Re-pitched DIE FRAU OHNE SCHATTEN Marton, Nilsson, Dunn, Brenneis, Nentwig - Leinsdorf - NYC 23X81

This is a particularly fascinating document, because it is NOT a broadcast, but sounds like one. It must be a "house tape". Sadly it must have been recorded (or copied at one point) with a defective machine, because pitch meanders wildly, constantly and irregularly across easily a semitone and more. I've been working on it for over a week, manually re-drawing a pitch curve, which restores concert pitch to a more or less constant a=442 Hz. (The average of the "original" was a=432 Hz). I also manually removed 50 little gaps between the single tracks.
There are also excerpts of act 2 of the 29 October performance - which was Birgit Nilsson's last Met performance ever.
Furthermore, I found 24 photos which I carefully digitally enhanced.
DIE FRAU OHNE SCHATTEN
Oper in drei Akten von Richard Strauss.
Text von Hugo von Hofmannsthal.
Der Kaiser: Gerd Brenneis
Die Kaiserin: Eva Marton
Die Amme: Mignon Dunn
Geisterbote von Keikobad: Franz Mazura
Falke: Louise Wohlafka
Barak, der Färber: Franz Ferdinand Nentwig
Seine Frau: Birgit Nilsson
Der Einäugige: Russell Christopher
Der Einarmige: James Courtney
Der Bucklige: John Gilmore
Jüngling: Timothy Jenkins
Hüter der Tempelschwelle: Eleanor Bergquist
Stimme von Oben: Batyah Godfrey Ben-David
3 Wächter: Dana Talley
Robert Goodloe
John Darrenkamp
1. Dienerin: Gwendolyn Bradley
2. Dienerin: Therese Brandson
3. Dienerin: Isola Jones
1. Kinderstimme aus der Bratpfanne: Betsy Norden
2. Kinderstimme aus der Bratpfanne: Therese Brandson
3. Kinderstimme aus der Bratpfanne: Isola Jones
4. Kinderstimme aus der Bratpfanne: Jean Kraft
5. Kinderstimme aus der Bratpfanne: Shirley Love
1. ungeborenes Kind: Betsy Norden
2. ungeborenes Kind: Therese Brandson
3. ungeborenes Kind: Isola Jones
4. ungeborenes Kind: Jean Kraft
5. ungeborenes Kind: Shirley Love
6. ungeborenes Kind: Claudia Catania
Conductor: Erich Leinsdorf
NYC, 23. Oktober 1981
+ excerpts from act 2 - 29. Oktober 1981
Act 1 (missing last minute): 0:03
Act 2: 1:01:12
Act 3: 1:58:51
Act 2 Excerpts (10/29/81): 2:57:00
Excellent house tape, pitch corrected to a=442 Hz
4 FLAC files + 24 digitally enhanced photos
1fichier.com/?d2pc9d2y5ei5jp8...

[@ArgerichStan]

This has to be the best examples of Marton’s top register - her high C in act 2 scene 1 is so much more resonant and in tune than I am used to from her

[@delosmike2030]

This was Nilsson's next to last Dyer's Wife. Her next one days later was her stage(d) farewell to the Met. She returned almost 2 years later to the day to sing her stunning 'Narrative and Curse' from TRISTAN near the end of the Centennial Gala, aged 65! And then of course her un-accompanied 'Ho jo to ho' at the Levine Gala in 1996, just short of her 78th b'day! A force of nature. I count myself priviledged that I heard her in her estimable prime as TURANDOT, ISOLDE and ELEKTRA as well as concerts and recitals.

[@LJB103]

I attended the 1st performance of this in 1981 (2 weeks earlier than this one). Everyone I knew went because it was rumored to be the last role Nilsson would sing at the Met. After the performance, all anyone talked about was Eva Marton! She really took off as a star after this.

[@nohaylamujer]

In 1979, I saw Marton in this role in Buenos Aires (also with Nilsson as Barak's wife; Jess Thomas was the Emperor). As far as I can judge from this recording (thank you so much, once again, for this labor of love, by the way!), Marton's performance was much better at Teatro Colon. Nilsson too was out of this world. And Ruth Hesse, as the Nurse, was a wonderful surprise!

[@peteradaniel]

This is stunning. Hands down you have the best Channel on CZcams. These historical performances are gold dust.

[@parsifalpopp]

Quel travail! merci pour tout 😎😎

[@peterrandsman4881]

I was at all of these unforgettable performances and yes, this really solidified Marton as a megastar in the operatic world!!! I also say the performance without Nilsson and Brenda Robert's Met debut as Dyer's Wife. Thank you so much for this gift. I cannot thank you enough!!!

[@jabber12345]

Hmm. I've never gotten the hype around her. Everything I've heard from her seems to be shouty and shrill. I don't find any nuance here or anywhere else. No wonder she was nothing but a series of flat wobbles by the late '80s/early '90s. She's pushing so hard that she must have just blown out her voice early.

[@davidhansel897]

Thank you for posting this!
Act 1 (missing last minute): 0:03
Act 2: 1:01:12
Act 3: 1:58:51
Act 2 Excerpts (10/29/81): 2:57:00

[@dragoscojocaru5154]

Thank you!