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Erna Berger: A Vocal Portrait
 
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Erna Berger: A Vocal Portrait

~ Daniel-Francois-Esprit Auber (Composer), Georges Bizet (Composer), Gaetano Donizetti (Composer), Friedrich von Flotow (Composer), Wolfgang Amadeus Mozart (Composer), et al.
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1. Martern aller arten, from Die Entfuhrung aus dem Serail - Mozart
2. Solitudini amiche, from Idomeneo - Mozart
3. O zittre nicht, from Die Zauberflote - Mozart
4. Der holle rache, from Die Zauberflote - Mozart
5. Non paventar mia vita, from Ines de Castro - Weber
6. Quel bonheur, from Fra Diavolo - Auber
7. Letzte rose, from Martha - Flotow
8. Tyrolienne, from La fille du regiment - Donizetti
9. Caro nome, from Rigoletto - Verdi
10. E strano, e strano, from La traviata - Verdi
11. Follie, follie, from La Traviata - Verdi
12. Mi chiamano Mimi, from La Boheme - Puccini
13. Un bel di vedremo, from Madama Butterfly - Puccini
14. Comme autrefois dans la nuit, from Les pecheurs de Perles - Bizet
15. Mein Herr Marquis (laughing song), from Die Fledermaus - Strauss
16. Spiel'ich die Unschuld vom Lande, from Die Federmaus - Strauss
17. Fruhlingsstimmen - Strauss

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15 of 15 people found the following review helpful:
4.0 out of 5 stars How to sound under age while meeting advanced challenges., 3 Oct 2003
By John Austin "austinjr@bigpond.net.au" (Kangaroo Ground, Australia) - See all my reviews
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Admirers of this German soprano, whose life spanned almost the entire C20, are well served in the CD market. Naxos has added this selection of her recordings to their “Great Singers” series, providing much that is best known of her operatic work as well as several rarities. Although you will not find the best ever version of any of the operatic arias heard here, you will hear accomplished vocalizing from a singer renowned for her accuracy of pitch and control of tone. Track 1 is a justly famous recording, the first, I believe, to present the aria Martern aller Arten in its entirety. Erna Berger presents a Constanze who contrives to repel the threat of torture by showing that she can participate for nine minutes in elaborate coloratura with four solo instruments and full orchestra without betraying any fear. This, and several of the other recordings made in London, benefit greatly from having orchestral accompaniments in charge of conductor Josef Krips.

Ward Marston’s remastering seems to have involved more noise reduction processing than any of the other Erna Berger CDs with which I have compared it. The statement “All tracks are sung in German” on the cover is not correct, but it helps explain that these recordings were made at a time when opera was sung in the language of the country where the singer worked.

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