Word: borkh
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...INGE BORKH, 36, a big-voiced, big-framed German soprano, sings brilliantly in such muscular roles as Elektra and Salome, overacts with boisterous Germanic abandon. Last week, in her Met debut, she acted a coarse-grained Salome. She danced enthusiastically, handled her voice intelligently and, in the final long soliloquy, sang with exquisite beauty...
Strauss: Scenes from "Salome" and "Elektra" (Inge Borkh, soprano; Chicago Symphony conducted by Fritz Reiner; Victor, 2 LPs). A rising German-born soprano in two of her finest roles. The excerpts include her biggest scenes, including the only warm moments in Elektra -when the demented woman recognizes her brother. The orchestral climax is terrible in its intensity; Borkh is splendid...
Other noteworthy records: Nine Beethoven Symphonies, played by the NBC Symphony under Toscanini and popularly priced (Victor, 6 LPs); Puccini's Turandot, with Inge Borkh and Mario del Monaco and St. Cecilia Academy musicians under Alberto Erede (London, 3 LPs); Ravel's Complete Piano Works, played by Walter Gieseking (Angel...
...adequate recording of Turandot was the Cetra set which featured the electrifying singing of Gina Cigna as Turandot and the haunting Calaf of Giulio Masini. Now London has issued a beautifully recorded version that is one of their most satisfactory operatic sets. The taxing role of Turandot finds Inge Borkh lacking in the most dramatic moments, but her voice in the lyrical passages is ravishing. Renata Tebaldi has too heavy a soprano for the role of Liu, but she gives a more sustained performance than has been her wont of late. As the Calaf, Mario del Monaco is properly stentorian...
...Inge Borkh, 33, who sings at the Hamburg and Munich operas, may never be compared to a movie beauty, but her big, dramatic voice and commanding presence fascinated audiences. In the gruesome role of Salome, she slunk, crouched and snarled until it almost seemed as if she were going to bite off the head of John the Baptist before it was cut off for her, but at the end, she tamed her style, let the music have its say. Her singing was as compelling as her acting, her voice easily soaring out over Strauss's heavy orchestration...