Discography (475-553)

Non-Commercial Recordings II

This section continues with the second half of the "non-commercial" recordings and contains off the air recordings, interviews, master-classes, video tapes and films. The listing of these items must be considered limited by the date of this publication because new material constantly appears (much held Lotte Lehmann Archives at University of California at Santa Barbara.)

In the non-commercial section, unless otherwise stated, the speaking is in English. The location of unique items not held by the University of California at Santa Barbara, (if not 78s, then as LPs or tapes), will be evident in the listing.

475 TV Interview by Dr. Jan Popper on "Spotlight on Opera"; discusses career; includes master-class, 1954 or 3 Sep. '61?

476 TV Appearance "An Evening With Lotte Lehmann"; 8 May '54; 30 minute film; p. Zweig; LL introduces arias; students sing .

476.1 Master class at MAW; Aug. ’54 (?); ARIADNE AUF NAXOS: Trio and Monologue (R. Strauss); collection of M. I. Shirley Sproule.

477 Interview by Louis Palmer; 30 Sep. '55; on her life, career, MAW, opera in U.S., requirements for singers, about DER ROSENKAVALIER, accompanists, translating opera.

477.1 Interview with unknown reporter; Nov '55???Lehmann speaks of her departure from the stage and talks about her teaching; (Ger.) 2' 45"; Deutches Rundfunkarchiv.

477.2 Speech by Lehmann at MAW after her return from the re-opening of the Vienna Opera in November 1955. The exact date of this talk is not given. Includes: extensive remembrances of her trip including many comic details; her favorite painting in Florence; the receptions & the many special events to which she was invited; memories of the past and her emotional response to them. LP: original LP acetates.

478 Interview by Walter Todds for BBC; 20 Oct. '56; on her first visit to London in 19 years, impressions of recent trip to Vienna, her shock on seeing the modern opera house in Hamburg, recalls first visit to Covent Garden which she finds unchanged, describes recording DER ROSENKAVALIER with anecdote of E. Schumann singing last two notes, memories of working with Strauss & his consideration for singers, her role as Composer in ARIADNE AUF NAXOS, favorite roles, present life teaching in Calif., forthcoming master-classes at Wigmore Hall, modern Bayreuth productions, anecdote about Tauber & a bar of chocolate; BBC.

479 TV show: "This Is Your Life, Constance Hope"; 6 Feb. '57; tape possibly with the Hope estate.

480 Interview by John Gutman; 22 Feb. '58; Met. Opera Intermission Feature on her interpretation of the role of the Marschallin in DER ROSENKAVALIER, Strauss, teaching.

481 Master class at MAW; Aug. '58; on DER ROSENKAVALIER: "play-by-play" interpretation.

482 TV show: "This Is Your Life, Lauritz Melchior"; 10 Dec. '58; tape possibly w/ Melchior estate.

483 Interview by Roy Plomley for BBC; 14 May '59; from series called "Desert Island Discs", where he introduces his cast-away who queries anyone's ability to swim ashore carrying 8 records. Lehmann's first choice is the Prelude to DIE MEISTERSINGER which reminds her of singing Eva at Salzburg with Toscanini; next Mahler's Um Mitternach, for the artistry of Kathleen Ferrier & Walter; recalls singing as a child, earliest professional experience, admiration for E. Schumann, experience with Vienna Opera, London, first big roles, what opera and Lieder have meant to her, her "14 day retirement", then teaching, of young singers today; chooses a recording of Gerard Souzay, then one conducted by Franz Schalk which reminds her of his kindness, then the trio from DER ROSENKAVALIER to remind her of Vienna; a luxury (on the desert island) would be a box of paints and a book...Goethe's Faust; BBC.

484 Interview by Irene Slade on BBC program in a series called "People Today"; 26 Jul. '59; compares London of 1914 with that of today, tribute to London audiences, on early studies, career at Hamburg, Freia under Nikisch, Elsa under Klemperer, necessity of losing oneself in a role, Vienna in 1916, its claques, role of Composer, memories of first visit to US, Lieder singing & its technique, teaching, impressions of Toscanini, preferences for Romantic composers & her feeling that she lacked the control for Mozart, tribute to Melchior & E. Schumann, her tastes in dress & food, hobbies; BBC dates this (possibly of actual broadcast) 23 Aug. ’59; with the following information also included in the interview: Lehmann talks of singing Sophie, the Covent Garden contract, first solo role was as Anna in the MERRY WIVES OF WINDSOR; Hamburg’s regard for her when she decided to leave Hamburg for Vienna; her life in the US after leaving Vienna after the Anschluss; mentions singing with Chaliapin in FAUST; BBC: 2 LP's 24810

485 Interview by Studs Terkel; 18 Apr. '60; on Lieder, master-class series at Northwestern University, career, what she learned from the Marschallin, retirement, goal as a singer, today's singers, MAW, Grace Bumbry, modern opera productions, opera in translation, advice to young singers.

