I miss Leonie Rysanek.  No, I never knew her personally but I have known her voice intimately for almost 30 years.  It has become a dear and trusted friend to my ears.  Its weaknesses and strengths providing many unforgettable hours of listening.

So why do I and so many others love this singer?  This becomes pertinent if one only knows her from her commercial recordings.  Rysanek was a creature of the stage and like others of her kind, to be fully appreciated and understood one needed to experience her live, in the theater.

There were problems with her voice many of which were never corrected, so lets deal with them now.

First, her middle voice was quite sluggish and incorrectly placed.  Like molasses it gurgled around pitches and was often hollow-sounding and wildly erratic.  But when she finally settled into her middle register the physical impact was like sinking into a nice, soft and comfy sofa.  She also did not have much of a chest register, and when she did use it, it was often squeezed out like a tube of toothpaste.  Although many objected to these failings I have always found those strange sounds fascinating.

Her sense of pitch during rising vocal lines could be as erratic as her middle register - the voice often veering way off the mark and sharping - especially around the upper transition area.  She also had little affinity for "little black notes" (coloratura) - as surviving broadcasts of Macbeth and Nabucco prove.  (Nabucco was an admitted mistake on the diva's part - but the surviving document is exciting nonetheless.)  Then there is the fact that since the beginning of her career her voice always sounded unusually mature - which doesn't help much when you are trying to portray youthful characters.

So what were the good points?  First of all a commitment to whatever music she was singing.  Although some might question that as an attribute, it is a quality that seems to be lacking from the work of many artists in front of the public today.  Also, her voice was a beautiful, lush, rapidly-spun instrument of great power and luminescence.  Most remarkable was the glory of her top register which she approached with an almost reckless abandon.  What many do not realize was that Rysanek knew exactly what she was doing.  She had perfected a vocal trick early on in her career that served her well and provided many moments of excitement for her listeners.  This was the manner in which she approached such high notes - thrusting up with great abandon.  It is the act of lunging which was one of her secrets.  Similar to (but not the same) as the effect Leyla Gencer used, it was resourceful and suited not only the music she sang but also her temperament.

Once the actual thrust was achieved, Rysanek let the pitch and its height do her work, never actually forcing or pressing on the top register.  Fortunately she also had prodigious breath control to back up such effects.  When you add to this her continuous sharping, her singing packed a wallop that had an almost primal effect on listeners.

Actually, I believe that Rysanek's tendency to sharp was one of the main reasons for the longevity of her instrument.  The reason is simple.  Usually a singer will warm up their voice for a performance by making sure they can sing the notes necessary for that role (with maybe one or two to spare).  By always sitting on the top side of pitches and thus inadvertently stretching her pitch upward (high B flats were closer to B naturals and high C often veered close to C sharp) Rysanek kept her voice and range constantly "oiled".  Now I am not saying that she consciously "stretched" her voice; it was just an idiosyncratic result of the combination of the physiological structure of her voice and its vibrato, coupled with her particular manner of singing.  Most probably it is one of the reasons why she was able to keep the role of the Empress in Frau in her repertoire for 30 years.  It also explains why she was able to retain so much of the lush sheen of her top register.  This same "sharping" tendency and resulting longevity can also be heard in the work of not only Placido Domingo but also Birgit Nilsson.

This inadvertent "stretching" of the voice is similar to a trick singers use when they find themselves having trouble with an aria.  If experiencing problems in sustaining an aria's tessitura singers often practice it up a half-step from where it is originally written in order to stretch the voice to accept the higher tessitura.  There is a pattern to this process.  First it is sung in the higher key - then left alone for a day or so.  Then it is tried again in the higher key, left alone, and tried again, and so on.  Once the voice begins to stretch into the new area the singer will then return to the original key.  Almost without fail they find the original key is no longer difficult.  Rysanek's method of vocal production was similar.  Because her voice tended to sharp as she rose in pitch it was constantly "stretched."

No one's fool, Rysanek herself realized that her legacy was best served by live recordings rather than commercial efforts.  That is not meant to suggest that she did not leave some valuable studio documents.  But compared to many of her contemporaries, Rysanek made few forays into the recording studio and none after the early 1960s. Neither did she make complete recordings of some of her most famous roles - Salome, Chrysothemis, Tosca, or the Marschallin.  Fortunately, her career coincided with the burgeoning era of pirate recording so many of her roles were preserved.  Today one can own her Dalibor, Salome, Egyptian Helen, Medea, Kostelnitchka in Jenufa, Gioconda, Tosca, Amelia in Ballo, Santuzza in Cavalleria in addition to the commercial recordings she made.

