Inge Borkh 1921-2018

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jserraglio
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Inge Borkh 1921-2018

Post by jserraglio » Sun Aug 26, 2018 4:56 pm


lennygoran
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Re: Inge Borkh 1921-2018

Post by lennygoran » Mon Aug 27, 2018 6:25 am

I have to admit I never heard of her. Regards, Len

She appeared over 20 times at the Met-her last performance there was before I started going to the Met.

[Met Performance] CID:224610
Die Frau ohne Schatten {23} Metropolitan Opera House: 02/22/1971.


Metropolitan Opera House
February 22, 1971


DIE FRAU OHNE SCHATTEN {23}

Empress.................Leonie Rysanek
Emperor.................Robert Nagy
Dyer's Wife.............Inge Borkh [Last performance]
Barak...................Walter Berry



The great soprano Inge Borkh died in Stuttgart at the age of 97

August 26, 2018 Entertainment 11 Views



It was the first high-drama of operatic modernism and wrote as Salome performance story: An obituary on Inge Borkh

Stuttgart / Munich – It's not that long ago, more precisely five years, since it was hard to get an appointment with her. "Here I have an interview, there's one more thing, then I'm going to a premiere, then I'm going to the recital by Christian Gerhaher …" – that's about the time that sounded on the phone. In the fall of 2013, Inge Borkh was suddenly in great demand again. Everyone wanted to know from her what it was like exactly 50 years ago, when she did not sing the dyer's wife in the "Frau ohne Schatten" by Richard Strauss at the reopening of the Munich National Theater, but with skin, hair and to the last Of course, Borkh then traveled to the Isar for the festival performance of that opera.

Again and again she was spotted in the National Theater. She did not have it so terribly far, two and a half hours by train from Stuttgart, where she had lived for over three decades in the local Augustinum. On the Neckar Inge Borkh died on Sunday morning, 97 years old, this once the most modern soprano among the highly dramatic. Modern? Because she was perhaps the first after the war, the necklace handle, back of the hand on the forehead, saltpole stance on the ramp, so despised all these helpless stereotypes of colleagues. And their consequences drew attention: When the Borkh lived their parade roles Elektra, Salome or Dyer, lava seemed to pour on the stage.
At their Salome the choreographers became pale

And yet: Who Inge Borkh, who died on 26. He was born in Mannheim in May 1
921 when Ingeborg Simon was born, but he still did not know her. "Every artist has to learn that he makes art based on real feelings," she said in a personal conversation. "Emotions should never crowd out ability." After all, Gründgens once recommended, "After the biggest part, I have to be able to feel my armpits are dry."

Not surprisingly, this singular woman first began as an actress and dancer – and After her early career ending in 1973, the talk theater resigned, even cabaret ventured. Of course, she personally took over the dance of the seven veils in Strauss' "Salome" and declined to let herself be doubly dubbed by a dancer. And in view of their intensity, their overtly erotic eroticism, even established choreographers became pale.

Inge Borkh spent the first years of her career in Switzerland – compulsorily. In 1933 she had to leave because of the Jewish origin of her father Mannheim, the family first lived in Geneva. She had her first engagement in Basel, then came Bern. She was initially subscribed to the lyrical subject, but the shackles of Mozart's pamina soon burst: In fact, Puccini's Tosca or Wagner's Senta felt much better.

Those who visited Inge Borkh in their small apartment in Stuttgart saw themselves in a museum penetration. Rollshots, records, many also from her husband, the 1991 died bass baritone Alexander Welitsch. But one of these ex-divas, who only existed in their own past, was not the Borkh. She knew about everything in the current opera scene. Especially thanks to her travels – and thanks to many singer contacts. She regarded Christian Gerhaher as her protégé for a while, so she went to almost all available concerts and opera performances.

Even as eyesight faded and Inge Borkh was almost blind, she did not want to stay in the Augustinum. And who witnessed, as she was repeatedly stormed at her appearances in the audience, the suspected: A better elixir of life there was not for this once almost unpredictable stage animals. Of course, Inge Borkh made many thoughts about the state of the opera direction thanks to the numerous live impressions. Modern or not, she did not care. Truthfulness, that was their credo no matter what singer and scene were dressed in.