486 Master class: NWU; 25, 27, 29 Apr. '60; a) Die junge Nonne b)Am Grabe Anselmos (Schubert) c)An den Sonnenschein d)Aufträge e)Geisternähe (Schumann); f)Eine gute, gute Nacht (Brahms); g) Heb' auf dein blondes Haupt (Wolf); h)Der Mond (Mendelssohn); i)Mit einem gemalten Band (Beethoven); j)Fleur Fanée (Hahn); k)Wozu noch, Mädchen (Strauss); l)Paysage (Hahn); m)Nuits d'été (complete) (Berlioz); n)Schéhérezade (complete) (Ravel); o)Poème d'un jour (complete) (Fauré); p)TANNHÄUSER: Dich teure Halle (Wagner); q)SUOR ANGELICA: Senza madre (Puccini); r)CARMEN: Habanera (Bizet); s)MIGNON: Connais-tu le pays (Thomas); t)WERTHER: Les larmes (Massenet); u)LOHENGRIN: Duet (act 3) (Wagner); v)DIE ZAUBERFLÖTE: O Isis und Osiris (Mozart); w)MERRY WIVES OF WINDSOR: Anna's aria (Nicolai); x)DIE MEISTERSINGER: Wahnmonolog (Wagner); y)DER FREISCHÜTZ: Agatha's aria (Weber); z)MANON: Duet of Manon & des Grieux (act 1); p. Donald Isaak; NWU; (possibly at UCSB).

487 Interview by Peter Jacobi; WRMQ; 1 May '60; on retirement, teaching (interpretation not imitation); her career, Bumbry, Vienna, technique, many other roles besides the Marschallin.

488 Interview by Dick Johnson; KDB; 14 Jun. '60; on MAW, teaching in Europe in 1959, plans for production of ARABELLA at MAW.

489 Interview by John Gutman; WOR; 21 Jan. '61; for Met. Opera Intermission on ARABELLA, its similarities to DER ROSENKAVALIER, reason for not creating title role, MAW performance, its English translation (by Gutman.)

490 TV Master classes at MAW; 28 Jul. '61; a)O Liebliche Wangen b)Waldeinsamkeit (Brahms); c)Benedeit die selge Mutter (Wolf); d)Die liebe Farbe (Schubert); e)DER ROSENKAVALIER: Monologue (Eng.), Lehmann sings in German, (R. Strauss); f)MARRIAGE OF FIGARO: Dove sono (Mozart); g)Ich kann's nicht fassen h)Schöne Wiege i)Nun hast du mir (Schumann); p. Koldofsky; original series "Master Classes in Opera & Lieder" for NET totaled 4 hours.Add: Broadcast: Master Classes from the Music Academy of the West; late July 1961; NET/TV; all introduced & translated by Lehmann with comments for each student; extensive demonstrations as noted; ROSENKAVALIER: Monologue (R. Strauss); complete scene demonstrated by Lehmann; MARRIAGE OF FIGARO: act 3 recit. & Dove Sono (Mozart); recitative demonstrated in German by Lehmann; FIDELIO: beginning of act 3; many stage movement suggestions; LOHENGRIN: Elsa-Ortrud duet, act 2 (Wagner); Elsa not too dramatic or proud, but softer & more poetic; Ortrud more demonic & poisonous; many demonstrations both acting & singing; some effective close-ups of Lehmann; tells of her early success when Klemperer allowed her to sing Elsa; tells story of Leo Slezak singing “when does the next swan leave?”; DER FREISCHÜTZ: Wie nahte mir der Schlummer (Weber); Lehmann tells story of her outdoor performance of this with Richard Tauber and the joke of the chocolate; short very impressive demonstrations; movements should be youthful, impetuous; handkerchief should be waved with the music; p. Irving Beckman; O liebliche Wangen (Brahms); (p. Beaumont Glass); complete song demonstrated by Lehmann; In Waldeinsamkeit (Brahms); short demonstration of how “Windes Atem” must soar not walk; Benedeit die sel’ge Mutter (Wolf); some demonstration; Die liebe Farbe (Schubert); Lehmann speaks of sharing with the audience...but not her nervousness; short demonstrations; Der Wegweiser (Schubert); Frühlingsnacht (Schumann); Da unten im Tale (Brahms); In dem Schatten meiner Locken (Wolf); complete song demonstrated by Lehmann; Ich kann’s nicht fassen (Schumann); several short demonstrations; Schöne Wiege meine Leiden (Schumann); a few short demonstrations; Nun hast du mir...(Schumann); considerable number of comments & short demonstrations; Kennst du das Land (Wolf); Gott in Frühling (Schubert); Das Mädchen spricht (Brahms); Sonntag (Brahms); p. Koldofsky; concluding remarks by Lehmann; she continues to sing through her students.

