Wunderlich, Fritz: Rarities from Opera & Operetta
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Artikelinfo
1956-1963
2004
Emmerich Kálmán
Ludwig van Beethoven
Luigi Cherubini
Wilhelm Kienzl
Wolfgang Amadeus Mozart
Radio-Sinfonieorchester Stuttgart des SWR
Carl Schuricht
Alfons Rischner
Fritz Wunderlich
Willy Mattes
Hans Müller-Kray
Fritz Mareczek
Tr. 1 Wolfgang Amadeus Mozart: Dies Bildnis ist bezaubernd schön (from: Die Zauberflöte K 620)
Tr. 2 Emmerich Kálmán: Wenn es Abend wird … Grüß mir mein Wien (1924 - from: Gräfin Mariza)
Tr. 3 Ludwig van Beethoven: O welche Lust (from: Fidelio op. 72)
Tr. 4 Wilhelm Kienzl: Lug, Dursel, lug – Zu Straßburg auf der Schanz (from: Der Kuhreigen)
Tr. 5 Wolfgang Amadeus Mozart: Ja, nun laß das Schicksal wüten (from: Zaide K 344)
Tr. 6 Wolfgang Amadeus Mozart: Kannst Geliebter... (from: Zaide K 344)
Tr. 7 Wolfgang Amadeus Mozart: Wackrer Freund, voll tiefer Scham (from: Zaide K 344)
Tr. 8 Wolfgang Amadeus Mozart: O selige Wonne (from: Zaide K 344)
Tr. 9 Luigi Cherubini: O du mein Erretter (from: Der Wasserträger)
Tr. 10 Luigi Cherubini: Mich trennen soll ich (from: Der Wasserträger)
Tr. 11 Luigi Cherubini: Gott! Täuscht mein Auge mich nicht (from: Der Wasserträger)
Tr. 12 Emmerich Kálmán: Gavotte und Lied des Bonaparte (from: Kaiserin Josephine)
Tr. 13 Emmerich Kálmán: Schön ist der Tag (from: Kaiserin Josephine)
Tr. 14 Emmerich Kálmán: Du bist die Frau (from: Kaiserin Josephine)
Fritz Wunderlich, who died tragically young in an accident, played this role for the first time in 1954 and for the last time in 1966: Prince Tamino in Mozart’s *The Magic Flute*.
Accordingly, this selection from the years 1956–63 opens with Tamino’s ‘Portrait Aria’ – in a masterfully understated interpretation from 1959 under Carl Schuricht and with a voice in
the full possession of its beauty.
Fritz Wunderlich’s much-praised “tone of the heart” – which touches the heart and seems to come from there, always appearing authentic, carefree and never kitsch – can be heard here in Stuttgart radio recordings of well-known and lesser-known operettas and operas. These historical audio recordings reveal how the singer – with a succession of conductors at the podium – makes use of the creative freedom afforded to him to shape the roles in his own unique and individual way.
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