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The daughter of a teacher, Elisabeth Schwarzkopf began to study voice in 1934 at the Berliner Musikhochschule with Lula Mysz-Gmeiner and with Maria Ivogun. She also studied lieder interpretation with Michael Raucheisen, Ivogun's husband. In 1938, Schwarzkopf debuted in Berlin as a Flower Maid in Parsifal. She remained in Berlin until 1944 when she joined the Vienna State Opera making her debut as Zerbinetta in Ariadne auf Naxos. Her first international appearances were in 1947 at London with the Vienna State Opera on tour as Donna Elvira in Don Giovanni and Marzelline in Fidelio. She became a regular guest at Covent Garden. That same year she made her debut at the Salzburg Festival and she appeared there nearly every year until 1964. At Salzburg she was best known for her Mozart roles of Donna Elvira, Countess in Le nozze di Figaro and Fiordiligi in Così fan tutte, but also had great success as Alice Ford in Falstaff and the Marschallin in Der Rosenkavalier. Her recitals with Gerald Moore as accompanist at Salzburg were always highly regarded, but in 1953 the great conductor Wilhelm Furtwängler accompanied her in an all Wolf recital. Her Teatro alla Scala debut in 1949 as the Countess in Le nozze di Figaro was a great success and she sang there until 1964 in a variety of roles including Melisande, Carmina burana, Catulli Carmina, and Il Trionfo of Orff, Elisabeth in Tannhäuser, Elsa in Lohengrin, Anne in The Rake's Progress, Iole in Handel's Hercules, as well as her Mozart and Strauss roles. She made her San Francisco Opera debut in 1955, but did not sing at the Metropolitan Opera until 1964. Her belated debut there is attributed to her ties to the National Socialist regime in Germany and Austria.

As great as her reputation as an opera singer was, her work on the recital and concert stage had even higher acclaim. Her fame as a recitalist was matched only by that of Dietrich Fischer-Dieskau. Her appearances were eagerly awaited around the world. In particular, her interpretations of the songs of Schubert, Strauss, and Wolf were admired. She is one of the few singers who was able to fulfill all of the requirements of an evening devoted to the songs of Wolf. On the concert stage she was often heard in cantatas and Passions of Bach, as well as the Verdi Requiem and symphonies of Mahler.

The voice of Elisabeth Schwarzkopf in her very early career was a light high soprano with excellent control of fioritura and breath control. As she matured, the middle and lower registers became much stronger and she began to sing more dramatic scores while giving up the lighter roles. By the late 1950s, she concentrated her operatic appearances on five or six roles to which she devoted great energy developing her interpretations to their highest level. This attention to detail and constant probing for added interpretive depth is the reason some writers find her performances too mannered and studied. In the recording studio, where she would work for hours perfecting one phrase, she was aided by her husband, record producer Walter Legge, in finding the perfect vocal color and phrasing to illuminate each piece. Even her most vocal critics stand in awe of the hard work that she brought to bear on even the simplest of songs. It is as a Mozart, Strauss and Wolf interpreter that Elisabeth Schwarzkopf will always be remembered.

Rita Streich, a light lyric coloratura, was the child of a Russian mother and a German prisoner-of-war father. Circuitously, the family made its way to Berlin where Streich grew up, and studied with Maria Ivogün, Erna Berger, and Willi Domgraf-Fassbänder (the father of Brigitte, and Germany's leading Papageno between wars). She made her debut in 1943 at Aussig (today Ústí nad Labem on the northern border of the Czech Republic), singing Zerbinetta in Strauss' Ariadne auf Naxos. In 1946, she became a member of the Berlin Staatsoper in the Unter den Linden, featured as Blonde in Mozart's The Abduction from the Seraglio and Olympia in Offenbach's The Tales of Hoffmann. There, until 1951, she also sang Zerlina in Don Giovanni, Gilda in Rigoletto, and Sophie in Der Rosenkavalier. During two subsequent seasons at the Städtische Oper, temporarily relocated in the Theater des Westens, she sang Zerbinetta, Konstanze this time in The Seraglio, and the Queen of the Night in Mozart's The Magic Flute. In 1952 - 1953 she was the Woodbird in Wagner's Siegfried at the reopened Bayreuth Festival, then joined the Vienna State Opera, where she remained a member until her retirement from the stage in 1972. Streich made frequent guest appearances at Munich, however, and in 1954 debuted at London (Zerlina and Susanna, in Mozart's Don Giovanni and The Marriage of Figaro, respectively), the Salzburg Festival (as Aennchen in Der Freischütz under Furtwängler), and Rome (Sophie again). La Scala came later on.