Her recording career was odd.  Her first complete recording was Die Walkure (EMI, 1954) where she was paired with an equally intense Marta Modl as Brunhilde and conducted by Furtwaengler.  Following this came Fidelio for Decca (DGG, 1956) and then Macbeth, Otello, Ariadne and Fliegende Hollander for RCA.  Interspersed with these sets were occasional aria and highlights selections.  After 1961 she did not record commercially.

The earliest live item that has appeared is a 1951 Act III of Die Walkure from Bayreuth with Varnay and Karajan now available on EMI References CD.

New live items are constantly being released on CD and hopefully one day we will be able to have all her varied repertoire.  About 23 different performances are (or were available recently) on CD, while at least 250 different performances exist on tape in various private collections.  A few years ago I heard the exciting news that Rysanek's famous Vienna Aida (in German) from 1955 was going to released on CD.  This was an important performance at the time since it was during the reopening of the new Staatsoper.  Unfortunately it has never surfaced.  This is unfortunate since Rysanek was incandescent in the title role and she is partnered by a remarkably volatile Jean Madeira as Amneris.  Hans Hopf is Radames and George London is a strong and pushy Amonasro.  All are sublimely led by Kubelik.

So what should you have in your collection? I will give you some guidelines but they are only my suggestions.  If you like this artist you will want anything you can find.  Every performance with Leonie Rysanek was its own world.

1954 - Wagner: Die Walkure (EMI CD CHS 7630435 2) - 3 discs w/ Modl, Suthaus, Frantz, Klose, Frick - Furtwangler

Fresh-voiced, spirited and committed.  Those are the unique qualities that Rysanek brings to this, her first recorded role.  She sang Sieglinde for 37 years and along with Chrysothemis in Elektra it was probably one of her most often performed roles.  This is a classic Wagner recording and every opera lover should have it in their collection.  First of all you have a finely-drawn Brunhilde by Marta Modl - caught in her dramatic soprano heyday.  It is a portrayal rich in nuance and color and of full of constant surprises.  No matter how familiar one thinks they are with her work, an additional hearing will highlight some insight previously overlooked.  Then there is Ferdinand Frantz as a Wotan of tremendous virility and yet poignant gentleness during the opera's final pages.  Klose is wonderful as the hectoring Fricka and refreshingly Frick sings rather than barks Hunding.  Rysanek is a womanly Sieglinde (her "Du bist der Lenz" an exquisite, enthralling moment) and she and Sulthaus are involved, convincing lovers.  This is an engrossing listening experience and one imbued with rich detail by the leadership of Furtwaengler - who died only 2 months after this recording was made.  EMI did an excellent job with the remastering for CD.

1956 - Die Aegyptische Helena (Orfeo CD C 424 962) - 2 discs Munich 8/10/56 w/ Kupper, Aldenhoff, Uhde, Malaniuk - Keilberth

A strange score and story but oh my, what a performance.  The Orfeo release is an excellent document of the important, 1956 Munich revival.  In spectacular sound it is also one of the few recordings that gives an accurate aural picture of the Rysanek instrument.  Not only is the sweeping soar of her top register perfectly captured but also her fine range of dynamics.  Rysanek's voice was one of those whose top register blossomed as it ascended.  In this performance one gets to experience the tremendous impact this "blossoming" had in the theater.

One surprise is the solidity of her middle register which though thick and unwieldy in places, is full of color.  High Bs and Cs and even the C# in the famous Awakening Scene soar fearlessly into the theater's acoustics.  There are a number of high Cs in Act II and they are some of the most glorious and exciting sounds Rysanek ever uttered.  The trademark Rysanek sharping is evident - as it always is - but is counter-balanced by her fascinating tapering of phrases, leaning into tones and her many finely-spun pianissimi.

Interestingly, this performance (and all Rysanek's Strauss) points out an incongruity.  Although there is no doubt that Rysanek was one of the premiere Strauss specialists of this century, her singing almost belied that fact.  Strauss' vocal lines demand an ability to pin-point pitch and then move rapidly forward.  In many ways Rysanek was incapable of this.  Her voice needed time to "settle" into pitches.  Actually, she was the "impressionist" of sopranos - her pitch, while in the midst of complex Strauss lines, being more of a sketching of what it should be.  To better understand what I mean compare Rysanek's final scene from Salome with those sung by Ljuba Welitsch (or Behrens or Nilsson).  Even so, Rysanek's instinct for the construction and direction of a Straussian phrase was infallible, and the free soar of her top register was the real thing.

