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“Happily, there is more to come. The arias of Micaela and Mimi are delightfully sung, the fresh, well-defined tone used to more expressive effect. Welcome, too, is the Don Giovanni duet sung in Italian with the pleasing baritone Einar Norby; and it is good to hear Aksel Schiotz in the pretty duet from Little Kirsten.”Gramophone

C.E.F. Weyse
1. Hyrden græsser sine Faar
2. Dybt skoven bruser
3. Der er en Ø i livet
4. De klare Bølger rulled
5. En elskovserklæring

Eduard Du Puy
6. Jeg er endnu i Livets Vaar

P.A. Heise
7. Det var sig Humleranken
8. Jeg kender af Navn kun Guldet
9. Igennem Bøgeskoven
10. Sol deroppe

Carl Nielsen
11. Sænk kun dit Hoved
12. Æbleblomsten

Aksel Agerby
13. Havren

Edvard Grieg
14. Jeg elsker dig
15. Solveig’s song

W.A. Mozart
16. Susanna’s aria from “The Marriage of Figaro”
17. Duet from ” The Marriage of Figaro”
18. Duet from “Don Giovanni”

Georges Bizet
19. Micaëla’s prayer from the opera “Carmen”

Giacomo Puccini
20. Mimi’s aria from the opera “La Bohème”
21. Butterfly’s aria from the opera “Madama Butterfly”

J.P.E. Hartmann
22. Duet from the opera “Little Kirsten”

H.C. Lumbye
23. Britta Polka from “The Champagne Galop”

Mozart as Artistic Director ©
By Edith Oldrup

Today musicians and singers all over the world send their wamest birthday greetings, filled with gratitude for the parts he has given them.

As I look back, it strikes me how precisely his music has been involved in almost all decisive turning points in my artistic development, and since this is an experienceI sharewith several – or maybe most – of my colleagues,I would like to take advantageof this 200th anniversary to give the readersan impression of, what he, our wonderful artistic director, means to us.

Now, it won’t do to fall in love with your employer,or so they say.But I havebeenin love with him right from the beginning, and I still am.

It was my unforgettable teacher, Royal Court Singer Vilhelm Herold, who introduced me to him via Zerlina’s arias from ‘Don Giovanni’. This was wonderful stuff to work with: to sing lightly lightly – always lightly, not the least bit straining for your voice, sheerba1m,but on the other hand demanding when it comes to precision and tone, especially in the coloratura passages and the iittle grace notes.

Mozart was the one who helped me get into the School of Opera, for at my audition on 21 May 1932 I sang Zerlina’s first aria. At the School, his music taught me to understand how the little interludes should be filled out with dramatic acting. Take for example the scenein act 2 of ‘The Marriage of Figeuo’, when Susannais hiding in the chamber and when the count – as he comes back with the countessand wants to break open the door – seesSusannecoming out of the door looking saucy and neat. That motifinthe music is so cheeky that you cannot help making the little tripping stepsand a short curtsey.

With his music, Mozart in a way gives you everything, so you don’t have to wonder what he originally wanted.

I now began to look at his large conceft arias, but so far I had to leave them alone. Here my dear employer was too demanding – for the moment. The only larger thing I tackled was the ana from ‘Il Re pastore’, and here he let me know that I had quite a few shortcomings.

When my final exams from the School of Opera were to decide, whether I could be engaged at the Royat Opera, it was once more my beloved Mozart who won – and his Susanna. This was in May 1934, but I never sang this pzrt in public until the spring of 1948. The conductor [Egisto] Tango was a wise man. He knew that you had better grow slowly when you start do young – I came straight from the French school of ‘Jeanne d’Arc’ in Frederiksberg A116to the School of Opera. That was as early as you could start, even though I already took up singing lessonswith Herold at 15. The Opera was going to do ‘The Magic Flute’ during my first season, i.e. in September 1 934. Tango was conducting, Poul Kanneworf was directing, and here I had my first Mozart part as the leader of the three boys. It was a good part to begin with for such a young voice, for here the music is so transparently instrumented that you don’t need a strong voice. What wonderful rehearsals when Mozart really opened your mind to the beautiful music!



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