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Subject: Re: Tiana Lemnitz
From: Maxwell Paley <[log in to unmask]>
Reply-To:Maxwell Paley <[log in to unmask]>
Date:Wed, 28 Feb 2018 09:49:47 -0800
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I suspect that there are a lot of beautiful artists whom we, on closer acquaintance, would find to be awful people. Most times, it just doesn’t reach the public attention.

Lemnitz and her “mini me” Maria Müller were very sure they were on the right side of things and, probably deservedly, neither had an easy time after the war.

Aside from the bad reputation of the Nazi heritage, both of them had voices that dried up markedly by the early 50s.

Terry McEwan told a story of having sought out Lemnitz, whose singing he adored, after the war. He found her living in a state of deprivation. He hustled up what food, wine and treats he could for her, thinking it would make her happy. He was dismayed to find her a bitter, demanding old bitch for whom nothing he did was good enough.

Max Paley

Sent from my iPhone

> On Feb 28, 2018, at 09:36, Scott Grunow <[log in to unmask]> wrote:
> 
> Yes, she was a total Nazi, like she was a hostess at Hitler's dinner parties.  
> 
> 
> She did make some recordings on LP after WWII, when she was past her prime, Eva in Die Meistersinger and Octavian in Der Rosenkavalier. 
> 
> 
> I think she also recorded highlights from Rosenkavalier where she sings the Marschallin. 
> 
> 
> Interestingly enough, Octavian was her main role, rather than Sophie (she could emit high piano notes to die for). I also believe in the famous Covent Garden performance of Der Rosenkavalier where Lotte Lehman walked out and had to be replaced by Hilde Konetzni, who was in the audience.  Lemnitz was the Octavian. Lemnitz disturbed Lehmann at that performance by giving the Hitler salute, but I think Lehmann was waiting for news about some relatives or friends who were trying to get out of Germany. See Rasponi's The Last Prima Donnas for more details.  
> 
> 
> It is so hard in this case to reconcile some utterly gorgeous singing (such as her Trovatore, the second aria of Leonora, the Otello duets, albeit in German) coming from such a dreadful bigot. 
> 
> 
> She is perhaps best known for her recording of Pamina in the famous Beecham Magic Flute. Elisabeth Schwarzkopf was in the chorus.
> 
> 
> Mezzomaniac  
> 
> 
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