DIE DEUTSCHE DIVA
Some divas concentrate on one narrow fach, even just handful of signature roles. Others explore different facets of music expression, employing a mix of serious and comic opera, heavy and light art songs, daunting contemporary works, and a healthy dose of lighter, popular fare.

Ingeborg Hallstein, a very high, very light German coloratura soprano, dabbled in just about everything in her fairly short career prime of about a decade. She burst onto the scene in 1959 with an uncommonly sweet voice and beautiful face and figure, which immediately moved her front and center in German musical life. As with her contemporaries Erika Koeth and Anneliese Rothenberger, she assailed music ranging from Mozart's most demanding coloratura arias to an array of lieder, and beer barrels full of operetta. She didn't record the many new works she premiered by Henze, Egk, and Milhaud -- but she spent lots of time in the studio warbling away in the three basics: opera, operetta, and lieder.

In the album covers for each of these musical styles, she maintains her charming, accessible, glamorous personality. However, you can see a distinct shift in her image over a decade: from that of a vivacious young fashion-plate to a more formal, almost prudent (yet still gracious) musician. This is quite apparent when comparing the cover stylings of her original Polydor recitals in the 1960s with their BASF reissues in the 1970s.

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EIN SANGERPORTRAIT

 

MOZART KONZERT-ARIEN

 

MOZART ARIAS




IM LANDE DER LIEDER

 

ZAUBERREICH DER OPERETTE

 

DAS LAND DES LACHELNS




BLUMEN AUS DEM SUDEN

 

NIEMAND LIEBT DICH SO WIE ICH

 

WALTZERTRAUME




LIEBESTRAUME

 

EIN SANGERIN VON HEUTE

 

STARDISKOTHEK




JA SO IST SIE

 

GROTHE ARIAS

 

DER BARBER VON SEVILLA




SINGT AUS DEUTSCHEN OPERN

 

MEIN LIEDERABEND

 

MEIN WALTZERTRAUM




RUSSIAN SONG CYCLES

 

STRAUSS LIEDER

 

DIE SCHOENSTEN MELODIEN





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