"I thought it was horrible when singers told the director that they always came from the right side at this point," Borkh said ereifern. "As with the doctor, when the patient says: I've read in the magazine, this remedy is great." All the more did she appreciate those who know and understand the role, like Christof Loy. And she understood all the less why young singers did not deal enough with the respective opera. She got that close to her as a pedagogue and counselor. "Yes, did not you think about it, when this woman meets the man of her life?" The dizzy offspring got to hear this regularly.
Superhuman female figures were their feel-good parts

In the female characters of Richard Strauss, in Inge Borkh was the best performer of almost superhuman games like Medea, Turandot or Lady Macbeth. Recorded recordings reflected this only partially. Even though the "Salome" with Josef Keilberth in a production of the Bavarian State Opera should be in the CD cabinet of every opera fan, what Inge Borkh achieved was too big for the microphones – and that's not just the dimension of their soprano.

The titles of her two books – the autobiography "I can not shake off the theater" and the interview book "Not Only Salome and Elektra" – summed up the essence and self-image of this singer. And yet in 1973 she made the decision of life with remarkable, almost cool reflection. After a "Elektra" in Palermo, when there were technical problems, she told the opera Adieu. Even so, Inge Borkh was a pioneer, because she was one of the few female vocalists to admit dwindling forces and suffer the consequences.

Brigitte Fassbaender, Julia Varady, Catarina Ligendza, more similarly knitted fellows did not exist. "It always hurt me when I heard singers who let go. I did not want to experience that under any circumstances. "Inge Borkh still took part in the stage life. If she got wind of an interesting production, she had to go – and possibly expressed her displeasure. Not with boos, she found that too hurtful. "I'm calling: not like that! Since I still get sounds out as Elektra. "

https://newsbeezer.com/austriaeng/the-g ... age-of-97/

John F
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Re: Inge Borkh 1921-2018

Post by John F » Mon Aug 27, 2018 7:20 am

What a lousy translation! But lots of information. Some sources say she was born in 1921, others in 1917, which would make her 101 at her death.

I saw her twice, both times as Elektra (Vienna and Munich), her signature role. She was an outstanding stage actress, having trained and begun her career in spoken drama, and only began to study singing three years later, developing a powerful dramatic soprano voice; when she retired from singing she returned to the theatre.
John Francis

lennygoran
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Re: Inge Borkh 1921-2018

Post by lennygoran » Mon Aug 27, 2018 8:35 am

John F wrote:
Mon Aug 27, 2018 7:20 am
I saw her twice, both times as Elektra (Vienna and Munich), her signature role. She was an outstanding stage actress,
I wish there was a youtube that actually shows her performing-all I could find was clips of the voice but nothing of her actually performing on stage. Regards, Len

maestrob
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Re: Inge Borkh 1921-2018

Post by maestrob » Mon Aug 27, 2018 10:58 am

Image

Never saw her live (I was a kid living in Philadelphia while she was at the MET), but the recording above comes highly recommended.......

jserraglio
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Re: Inge Borkh 1921-2018

Post by jserraglio » Mon Aug 27, 2018 5:42 pm

lennygoran wrote:
Mon Aug 27, 2018 8:35 am
I wish there was a youtube that actually shows her performing-all I could find was clips of the voice but nothing of her actually performing on stage.
Achtung! This 1988 interview is in German but conveys Borkh's intensity, vitality, passion and theatricality; also includes some brief video excerpts beginning with a Fidelio duet with Jess Thomas lip-synced for TV about 15 1/2 minutes in; then snatches as Lady Macbeth (Verdi & Bloch) and finally, her tour de force, accompanying herself on piano, a cabaret song from, I think, the Weimar era.

https://m.youtube.com/watch?v=i9i0UeWEM88&t=884s


lennygoran
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Re: Inge Borkh 1921-2018