491 Interview for KPFK; 6 Oct. '62; on Bruno Walter.

491. 1 Master class at Boston's Jordan Hall; Brahms song; data from Deutsches rundfunkarchiv: the student was Sandra Provost and the pianist Felix Wolfes; broadcast by WGBH Boston; Deutches Rundfunkarchiv, available at UCSB.

492 TV Tribute by NDR-German TV: "Besuch bei Lotte Lehmann", 1963; Santa Barbara, contents include: Lehmann interviewed (in German) by Werner Baecker in her home in Santa Barbara; she talks of how she first came to Santa Barbara; hobbies, books; career: Hamburg, Vienna, Strauss, Toscanini; Vienna’s ensemble of her time; excerpt of LOHENGRIN master class (490); mentions Grace Bumbry; says that she was seldom happy with her own performances; tells of the importance of Lieder in her life; her favorite Lied: Morgen by R. Strauss; says that in the “evening” of her life she has achieved her dreams.

493 Interview by John Gutman; WQXR; Jan. 1963; Met. Opera Intermission Feature; on her stage direction of DER ROSENKAVALIER.

494 Interview with Lehmann & Maria Jeritza by Gutman; aired: 2 Feb. '63; taped Nov. 1962; for Met. Opera Intermission Feature of ARIADNE AUF NAXOS; about this opera's premiere, Strauss & his other operas, technique, singers in jet age, MAW; LP: 75.

495 Master class at Wigmore Hall, London; BBC; 14 Mar '64; a)An die Geliebte (Wolf); b)Heimliche Aufforderung (R. Strauss); c)Gretchen am Spinnrade (Schubert); d)Schöne Wiege (Schumann); e)Das Wirtshaus (Schubert); f)DIE WALKÜRE: act 2 (Wagner); p. Ivor Newton.

496 Master class at Wigmore Hall, London; BBC; 15 Mar '64; a)Liebst du um Schönheit (Mahler); b)Gute Nacht (Schubert); c)Mausfallen-Sprüchlein (Wolf); d)SUOR ANGELICA: excerpts (Puccini); p. Newton.

497 Master class at Wigmore Hall, London; BBC; 29 Mar '64; a)Warnung (Mozart); b)Um Mitternacht (Mahler); c)Von ewiger Liebe (Brahms); d)ANDREA CHENIER: excerpts (Eng.) (Giordano);p. Newton.

498 Interview by Joan Cross & John Amis; BBC; 29 Mar '64; on master classes, her early studies, talent; used as the introduction to the broadcast of the master classes listed above.

499 Presentation of Honorary Ring of Vienna by Franz Jonas, Mayor; 10 Jun. '64; (Ger.); in short speech Lehmann accepts, happiest years of her life as woman & artist were in Vienna.

500 Speech (short); 10 Jun. '64; feels at home in US, loves Austria, thinks of Vienna with the longing of youth; (Ger.).

501 Interview (Ger.) on the centennial of R. Strauss' birth; 1964; his demands as conductor of his own works, on Schalk, B. Walter, Toscanini, why the latter liked her in spite of musical errors, Hoffmansthal, DER ROSENKAVALIER as both comic and tragic, Marschallin as a worldly wise person, sees stylized FIDELIO as robbing it of its living drama, Strauss probably wouldn't mind modern interpretations, her discussion with Desmond Shawe-Taylor on the state of technique, on value of ensemble such as Vienna was, singing/acting should come from inside a person, Hermann Prey as example of one who sings from his soul, how one controls the emotions when singing (horse riding given as an example).

502 Interview by Malloch; KPFK; aired 16 Jan. '65; recorded in her home; on state of opera & lieder singing past & present.

503 Reading from her book, Five Operas and Richard Strauss at Faulkner Gallery, Santa Barbara; KPFK; aired 16 Jan '65.

504 Interview by Robert Chesterman; "Music Diary"; CBC; 30 May '65.; on her "retirement", teaching, today's singers, state support for arts, Bumbry, modern opera productions, secret of her success.

505 Interview: 11 Nov. '65; on Bruno Walter.

506 Interview: April 1966; Met. Opera's "Singers Roundtable"; Bidu Sayao, Richard Crooks, Giovanni Martinelli, Lily Pons & Lehmann reminisce, tell anecdotes, Lehmann on new roles, acting, modern Wagnerian productions, jet age singers, MAW, advice to students, early studies, Old Met.