Kupper's Aithra is not as fresh in timbre as Hendricks in Gwyneth Jones' complete recording but there is something endearing about her portrayal despite its shrewness.  She also manages (with ease and great beauty I might add) Aithra's awkward leap to high D during the Act I finale.  Aldenhoff and Uhde provide some excellent contributions.  Indeed Aldenhoff's clean, clear timbre contrasts well with Rysanek's more burnished color.  If you like Rysanek you must have this.  If you are unfamiliar with her voice it is an excellent introduction to its positive aspects.

Fortunately those who prefer only one version of operas need not worry.  The Gwyneth Jones commercial recording is of the original version.  This Orfeo release is of Strauss' revised version so you can own both without feeling you are overdoing a good thing.  They are considerably different - especially in the structure and music of Act II.

Gwyneth Jones's recording is also excellent although I wish she had decided to end the Awakening Scene with an interpolated high B as she did in performances of her own revival in Vienna, in 1970 (now available on BMG as part of their "Vienna and Munich" series).  (Inge Borkh also ended the aria with a high B when she sang it in concert.) It is perfectly fitting for the music and what it expresses.

While speaking about The Awakening Scene I might as well state here that there are some wonderful recordings available of this piece - Rysanek, Jones, Pauly, Marc, Te Kanawa and others. But it is Leontyne Price's version, recorded some 34 years ago that remains the supreme classic performance.  The combination of her smoky, dusky timbre, sensual manner with the music and easy soaring, warmly-spun voice simply cannot be bettered in this music.  That recording should be a Straussian cornerstone in everyone's record collection.

1959 - Verdi: Macbeth (RCA CD 4516-2 RG) - 2 discs W/ Warren, Bergonzi, Hines, Ordassy - Leinsdorf

Justly famous, this was the first commercial recording of Verdi's early masterpiece.  As everyone knows, Rysanek replaced Callas for the Met premiere and covered herself with glory - as this recording proves.  She may not have the florid dash or insight that Callas was able to bring to the role but Rysanek's idiosyncratic voice provides an unusually vivid portrait of a woman on the brink of madness.

Rysanek sang 3 broadcasts of Macbeth at the Met: 1959, 1960 and 1962.  After 1962, however, she seems to have laid the role to rest and taken up other Verdi heroines - Amelia in Ballo and Elisabeth in Don Carlo.

This 1959 recording is one of the classics of the gramophone.  Rysanek is paired with the Macbeth of Warren, whose warm, human character - obviously troubled with insecurities from the start - provides a strong contrast to Rysanek's temperamental Lady.  Then there is a youthful, copper-voiced Carlo Bergonzi.  Dramatically, Rysanek's delineation of Lady Macbeth's mental instability is smooth and inevitable.  Vocally, she is up to almost all the florid demands of this difficult score and her high notes have a glorious sheen - including the interpolation of an excellent top D flat at the end of Act I.  Her peculiar middle register inadvertently provides some fascinating colors during the course of the Sleepwalking Scene that will be hard to get out of your mind when you hear other performances.  This is a set to treasure.

1959 - Wagner: Der Fliegende Hollander (Melodram CD 26101) - 2 discs Bayreuth Festival 8?/?/59 w/ London, Uhl, Greindl, Fischer - Sawallisch

Another magical performance that is also in excellent sound.  This preserves another famous production (Rysanek was in many) and the pairing of Rysanek with London was quite potent.  His solid, impenetrable Dutchman is almost frightening in its strength while Senta's obsessive passion for him is perfectly depicted in Rysanek's vocalism.  More dynamic and intensely exciting than the Dorati commercial effort for Decca in 1961, if you only want one Dutchman with Rysanek this is the one.  If you want another, look for the 1966 Milan performance with Crass as the Dutchman and Sawallisch conducting on the budget label Opera Doro.  That is certainly another to have.  Actually, since Senta was a signature role of Rysanek's it can't hurt to have as many as you like - each is different and each is fascinating.

1960 - Verdi: Otello (RCA CD 09026-63180-2) - 2 discs w/ Vickers, Gobbi, Pirazzini - Serafin (the original LP release included the ballet but it is omitted on the CD reissue)

Considering her particular gifts, RCA certainly selected some odd operas for Rysanek to record - although, admittedly, all were in her repertoire at the time and were works she was singing at the "house." Like the following Ariadne, this Otello was part of the fabulous Soria RCA LP sets that, when originally released, came with a huge, spectacular libretto full of color photographs, recording sessions shots and articles about the work and artists that pretty much said the last word when it came to sumptuous opera albums.