The soprano made her U.S. debut in 1957 at San Francisco, singing two performances each as Despina in Mozart's Così fan tutte, Zerbinetta in Ariadne, and Sophie in Der Rosenkavalier. She returned in 1959 for two more Zerbinettas, but in 1960 switched to the Chicago Lyric Opera -- a house too capacious for her voice. She appeared three times as Susanna in Figaro, and repeated the role in 1962, adding three more performances as Amor in Gluck's Orfeo ed Euridice. These were her last American opera appearances. Her voice was a small instrument for all the purity and technical control, better suited to a small theater such as Glyndebourne, where she appeared for the first time in 1958 as Zerbinetta. During the 1950s, Streich became a best-selling name on recordings as Zerbinetta, Sophie, Susanna, Aennchen, Adele in Die Fledermaus, and Blonde, but especially on recital discs that included coloratura stunt-fluff as well as music by Mozart, Schubert, Wolf, Richard Strauss, even Milhaud -- most carefully chosen for the fach and size of her voice, although not always temperamentally suitable.

In the 1960s ,she appeared in Viennese operettas as well as operatic repertory, generously documented on German broadcast tapes of live performances. Streich retired from the stage in 1972 to teach at Essen, but returned four years later to Vienna, where she continued to teach, and where she died at the age of sixty-six. In the 1950s, and for some years after, she was considered the foremost German coloratura of her generation, often likened to her ageless teacher Erna Berger.

Helmut Krebs is one of the most important German tenors of the twentieth century. During his remarkably long career he retained a remarkably durable and unusually wide range and was a leader in the early music movement.

Authorities differ as to the place of his birth. His parents were from the German city of Dortmund, but it does appear he was born in Aachen, the name of Aix-la-Chapelle when Alsace was occupied by Germany, but which emerged from World War I back in French hands. It is likely that when he parents returned to their native city (80 miles northeast of Aachen) they registered him there to establish that Helmut was German by birth.

Helmut studied at the Dortmund Conservatory and when his family moved to Berlin while he was still a teenager he entered the Berlin Hochschule für Musik, where he was taught by Dr. Paul Lühmann. It was a Swiss tenor, Max Meili, who inspired Krebs to develop an unusual vocal technique that extended his range into the countertenor range without using the falsetto voice. (Later, when singing in this range as the early music movement developed, Krebs insisted that falsetto singing -- which was the established norm for countertenors -- was musicologically incorrect. This view is now the majority view among early music scholars.)

He made his operatic debut in 1937 at the Grosse Volksoper in Berlin as Monostatos in The Magic Flute. He made his debut at the Städtische Oper Berlin in 1938. His career was interrupted in 1939 when he was called up for military service.

He survived World War II and made a second debut on the stage of the Düsseldorf Spieloper, singing such roles as Fenton in Nicolai's Merry Wives of Windsor and Chateauneuf in Lortzing's Zar und Zimmermann. During the 1947 - 1948 season, he was given a test engagement at the Berlin Staatsoper (the city's leading company) as David in Die Meistersinger. Conductor Joseph Keilberth engaged him as a member of the company. If one dates Krebs' membership in the Staatsoper from 1947, he remained a member of the company for over 40 years, one of the longest careers any singer has had at any major opera house.

It is pointless to list the names of the great international opera houses where he appeared as a guest artist, nor many of the operas in which he appeared. He could sing leading roles, but his unusual vocal coloration and high voice made him especially suitable for non-heroic tenor roles. He had an adventurous repertory, and was one of the first to sing music of Benjamin Britten in Germany. (He created, for instance, the German version of the title role of Albert Herring.) He sang in the first German presentation of Arnold Schoenberg's Moses und Aron as Aron in 1954, and was particularly known for his portrayal of the comic role of Prof. von Mucker in Henze's The Young Lord.