507 Interview by Peter Lehmann (stage director of 1967 Met. production of Wagner's LOHENGRIN) for WQXR; 21 Jan. '67; contents unknown; Rodgers & Hammerstein Archives.

508 Interview by Olin Downes; 1967; for Met. Opera Int. Feature; on Toscanini, their performances, anecdotes, fear & fondness for him.

509 Interview by Calhoun; Feb. '67; for "Hall of Song"; on first appearances in US, Met., early career, Vienna, Strauss as a person, acting, Wagnerian roles, Covent Garden roles, B. Walter, anecdotes at Met., Melchior, other greats, her work on Met. production of DER ROSENKAVALIER, present activities.

510 Master class at NWU; 1 May '67; Die schöne Müllerin (except # 10 & # 17) Schubert, p. Laurence Davis. Lehmann begins by saying that she is really too old for this and says each year that she won't return, but then Spring returns and her hobbies don't seem enough and wants to return to her own world of singing. Since she can't sing any more, she sings with the voices of her students. She's sure to hear beautiful voices, so she will sing beautifully. Talks about growing up in Perleberg. The house in which she lived was near the road to Hamburg. She saw apprentices passing her house on their way to a new master. They carried a sign to show what their trade was. She only remembers now that the millers wore white caps. And she connects this with the boy who goes through this whole cycle, who she likes especially. He is a poetic, sensitve, not rough. She saw the different types pass and her mother gave them something to eat, though they weren't at all beggers. Lehmann chooses to omit the thrid verse saying that one doesn't need to talk about the mill wheels. #1. Soprano student, Margaret Innes (?) sings it too stacatto according to Lehmann. The diction is good, but remeber that music doesn't walk, it flows. #2. Lehamnn provides a fine translation and commentary, including the fatefull, mysterious quality inherent in the brook. Tenor student, Kenneth Eitzen (?) is told on "ich weiss nicht wie mir würde" something strange has happened to me and again not stacatto. Advice given on the hands...not to distract from the singing. And not too gay...this boy is different from the other boys. "Why have I to follow this brook?" #3. Again, more than a translation, a real setting of the story. Baritone Ronald Cooms (?) is instructed to sing "Ay Bächlein" in not so harsh a way, more thankful and with more warmth. #4. The story is followed by the singing of Elisa Roth, soprano, who is told to sing it mezzo forte, no great climax...see the sensitive boy; the student is singing too "vocal" want to show the voice, which isn't appropriate here. A half voice is better. If you talk about a very great love you will talk about it in a gentle, overwhelmed sound. #5. Paul Loomis

511 Master class at NWU; 3 May '67; a)Shéhérazade (Ravel); b)Nuits d'ete (Berlioz); c)L'invitation au voyage d)La vie antérieure e)Sérénade Florentine (Duparc); f)Songs and dances of death (Moussorgsky); p. Davis.

512 Master class at NWU; 5 May '67; a)Geisternähe b)Schöne Wiege meiner Leiden c)Er ist's d)In der Fremde I (Aus der Heimat) e)Intermezzo f)Waldesgespräch g)Die Stille h)Mondnacht i)Lust der Sturmnacht j)Frühlingsnacht k)Stille Liebe l)In der Fremde II (Ich hör' die Bächlein) m)Schöne Fremde n)Wehmut o)Auf einer Burg p)Sehnsucht nach der Waldgegend (Schumann); p. Davis.

513 Master class at NWU; 8 May '67; a)Blumengruss b) Um Mitternacht c)Nimmersatte Liebe d)Schlafendes Jesuskind e)Die Spröde f)Die Bekehrte g)Harfenspieler III h)Frühling über's Jahr i)Er ist's j)Denk es, o Seele k)Der Knabe und das Immlein l)Der Schäfer m)An eine Äolsharfe n)Elfenlied o)Lebe wohl (Wolf); p. Laurence Davis.

514 Master class at NWU; 10 May '67; a)Nachtigallen schwingen b)Unbewegte, laue Luft c)Bitteres zu sagen...(Brahms); d)Neue Liebe (Mendelssohn); e)Sommerabend f)Mondenschein(Brahms)g) Und gestern hat er mir Rosen gebracht (Marx); h)Es traümte mir i)Die Mainacht (sung by Lehmann) (Brahms); j)Selige Nacht (Marx); k)Der Mond l)Die Liebende schreibt (Mendelssohn); m)Ruhe, Süssliebchen (Brahms); n)Hat dich die Liebe berührt (Marx); o)Dämmerung senkte sich p)Wenn du nur zuweilen lächelst q)Lerchengesang (Brahms); p. Davis.

