Paul Schöffler

Biography

Born: September 15, 1897; Dresden, Germany   Died: November 21, 1977; Amersham, Buckshire, England  
Despite having been born in Germany, bass-baritone Paul Schöffler became a favorite in Austria, both at the Vienna Staatsoper and at the Salzburg Festival. Aside from Friedrich Schorr, he was undoubtedly the finest, most complex interpreter of Hans Sachs in the recorded era. Although his voice could sound slightly dry and lacked the imperious sound for Wotan (which he did sing on occasion), it served him well through an unusually long career. His Read more Sachs at the Metropolitan Opera in November 1964 was superbly sung, remarkable in its stamina, even though Schöffler was 67 at the time. A live recording of Strauss' Daphne made in Vienna that same year confirms the impression. The work of an aristocratic artist, Schöffler's interpretations of such roles as Scarpia, Don Giovanni, and Iago were always distinguished, even when not stylistically definitive. The years since his retirement from leading roles have not produced a remotely comparable artist.

Schöffler studied with Waldemar Stägemann in his native Dresden before traveling to Italy to work with baritone Mario Sammarco. His 1926 stage debut took place in Dresden in the role of the Herald in Lohengrin, beginning an association with that theater that continued until 1939. In 1939, Schöffler was engaged by the Vienna Staatsoper and remained there until 1970 when he was 73 years old. During his long career, he also sang in London, at Bayreuth, at the Salzburg Festival (1938 - 1965), in several Italian theaters and in America at the Metropolitan Opera, in San Francisco, and in Chicago.

Schöffler's London debut came as Donner in a 1934 Rheingold, conducted by Beecham. He was well-received by both the public and the critics, later confirming the positive first impression with his "excellent" singing of the title role in Weinberger's Schwanda, the Bagpiper. In 1936, he sang Scarpia and, with the visiting Dresden Opera, Figaro in Mozart's Le nozze di Figaro (sung in German as Die Hochzeit) and the title role in one performance of Don Giovanni. In the Mozart operas, he was praised for both fine singing and histrionic aptitude. He undertook such other roles in London as Jochanaan, Kurwenal, the Rheingold Wotan (described as "lightweight"), and, following WWII, Don Giovanni ("Germanic"), Don Alfonso, and Pizarro with the visiting Vienna Staatsoper company. With the Royal Opera House company, he repeated his Kurwenal and Rheingold Wotan and added Gunther and his genial Sachs.

At Salzburg, Schöffler created the title role in Gottfried von Einem's Dantons Tod in 1947, and, five years later, he premiered Jupiter in Strauss' Die Liebe der Danae.

Schöffler's first American stage appearances came well after WWII, when the singer was already in his early fifties. His Met debut was on January 26, 1950, as Jochanaan, a role he sang to the spectacular Salome of Ljuba Welitsch a few weeks later. Schöffler's performance was praised as that of a superior artist, delineating the character with intelligence and involvement. The bass-baritone faced off against Welitsch in two other productions, setting his Don Giovanni at odds with her Donna Anna and, as a "brutish "Scarpia, menacing her fiery Tosca. Over nine seasons, Schöffler sang a total of 91 performances. His 14 roles included Pizarro, Amfortas, Kurwenal, Oreste, and the Grand Inquisitor. San Francisco heard him, too briefly, in Wagner and Strauss, as did Chicago.

Although Schöffler's voice lacked a sensuous timbre, its warmth and firmness left a positive impression, while his musicianship and artistic integrity were unfailingly of the highest order. Read less

There are 62 Paul Schöffler recordings available.

