Cesare Siepi Lully, Schumann, Brahms, Mozart, Ravel u.Irmgard Seefried Schumann, Bartók, Wolf.Elisabeth Schwarzkopf Bach, Pergolesi, Handel, Gluck, Wolf and others.Dietrich Fischer-Dieskau Schubert, Schumann.Leontyne Price, as well as the tenors José Carreras, Nicolai Gedda and Luciano Pavarotti performed there with mixed programs. From 1972 onwards, the Great Festival Hall was increasingly used for song recitals, which often led to popular programming and audiences. They were primarily the " Karl Böhm singers" Brigitte Fassbaender, Dietrich Fischer-Dieskau, Gundula Janowitz, Hermann Prey and Peter Schreier - all in the Così fan tutte von Represented in 1972 - who shaped this epoch of the Salzburg Festival as song singers, plus Böhm's former Dorabella, Christa Ludwig, his dyer, Walter Berry, the Germans Anneliese Rothenberger and Fritz Wunderlich, the Slovenian Marjana Lipovšek and the Slovakian Edita Gruberová, and the Americans Grace Bumbry and Jessye Norman.
Most of the recitals between 19 were characterized by exquisite singing culture. Time of Karl Böhm and Herbert von Karajan
īeniamino Gigli's appearance in a concert of sacred music in the cathedral in 1936 is based on an attempted barter: When the Italian dictator Benito Mussolini asked the Austrian dictator Engelbert Dollfuss to have his piece Giulio Cesare performed in Salzburg, the latter responded with a request for one Enter Gigli. Immediately after the annexation of Austria, both had to emigrate to the United States. She was accompanied on the piano in six song recitals by the conductor Bruno Walter.
When Lotte Lehmann did not want to become part of the Nazi cultural scene and was no longer allowed to perform in Germany, Salzburg offered her - in addition to numerous opera roles - a platform for song singing. Chamber concerts and recitals only took place occasionally.Īlthough the Salzburg Festival was founded in 1920 - with Jedermann am Domplatz - and the first concerts took place in 1921, it was not until 1933 that recitals were included as regular items on the program. Peter, as well as the serenades - mainly dedicated to Mozart - in the Residenzhof. The concert sector was not yet fully differentiated in the 1920s and 1930s, at that time it essentially consisted of orchestral concerts by the Vienna Philharmonic, concerts of sacred music in the cathedral and in the collegiate church of St. In the economically difficult early years of the festival, drama and opera were the focus of development work.