515 Master class at NWU; 12 May '67; a)Pace, pace (not attributed); b)Amour, viens aider (SAMON ET DALILA) (Saint-Saens); c)Wo berg' ich mich (EURYANTHE) (Weber); d)Wie nahte mir (DER FREISCHÜTZ) (Weber); e)Che faro (ORFEO ED EURIDICE) (Gluck); f)Und ob die Wolke (DER FREISCHÜTZ) (Weber); g)Eri tu (UN BALLO IN MASCHERA) (Verdi); h)Pleurez mes yeux (LE CID) (Massenet); i)Vissi d'arte (TOSCA) (Puccini); j)Avant de quitter ces lieux (FAUST) (Gounod); k)Gavotte (MANON) (Massenet); w/short speech of protest; p. Davis.

516 Interview (Ger.) by Marcel Prawy; 1960's; on Vienna, jet set vs. ensemble, Schalk, Jeritza, farewell recital, books, MAW, her vocal technique, interpretation, "retirement".

517 Speaking (Ger.); 1960's; 2 bands of LP: 42; original source (?); on early studies & career, Vienna, the Marschallin, US & the Met., Lieder, farewell recital, Walter, Schalk, Toscanini, favorite role (Sieglinde), other roles in Vienna, ensemble missing today, modern "stylised" productions.
518 Master class; UCSB "College of Creative Studies"; 6 Jan. '68; a)Dichterliebe (Schumann); b)Gretchen am Spinnrade c)Die Krähe (Schubert); d)Widmung e)Er, der Herrlichste (Schumann); p. La Verne Dayton.

518 Master class; UCSB; Jan. '68;

519 Master class; UCSB (see 518); 13 Jan. '68; a)AIDA: Ritorna vincitar (act 1) & Romanza (act 3) (It.) (Verdi); b)EUGEN ONEGIN: Letter scene (act 1) (Eng.)(Tchaikovsky); p. Dayton.

520 Master class; UCSB (see 518); 20 Jan. '68; a)DER ROSENKAVALIER: Presentation of the rose b)ARABELLA: Duet (act 1) (R. Strauss); p. Dayton.

521 Master class; UCSB (see 518); 27 Jan. '68; a)Lieder eines fahrenden Gesellen (Mahler); b)Allerseelen c)Heimkehr d)Zueignung (R. Strauss); e)Gesang Weylas f)In dem Schatten (Wolf); g)Morgen h)Ständchen (R. Strauss); p. Dayton.

521.1 Interview by Maurice Faulkner; Feb. ’68; for 80th birthday; childhood memories; early studies; early career; Vienna; Strauss; rehearsals in Vienna with solo rehearsals, with conductor & piano, then “Sitzproben”; weeks of rehearsal for FIDELIO, which was one of the high points of her life; Toscanini & Schalk approached it from a musical point of view, Bruno Walter from a psychological conception; interview continued later (28 Apr. ’68 see 521.3)

