Lehmann Discography

The "entries listed below can be found in the Complete Discography Index or the specialty Indexes "Arias," "Songs," etc.

This first major section of the discography includes commercial recordings made on "shellacs" (nominally 78 rpm records) from 1914 until 1949. The discography's index number is followed by the name of the opera (upper-case) or the name of the song (lower case). Then the aria, the composer and the recording date are listed. The recording date section may have several different dates; this is because different sources provided varying information, possible re-recording of that selection at a later date, or a transfer date. The next data are the matrix, followed by catalogue numbers and the LP and CD releases. (The word "matrix" means the original master made from the hot wax disc on which the original sound was recorded.)

The numbers that follow "LP:" refer to the LP REFERENCE (above). The CD releases (not yet cross referenced in the main discographical listing) can be found elsewhere.

When data is incomplete in a listing, look for information in a previous listing; this may be the composer, date, accompanying orchestra, conductor or accompanist. This is done to make the listings less bulky.

A word about original speeds of the "78s" recorded before 1931. The well-known discographer William Moran has pointed out the fact that no written record was kept of the speeds used in early recordings. "A deviation in speed of 4 revolutions per minute (rpm) changes the pitch (and thus the key) by one-half tone. Not only is the pitch incorrect...but...the tone and quality of the voice is distorted," writes Mr. Moran in "Nellie Melba: A Contemporary Review." Only the approximate range of speeds ("78's" vary from 72-87 rpm) can be offered. The careful listener should compare the recording against the published key. (See the article by Andrew Walter at the end of the piece "Early Recording".) Even the speed of re-released LPs isn't always correct. With a variable speed turntable, one can find the key of the selection and adjust with the help of a piano, pitch-pipe or organ to bring the recording to the correct pitch. The problem with this suggestion is that Lehmann often transposed selections (less frequently with arias with orchestral accompaniment). Further, exact pitch is a recent phenomenon; pianos, organs, even orchestras played (and even now, play) at a wide variety of pitches. Any exact "pitching" of some of these recordings is difficult.

This discography is based on that of Floris Juynboll which appeared in the March 1985 "Stimmen die um die Welt gingen" magazine. With the publication of "Lotte Lehmann, A Centenary Biography" by Alan Jefferson, Mr. Juynboll considerably altered and expanded his original publication (especially the commercial recordings). He doesn't include much material in the "non-commercial" section, but I have often referred to his data (J.:) in both the "commercial" and "non-commercial" section. He sometimes contradicts himself and this has been noted "???". In some listings there are two dates, one from my sources and another from Juynboll's. Until I am more certain of the facts, I will let both stand. There is also the German language publication of Mr. Jefferson's biography which has an even more recent Lehmann discography. Published by Schweizer Verlagshaus, Zürich in 1991, errors, typos and other discrepancies occur in this work as well as any, but when additions or corrections seemed warranted, they have also been included in the present discography.

The Lehmann discography by H. P. Court, updated by Clyde Key was also helpful. Many thanks to the others who helped: William Moran, who gave me basic instruction and format advice as well as data; Alan Kelly, England; R. Peter Munves, of CBS; Edwin Matthias of the Library of Congress; Robert Kenselaar of the Rodgers & Hammerstein Archive; Elisa Schokoff of the Museum of Broadcasting; Jerry Minkoff, researcher and editor; Joseph Pearce & Harold Huber, private collectors; Manfred Miethe for the German proof-reading; Katsuumi Niwa, Frank Manhold & Paul Glassman; Dixon Smith, computer aid; and Frances Holden, Dan Jacobson, Martin Silver, Jim Stenger, Judy Sutcliffe, and Christian Brun in Santa Barbara.

Unless otherwise stated, all entries are sung in German.