Rita Streich discusses her upcoming recital and Studs plays selections ; part 3
BROADCAST: Feb. 17, 1962 | DURATION: 00:10:31
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Studs Terkel We talked of this recital, the one you had planned, how it builds from the beginning to the very end, the definite form, different aspect, different aspects of life. But more than that, how the audience and the artist have now come together. And seemingly over it is, but of course, you have to return for the encores now.
Rita Streich Yeah, so this is sometimes a difficult question. What encores are on the right place? Of course, I I don't like to sing arias in the recital, sometimes the audience is very very very looking for opera aria. But of course, it is not the nice thing to sing it with a piano alone, you need the orchestra, and so that only for the orches- for the for the encore you could put an aria when the audience likes it very much sometimes they, you know, sometimes you hear you the wishes - they say, just from the from the - they give their wishes to hear what they would like to hear from myself--
Rita Streich Yes, yes. From my feeling now to this program, I would like to have a vocalise. For instance, this one, I like very much from Saint-Saens, "La Rossignol et La Rose" without words, a vocalise.
Rita Streich Oh, yeah, the triller, yes. You build a triller, you know, really you start one tone and the other and then, in a very special, quicker way you turn the two tones to a real triller, you know. We have a funny expression, [German]. This is not this is not the right thing for the classical triller. It's just a funny word between singers, you know, because you can make a triller very badly, too, only to turn to to--
Rita Streich Yes, special function, where to post- posture the voice. And I think a good triller is very very seldom to hear. And this is especially true of the coloratura, of the real coloratura. She has to work on it very much. Also, if she has got a na- naturliche possibility to sing a triller, but it's always hard work to to to--
Studs Terkel And so as you sing this, the audience still cries out, and somebody, I'm sure somebody in the audience they call out, I'm sure someone calls out. They, they've heard you or they heard you on record, seen you as Queen of the Night, in "The Magic Flute", and of course I'm sure this is often called out, is it not?
Studs Terkel But here then with orchestra. Assuming this is the ideal circumstance for the recital, the orchestra's there. And this is the "Der Holle Rache kocht in meinem Herzen", very angry now, the Queen of the Night is--
Rita Streich Hmm?
Rita Streich Oh--
Studs Terkel You know, offhand my first reaction I may ask you this, Rita Streich, we think of Queen of the Night, this vengeful figure, we hardly think of a coloratura. My first reaction would be, if I were Mozart--
Rita Streich Yes, yes, that's right. And it should be, really. At first the time in when Mozart has written, is that, it was quite a little bit lower, you know, that we all, the orchestra we are going just--
Rita Streich Raising to to a [higher frequency?] as it was. But I think it's probably he had a very very good mixture of a flexible and a dramatical[sic] voice when he wrote it. So he had this in mind to have a voice which really has the clarity of all this coloratura, but this must really be a classical coloratura also, because that must have a very very strong line. And often I always see that - I always hear, also, then if not every voice who can reach the high tune, can also sing the Queen of the Night. So this is really a style question.
Studs Terkel Here again the the classic coloratura and the Queen of the Night, the vengeance aria from "The Magic Flute" [pause for recording]. That's a highly dramatic moment there, powerful, Queen of the Night.
Rita Streich Yeah.
Studs Terkel Before, perhaps, the very end of this program and the recital and one I'm sure is familiar and ending on a note of ease and complete relaxation since you've sung this aria, Queen of the Night, Mozart, the forthcoming season at the Lyric, you're due back in Chicago again? Susanna?
Rita Streich Mmmhmm, "Orpheus". I'm looking forward very much to come again because I like the atmosphere. The opera house was a very very nice time and the audience very much, so I'm I'm looking forward very much. I don't know if I already, I am able already to to to tell about this completely. I mean, it's fixed that I am coming, but I don't know the other circumstances, which - who sings which role--
Studs Terkel We know something good will be. And if we may, perhaps, Rita Streich, you've been so gracious and given us of this recital that you had planned and worked out and showed us what a recital really means, how it's part of one organic whole from the beginning, there's a beginning, a middle, and an end, like any work of art. And the artist now is known to the audience, revealed himself you might say, herself in this instance, and the audience gave to you. And that there's still, as "Variety" is our trade magazine, "Variety" of the entertainment world, and they have a phrase called, "she had to beg off", in other words, they're still cheering, they're applauding, and so at the very end you would sing what? At the very end.
Rita Streich Yes.
Studs Terkel "Fruhlingsstimmen".
Studs Terkel Oh, voices of spring, "Fruhlingsstimmen". But how would you say to me right now, Rita Streich, I say to you, thank you very much. See, we will end as you're singing the waltz, the "Voices of Spring." But right now I say goodbye to you, and thank you, and ho-, and when you return-.
Rita Streich Yes.
Rita Streich [German] things about we never spoke to the paper. It's just more intimate about the human side, the childhood, the parents, and when the first time was when I got together with the idea to sing in school time, and who were the important--
Studs Terkel Influences.