521.2 Private lessons of Alice-Marie Nelson (and others); students’ singing distorted on original tapes; Lehmann’s instructions usually clear, here paraphrased; 19 Feb. ’68; DER ROSENKAVALIER: act 1, scene 1 (R. Strauss); many stage direction comments & the reminder that many such things might have changed since Lehmann’s time; Quinquin shouldn’t shout at the Marschallin; some demonstrations as Octavian; psychological & detailed appreciation of the words, i.e. “schöner ist als ich” hurts because the Marschallin was such a beauty; Lehmann demonstrates “ich sag’ was Wahr ist”; she talks of expression in the hands; 2 Mar. ’68; Wir wandelten (Brahms); suggestions on mood and stance; Meine Liebe ist grün (Brahms); Lehmann advises that this would be a good song to end a group; very free, should soar, some demonstrations; Wie Melodien zieht es mir (Brahms); suggestions on phrasing; not so detached, don’t get caught up in technique, but be free; Lieder eines fahrenden Gesellen (Mahler); Lehmann demonstrates a bit; speaks of the use of the hands, body, etc., but says she shouldn’t suggest something, rather it should come from the student herself; not too technical, but as legato as possible; (incomplete); Feldeinsamkeit (Brahms); “blau” is a beautiful word; use a mysterious, breathy piano on “mir ist..”; the eyes shouldn’t look into death; Von ewige Liebe (Brahms); here “ja” is an unimportant word; don’t sing too furiously; demonstration of “leidest du Schmach....”; in the last line, “Liebe” & “ewig” should have an “ah” sound mixed into the “ee” sound; Vergebliches Ständchen (Brahms); not so staccato; should tease more; don’t send him away forever in the final “gute Nacht”; don’t lose sympathy or be annoyed with him; Botschaft (Brahms); too quick; more refinement on the final “denkst an ihn”; LOHENGRIN: Ortrud’s aria (Wagner); after a short time changes to SAMSON ET DALILA: Mon coeur...(Saint-Säens); don’t scold, but be seductive; sounds too much like a good girl; some demonstration on the use of the expressive breath; Lehmann speaks of Marian Anderson’s performance of the last phrase & encourages the student to overcome her inhibitions that “when you think you over-do, it will be just right”; CARMEN: Près de remparts des Séville & Habanera (Bizet); she’s giving him the address, so stress “Pastia”; speaks of stage movement and of seeing Corelli as Don José; psychological interplay between Carmen & Don José; be careful that the voice doesn’t become vulgar or harsh; don’t sing each verse the same; feel the music in the body; JEANNE D’ARC: Adieu forêts (Tchaikowsky); a fanaticism must be in the voice; advises work on the high notes; 5 Mar. ’68; FIGAROS HOCHZEIT: Non so piu (Mozart); not astonished, but confused; take time now & then; note arm movements and the difference between a concert & an opera performance; analyzes Cherubino’s state; advises student to follow heart, not the head, more instinctive; only now as a teacher does Lehmann understand why she did something; speaks of singing Angelica; SUOR ANGELICA: Principessa aria (Puccini); fanatic, uncanny; asks that student not “sing” “espirare” so much, more inner sound; LE PROPHETE: Prêtres de Baal (Meyerbeer); fanatic spirit is missing; should note change in mood in the eyes; discusses singing a lot of house concerts in Paris & earning a lot of money from them; SAMSON ET DALILA: L’amour! viens aider...(Saint Säens); suggests no high Bb; (incomplete); 9 Mar. ’68; AIDA: Aïda-Amneris duet (Verdi); harsh & fiery violence; should “feel” the music in the hands; the muscles should be taut with energy; SAMSON ET DALILA: Mon coeur...(Saint-Säens); more voice at the beginning; Lehmann demonstrates the “expressive” breath; the fire is missing, forget yourself; don’t stare at one point; Wir wandelten (Brahms); “so schön war alles” must be more expressive; don’t drag; Feldeinsamkeit (Brahms); try to achieve a feeling of flying in “nach oben”; LOHENGRIN: Elsa-Ortrud duet (Wagner); every word must be understood; Lehmann speaks/sings example of two important words: “verlassen” & “zauber”; Elsa’s most beautiful music “es gibt ein Glück” must be legato, demonstrates; SAMSON ET DALILA: L’amour! viens aider...(Saint Säens); Lehmann speaks of the meaning of the words and demonstrates; Von ewige Liebe (Brahms); Lehmann congratulates student “you are starting to forget yourself”; Wie Melodien zieht es mir (Brahms); asks how the student understand the words; it is an idea...(tape runs out); 16 Mar. ’68; Das Verlassene Mägdlein (Wolf); words go against the music; Wenn ich früh in den Garten geh’ (Schumann); Lehmann demonstrates first phrase, stresses correct pronunciation of “früh” & “grün”; Der arme Peter (Schumann); in the first song, don’t give him too strong a personality; a rather stupid boy; in the second song, more legato...one grows with sorrows; in the third, “der stieg wohl aus dem Grab hervor” shuddering, uncanny & mysterious; SUOR ANGELICA: Principessa aria (Puccini); no sliding which weakens & sentimentalizes; FIGAROS HOCHZEIT: Non so piu (Mozart); “un desio” with more sensuality; wild & untamed; at the end, repeated line different: first time childlike, second time more defiantly; LE PROPHETE: Prêtres de Baal (Meyerbeer); Lehmann provides tempo & accent suggestions; asks that the final “e” above high “c” be removed, not musical and says that this aria, so full of effects, technique and fireworks doesn’t appeal to her; 24 Mar. ’68; Zueignung (R. Strauss); portion only; Lehmann demonstrates; three different people should be portrayed; on “heilig” one should hear the “h”; should feel free; DER ROSENKAVALIER: Presentation of the rose, act 2 (R. Strauss); Octavian sung in German, Sophie in English; Octavian feels excited but later upon seeing Sophie becomes more of a man; he must tremble with the elemental power which strikes him; many stage suggestions; official message & message from the heart should be different; anecdote about studying Sophie with Becker in Hamburg & then later in Vienna when E. Schumann was ill for a rehearsal singing that role as well as her own; Schalk said he’d be happy if she learned her role (Octavian); the name “Quinquin” embarrasses him; Lehmann talks of recent 80th birthday party, Frances Holden; meaning of Orplid; Der arme Peter (Schumann); 30 Mar. ’68; Aufträage (Schumann); accent “Auftrag”; give feeling as if you see the dove; more secret...not too much voice; short demonstrations; Verschwiegene Liebe (Wolf) (sung in two keys); mysterious & fantastic; connect “verschwiegen” & “Gedanken”; must paint the “Wolken”; Lehmann prefers the lower key for this student; no crescendo on “verschwiegen”; AIDA: Aïda-Amneris duet (Verdi); Lehmann tells anecdote of hysterical vocal chord paralysis on stage with Slezak, who thought she was kidding; speaks of Manchester Guardian critic who called her the greatest actress; 13 Apr. ’68; Lehmann speaks of Hawaiian trip; anecdotes about her sending back scores as too difficult; Krauss and their mutual enmity; quintet in DIE MEISTERSINGER & how Bruno Walter told her to think herself into the mind of Eva to avoid being nervous; this last point can be carried into all roles...a movement this way or that isn’t important if one thinks in the role; DER ROSENKAVALIER: Marschallin-Octavian duet from “wie du warst” act 1 (R. Strauss); more passionate; Octavian not so happy to be called “Bub”, but “ich hab’ dich Lieb” has a strong effect; stage movements; Octavian shouldn’t really get violent against the day; gives psychological insights; Marschallin shouldn’t take her dream too seriously; “einmal” then the Marschallin stops herself before she reveals something she shouldn’t; p. Dayton.

