Label and Album of Wagner's Lohengrin on Polydor PD-27395/8 conducted by Hermann Weigert.

Images courtesy Schellacksammlung - Walter Schwanzer,
Austria.

Looking at a specific listing in an old long playing gramophone record guide, in hindsight one often tends to think that a recording was made accidently, or incidentally if you wish, as if there were no events leading up to the release, as if there was no context. In the case of the two early Remington recordings of Astrid Varnay there is the fact that this soprano had conquered New York and captured the attention of the listeners to the radio broadcast of Die Walküre in which she sang Sieglinde, replacing an indisposed Lotte Lehmann. Since that afternoon of Saterday, December 6, 1941, she was going to establish herself at the Metropolitan Opera as one of the great Wagner singers.

Don Gabor must have been aware of the impact she made and if not, because of the Japanese attack on Pearl Harbor the folowing Sunday morning which overshadowed Varnay's impact and made Gabor enlist in the Navy eventually, Laszlo Halasz - who often was involved with Remington records before he became recording director - certainly knew the significance of Astrid Varnay's debut. So when ten years later, in 1951, she was performing in Bayreuth and was singing in Vienna as well, Marcel Prawy sent tapes from Vienna to producer Don Gabor in New York.

The Remington discs with operatic arias were released in the early nineteen fifties. This is a booking ad of Astrid Varnay from the National Concert and Artists Corporation in New York from 1953. (From the SoundFountain Archive)

Marcel Prawy certainly had heard Astrid Varnay in New York singing in the Metropolitan Opera prior to his leaving for Europe in 1944 as an instruction officer in the US Army. Later he witnessed her singing in Vienna in the early nineteen fifties and he could have attended the Bayreuth Festival in 1951 when it had reopened and was trying to shed the bad reputation it had accumulated during Hitler's Thousend Year Imperium which lasted from 1933 till 1945.

The cover of one of the two records with Act III of Die Walküre with Sigurd Björling, Astrid Varnay, Lyonie Rysanek, Brünnhild Friedland, Eleanor Lausch, Elfriede Wild, Ruith Siewert, Liselotte Thomamüller, Hertha Töpper, conducted by Herbert von Karajan at the Bayreuther Festspiele, 1951. (on German Columbia 33 WCX 507.)

The entry in an old music encyclopedia says that "Astrid Varnay was a Hungarian-Swedish-American soprano. She was born Ibolyka Astrid Maria Varnay on April 25th, 1918, in Stockholm, and made her debut in 1941 at the Metropolitan Opera in New York as Sieglinde in Wagner's Die Walküre and from then on was immediately considered as one of the most prominent young Wagner singers. She performed in London, Vienna and Bayreuth."

In 1944 she married Hermann Weigert (1890-1955) who was her senior by some twenty eight years. In 1934 he had left Nazi Germany and went to live in South Africa first but finally found his niche in New York as rehearsal director for the German language at the Met. Before he had left Europe he lived in Germany and as a director of the Berlin State Opera, he conducted a variety of operas in the nineteen thirties before World War Two, and had earned his laurels while recording for the Deutsche Grammophon Polydor label.

Before going to Europe and finally choosing Munich as her residence, Astrid Varnay made guest appearances in Buenos Aires, Chicago, San Francisco and Los Angeles. Her European debut was when she sang Brünhilde and Isolde at Coventgarden, London, in 1948. In 1951 she performed at the May Festival in Florence, Italy, as Lady Macbeth. In that same year she was engaded by Wieland Wagner in Bayreuth in productions conducted by the Three K's, Hans Knappertsbusch, Joseph Keilberth and Herbert von Karajan. She remained on the playbill for many years to come (not so Herbert von Karajan of whom she did not like the way he conducted during the performance like a high priest with eyes closed). Later that year she also appeared at the Städtische Oper in Berlin.

The box with the live performance at the Bayreuth Festival 1951 of Siegfried with Astrid Varnay, Bernd Aldenhoff, Sigurd Björling, Paul Kuen, Heinrich Pflanzl, Wilma Lipp, and Herbert von Karajan conducting. Foyer PO 1004 from Italy.

It was in Bayreuth in 1951 that John Culshaw put his first step on the road to a complete Ring des Nibelungen and that he heard Astrid Varnay there during the rehearsals for the performance of Götterdämmerung conducted by Hans Knappertsbusch. In 'Ring Resounding' Culshaw writes that this performance was not suitable for releasing on record because there were too many flaws and irregularities, yet he mentions his admiration for Astrid Varnay's voice. When John Culshaw made a detour to try his luck with Capitol Europe, the Decca people (Peter Andry, Kenneth Wilkinson, Roy Wallace, and assistant Gordon Parry) recorded THE RING during the season of 1955 in stereo. Astrid Varnay had established herself as a truly grandiose Wagner singer. She also performed then and there.

When Culshaw had returned to Decca he did not approve of these live recordings for release because of the many imperfections caused also by the less than favourable acoustics in the hall and the orchestra pit. Moreover he obviously had plans for his own Ring and knew of course that the release of the 1955 stereo Ring would stand in the way. When he started his project with Sir Georg Solti, what would become the most famous Ring, he wanted Astrid Varnay to be Brünnhilde, Ortrud and/or Kundry. But the people of Decca thought that only Kirsten Flagstad's name was commercially right. After Flagstad's death in 1962 Culshaw cautiously approached Astrid Varnay to take part in the recordings. But now it was Astrid Varnay who declined.

