Benjamin Ivry
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In 1990, when I visited the home of Elisabeth Schwarzkopf in Zumikon, Switzerland for an extended interview, I mentioned that 1950 seemed to be an annus mirabilis for her voice. Her recorded timbre was never more attractive than in that year, as exemplified in Donna Elvira (Don Giovanni) and Marzelline (Fidelio), recorded at the Salzburg Festival and conducted by Wilhelm Furtwängler; the aria ‘Mein gläubiges Herze’ from Bach’s Cantata BWV 68; and Liù’s ‘Signore Ascolta’ from Puccini’s Turandot. To which Dame Elisabeth replied, smiling, ‘Of course! I was in love…’