"Albert Lortzing, who did not even reach the age of fifty, composed a towering number of stage works, several of which are regarded as German national treasures even today. Others have proven themselves to have stood the test of time thanks to excellent recordings. Although he became immortal with his Zar und Zimmermann and Undine, his purely orchestral output is quite thin. If it were not for the concert piece for horn and a similar work for trumpet, there would only be a number of overtures and pieces of ballet music available to a symphonic ensemble to produce a colourful portrait. The WDR Funkhausorchester has thus recorded a lively mixture of soloistic brilliance, entertaining dances and "dramatic" overtures whose existence was previously only known to die-hard Lortzing fans." (prestomusic.com)
"Die Opernprobe (De opera-repetitie), ook getiteld Die vornehmen Dilettanten (De vooraanstaande dilettanten), is een komische opera (Spieloper) in één bedrijf van Albert Lortzing, op een libretto dat hij heeft aangepast van een toneelstuk van Philippe Poisson dat vertaald door Johann Friedrich Jünger. De première was op 20 januari 1851 in de Oper Frankfurt. Lortzing was een succesvol componist van Spielopern, komische opera's met gesproken dialoog, van Zar und Zimmermann in 1837 tot Der Waffenschmied in 1846. Hij componeerde Die Opernprobe in 1850 toen hij directeur was van het Neues Friedrich-Wilhelmstädtisches Theater in Berlijn, die zelden opera's speelden." (Wikipedia)
"One of Lortzings most congenial operas, produced in Vienna in 1846 and immediately successful. This reissued version (recorded in 1992) is conducted by Leopold Hager with a good ear for Lortzings melodic charm and his attractive orchestration, and with a suitable cast, over whom presides John Tomlinsons handsome-voiced armourer, Stadinger. He sings the operas most famous number, Als ich war ein Jüngling, with warmth and also a touching ruefulness as he reflects on the curly-headed boy he once was. Tomlinson is almost too jovial for the somewhat ruthless father who must be outwitted so that Marie can marry the man of her choice. She is Ruth Ziesak, very appealing in her sad song when she fears she is to be packed off to a convent. Ursula Kunz parades splendidly across the complicated scene as Maries wonderful old bossy-boots governess Irmentraut. The plot is one of Lortzings most complicated, which makes it the more deplorable that this reissue fails to provide a libretto." (J. Warrack, Gramophone)
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