This not only shows Varnay's independant and strong character, but it also explains why there are not too many commercial recordings of complete opera's, studio recordings and recitals with the soprano made by the leading record companies of the world. Taking part in Decca's Stereo Ring could have been a prelude to more Decca recordings. Apparently Astrid Varnay was a performing artitst more than she was a recording artist and by the mid nineteen sixties she may have considered that she was no longer at the height of her powers. Living in the shadow of Kirsten Flagstad (who actually had been instrumental in the start of her carreer and had recommended her to Hermann Weigert, the educator she later married) and also somewhat in the loom of Birgit Nilsson, was not easy. Hence the declination. There were many performances recorded on private labels. The Remington records were genuine recordings made in Vienna and were obtained by Prawy from the Austrian Broadcasting Corporation (ORF).

Soprano Astrid Varnay's Operatic Recital on Remington RLP-199-45: Fidelio, Die Walküre, La juive, Thais, Aida, Simon Boccanegra, Il trovatore. The Austrian Symphony Orchestra is conducted by Hermann Weigert.

The Remington recordings of Astrid Varnay:

Remington R-199-45 - Astrid Varnay Operatic Recital (released December 1951).
"Abscheulicher Wo Eilst Du Hin" from "Fidelio" (Beethoven)
"Der Männer Sippe" from "Die Walküre" (Wagner)
"Il Va Venir" from "La Juive" "(Halévy)
"Ah! Je suis belle" from "Thais"(Massenet)
"Ritorno Vincitor" from "Aida" (Verdi)
Amelia Grinaldi's Aria from "Simon Boccanegra" (Verdi)
"D'Amor sull all rose e vanne" from "Il Trovatore" (Verdi)
Austrian Symphony Orchestra / Hermann Weigert

Remington R-199-53 - Astrid Varnay Recital (released in the Fall of 1952)
"Senta's Balad" from "The Flying Dutchman" (Der fliegende Holländer) (Wagner)
"Ocean Aria" from "Oberon" (Weber)
"Agatha's Cavatina" from "Der Freischütz" (Weber)
"Voi Lo Sapete" from "Cavaleria Rusticana (Mascagni)
"Ecco Lorido" from "Un Ballo in Maschera" (Verdi)
"In Quelle Trine Morbide" from "Manon Lescaut" (Puccini)
"Il est doux" from "Herodiade" (Massenet)
Austrian Symphony Orchestra / Hermann Weigert

The second Remington album was RLP-199-53.	Astrid Varnay and Paul Schoeffler sing Wagner Arias on Remington R-199-137. Cover by Alex Steinweiss.

Remington R-199-137 - Highlights sung by Metropolitan's Astrid Varnay and Paul Schoeffler (released by the end of 1954)
The Flying Dutchman
Overture - Austrian Symphony Orchestra, Gustav Koslik conducting
"Die Frist ist um" - Paul Schoeffler, baritone and the Austrian Symphony Orchestra with Wilhelm Loibner conducting
"Ballade der Senta" - Astrid Varnay, soprano and the Austrian Symphony Orchestra, Wilhelm Loibner, conductor
Die Meistersinger
"Was duftet doch der Flieder" - Paul Schoeffler, baritone and the Austrian Symphony Orchestra, Hermann Weigert, conductor
Die Walküre
"Der Männer Sippe" - Astrid Varnay, soprano, and the Austrian Symphony Orchestra, Hermann Weigert conducting
This record is apparently a compilation of selections from R-199-45, R-199-53 and earlier Masterseal recordings of Paul Schoeffler plus unpublished material from the 1951 radio broadcasts. Some of the same material can be found on the 2 compilations discs released by BASF, reference 22 22645-3 on which she is accompanied by "Das Niederöstereichische Tonkünstler-Orchester" conducted by Herman Weigert.
R-199-137 was later also presented as a recording made according to the Musirama microphone placement technique, but like a few other recordings (Gustav Koslik's Polovetsian Dances and Night on Bold Mountain, and Zoltan Fekete´s Bruckner 3rd) it was not.

Diamant BL 737 - Beliebte Wagner Arien
This is the German release with the same material from R-199-137 pressed from Remington plates.

	Paul Schoeffler and Astrid Varnay sing beloved Wagner Arias on Diamant BL 737.
An uncommon performance: "An Evening of Song". Astrid VArnay sings Dors mon enfant, and Attente (Richard Wagner), Deita Silvane (Ottorini Respighi), Gypsy Melodies/ Zigeunermelodien (Antonin Dvorak) all accompanied by Heinrich Bender at the piano, recorded in Munich in 1961. With Hermann Weigert conducting the Niederöstereichische Tonkünster-Orchester: Ah perfido (Ludwig van Beethoven) - recorded in Vienna 1951.
	At left is the front of the Melodram 3 LP set of Macbethfrom 1951 with Vittorio Gui conducting the Orchestra and Chorus of the Maggio Musicale Fiorentino with Ivan Petroff (Macbeth), Astrid Varnay (Lady Macbeth), Italo Tajo (Banco), Gino Penno (Macduff), Gino Sarri (Malcolm), Luciana Veroni (Dama), Camello Righini (Medico). Melodram 335.
Astrid Varnay (soprano), Hertha Töpper (alto), Wolfgang Windgassen (tenor), and the Bamberger Symphoniker (Bamberg Symphony) wirh Ferdinand Leitner conducting: Liebesduett and Liebestod on Deutsche Grammophon SLPM 136030.	Astrid Varnay at the time she recorded for Deutsche Grammophon Gesellschaft. Image taken from the 1958 DGG record catalogue.

On September 4, 2006, Astrid Astrid Varnay died in Munich.

This page will be expanded.

Research and Text by Rudolf A. Bruil. Page first published January 19th, 2010.