Schwarzkopf left great legacy

The death 10 days ago of one of the 20th century's operatic greats went largely unnoticed locally. But with the passing of Elisabeth Schwarzkopf on Aug. 3 at the age of 90 we've lost an icon, and a singer of unsurpassed beauty and expressiveness.

One of the most eminent and distinguished singers of her day, Schwarzkopf came into her own in the 1950s and '60s, dominating the stage with her refined and eloquent interpretations of Mozart and Richard Strauss heroines.

What distinguished her from the cadre of singers during this period was her supple, lyrical voice and the stylish subtlety and impressive integrity she brought to her many roles. Although not without her detractors — a New York Times critic in the early 1980s called her voice "unremarkable" and her career "a triumph of intelligence and willpower" — Schwarzkopf nevertheless was the epitome of the German repertoire and triumphed in the opera houses on both sides of the Atlantic.

In an age where opera singers are compartmentalized almost before they've ever set foot on a stage, Schwarzkopf represented a period where versatility was admired and sought after — and not considered artistic suicide. In her 31-year career — which began in earnest in 1940 with a performance as Zerbinetta in Strauss' "Ariadne auf Naxos" at the Berlin State Opera — Schwarzkopf sang 74 roles in 53 operas.

Schwarzkopf's impressive list of roles, besides most of the famous Verdi heroines, also included Anne Trulove in Stravinsky's "Rake's Progress" at its world premiere in Venice in 1951.

But it's for her Strauss and Mozart interpretations that Schwarzkopf is best remembered. Among the Strauss heroines, she was justly renowned for her portrayals of the Marschallin in "Der Rosenkavalier," the Countess in "Capriccio" and Ariadne in "Ariadne auf Naxos."

In Mozart, Schwarzkopf lent her radiant voice to the Countess in "The Marriage of Figaro," Donna Elvira in "Don Giovanni" and Fiordiligi in "Cosi fan Tutte." Operetta didn't escape her attention, either.

She also frequently sang and recorded the leading roles in the works of Johann Strauss and Franz Lehar, notably "Die Fledermaus" and "The Merry Widow."

Schwarzkopf also had an extensive art-song repertoire, which she took on recital tours throughout the United States and Europe. She is particularly noted for her perceptive and poignant interpretations of songs by Mozart, Strauss and Hugo Wolf.

Having retired from the opera stage in 1971, Schwarzkopf undertook an exhausting recital tour in 1977 and '78 to bid farewell to her legions of fans throughout the world. She sang her final recital in Zurich in 1979.