This is, in many ways, a classic recording.  Mainly for its combination of first rate operatic actors - Vickers, Gobbi and Rysanek led by a master conductor - Tulio Serafin.  The result, though uneven at times, is never less than fascinating and often transcendental.  The sound is superb and typical of the excellent recording work taking place during that era.  Vickers, who had yet to sing Otello on stage but who was to become famous for his portrayal of the Moor, is caught here in ringing, virile voice.  His interpretation may have broadened and become more subtle by the time of the later Karajan recording but if I could have only one of his 2 recordings, I would choose this one. Tito Gobbi - with his kaleidoscopic timbre - creates an Iago you will not easily forget.  His slimy insinuations during Act II are the stuff of nightmares.

Rysanek, as Alan Blyth candidly comments in his review for Gramophone, is "not ideally steady" in her singing of Desdemona.  She does, however, bring a special, feminine quality to the role as well as her considerable musicianship.  There are many moments of absolutely beautiful singing.  Her voice is caught well by the microphones as is the idiosyncratic placement of her middle register.  Desdemona is perhaps not a showcase role for the particular glories of the Rysanek instrument but we often forget that in America it was in the Italian repertoire that most listeners first became familiar with her work.  As such this is an excellent verification of her ability to not only let loose with some huge, exciting sounds but also trim her voice down to spin soft piani of great beauty.  Just listen to the duet from Act III "Dio di Giocondi" - superb interplay between the two singers and beautiful phrasing from La Rysanek.

Part of BMG's "Living Stereo" series of re-mastered RCA sets this is definitely an Otello that should be in your collection.  As far as I am concerned one can never have too many complete recordings of Otello.  There are a few, however, that would be conspicuous by their absence - this set with Vickers, Martinelli, Vinay, Ralf, Domingo (take your pick of at least 5 on CD) and Giacomini.  You can forget about Pavarotti's dilettante "concert & rehearsal" assumption of the role under the indulgent baton of Solti.

1961 - Strauss: Ariadne auf Naxos (Decca CD 443675-2) - 2 discs w/ Peters, Jurinac, Peerce, Berry, Coertse, Dickie - Leinsdorf

You will have to do a little work to find this since Decca obviously did not feel there was enough of a market to release it in America so it is available only as an import from Europe.  This was another of the famous RCA Soria releases, (it was originally recorded for RCA by Decca) and copies of the origianl LP release are somewhat of a collector's item because of the sumptuous booklet that accompanies the set.  Some do not particularly care for this recording but I have always loved it - it was the first Ariadne I heard in my youth and it was very well recorded - the first Stereo recording of the opera.  It is important to remember that although today there are many Ariadnes to choose from when this recording was released there was only one other version - the classic EMI version with Schwarzkopf and Streich.

Rysanek is appropriately divatic if not as nuanced as Schwarzkopf but lets loose with some glorious upper register singing that one often misses from other singers essaying the role.  Roberta Peters often gets a bum rap nowadays but her Zerbinetta is one of the best.  The drawback is that the placement of her top register never took to the recording process.  But for assurance in complex florid work and elegant humor you can't beat her.  Peerce is perfectly acceptable as Bacchus - if not ideal but Jurinac is a Composer to savor.  An added bonus to the casting of this set is Mimi Coertse as Najade.  Coertse was an under appreciated artist and you can hear the proof of this on the classic Solti Arabella on London where she is easily the most appealing Fiakermilli on disc.  She brought to that thankless and impossibly difficult role superb musicianship, exquisite vocalism and secure coloratura - not to mention spectacular high Ds.

If you are interested in a live version of Rysanek in Ariadne, you may still be able to find the 1967 Vienna performance (on Melodram) with Rysanek and Jeannette Scovotti - a charming, bright Zerbinetta - also a favorite of mine.

1964 - Strauss: Die Frau Ohne Schatten (DGG CD 457-678-2) - 2 discs Vienna 6/11/64 w/ Ludwig, Hoffman, Thomas, Berry - Karajan

I have about 30 Fraus with Rysanek and I wouldn't want to be without a single one of them.  Ironically, I learned the score from the DGG recording with Bjoener, Thomas, Borkh, Modl and Dieskau.  That remains a favorite of mine despite the fact that Keilberth hacks the score to bits.  Bjoener may not have the soar of Rysanek but her voice - based on the "float" rather than the "spin" - offers its own merits.  This is especially evident in the quality of her other-world pianissimi and the touching naiveté of her timbre.  Modl may be practically voiceless - but who cares. She is mesmerizing any time she is in a scene, her tone painting of the demonic Nurse something to experience.  Inge Borkh is a shrewish Frau (her timbre contributing much to the success of her interpretation) but is tempered by the elegant, soft-toned Fischer-Dieskau.  Their combination is a believable one and for that reason it works well.

