Word: irmgard
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Putting its best hunch forward, the Metropolitan Opera signed Vienna's buxom Soprano Irmgard Seefried this season. Last week she bowed as Susanna, the maid in Mozart's Marriage of Figaro, and turned out to be the hit of the evening. She bounced around as a properly improper young peasant girl, conniving enthusiastically, clucking her disapproval of other people's peccadilloes, escaping from her own tight jams, seeming to enjoy every minute. Almost from the moment of her entrance, she had the Met audience laughing in delight...
...also, if he chooses, go to hear European artists who might never have crossed the Atlantic except for their record successes. London Records takes credit for popularizing Singers Kathleen Ferrier, Hilde Gueden, Irmgard Seefried, Paul Schoeffler; Pianists Clifford Curzon, Friedrich Gulda; Conductor Ernest Ansermet. Cloe Elmo, Ferruccio Tagliavini, Italo Tajo and Cesare Siepi were introduced to U.S. collectors by Cetra-Soria records before they were hired by the Metropolitan Opera...
Mozart: The Magic Flute (Wilma Lipp and Irmgard Seefried, sopranos; Anton Dermota, tenor; Erich Kunz, baritone; Ludwig Weber, bass; chorus of the Society of Friends of Music, the Vienna Philharmonic Orchestra, Herbert von Karajan conducting; Columbia, 6 sides LP). The kind of crack performance, with its own unique Gemütlichkeit, that makes music lovers trek to Salzburg every summer. A new Marriage of Figaro, with the same orchestra and conductor and some of the same cast, offers more of the same happy spirit. Both recordings: excellent...
Strauss: Excerpts from Der Rosenkavalier (Elizabeth Schwarzkopf and Irmgard Seefried, sopranos; Dagmar Hermann, contralto; Ludwig Weber, bass; with the Vienna Philharmonic Orchestra, Otto Ackermann conducting; Columbia 2 sides LP). For the Vienna company, singing Der Rosenkavalier is a matter of doing what comes naturally. Outstanding: Soprano Seefried's Octavian in the second-act love duet with Sophie (Soprano Schwarzkopf). Recording: good...
When the saving notion of a music-school background came to Goldwyn, he turned it over to Scenarists Irmgard von Cube and John Howard Lawson. For another $30,000 Heifetz consented to return to Hollywood for a few necessary scenes. Goldwyn feared more trouble getting Virtuoso Heifetz to play to the accompaniment of his juvenile orchestra, 45 gifted Los Angeles protégés of philanthropic University of Southern California Professor Peter Meremblum. But when Heifetz heard the kids on the set valiantly attacking the Barber of Seville overture, he acted just as Producer Goldwyn hoped he would, grabbed...