Description

ELISA STÜNZNER (ALTENBURG, LANDKREIS ALTENBURGER LAND, THÜRINGEN, GERMANY, 10 JANUARY, 1886 – STADTKREIS DRESDEN, SAXONY, GERMANY, 19 SEPTEMBER, 1975)

 

 

 

 

She studied music at the Leipzig Conservatory. In 1909, she was engaged as a volunteer at the Dresden Court Opera, making her debut as the Shepherd Boy in Tannhäuser. She remained a member of this opera company until retiring from the stage in 1935. After further study with Dora Erl in Dresden, she mastered the full repertoire of dramatic soprano roles.

She was particularly esteemed in the operas of Richard Strauss. She sang Salome under the composer’s direction during a guest engagement at the Vienna State Opera, and on 26 January 1911 took part in the world premiere of Der Rosenkavalier in a small role. In 1920, she appeared as the Dyer’s Wife in the Dresden premiere of Strauss’s Die Frau ohne Schatten. In 1930, she again sang Salome in Dresden in a gala performance marking the 25th anniversary of the opera’s premiere, conducted by Strauss himself. He also admired her portrayals of Diemut in Feuersnot, Octavian in Der Rosenkavalier, and the Composer in Ariadne auf Naxos.

She created numerous roles in contemporary works: in 1918 in Jan Brandts-Buys’ Der Eroberer; in 1926 in the world premiere of Kurt Weill’s Der Protagonist; in 1927 in Alfred Schattmann’s Die Hochzeit des Mönchs; also in 1927 in Brandts-Buys’ Traumland; and in 1929 at the Dresden State Opera in the world premiere of Heinrich Kaminski’s Jürg Jenatsch. In 1932, she sang the role of the Mother in the world premiere of Eugen d’Albert’s Mister Wu.

She was also a highly regarded concert and lieder singer. In 1930, she created Ernst Křenek’s Fiedellieder, and in the same year his Reisebuch aus den österreichischen Alpen. In 1932, she premiered his Gesänge des späten Jahres. She was widely recognized as an outstanding interpreter of contemporary music.

In 1935, she took her farewell from the stage in Dresden as Elisabeth in Tannhäuser. She then became a professor at the Leipzig Academy of Music, and later at the Carl Maria von Weber Academy of Music in Dresden, where she was named an honorary senator upon her retirement from teaching.

Recordings: electrical recordings on Polydor and Parlophon; an acoustic “Schweizer Tonkunstplatte” (duets with Max Hirzel).

 

 

TRACKLIST

 

 

Aus der Jugendzeit (Radecke) 90008 363bn Polydor, Berlin 1926 (el)

Carmen (Bizet) Ich seh’ die Mutter dort, pt 1 (w. Hirzel) 315 Schweizerische Tonkunstplatten, Milano or Zürich 1922 (ac)

Des Kindes Gebet (Reger) 90010 366bn Polydor, Berlin 1926 (el)

Euryanthe (Weber) Glöcklein im Tal 95022 (B24339) 177bi Polydor, Berlin 1927

Faust (Gounod) Es war ein König in Thule 95022 (B24346) 174bi Polydor, Berlin 1927

Immer leiser wird mein Schlummer (Brahms) 90010 (B4136) 493bf Polydor, Berlin 1927

Lohengrin (Wagner) Atmest du nicht (w. Hirzel) 310 Schweizerische Tonkunstplatten, Milano or Zürich 1922 (ac)

Lohengrin (Wagner) Das süsse Lied verhallt (w. Hirzel) 311 Schweizerische Tonkunstplatten, Milano or Zürich 1922 (ac)

Madama Butterfly (Puccini) Weh mir… Eines Tages 95023 (B24347) 517bg Polydor, Berlin 1927

Martha (Flotow) Letzte Rose 90008 364bn Polydor, Berlin 1926 (el)

Otello (Verdi) Ave Maria 95014 (B24330) 81be Polydor, Berlin 1926 (el)

Otello (Verdi) Lied von der Weide 95014 (B24331) 89be Polydor, Berlin 1926 (el)

Rosenkavalier (Strauss) Hab’ mir’s gelobt, ihn lieb zu haben (w. Seinemeyer & Merrem-Nikisch) P9869 2-20944 Parlophon, Berlin 1928-09-21

Rosenkavalier (Strauss) Mein Gott, ‘s war nicht mehr als eine Farce (w. Seinemeyer & Merrem-Nikisch) P9869 2-20943 Parlophon, Berlin 1928-09-21

Rosenkavalier (Strauss) Nicht dort, dort ist das Vorzimmer (w. Seinemeyer & List) P9868 2-20941 Parlophon, Berlin 1928-09-21

Ständchen (Brahms) 90012 497 bf Polydor, Berlin 1927

Tosca (Puccini) Nur der Schönheit 95023 (B24348) 518bg Polydor, Berlin 1927

Waldeinsamkeit (Reger) 90009 365bn Polydor, Berlin 1926 (el)

Wiegenlied (Guten Abend, gute Nacht) (Brahms) 90009 367bn Polydor, Berlin 1926 (el)