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Mozart - Die Zufriedenheit (with Walter Gieseking, Piano)
Schubert - Hänflings Liebeswerbung (with Geoffrey Parsons, Piano)
Wolf - Im Schatten meiner Locken (Spanisches Liederbuch) (with Gerald Moore, Piano)
Strauss - Beim Schlafengehen (Vier letzte Lieder) (Conducted by George Szell)
My personal opinion: Since this section of 100 Singers is not anymore limited to rare and unknown voices at your request, we will also find some other indispensable artists, your most missing names. Often I was asked for Elisabeth Schwarzkopf, an ambivalent character with an exemplary career. Some said, without the support of her husband, the inluential HMV producer Walter Legge (1906-1979), this career would not have been possible. Evil tongues even said, she owed her fame generally to the fact, that she was almighty Legge´s wife. It´s never easy to slaughter a sacred cow, nevertheless even Elisabeth Schwarzkopf stood in the centre of criticism. An austrian reviewer found in her singing an "ugly discoloration of vowels and unusual stiff tones", another critic was "annoyed by her strong slavic accent up to inarticulateness of words". The young Schwarzkopf had the voice of a Soprano leggero: Small but lucid. Later, ambition forced her to sing the stronger repertoire up to lirico spinto roles. Anton Dermota about their first meeting in the early 1940s: "At the time she was a preppy blonde girl, and it was said, she was sponsored by the highest office in Berlin. She always was sure and a collegial partner. I got to know her as a great and obsessed artist, she left nothing out to make her way!" Schwarzkopf had enough self-confidence to admit her mistakes (Mimi, Butterfly and Leonore in FIDELIO) and to limited her roles. "It was necessary. With this concentration I could sleep well without having fear of competition!" Legge used the intelligence of this smart woman, and worked with her very hard, but she was tough and always inclined to learn. It was the Pygmalion-effect, the soprano became "Her Master´s voice". Finally she was able to filter out fine and never heard nuances in Lieder (Mozart, Schubert, Wolf, Strauss) and arias ("She became a magician of details" wrote Claudia Cassidy). She faced opera with grandeur (and strange aloofness), she became the personified incarnation of a "Grande Dame" and was treated with great respect and appreciation. Rudolf Bing about her late 1964 Met-debut: "Herself a very beautiful woman beginning to show the marks of approaching age, she was the perfect Marschallin" (and on her shady past: "It was time to forget!") Her appearance and performances were sublime, her singing was illuminated in many different colors - sometimes strange and unusual. You don´t hear Schwarzkopf with your heart, you listen to her with your mind. Her art was intellectual, hardly another soprano was able to reveal the ambiguity of a song. But sometimes, with all this sophistication, the audience was overwhelmed. Her singing was full of (her own) strong character, no matter what she´d sung, she always was Schwarzkopf: Elegant, noble and lady-like. Suitable for her prototypical roles of aristocratic ladies by Mozart and Strauss, less adequate (for example) for the innocent Gretel in Humperdinck´s fairy-tale opera or in the little nice Schubert song "Hänflings Liebeswerbung" (Courtship of a linnet). She imitates the rhythm of a little singing bird, but she sounds as proud as a peacock. Schwarzkopf was more than a singer, more than an artist: She was "a lyrical inspired high priestess of perfection", even if she sometimes overshood herself (just as Fischer-Dieskau did). Her singing was not beautiful in a sense we use this overstretched word for Renée Fleming, Schwarzkopf´s singing was full of character and wisdom, sometimes intoxicating, sometimes disturbing, sometimes mannered. It´s not easy to call her name in one breath with other sopranos. Elisabeth Schwarzkopf was a solitaire, her singularity requires an own category.
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