Post by lennygoran » Mon Aug 27, 2018 7:29 pm

jserraglio wrote:
Mon Aug 27, 2018 5:42 pm
brief video excerpts beginning with a Fidelio duet with Jess Thomas lip-synced for TV about 15 1/2 minutes in; then snatches as Lady Macbeth (Verdi & Bloch)
Wow, thanks-really enjoyed her Fidelio clip-Jess Thomas wasn't chopped liver either! At around 29.10 her Lady Macbeth was wonderful too! Regards, Len :D

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Re: Inge Borkh 1921-2018

Post by Lance » Mon Aug 27, 2018 10:13 pm

Loved Inge Borkh. Have many recordings (still all too few for an artist of this caliber), including commercial and live-performance recordings. Imagine 97 (or older)!
Lance G. Hill
Editor-in-Chief
______________________________________________________

When she started to play, Mr. Steinway came down and personally
rubbed his name off the piano. [Speaking about pianist &*$#@+#]

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jserraglio
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Re: Inge Borkh 1921-2018

Post by jserraglio » Tue Aug 28, 2018 5:20 am

lennygoran wrote:
Mon Aug 27, 2018 7:29 pm
Wow, thanks-really enjoyed her Fidelio clip-Jess Thomas wasn't chopped liver either! At around 29.10 her Lady Macbeth was wonderful too!
A music expert on another forum was kind enough to provide this synopsis of the Da Capo video interview.
Officially Borkh died at the tender age of only 96.

The story she tells at the beginning of the portrait is of a stranger who comes to Vienna and asks (in different languages) a local Viennese about the way to the Stephansdom. The Viennese answers in his heavy local dialect (hard to understand even for German people) that he simply has to go back and won't miss the famous church. But the foreigner doesn't react to his explanation and keeps looking for his own way. At the end the Viennese is violently insulting the stranger. In between, she scatters semi-philosophical explanations.

In the course of the program, she continues to tell that she is a great proponent of national-style opera, that she considers her technique to be far from perfect. She talks about Wieland Wagner, who besides the roles she sang in Bayreuth wanted to have her as well as Ortrud and Isolde (which she then declined because that was above her "Fach") about her good relationship with conductors (who obviously loved her and vice versa) and not always so good ones to directors (one of them she once even slapped).

She speaks of her endeavoring never to become routine, the only failure of her career (Carmen), critics and reviews (she has read them all), her passion for harmony and beauty. She criticizes the modern, ugly and often smelly director's theater and that directors are now much more appreciated and respected as singers. She talks extensively about her most famous role - Elektra - in which she also gave her stage farewell as a singer in Palermo in 1973.

But she continued to work as an actress (on big and famous stages!). The program ends with a self-accompanied erotic chanson "Take off your clothes, Petronella, take off your clothes" (Tucholsky / Hollaender).

lennygoran
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Re: Inge Borkh 1921-2018

Post by lennygoran » Sat Sep 01, 2018 5:58 am

Image

If the NY Times let's you on to the sight there are these clips. Regards, Len

Remembering a Diva: The Week in Classical Music
Aug. 31, 2018



The opera world lost a beloved diva on Sunday: Inge Borkh, a spine-tingling soprano who specialized in some of the most difficult roles in repertory, died at 97. (In classic grande dame fashion, there was some mystery about her age; some said she was 101.)

Borkh wasn’t a household name. But she was a favorite of aficionados — especially as Strauss’s Salome and Elektra — with her white-hot voice and her gift at being simultaneously imperious and vulnerable. Of her Elektra, one fan wrote: “I can honestly say that I have never been so shaken by an individual performance in my entire operatic life.” Enough said!

When I was growing up, one of my favorite CDs featured Borkh in the big scenes for those two characters alongside Fritz Reiner and a frighteningly gleaming Chicago Symphony. It was an honor to write her obituary and listen deeper into her recorded legacy. Here’s a playlist, with those Reiner collaborations up top:

There’s other great stuff there: a classic Metropolitan Opera “Elektra,” Menotti’s “The Consul” (in which Borkh made a sensation), her underrated Turandot, a passionate Weber aria, and — new to me — a selection from the warm and witty cabaret act she did after retiring from opera, “Inge Borkh Sings Her Memoirs.” Friends sent along rarer clips of her Adriana Lecouvreur and Medea.




https://www.nytimes.com/2018/08/31/arts ... -week.html

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