DIE DEUTSCHE DIVA
Ingeborg Hallstein 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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Click picture for close up and disc details
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EIN SANGERPORTRAIT
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MOZART KONZERT-ARIEN
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MOZART ARIAS
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IM LANDE DER LIEDER
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ZAUBERREICH DER OPERETTE
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DAS LAND DES LACHELNS
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BLUMEN AUS DEM SUDEN
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NIEMAND LIEBT DICH SO WIE ICH
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WALTZERTRAUME
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LIEBESTRAUME
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EIN SANGERIN VON HEUTE
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STARDISKOTHEK
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JA SO IST SIE
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GROTHE ARIAS
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DER BARBER VON SEVILLA
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SINGT AUS DEUTSCHEN OPERN
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MEIN LIEDERABEND
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MEIN WALTZERTRAUM
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RUSSIAN SONG CYCLES
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STRAUSS LIEDER
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DIE SCHOENSTEN MELODIEN
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ICH MIR KLINGT EIN LIED
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LIEDER FUR UNSERE KLEINEN
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DIE FLEDERMAUS
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FANNY EISLER
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HAB ICH NUR DEINE LIEBE
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. The feathers, the beaded costume with its perky, suggestive neckline, and her gaze through the lace curtains in mid-song are captivating. This compilation contains her phenomenal recordings of the Proch variations and Voices of Spring.<br><br>POLYDOR 249071'))
. This pink suit shows up again in her Liebestraume recital.<br><br>POLYDOR 249 299'))
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