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Biography

Born: September 15, 1897; Dresden, Germany   Died: November 21, 1977; Amersham, Buckshire, England  
Despite having been born in Germany, bass-baritone Paul Schöffler became a favorite in Austria, both at the Vienna Staatsoper and at the Salzburg Festival. Aside from Friedrich Schorr, he was undoubtedly the finest, most complex interpreter of Hans Sachs in the recorded era. Although his voice could sound slightly dry and lacked the imperious sound for Wotan (which he did sing on occasion), it served him well through an unusually long career. His Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Act I: Prelude
Act I Scene 1: Westwarts schweift der Blick (A Young Sailor)
Act I Scene 1: Wer wagt mich zu hohnen? (Isolde)
Act I Scene 2: Mir erkoren, mir verloren (Isolde)
Act I Scene 2: Hab' acht, Tristan! (Kurwenal, Isolde)
Act 1: Das sage sie der Frau Isold'! (Kurwenal, Chorus)
Act I Scene 3: Weh! Ach wehe! Dies zu dulden! (Brangane, Isolde)
Act I: Wie lachend sie mir Lieder singen (Isolde)
Act I: Er schwur mit tausend Eiden (Isolde)
Act I Scene 3: O blinde Augen! Blode Herzen! (Isolde)
Act I Scene 3: Ungeminnt den hehrsten Mann (Isolde, Brangane)
Act I Scene 4: Auf! Auf! Ihr Frauen! (Kurwenal)
Act I Scene 4: Herrn Tristan bringe meinen Gruss (Isolde)
Act I Scene 5: Begehrt, Herrin (Isolde)
Act I Scene 5: War Morold dir so wert (Tristan, Isolde)
Act I: Wohl kenn' ich Irlands Konigin (Tristan, Isolde)
Act I Scene 5: Tristan! (Isolde, Tristan, Chorus)
Act II: Prelude
Act II Scene 1: Horst du sie noch? (Isolde)
Act II: Meinst du herrn melot? (Isolde, Brangane)
Act II: Dein Werk? O tor'ge Magd! (Isolde)
Act II Scene 2: Isolde! Geliebte! (Tristan, Isolde)
Act II: Getauscht von ihm, der dich getauscht (Isolde, Tristan)
Act II Scene 2: O nun waren wir Nachtgeweihte! (Tristan)
Act II Scene 2: O sink' hernieder, Nacht (Tristan, Isolde)
Act II Scene 2: Einsam wachend in der Nacht (Brangane)
Act II Scene 2: Lausch', Geliebter! (Isolde, Tristan)
Act II: So sturben wir, um ungetrennt (Tristan, Isolde)
Act II Scene 3: Rette dich, Tristan! (Kurwenal)
Act II Scene 3: Tatest du's wirklich? (Marke)
Act II Scene 2: Dies wunderhehre Weib (Marke)
Act II Scene 3: O Konig, das kann ich dir nicht sagen (Tristan)
Act II: Wohin nun Tristan scheidet (Tristan)
Act II Scene 3: Als fur ein fremdes Land (Isolde)
Act II Scene 3: Verrater! Ha! (Melot, Tristan, Kurwenal)
Act III: Prelude
Act III Scene 1: Kurwenal! He! (A Shepherd, Tristan, Kurwenal)
Act III: Die alte weise, was weckt sie mich? (Tristan)
Act III Scene 1: Hei nun! Wie du kamst? (Kurwenal)
Act III Scene 1: Dunkt dich das? (Tristan)
Act III Scene 1: Noch losch das Licht nicht aus (Tristan, Kurwenal)
Act II: Isolde kommt (Tristan)
Act III Scene 1: Noch ist kein Schiff zu sehn! (Kurwenal)
Act III Scene 1: Sterbend lag ich stumm im kahn (Tristan)
Act III Scene 1: Mein Herre! Tristan! (Kurwenal)
Act III: Wie sie selig (Tristan)
Act III Scene 1: O Wonne! Freude! (Kurwenal, Tristan)
