These early recordings of soprano Elisabeth Schwarzkopf–some from live performances–are very telling. For the most part they represent Schwarzkopf before she became Schwarzkopf, which is to say, most of the mannerisms and over-thinking of the text that became both the bane and delight of the opera-going public are not in evidence. In addition, the voice, particularly in the 1940s (as one of the Rhinemaidens in ’41, in Abu Hassen in ’42, in Entführung under Rudolf Moralt in 1945, and as the Countess in Figaro under Karajan in ’48), was almost soubrette-like. She used it gingerly and lightly, making certain to create round, pearly tones, and the sound varied between amazingly beautiful and slightly brittle. A “Marietta’s Lied” from ’52 has moments of transcendent loveliness (those pianissimo high B-flats!), and she’s probably the most expensive-sounding Marzelline ever (with Furtwängler in 1950).
A “Mi tradi”, also led by Furtwängler in ’50, seems one size too small, but Schwarzkopf adds needed emphasis in the second half and her breath control is Olympian. A bleeding chunk from the Marschallin’s first-act scene from 1955 is far less fussy than it later became and is very enjoyable. One could write reams about the 1952 Madame Butterfly excerpts (in German) that close the CD. Schwarzkopf’s stupendously wrong for the part in all three highlights: Butterfly’s entrance is totally lacking any sense of naiveté, “Un bel di” is too fast, and the Death Scene sounds forced. Furthermore, the blossoming, the opening-up of the higher notes so needed in Puccini simply is beyond her technique and voice type. It’s an interesting mistake, almost worth hearing. But elsewhere she always sounds intelligent and secure. Her fans will need this.
