Glass Shatterers! Milada Subrtova's rare coloratura venture

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~The "Glass Shatterers!" series focuses on sopranos who sustain High F, or sing higher.
J. Strauss II - Voices of Spring waltz, circa 1950, High F
THE SONGBIRD: Milada Šubrtová (1924 - 2011) was a Czech soprano who had a long career at the National Theatre in Prague, from 1948 to 1991. Born in Lhota, Šubrtová moved to Prague and studied singing while working as a secretary. She made her professional operatic debut in 1946 as Giulietta in "The Tales of Hoffmann," and became a principal artist at the Prague National Theatre in 1948. Subrtova excelled in portraying roles from Czech operas by Smetana, Dvořák, and Janáček. She essentially owned the role of Rusalka, which she sang regularly and recorded commercially. Her vast repertory included more than 80 roles across a wide range from florid to lyric to dramatic. She sang Konstanze, Gilda, Violetta, Donna Anna, Fiordiligi, Pamina, Agathe and Ännchen, Mimi and Musetta, Tosca, Turandot, Lady Macbeth, Abigaile, Leonora, Santuzza, Louise, Marguerite, Micaëla, Elsa, Sieglinde, Tatyana, and Lyudmila. Operettas by Strauss, Lehár, Zeller, and Offenbach were also part of her repertoire. This Strauss waltz is a rarity that I recorded off a Šubrtová tribute broadcast several years ago -- no date is given and I can't find any mention of it online. I assume it was made very early in her career.
THE MUSIC: Johann Strauss II wrote "Frühlingsstimmen" (Voices of Spring) in 1882 for German soprano Bertha Schwartz (aka Bianca Bianchi); she premiered this concert piece at a charity performance in Vienna. The German lyrics about the sounds of nature and warbling birds are by Richard Genée. Strauss came from a family of Viennese composers in the 19th century who specialized in sophisticated waltzes and light music, but Johann II's music was (and remains) the most popular. He was known as "The Waltz King" in his time and most of the Viennese waltzes we hum now were composed by him -- not to mention his enormously successful and genre-defining operettas such as "Die Fledermaus."

Пікірлер: 6

  • @pianoronald
    @pianoronald6 ай бұрын

    I heard her in Prague as Pamina - with Fritz Wunderlich as Tamino!

  • @Tosycyzkiewicy
    @Tosycyzkiewicy6 ай бұрын

    If she sang Abigaille, Lady Macbeth, Gilda, Konstanze, Sieglinde - could she be considered a soprano sfogato? In her vast repertoire there are all kinds of roles - dramatic coloratura, lyric coloratura, lyric, spinto and dramatic.

  • @oliviero.m750

    @oliviero.m750

    6 ай бұрын

    So she was a primadonna assoluta!

  • @cliffgaither

    @cliffgaither

    6 ай бұрын

    In order to know the answer to your question we would have to put her voice on the correct "speed". Even Robin's voice had more substance.

  • @songbirdwatcher

    @songbirdwatcher

    5 ай бұрын

    Hi -- I agree it does sound a bit tweaked in speed (pitch) to me, but this is how it was played on the broadcast that I recorded and it is in the standard key that the Voices of Spring waltz is "always" sung in by legitimate operatic sopranos. (I have nearly 100 different sopranos doing this in my collection and the only ones that are transposed down are a few cross-over or amateur sopranos.) This makes me think it is very unlikely that Subrtova sang it transposed into a lower key, and then it was somehow sped up during play back by the radio station (or their source). Possible, yes, but unlikely -- we need to find the original source!

  • @Twisterjoe

    @Twisterjoe

    5 ай бұрын

    in this day and age, only one color, DARK, and one weight, HEAVY, seems to be considered legitimate. If she was apt for the other roles, she had a capacity to adapt her color and weight. This piece is called voices of spring, not ravens of autumn on the battlefields of death, feasting on the dead and dying. The voices of delicate flower petals, and melting springs and busy little bees darting from blossom to blossom invokes a color of lightness, and YOUTH in its archetypal textures. If she chose her colors here, I could picture her choosing other colors for other roles. Callas had an entirely different sound for Amina than for Amelia.

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