Of all the Rysanek Fraus this 1964 Vienna performance has always been my favorite.  Pace Karajan's idiosyncratic trimming and rearrangement of the score.  The singing is simply not to be believed.  If you aren't familiar with the Rysanek Empress, you should be.  It is one of the classics of the performing literature.  The role perfectly suited her voice and its abilities.  The pairing of Ludwig and Rysanek as the Frau and the Empress is electric.  Finally one gets two artists in Frau who can match each other in soaring Straussian lines.  Ludwig's Frau remains a crowning achievement of her career - another perfect match of voice and temperament to a role.  Her intense performance and interplay with her real-life husband Walter Berry as Barak transcends art - it is sublime.  Not to mention Grace Hoffman as one of the finest Nurses one can have the pleasure of hearing.  Her dramatic finish to Act II is probably the best you can find on disc.  Not only is the final, long high B flat immediately attacked, it is truly triumphant.  The newly-mastered DGG set offers the best sound I have heard for this performance,and I have heard about 4 different versions.  Produced well, with production pictures in the libretto, this is a performance to savor over and over.  Rysanek was at a high point in her long career and, like the Egyptian Helen above, it is one of those performances that makes one want to get on one's knees and thank God that live performances exist.  It also boasts performances by the young Lucia Popp (still in her Queen of the Night days) and the wonderful Wunderlich.

Collectors will undoubtedly want the later DGG release of a live 1977 Vienna performance with Rysanek, Nilsson as the Frau, James King and Walter Berry and Ruth Hesse as a splendid Nurse.  It is an excellent appendix to the 1964 Karajan.

1965 - Strauss: Elektra (SRO CD7833-2) - 2 discs Vienna, 12/16/65 w/ Nilsson, Resnik, Waechter, Windgassen - Bohm

A well sung performance of Elektra is one of the most intense experiences one can have in an opera house.  And that is what you get with this release from Standing Room Only (Legato Classics CD).  It is an invaluable document of a trio of performers (Nilsson, Rysanek, Resnik) famous for their performances of this opera.  During the late 1960s these three were often cast together in this work and this virtuoso performance shows exactly why.  The matching of the voices and temperaments was a rare one.  And they contribute a frightening vividness to the score - an almost Freudian detailing of the psychological motivations of each character that bears up well under careful scrutiny.  Bohm knows this music inside out and it shows in his detailing of the magnificent, complex score.

The sound is perfectly acceptable with only an occasional overload during the loudest passages.  And believe me that is of no importance in comparison to the superb work done by the cast.  Nilsson was a vocal phenomenon and this performance is a perfect display of her powers.  She was an amazingly consistent singer and little difference can be found between live and studio efforts. Caught in her prime the jagged, high lines of the title role are sung with complete assurance, nuance and great beauty of tone.  Like some kind of force of nature the Nilsson sound pours out without constriction or impediment and sweeps away all before her.  Her scenes and interplay with Rysanek as Chrysothemis and Resnik as Klytemnestra are wonderful to experience and benefit from multiple hearings.  Rysanek is vocally alluring as the gentler sister (who still has a backbone) and she is in fabulous voice.  Her involvement in the music is almost palpable.  The veteran, Regina Resnik - famous for Klytemnestra brings a harrowing realism to the part.

An added bonus is Gundula Janowitz as the 4th serving maid and a future Elektra, Danica Mastilovic, as the domineering Overseer.  If the performance were not enough, Legato generously adds a Final Scene from Salome sung by both Nilsson (1954) and Rysanek (1974) and 14 minutes from an Act II of Walkure featuring both singers (1965).  Not only are the added selections wonderful in themselves, they allow the listener to do make some fascinating comparisons between Nilsson and Rysanek in the Salome.  Do yourself a favor, get this one.  And then lock all your doors.

1969 - Smetana: Dalibor (BMG CD74321 57735 2) - 2 discs Vienna, 10/19/69 w/ Spiess, Lotte Rysanek, Waechter, Czerweka - Krips

This was another famous Rysanek revival.  And this new, BMG recording of the archival tape is in superb stereo sound of tremendous dynamic range.  It is unfortunate that the conductor, Krips, elected to prune the score, excising some of its finest music.  Also unfortunate is that BMG does not include a libretto.  (A previous Myto release included a libretto but less enticing sound.)

