Romophone writes: These recordings that Lotte Lehmann made for American Columbia 1941-2 represent the apex of her art as regards Lieder... In 1941 she seemed to have found a new repose reflecting her pleasure at being away from the storm and strife of war-torn Europe. The Wesendonck Lieder appearance here is of particular importance... Only two appeared in 78rpm form. In the Viennese Songs Lehmann evokes the Vienna she loved so much and had to leave three years earlier. As in all these Columbias she seems in her best voice and to be enjoying herself as much as she undoubtedly did on the recital platform.

Alan Blyth's exemplary booklet notes summarize Lehmann's own comments on each of the recordings taken from her book. All of the original recordings have been lovingly restored in new digital transfers. The booklets are presented with full discographic information and lavish illustrations.

March/April 2002 Fanfare

Past Music Present by Martin Scot Cosins

[This release] features an artist who, as Bruno Walter wrote, combined "stylistic purity and infallible instinct," and used these to render a "beauty of the melodic line, as well as the spiritual and emotional contents of the words." She had achieved, by a lifetime of devotion to the genre, total mastery Lieder interpretation. In her own detailed writing, Lehmann put forth her feelings about such works as Schubert's Die Schöne Müllerin, how each song should be characterized, and the motives from which the words should be shaded. "Put all the glow, all the warmth of your heart into the address to the stream," she advises for "Der Müller und der Bach," then she invests this, as well as everything she sings, with this high level of forethought and understanding. All of the music in this two-and-a-half-hour set comes from 1941 and 1942, when Lehmann was at the peak of her vocal powers, and recording for American Columbia. Pianist Paul Ulanowsky was a most sensitive partner in all of the selections.

Alan Blyth, in his notes, mentions that "Lehmann's approach to Die Schöne Müllerin may not be to the taste of today's purist listener. Lehmann does omit "Ungeduld" completely, although she did record it for Victor in 1935 and she never sang more than three verses of the final lullaby. But if the purists can resist a performance like Lehmann's, then they deserve to miss it. I am becoming very weary of the purists. As a disclosure, my favorite version of the work is the 1933 Richard Crooks--not released until 1941. Crooks also omitted verses here and there. At the time, it was not a scandal to do so. And there is much more here besides the Schubert: Lieder by Brahms, Wolf, and selections of Wagner that were unpublished on 78s. Also, delectable Viennese bonbons, and the lightest fleetest and most optimistic Strauss Morgen! you may ever hear. To return to the Schubert selections for a moment, I do not remember hearing any singers of the period being recorded so closely. Lehmann seems to be an inch from the microphone, and the acoustic is very dry. On high notes at forte, there is noticeable blasting. I discussed this with record expert Jim Peters, whose 78-rpm discs were among those used for this release. Neither one of us can remember if these overloads are inherent on the originals. I suspect that dubbing at a slightly lower level would have mitigated this problem. Otherwise, the transfers are almost silent, and this much anticipated release will reward fully anyone who hears it. Just listen to "Tränenregen" where you can hear the notes feather away in Lehmann's throat, even as she is still projecting the actual tone!