Early in his career he formed an personal and artistic friendship with the great baritone Dietrich Fischer-Dieskau and the two often performed together, often memorably as in performances of Bach cantatas and Lieder programs.

Krebs was famous for his portrayal of Mozart's operatic roles and his performances of Mozart's concert arias. He had a particular interest in the music of Heinrich Schütz (whose birthday Krebs shared), and sang in virtually all the choral works of Johann Sebastian Bach with tenor solo parts. During his lifetime he recorded often for the Archiv early music label. He has also been an esteemed teacher and was made a Kammersänger of Vienna in 1963.

Thoroughly Viennese, bass-baritone Erich Kunz excelled in serious roles (although he sang rather few), comic parts and in operetta characterizations. An indispensable participant in recording producer Walter Legge's Champagne Operetta series in the early 1950s, Kunz, together with Elisabeth Schwarzkopf, defined Viennese operetta style -- its lightness, grace, and charm. With a rich, masculine voice, he was a definitive Figaro, Leporello, and Papageno in the tradition of Mozart performance that sprang from the Vienna Opera immediately after WWII. An incomparable Beckmesser, his interpretation was preserved on two live recordings, and he left a number of delightful recordings of Viennese café and university songs.

Kunz studied in his native Vienna, primarily with Theodore Lierhammer at the Vienna Academy. His debut took place at Tropau in 1933 as Osmin (a part for deep bass) in Mozart's Die Entführung aus dem Serail. Following that, he sang with a number of smaller German theaters before being engaged by the Breslau Opera for three years. Kunz made his first acquaintance with England when he was offered an opportunity to understudy at the Glyndebourne Festival in 1936. He was soon thereafter assigned several smaller roles.

In 1941, Kunz became a part of the company at the Vienna Staatsoper where he remained throughout his career; he was given the title of Kammersänger in 1948. During the war years, he sang throughout Austria and Germany, primarily in Mozart and Wagner. He made his debut at the Salzburg Festival in 1942 as Guglielmo in Così fan tutte and in 1943 became the youngest artist ever to have appeared in a major role at the Bayreuth Festival when he sang Beckmesser in Die Meistersinger.

Once the hostilities ended, Kunz's career assumed a still more international flavor. Opera performances took him to Florence, Rome, Naples, Paris, Brussels, Budapest, and Buenos Aires. His role at the Salzburg Festival grew and he was a part of the Vienna Staatsoper troupe touring England and France in 1947. The following year brought his debut at the Edinburgh Festival.

A Metropolitan Opera debut waited until 1952, but Kunz's appearance as Leporello on November 26 brought a warm response from the audience and positive reviews from the critics. Both local and national writers commented upon his handsome voice and subtle comic skills. Many could recall only a few comparable artists in a role frequently immersed in slapstick routine. The Metropolitan Opera enjoyed his presence for just two years. In addition to Leporello, Kunz appeared as Mozart's Figaro, Beckmesser, and Faninal in Rosenkavalier. Chicago heard his treasurable Harlequin in Ariadne auf Naxos and Leporello, both in 1964 and, two seasons later, his wily, yet innocent Papageno in Die Zauberflöte.

While musical tastes had moved from the elegant Mozart style of post-war Vienna to an earthier, more robust Italianate approach by the 1960s, Kunz's inimitable stage persona lost nothing of its potency. Nor did his voice; he continued to sing well even in his sixties and continued to undertake small roles (unforgettable cameos, all) to the end of a long career. In addition to opera house appearances, Kunz graced the stage of the Vienna Volksoper from time to time, giving lessons to both audiences and fellow artists in operetta style and singing.

Among the recordings of lasting value Kunz made during his prime years are, besides Meistersinger (two live from Bayreuth), Le Nozze di Figaro, Die Zauberflöte and each and every one of his operetta discs on Angel Records/EMI.