The famous Act I aria, "Ist es War" (the original Czech: "Jak je mi") (CD 1, track 15) was once a favorite with Emmy Destinn who recorded it twice (1908,1909).  Destinn's performance is classic and few can beat the combination of steely thrusted top notes and solid, chested low tones.  Comparatively Rysanek acquits herself well if not surpassing her predecessor.  But the role of Milada is a dramatic, tour de force and it suits Rysanek's voice and temperament.  The wonderful tenor Ludovico Spiess, so neglected by commercial recording companies, proves what a loss it was for all of us.  Waechter and Czerwenka both add immeasurably to the allure of the performance as a whole.

But the surprise and unique aspect of this performance is the rare pairing of the two Rysanek sisters.  Possessing similar timbres it is a most unusual experience to hear them in the same scene.  Lotte Rysanek was herself an accomplished singer - though many forget that fact because of the overshadowing fame of her elder sister.  Lotte was a favorite in Vienna especially for lyric roles such as Nedda but she also sang parts like the Trovatore Leonora.  To hear their two voices blending during the magnificent duet which ends Act I (CD 1, track 8) is an experience one should not miss.  Especially towards the end when they trade and then unite as one voice on top B.  As such this release is a fitting and endearing memento of the two sisters.  Smetana's music is as grand as one would expect from the composer of Libuse and cut or not this is certainly worth having in one's library.

1974 - Ponchielli: La Gioconda (Myto CD MCD 992.205) - 2 discs Berlin, 3/1/74 w/ Tagliavini, Paskalis, Randova, Lagger, Little - Patane

There is much of interest in this performance though it is not an important entry in the Rysanek legacy.  I have included it here for those curious about Rysanek undertaking such a role but to be honest much of her singing - in Act I at least - is a trial unless you are a hard-core Rysanek fan.  Some of the middle-voice singing is almost embarrassing for its wavering pitch and sluggish vibrato fluctuations as Rysanek tries to get that area of her voice under control.  More than any other performance discussed here, Gioconda underlines the placement problems Rysanek experienced when in her middle register.  Like many spintos the "ah" vowel in the middle and upper-middle areas posed specific placement problems.  Rysanek's solution - not the best - was to force the tone back into her throat which (of course) then mis-aligned her voice for anything else that followed.  Only when the pitch began to rise could she (by instinct) release the tone and place it closer in the mask, ready to soar.

By the end of Act I Rysanek has gained some control over her unruly middle and manages to deliver a powerful and effective finish to the Act with fine exclamations over the chorus.  Act II and III have some exciting, dramatic singing but despite the thrill of her soaring top register it is obvious that Gioconda simply lay wrong in her voice to be completely effective.  (A problem that affected her Medea. Both roles require more of a united chest register than Rysanek had at her disposal.)

Vera Little is a solid La Cieca and Randova a sumptuous, almost veristic Laura.  What a wonderful singer she was.  Paskalis and Tagliavini do excellent work.  The chorus is a bit "out of control" but enthusiastic.

1978 - Mascagni: Cavalleria Rusticana (Legato CD LCD 202-1) - 1 disc Munich, 12/25/78 w/ Domingo, Di Bella, Falcon, Varnay - Santi

A sizzling performance - an obvious Christmas present from Domingo and Rysanek to their fans.  And what a present it was. First of all it is unique.  By that I mean that although it may not be completely idiomatic - especially when it comes to Rysanek - it is its own world cleverly crafted by the singers.  During his career Domingo was often paired with Rysanek in productions of Tosca, Ballo and Cavalleria and the combination of the two is like pouring oil on a fire.  Both singers are known for their commitment to their art and it is more than obvious in the all-out white hot heat of this performance.  This was the first of a series of performances of Cavalleria that Rysanek sang throughout Germany from 1978 until 1981.  It was the continuation of a sensible (and slow) process that she began in 1976 (with Kundry) of integrating certain schwischen-fach roles into her repertoire to facilitate a switch to more mezzo-oriented music.  A process that wisely took over 10 years to complete.  By 1982 she had added Ortrude (in addition to Santuzza) and Kostelinichka (1985, Sydney Australia).  The process was completed by 1990 when she undertook her first Klytemnestra in Elektra (Bordeaux, France).

