Anton Dermota Opera Arias 1944-81 : Vienna State Opera, VPO, etc

Anton Dermota

Mozart: Dies Bildnis ist bezaubernd schon (Arie des Tamino, 1. Akt - aus: Die Zauberflote KV 620)
R. Strauss: Di rigori armato il seno (1. Aufzug: Sanger - aus: Der Rosenkavalier)
Mozart: Mich schreckt kein Tod (2. Akt: Tamino, Pamina, Geharnischte - aus: Die Zauberflote KV 620)
R. Strauss: Arabella? Unmoglich! (3. Akt: Matteo, Arabella - aus: Arabella)
Mozart: Nur ihrem Frieden (Arie des Don Ottavio, 1. Akt - aus: Don Giovanni KV 527)
R. Strauss: Kein Andres, das mir so im Herzen loht (aus: Capriccio op. 85)
Mozart: Einsam hier an dunkler Statte (2. Akt: Donna Elvira, Donna Anna, Zerline, Don Ottavio, Leporello, Masetto - aus: Don Giovanni KV 527)
Tschaikowsky: Mesdames, verzeih'n Sie meine Kuhnheit ... Oh Wonne, oh Seligkeit (1. Akt: Lenski, Tatjana, Olga, Onegin - aus: Eugen Onegin op. 24)
Mozart: Hort mich, ihr Freunde ... Folget der Heisgeliebten (2. Akt: Don Ottavio - aus: Don Giovanni KV 527)
P. Tschaikowsky: Wohin seid ihr entschwunden (Arie des Lenskij, 2. Akt - aus: Eugen Onegin op. 024)
Mozart: La mia Dorabella (Szene Ferrando, Guglielmo, Don Alfonso, 1. Akt - aus: Cosi fan tutte KV 588)
Tschaikowsky: Da kommen sie (2. Akt: Lenski, Onegin - aus: Eugen Onegin op. 24)
Mozart: Un' aura amorosa (Arie des Alfonso - aus: Cosi fan tutte KV 0588)
Tschaikowsky: Voila - die Konigin des Tags (Couplet des Monsieur Triquet - aus: Eugen Onegin op. 24)
Mozart: Fra gli amplessi (2. Akt: Fiordiligi, Ferrando - aus: Cosi fan tutte KV 588)
Tschaikowsky: Katerina! - Sinowi! (2. Akt: Sinowi, Katerina, Sergej - aus: Katerina Ismailowa)
Wagner: Gleich, Meister (3. Akt: David, Hans Sachs - aus: Die Meistersinger von Nurnberg)
Pfitzner: Allein, in dunkler Tiefe (1. Akt: Palestrina, Engel, Lukrezia - aus: Palestrina)
Beethoven: Jetzt Schatzchen, jetzt sind wir allein (1. Aufzug: Jaquino, Marzelline; aus: Fidelio op. 72)
Mozart: Die Weisheitslehren dieser Knaben (1. Akt: Tamino, Sprecher - aus: Die Zauberflote KV 620)

Anton Dermota (Tenor)
Erich Kunz (Bariton)
Walter Berry (Bariton)
Irmgard Seefried (Sopran)
Sena Jurinac (Sopran)
Lisa della Casa (Sopran)
Paul Schoffler (Bariton)
Elisabeth Schwarzkopf (Sopran)
Ludwig Weber (Bass)
Franz Bierbach (Bariton)
Leonie Rysanek (Sopran)
George London (Bariton)
Dietrich Fischer-Dieskau (Bariton)
Mira Kalin (Mezzosopran)
Ljubomir Pantscheff (Bass)
Inge Borkh (Sopran)
Fritz Uhl (Tenor)
Rita Streich (Sopran)
Laurence Dutoit (Sopran)
Judith Hellwig (Sopran)
Hildegard Rossel-Majdan (Alt)
Wiener Philharmoniker
Orchester der Wiener Staatsoper
Karl Bohm (Conductor)
Hans Knappertsbusch (Conductor)
Wilhelm Furtwangler (Conductor)
Erich Kleiber (Conductor)
Georg Solti (Conductor)
Berislav Klobucar (Conductor)
Lovro von Matacic (Conductor)
Peter Schrottner (Conductor)
Serge Baudo (Conductor)
Hans Swarowsky (Conductor)
Thomas Sanderling (Conductor)

Is there anyone like him left today? And if so, where? The Slovenian tenor Anton Dermota was not just a member of the ensemble of the Vienna State Opera for over half a century. He was also a master of the stage and concert hall, celebrated all over the world from Milan to Buenos Aires.
And even in his prime in Vienna he did not hesitate to put to one side his famous roles (such as Tamino in Mozart’s Magic Flute) in order to take on smaller, less thankful roles too. This new release of his performances at the Vienna State Opera makes evident this versatility. His Tamino is given here both at the beginning and the end of our selection, the one in the immediate post-war years under Karl Bohm, the other an excerpt from the run of performances under Thomas Sanderling with which Demota made his farewell to the stage in 1981, at the age of 71! Nor may Dermota’s interpretation of Ferrando in Cosi fan tutte and of Don Ottavio in Don Giovanni be omitted from this double CD. It is delightful to hear the contrast between roles also sung by a buffo tenor, such as David in the Meistersinger or Jaquino in Beethoven’s Fidelio, and Dermota’s exploits as a tenore lirico spinto, such as Florestan in the latter opera.
The tricky, brief roles in Richard Strauss’s operas, such as the Singer in Rosenkavalier and Matteo in Arabella, were ones he mastered superbly. They too are to be found here, as is his Flamand in the legendary Capriccio ensemble with Elisabeth Schwarzkopf as the Countess. Anton Dermota appeared with various, equally splendid partners in Tchaikovsky’s Eugene Onegin - as Lenski he duelled before the radio microphone with George London and Dietrich Fischer-Dieskau, while as late as the 1970s he turned Monsieur Triquet’s burlesque into a subtle character study. He achieved the same feat as the betrayed, horribly murdered husband to Inge Borkh’s Katerina in the revised version of Shostakovich’s Lady Macbeth of Mtensk. And the title hero of Hans Pfitzner’s Palestrina offered him ample opportunity to draw on a lifetime of experience. To how many other tenors has suchlike ever been granted? ( Orfeo )