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Subject: Re: Tiana Lemnitz
From: Olga Bourlin <[log in to unmask]>
Reply-To:Olga Bourlin <[log in to unmask]>
Date:Wed, 28 Feb 2018 12:06:04 -0800
Content-Type:text/plain
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Max wrote:  *"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."*

Maybe it's because I'm a bit cynical by nature, but the following quote has
been burnishing into my awareness more and more lately:

"It is explained that all relationships require a little give and take.
This is untrue. Any partnership demands that we give and give and give and
at the last, as we flop into our graves exhausted, we are told that we
didn't give enough." - Quentin Crisp



On Wed, Feb 28, 2018 at 9:49 AM, Maxwell Paley <[log in to unmask]> wrote:

> 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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