia Orchestra & Chorus · Otto Klemperer · Walter Berry

    Die Zauberflöte

    ℗ 2010 Unchained Melodíe

    Released on: 2010-11-04

    Music Publisher: Label Controlled

    Auto-generated by YouTube.

  • Wilma Lipp ; A. Dermota; W. Berry; H. Rössl-Majdan; REQUIEM; Wolfgang Amadeus Mozart


    Wilma Lipp--soprano
    Hilde Rössl-Majdan--contralto
    Anton Dermota--tenor
    Walter Berry--bass
    Herbert von Karajan--conductor
    Berliner Philharmoniker

  • Die Zauberflöte, K 620 - Act 1: Konnte Jeder Brave Mann


    Provided to YouTube by The Orchard Enterprises

    Die Zauberflöte, K 620 - Act 1: Konnte Jeder Brave Mann · Wolfgang Amadeus Mozart · The Philharmonia Orchestra & Chorus · Otto Klemperer · Gundula Janowitz · Walter Berry

    Die Zauberflöte

    ℗ 2010 Unchained Melodíe

    Released on: 2010-11-04

    Music Publisher: Label Controlled

    Auto-generated by YouTube.

  • 100 Singers - RERI GRIST


    Reri Grist, Soprano (*1932)

    Richard Strauss ARIADNE AUF NAXOS
    Grossmächtige Prinzessin... Kommt ein neuer Gott gegangen
    Conducted by Karl Böhm
    Recorded 1969

    My personal opinion: Ain't she sweet? Fortunately, there was much more than physical attractiveness, that Reri Grist (*1932 in N.Y.) could offer to the audience. Blessed with a bright, high, beautiful, clear, bouncing and charming voice (words of a devoted fan I found in the web), Reri Grist became a cute darling in the operatic world. Her appearance was delightful, with her cheerfulness immediately she won the hearts of all! said a friend to me, who once saw her at the Salzburg Festival in her significant role as Zerbinetta in ARIADNE AUF NAXOS. This success unfortunately is a little bit forgotten by the subsequent fame of Edita Gruberova, who was the leading Zerbinetta in the decade after Grist. Critics described her voice as silvery, flexible and accurate.
    Her first solid voice training came from Claire Gelda when Reri was a teenager. During these days, she played and danced in small musical roles (One of her colleagues was the legendary Eartha Kitt). Reri Grist was casted for the Oscar Hammerstein adaption of CARMEN JONES, set in african-american cultural milieu. Leonard Bernstein noticed her and gave her the role of Consuela in the first performance of his new musical WEST SIDE STORY. Grist was the first soprano ever singing the immortal Somewhere. One of the next steps was the participation in Bernstein's classic Columbia-recording of Mahler's fourth symphony. Reri Grist' professional opera debut took place 1959 in Santa Fé as Adele in FLEDERMAUS. Soon after, she came to Europe and sang her first Queen of the Night in Cologne. One year later, she received a contract from the Zürich Opera. It was the first time, she sang Zerbinetta. She repeated the role with great success in Chicago, Munich, Vienna, Glyndebourne and Salzburg. There she could extend her fame as the leading Mozart soubrette of her time: She triumphed as Blonde and Susanna in LE NOZZE DI FIGARO. Seldom has one encountered a Susanna of greater charm and bewitching charisma; the delicate, dark-skinned Reri Grist with the effortlessness and beguiling sweetness of her soprano voice is a delightful Mozart creature, wrote a reviewer. The film from the archives (now available on DVD) confirmed the assessment (and with Walter Berry as Figaro and Edith Mathis as Cherubino, Reri Grist had two congenial partner). The Böhm-recording of ARIADNE received only low reviews The swift tongue and lovely coloratura of Reri Grist conciliated for a wrong cast with many voices not suitable for their roles!, wrote Opera on Records. Ambivalent reviews also for the RIGOLETTO recording with Grist as Gilda, Cornell MacNeil and Nicolai Gedda. Grist is a girlish young Gilda, although for me her voice is a little bit too crystal clear (and therefore of colorless transparency). Her coloratura in Caro nome leaves no wishes unfulfilled, however I still prefer Lina Pagliughi. Also Reri Grist had a voice, that was only suitable to a limited extent for recordings. In theatres she was much more impressive. Sometimes it was only a skinny voice, that left the studio. Maybe a reason, why her recording legacy is without great response (and Reri never received star status just as Barbara Bonney or Dawn Upshaw). We have many fine broadcasts (L'ELISIR D'AMORE with Gedda/Pavarotti; ENTFÜHRUNG under Mehta with Wunderlich; ZAUBERFLÖTE under Karajan with Kollo (!) as Tamino; BARBIERE with Wunderlich - and many others). Her most important roles on records were Zerbinetta, her bubbly Oscar in BALLO (with Price, Bergonzi, Merrill) and Despina in COSI FAN TUTTE under Böhm with Janowitz and Fassbaender.
    Whenever possible, I'm trying to save myself from Richard Strauss. It is reported, even Ms. Strauss disliked the music of her husband. A famous mezzosoprano (who often sung in ROSENKAVALIER) once said: We sing Strauss, because he's a part of the repertoire. It's our job and we get paid for it. But believe me, most of us feel relieved, when it's over...
    Anyway, here we have Reri Grist with her famous showpiece...