521.3 Interview by Faulkner in Santa Barbara; 28 Apr. ’68; Lehmann talks of Wagner’s Ring; Anna Russell; sang Freia because someone ill; kindness of Nikisch; sang Orlofsky in FLEDERMAUS with Nikisch; reminisces about singing Sieglinde with Melchior under B. Walter; some conversation about present-day productions; preferred conducting of Schalk & Walter to that of Strauss; recalls Strauss complementing her on an “A#” in DIE FRAU OHNE SCHATTEN, thereafter she never sang it so well; tells stories of reprimands for jokes with Slezak when she sang Gutrune & Eva; mentions that Toscanini forgave her errors because her singing came from her emotion; talks of how the Marschallin grew over the years and when asked if she’d do it differently now, she replies, yes, that she didn’t always do it the same & now she’d do it differently & better!

522 Interview by a Vienna radio station; 25 Jun. '68; mc sent questions which Lehmann answered in her hotel at Bad Gastein (German); on early career, Vienna, roles, teaching, writing.

523 Master class; UCSB (see 518); 12 Oct. '68; Winterreise (first 5 songs) (Schubert) (remarks that it is ok for women to sing songs originally written for men). p. Dayton.

524 Master class; UCSB (see 518); 19 Oct. '68; a)DIE WALKÜRE: Duet (act 1) (Wagner); b)LA BOHEME: Che gelida manina (Puccini); p. Dayton.

525 Master class; UCSB (see 518); 26 Oct. '68; a)DER ROSENKAVALIER: Monologue (Strauss); b)LA BOHEME: Mimi (act 3) (Puccini); p. Dayton.

526 Master class; UCSB (see 518); 2 Nov. '68; a)Liebestreu b)Am Sonntag Morgen c)Der Tod, das ist die kühle Nacht d)Auf dem Kirchhofe (Brahms); e)DER FREISCHÜTZ: Scene & aria (act 2) (Weber); f)DIE LUSTIGEN WEIBER VON WINDSOR: Duet (act 1) (Nicolai); p. Dayton.

527 Interview by Gutman; 8 Feb. '69; Met. Intermission Feature; dub of earlier interview; 3 different sopranos who sang the Marschallin.

528 Interview by Hans Fischer Karwin; Summer (?) '69; on Wessling's Lehmann biography, Mehr als eine Sängerin; great names associated with her, technique vs. personality, early Lieder attempts probably too "operatic", early period in Vienna as a "wild Prussian"; then became more at home and finally "Viennese"; (Ger.).

529 TV Interview (in German) in Salzburg by Karwin; Summer (?) '69; on her life, early studies, career, anecdotes, fate, Vienna, early roles in Vienna, husband, Strauss as director, as a conductor, ensemble, B. Walter, Schalk, Toscanini, Isolde, Nazis, US, return to Vienna, most exciting event in career.

530 Master class; UCSB (see 518); 11 Oct. '69; a)FIDELIO: from act 1 (Beethoven); b)Die Georgine c)Wiegenlied d)All' mein Gedanken e)Zueignung (R. Strauss); p. Dayton.