Her first thrust into "Mama LuCIa" tells us that she is in superb voice and that we are in for a special night.  Full of passion and abandon Rysanek shows what one can do with this varied role. Although she sounds a bit mature for a young, innocent Santuzza; Rysanek's voice always sounded ripe and mature, even at the onset of her career.  Just enjoy all the unusual pointing and excellent dramaticism she brings to the part.  I especially appreciated the way she kept herself as PART of the ensemble of the "Easter Hymn" rather than Diva and chorus.  That is the way it should be.  Her pleading cries of "Oh Signor" at its conclusion will rip your heart out.  Then there is the huge and beautiful high B that she thrusts at the end of the piece.  I don't have the time or space to analyze "Voi lo sapete" - although it is so rich in nuance that I easily could.  Suffice it to say it transcends the parameters of being a performance of an opera aria and enters almost painful reality.  Then there is the excellent high C she emits at the end of the opera.

Domingo is superb as the callous Turridu, his effulgent, dark-hued voice and concentrated intensity matching Rysanek note for note.  Although the opera did not play a big part in his career compared to others - like Hoffmann or Ballo the music and character suited his temperament.  His confrontation with Rysanek is the stuff of legends and alone is worth almost any price.  He also offers a fabulous top B at the end of the Brindisi.  His farewell to Mama Lucia is movingly sung and leads into a frantic, horrifying conclusion.  For once, the listener is truly startled at what has happened and left breathless at the outcome.

Cavalleria is an odd opera.  So many things must come together to make it completely work.  I have heard performances where everyone sang well, spending some 70 minutes to create almost unbearable tension, only to have it completely dissipate because of the lame efforts of the "screamer" at the end.  Although often slighted, the poor soul who runs in announcing Turridu's death must make her own contribution count.  Fortunately the Metropolitan Opera has had a number of excellent (and often unnerving) screamers who not only did their part realistically but added immeasurably to the excitement of the denouement.

The performance also has the advantage of a rich and full-voiced Lola sung by Ruth Falcon, who, during the 1980s, proved to be a remarkable Norma, Empress, Senta, Leonora in Trovatore and Turandot.  Although Lola does not show off her voice or range (Falcon had rock solid high D's and E flats) she sings it beautifully and with character.  But then it is a pleasure to hear Ruth Falcon in anything.  Astrid Varnay provides some cameo glamour in the role of Mama Lucia while Benito di Bella obviously relishes his confrontation with the mercurial Rysanek.  One could wish that he barked a bit less in his squeezed-out method of vocal production but he is intense and involved.  Legato offers a well-recorded and involving document of this opera.  Not only is the solo singing excellent, the choral work from the Vienna Staatsoper is excellent.

1988 - Janacek: Jenufa (BIS CD 449-450) - 2 discs Carnegie Hall 3/30/88 w/ Benackova, Ochman, Kazaras - Queler

This release by BIS CD demonostrates why live performances are preserved.  It documents one of those special "nights" of performing where everything and everyone seemed to come together with a cohesiveness that all strive for but few rarely achieve.  I won't say much more about this one.  If you want to know what I think about it in depth you should refer to Parterre Box, issue #33 (Recordings to Die For.) All I can say here is that I would never want to be without this dark, intensely-sung performance.

I also recommend the "Bohm" Ring Cycle on Philips CD.  Rysanek is Sieglinde in Die Walkure.  It is an excellent mid-career document of one of her most famous roles caught not only in her element (on stage) but surrounded by such colleagues as Nilsson, King, Modl, Silja, Adam and others.  If you are not sure whether you want to spring for an entire "cycle" you can find Act I of the Die Walkure on a separate CD at budget price.  That at least should be a staple of your collection.  Such heat between King and Rysanek.....

Aria Albums: Because Rysanek was a creature of the stage she gave few concerts and made few recordings of set pieces from operas.  When she did perform in concert more often than not it was in complete acts of operas which gave her a better chance to sink her teeth into the essence of a role. Like others of her kind she was not a miniaturist and her most powerful impact was found in the total concept of the role she was performing rather than in 4 or 5 minute segments.

Perhaps, because of this one is often curious just how she would imbue a short segment with characterization.  Mostly it is done through her "approach" to the music rather than in any particularly illuminating word painting.

1952, 1955: Opera Arias (EMI CDH 5652012) Fliegende Hollander (2), Arabella, Rosenkavalier (5), Tiefland, Forza, Aida (3) Recorded 1952, 1955.

Excellently transferred to CD, this recital - over 76 minutes - has some spectacular singing.  Most of the material comes from various German highlight discs Rysanek took part in during the early days of her career.