  • Terzett from Don Giovanni, Dermota, Grümmer, della Casa


    Live performance from Salzburg festival in 1954.
    Leporello - Otto Edelmann
    Donna Anna - Elisabeth Grümmer
    Don Giovanni - Cesare Siepi
    Don Ottavio - Anton Dermota
    Donna Elvira - Lisa della Casa
    Zerlina - Erna Berger
    Masetto - Walter Berry
    Commendatore - Deszö Ernsten

  • 100 Greatest Singers: ANTON DERMOTA


    THIS PROJECT IS RESERVED ONLY FOR THE GREATEST! Slovenian tenor Anton Dermota rightly in this list? Please comment!

    Anton Dermota, Tenor (1910-1989)

    Wolfgang Amadeus Mozart - Don Giovanni
    Il mio tesoro
    (Recorded 1950)

    My personal opinion: To change a little part into a big one, sometimes this is the greater artistry! declared Anton Dermota in his memoirs Tausend und ein Abend. Dermota changed many little parts into great roles. The slovene was one of the finest lyric tenors in the years after the war. He was a versatile artist. His repertoire comprised more than eighty operatic roles, some operettas, many Lieder and oratorios, religious passion-plays and mass - and many little parts (such as Ruiz) he gave profile. Unique was his melancholy timbré, but Dermota was also dramatic, lively, compelling. His voice reflected sorrow, soul and inner conflicts like almost no other.
    Dermota made his debut in 1934 and was invited soon after by Bruno Walter to perform at the State Opera House Vienna. His first leading role was Alfredo (Traviata) in 1937. The same year he participated in a Salzburg-production of Meistersinger under Arturo Toscanini. Dermota became a favorite of the viennese audience and stayed for more than forty years. He was there, when the house burned down in 1945, and he was one of the stars in the 1955 re-opening - as Florestan in Beethoven´s Fidelio, a role in which I believe he was unmatched. He gave performances in London, Paris, Rome, Naples, Buenos Aires. He was well known for his Mozart interpretations, especially Don Ottavio. In his own words, Cavaradossi and Don José were the ceiling limits. Dermota was the leading tenor of the so-called viennese ensemble (beside Seefried, Jurinac, Lipp, Loose, Schöffler, Höngen, Kunz, Klein, Schwarzkopf and Welitsch a.o.) His Don Ottavio is preserved in the legendary Paul Czinner-movie of Don Giovanni with Siepi, Elisabeth Grümmer, Lisa della Casa, Erna Berger and Walter Berry under the baton of Wilhelm Furtwängler. I select the 1950-recording of Il mio tesoro with Karl Böhm.
    Dermota died in Vienna less than a month after his 79th birthday.


  • Renée Fleming; Wo ist mein Bruder?; Capriccio; Final Scene; Richard Strauss


    Renée Fleming--Countess
    Walter Berry--Haushofmeister
    Christoph Eschenbach--conductor
    Wiener Philharmoniker

  • Josef Wagner, Huw Montague Rendall & David Shipley - Mozart - Don Giovanni - O statua gentilissima


    Josef Wagner, Huw Montague Rendall and David Shipley sing O statua gentilissima from Mozart's Don Giovanni

  • Sextet from Don Giovanni


    The 1954 Furtwängler version (Salzburg Festival).

    Otto Edelmann - Leporello
    Lisa della Casa - Donna Elvira
    Elisabeth Grümmer - Donna Anna
    Anton Dermota - Don Ottavio
    Erna Berger - Zerlina
    Walter Berry - Masetto

  • Die Zauberflöte, K. 620, Act II, Scene 6: Ein Mädchen oder Weibchen


    Provided to YouTube by Believe SAS

    Die Zauberflöte, K. 620, Act II, Scene 6: Ein Mädchen oder Weibchen (Papageno) · Wiener Philharmoniker, Karl Böhm, Walter Berry

    Mozart: Die Zauberflöte, K. 620

    ℗ The Art Of Singing

    Released on: 2014-12-12

    Author: Emanuel Schikaneder
    Composer: Wolfgang Amadeus Mozart

    Auto-generated by YouTube.

  • Wolfgang Amadeus Mozart - DIE ZAUBERFLÖTE - Der Vogelfänger bin ich ja


    Opera in 2 acts
    Composer: Wolfgang Amadeus Mozart
    Librettist: Emmanuel Schikaneder
    First performance: Freihaustheater, Vienna, 30 September 1791

    THE MAGIC FLUTE premièred a couple of months before Mozart’s death. A mixture of Freemasonry and fairy story, it looks forward to the folksy Romanticism of Weber’s FREISCHÜTZ and the lofty beauty of Wagner.

    Tamino, a handsome prince, is rescued from a serpent by three ladies in the service of the Star-Blazing Queen. She asks him to rescue her daughter Pamina, whom the evil sorcerer Sarastro has kidnapped. Tamino and the birdcatcher Papageno set out, but learn that Sarastro is good and the Queen of the Night evil. Tamino and Pamina have passed through various trials and marry; the simple Papageno finds happiness with the bird-woman Papagena; and the Queen and her minions fall into darkness.

    “Der Vogelfänger bin ich ja”
    Papageno the birdcatcher is a merry fellow – but his life would be better if he had a girlfriend.

    Papageno (baritone): Walter Berry

    Conductor: Otto Klemperer
    Philharmonia Chorus & Orchestra
    London 1964

  • Nahuel Di Pierro Terribile daspetto


    Nahuel Di Pierro sings Achior's first aria of Mozart's Betulia Liberata directed by Riccardo Muti at Ravenna festival and Salzburger festspiele.



Check Also