531 Master class; UCSB (see 518); 25 Oct. '69; a)DIE MEISTERSINGER: from act 2 (Wagner); b)Es muss ein Wunderbares sein c)Die Lorelei (Liszt); d)Ich bin der Welt e)Ich atmet' einen linden Duft f)Um Mitternacht (Mahler).

532 Master class; UCSB (see 518); 1 Nov. '69; a)CARMEN: part of act 1 (Bizet); b)DER FREISCHÜTZ: from act 2 (Weber); c)INTERMEZZO: from act 1 d)DER ROSENKAVALIER: Trio (act 3) (R. Strauss); p. Dayton.

533 Interview for "Singer not the Song"; BBC; 1969; on early career when everything slower than for today's "stars", giving all until end, farewell recital when public still wanted more.

534 Interview for BBC; 1969; recollections of Strauss; he not bothered by her vocal & musical imperfections; Dresden premiere of INTERMEZZO; his wife & the story of their engagement, preparation for FRAU OHNE SCHATTEN, singing Strauss' Lieder for him.

535 Interview by Richard Calhoun WBUR's "Hall of Song" story of Met.; for NPR; aired Jan. '71; prog. #22=1933 season; she talks of her early efforts at the Met; may be duplication of entry #509.

536 TV Interview by Neville Cardus from Hyde Park Hotel, London; BBC; 2 Aug. 1971; on her recent book on Lieder cycles, teaching, his recollections of her from 1925; Strauss, role of Eva with Toscanini; Schalk anecdote, Beecham, Walter as teacher of opera & Lieder, understanding roles, interpretation, DER ROSENKAVALIER as theater, Hoffmansthal, her hobbies, favorite roles.

537 Interview by Sylvia Vickers from Hyde Park Hotel, London; BBC; 3 Aug. '71; Vickers makes many embarrassing errors; on early career, INTERMEZZO, working with a composer, how she brought a role to life, relinquishing teaching, how to recognize talent, intelligence vs. voice, jet-set stars of today, technique, Toscanini, teaching interpretation, Bumbry, critics from country to country, future of opera.

538 Interview: aired 16 Sept. '71; contents unknown.

538.1 Talks about her professional association with Toscanini, from the first radio broadcast, through the Salzburg years. Jan. '72; WFCR-FM, Amhurst, MA; Museum of Television and Radio.

539 Interview by Gary Hickling for 85th birthday tribute; WBAI; taped 18 Dec. '72; on favorite roles & recordings, students.

539.1 Interview by Frank Malloch?; 28 Feb '73; CD???

539.2 Interview (in German); Apr 1973; with Walter Slezak for Vienna TV show on Leo Slezak; existence???

540 Interview by Hickling for Melchior memorial program; WBAI; 15 Aug. '73; on singing with Melchior, his Siegmund, anecdotes.

541 Broadcast: Coaching Jeanine Altmeyer in the role of Eva; Salzburg; Apr 1973; on stage movement, important words, psychological interpretation.

542 Interview (Ger.) by Frieda Jahre for "Kultur Interview"; 22 Aug. '73; on Vienna in 1914, 1916, first roles there, at first not fitting in, Strauss, Puccini, Toscanini, Lieder as another world, third career as teacher, Vienna as "home", no "stars" then, writing a book on Lied interpretation.

LATER INPUT: RECORDINGS WITH INCOMPLETE DATA (some possibly taken from Columbia radio broadcasts; see 450, or perhaps acetates recorded from WQXR or another New York City radio station of Town Hall performances.)

543 Es weiss und rät es (Mendelssohn); no date, 1940's?; p. Ulanowsky; VOA 16" acetate, 33 rpm.

544 Pagenlied (Mendelssohn); see 543.

545 Schilflied (Mendelssohn);see 543.

546 Neue Liebe, neues Leben (Beethoven); see 543.

547 Das Veilchen (Mozart); live; no date, possibly mid 1940's; p. Ulanowsky?; no data.

548 Andenken (Beethoven); see 543.

549 Freiheit, die ich meine (C. Groos); 1 Nov. 1943; p. ?; OWI Series; in Deutsches Rundfunkarchiv listed as "Stimme aus Amerika", available at UCSB.

550 Frühlingstraum (Schubert); see 543.

551 Gute Nacht (Schubert); see 543.

552 Abendemfindung (Mozart); see 543.

553 Anakreons Grab (Wolf); see 450.

Undated Interview/Class

553 Interview/class by Jan Popper; no date; DER OPERNBALL: Im chambre separé; (Heuberger); Lehmann sets the scene.

554 Interview? "Die Saengerin gruesst Oesterreich" broadcast by Austrian Radio Vienna, unknown reporter; Deutches Rundfunkarchiv