If you are a fan of this singer you must have these early renditions if only to compare to later, American efforts.  Also this disc is the only commercial document of her thoughts on such roles as Arabella, Tiefland and Rosenkavalier (although look for the Voce Della Luna release of a 1971 Vienna performance with Christa Ludwig and Hilde De Groote, conducted by Krips (VL2001-3).  It is a worthy document of her Marschallin and a treat.  Also, as filler, the set includes Rysanek in arias from Elektra, Frau, and Leibe der Danae all from the early 1950s.

1958: Operatic Arias (RCA 09026-68920-2) Forza, Aida (2) Chenier, Turandot, Otello, Ballo (2) Cavalleria, Tosca, Macbeth, Otello

One of the recent BMG "Living Stereo" re-releases this presents the Rysanek voice in all its youthful splendor.  Although her faults are in evidence, her commitment and glorious top register are thrillingly projected.  The disc is worth any price for the remarkable rendition of "In questa reggia" from Turandot.  Although she had given up the role by the time she came to record this album, she left us an idea of what her Turandot must have been like in the theater.  (A live performance of this aria from a 1953 concert exists and it is even more exciting than this studio effort.) Of all the arias on this disc, it is Turandot that most accurately resembles the thrilling intensity of Rysanek's top register when heard in the theater.  Then there is the Chenier aria.  (Although not really idiomatic, it is one of the most exciting versions recorded and boasts a spectacular high B.) BMG filled out the CD with the two arias from Ballo that were recorded but left off the original LP release due to time restrictions, and selections from Macbeth (2) and Otello.  The sound is glorious and one can understand why, of all her studio efforts, Rysanek was most proud of this album.

Leonie Rysanek Sings Strauss 1956-1978 (Legato CD 1005-1) Ariadne (2), Aegyptische Helena, Elektra, Salome, Rosenkavalier (5)

Presenting the singer in various live performances this release offers a sensible if rather predictable choice of selections.  The sound quality is variable but all are listenable and if you prefer to hear Rysanek in only Strauss this one is for you.

Leonie Rysanek (Orfeo CD C504 991 B) Excerpts from various perfs of Elektra 1953-1996 in which she performs all three lead roles.

Released this past year, after Rysanek's death, this album documents a first in opera annals- a single artist performing all three of the leading characters in Strauss' masterpiece.  It is invaluable.

It is a crime that the soundtrack of the Bohm film of Elektra has never been released on CD.  Admittedly Rysanek would never have performed the role on stage.  Even so it was most fortuitous that she agreed to make the film.  At the same time it is unfortunate that by doing so it had personal repercussions.  (It caused serious schisms in her relationship with her colleague and friend, Birgit Nilsson, who was rightly offended when Bohm slighted her for Rysanek, when by rights the movie should have been hers - she had owned the role for 20 years.) I love Nilsson and especially as Elektra but I am thankful Rysanek accepted the assignment.  To hear the monologue in the Rysanek voice is a dream come true.  "Rings um dein Grab" with its triumphant high B flat has never sounded more sexually climactic.

Probably the most astonishing thing about this disc is the vocal consistency Rysanek demonstrates throughout the 40-some years represented (1953-1996).  Her voice sounds pretty much the same in 1953 as it did in 1996 - except for the change of fach of course.  Orfeo's sound is first rate and they arrange the music in sequence creating a fascinating aural picture of Rysanek's suitability to all the music.  Although generous in their timing - over 73 minutes, I wish it had been possible to include all of the confrontation between Behrens (Elektra) and Rysanek (Klytemnestra) from the 1996 Vienna performance.  The chemistry between the two singers is such that when the selection ends - after 18 minutes, one is left craving the rest of the scene.

My favorite track remains the first - Elektra's monologue taken from the Bohm film - a searing, demonic performance with thrilling high notes and intense declamation.

Thanks to the development of recording technology we can revisit Leonie Rysanek and the many wonderful performances she left us as her legacy any time we choose. We are indeed fortunate to have such vital treasures.  Thank you Leonie.

Rysanek fans alert - keep a look out for Tosca (Met, with Tucker - Melodram), Ballo (Met - Memories, Nuova Era) Medea (Vienna - Melodram), Rosenkavalier (Vienna - Voce della Luna), Elektra (Paris - Rodolphe CD), Lohengrin (Bayreuth -Myto), Fidelio (Met, with Vickers - Melodram) Gotterdammerung (Gutrune) - Orfeo), Salome (Munich 1971 - Melodram).  Salome (Opera D'Oro or BMG), Nabucco (Met, Melodram LP).