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teachers." This was what happened to me now. The small Italian magician had a funny accent and a peculiar mixture of Danish. German, and Italian. He also had a unique anistic instinct for balance and beauty. It showed in tender bel canto. as well as in full fortissimo. After the succesful "Don Giovanni" performance I made up my mind to hire Tango myself. if that was the only way I could work with him. When Don Ottavio sings Dalla sua pace I saw Tango lean back on the railing of the podium. Iooking as if he was enjoying himself. For me it was a treasurable moment. Egisto Tatryo ln Denmark we are indebted to Tango: His Verdi performances were wondertully festive and Italian. Mozart. with the highest quality in musicianship. In addition he has contributed in no small way to the appreciation of Carl Nielsen's ntuslc. I, too, am in his debt, not only ibr the Mozart recordings we made together. And his small loving signals later when I needed them. encouraged me nor ro glve up. Notus, AGerd Schiot: l95l qrtd 1970
Editor's note: Something should be added to the subject'Aksel Schigtz and Opera". There ile the Tchaikovsky and Gounod items to consider. They were recorded in 1944, the last session during the war. They had been forgotten, it seems, because the 78 rpm record was not issued till the late 50s. Both items were in Aksel Schiptz's repertoire. They were programmed for a recital on April 13th 19,+0. Hitler had occupied Denmmk on the 9th. Aksel Schiotz refused to cancel the recital, because in his view that would be submission. Faust's "Salut demeure" has a high C near the end. But it is hrdly the high C of an operatic tenor we heu. This recording illustrates limits. Aksel Schiotz had studied the paft of Faust with John Forsell at Stockholm and did sing it at the Royal Opera of Copenhagen. There he had also appeared in Wagner. No, I am not pulling your leg! I hasten to add that it was the pan ofWalther von der Vogelweide in Tannhduser, a part which consists in ensemble-singing. The Lenski aria is much more succesful. It is not the sound of a Russian tenor, of course. But sung as here, almost like a Lied, or as the inner monologue it is ("in deep thought", is the direction), the soft pain, those innermost feelings in the music, come out beautifully. Don Ottavio, that most ridiculed of operatic chilacters, has some likeness to Lenski. Soren Kierkegaud did not find him interesting, writing about "Don Giovanni" and making the point that Don Juan is the ideal theme for an opera, as sensual seduction is the nature of music, as it is Don Juan's ("Either-Or", part 1). Having found and recognized her seducer, Donna Anna describes to Don Ottavio, in much and unbelievable detail, her experience as an unsuccesful attempt of rape. (Which is not consistent with, at the start of the opera, her clinging to Don Juan and calling him "deceiver". It is really Donna Anna whose tragic fault it is that her father is killed. Edward J. Dent mentions that a British audience will usually give out a dirty laughter at the rape story, Don Ottavio being the laughing-stock for his nalve acceptance of the story.) In music of furious passion Donna Anna now orders Don Ottavio to be her revenger. Then she leaves. Don Ottavio, left alone, sings "Dalla sua pace". What other singer has put that kind of loving rapture and tendemess in this music? The inexperienced boy is a tragic fi.gure, as sung by Schigtz. IIis feelings are betrayed by the knot tied by Don Giovanni, the erotomaniac, and a Donna Anna whose passion has been moused, dangerously. If the reader cannot agree to all this. it still remains that Schiotz as he sings Don Ottavio's rias, found inner true feelings which musically and psychologically show up Don Giovanni, for inner true feelings are not in the seducer's repertoire. So we can understand Egisto Tango's behaviour on the podium. On the opera stage Aksel Schiotz had his finest successes in "Liden Kirsten" ("Fair Kirsten", a rommtic opera by Hans Christian Andersen and J.PE. Hartmann which Liszt had performed at Weimar) and in Britten's "The Rape of Lucretia". More about this in other volumes of the collection. A short dialogue between Mogens Wdldike and Aksel SchiOtz is included after the recorded rehearsal excer?ts: MW: Thank you! - we'll have a look on it during the interval before we go on.
Page 1: ;i1r,,*-= (@il*il),
Page 4 and 5: John Dowland: [6]Shalllstez:04 [ 7
Page 6 and 7: Aksel Schiotz 1906 - 1975 Aksel Sch
Page 8 and 9: Introduktion Det er et stort Onske
Page 10 and 11: snenede de begge to, og rode i kamm
Page 12 and 13: neret pe cembalo (med lut register)
Page 14 and 15: Lucretia". Mere herom senere i sene
Page 16 and 17: Introduction This collected edition
Page 18 and 19: given solos. As a good teacher he h
Page 22 and 23: AS: Yes. - I'm not sure - it should
Page 24 and 25: Mein Jesus bleibet meine Freud, was
Page 26 and 27: [ 8 ] From W. A. Mozart "Die Zauber
Page 28 and 29: [13] Pedrillo's Romance: ln Mohrenl
Page 30 and 31: U6l From Charles Gounod "Faust" [17

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