Act III Scene 2: O, die Sonne! Ha, dieser Tag! (Tristan)
Act III Scene 2: Ha! Ich bin's, sussester Freund! (Isolde)
Act III Scene 3: Kurwenal! Hor! (A Shepherd, Brangane, Kurwenal)
Act III Scene 3: Tot denn alles! Alles tot! (Marke)
Act III Scene 3: Mild und leise wie er lachelt (Isolde)
Orchestereinleitung - "Kleontes!" / "Adrast"
O bleib, geliebter Tag!
Leukippos, du?
"Daphne!" / "Mutter!" / "Wir warten dein"
Ei, so fliegt sie dahin
Seid ihr um mich, der Hirten alle?
Ich grüße dich, weiser, erfahrener Fischer
Was führt dich her im niedern Gewande?
Dieser Kuß - dies Umarmen
Trinke, du Tochter!
Furchtbare Schmach dem Gotte!
Zu dir nun, Knabe!
Jeden heiligen Morgen
Unheilvolle Daphne!
Was erblicke ich?
Daphnes Verwandlung "Ich komme - ich komme"
Mondlichtmusik
I. Allegro ma non troppo, un poco maestoso
II. Molto vivace
III. Adagio molto e cantabile - Andante moderato
IV. Finale: Presto - Allegro assai
Mozart: The Magic Flute (Die Zauberflote): Overture
Mozart: The Magic Flute (Die Zauberflote): Zu hilfe! Zu hilfe!
Mozart: The Magic Flute (Die Zauberflote): Der Vogelfanger bin ich ja
Mozart: The Magic Flute (Die Zauberflote): Dies Bildnis ast bezaubernd schon
Mozart: The Magic Flute (Die Zauberflote): O zittre nacht, mein lieber Sohn!
Mozart: The Magic Flute (Die Zauberflote): Hm, hm, hm hm!
Mozart: The Magic Flute (Die Zauberflote): Du feines Taubhcen, nur herein!
Mozart: The Magic Flute (Die Zauberflote): Bei Mannern, welche Liebe fuhlen
Mozart: The Magic Flute (Die Zauberflote): Zum Ziele fuhrt dich diese Bahn
Mozart: The Magic Flute (Die Zauberflote): Schnelle Fusse, rascher Mut
Mozart: The Magic Flute (Die Zauberflote): March of the Priests
Mozart: The Magic Flute (Die Zauberflote): O Isis und Osiris
Mozart: The Magic Flute (Die Zauberflote): Eine schreckliche Nacht!
Mozart: The Magic Flute (Die Zauberflote): Bewahret euch vor Weibertucken
Mozart: The Magic Flute (Die Zauberflote): Heil dir, Jungling!
Mozart: The Magic Flute (Die Zauberflote): Der Holle Rache
Mozart: The Magic Flute (Die Zauberflote): In diesem heil'gen Hallen
Mozart: The Magic Flute (Die Zauberflote): Hier seid ihr euch beide allein uberlassen
Mozart: The Magic Flute (Die Zauberflote): Ach, ich fuhl's
Mozart: The Magic Flute (Die Zauberflote): O Isis und Osiris, welche Wonne!
Mozart: The Magic Flute (Die Zauberflote): Soll ich dich, Teurer, nicht mehr sehn?
Mozart: The Magic Flute (Die Zauberflote): Ein Madchen oder Weibchen
Mozart: The Magic Flute (Die Zauberflote): Bald prangt, den Morgen zu verkunden
Mozart: The Magic Flute (Die Zauberflote): Der, welcher wandelt diese Strasse
Mozart: The Magic Flute (Die Zauberflote): Tamino mein!
Mozart: The Magic Flute (Die Zauberflote): Papagena! Papagena! Papagena!
Mozart: The Magic Flute (Die Zauberflote): Nur stille, stille, stille!
Overture
"Zu Hilfe! Zu Hilfe!"
"Der Vogelfänger bin ich ja"
"Dies Bildnis ist bezaubernd schön"
"O zittre nicht"
"Hm! hm! hm! hm!"
"Du feines Täubchen, nur herein"
"Bei Männern, welche Liebe fühlen"
"Zum Ziele führt dich diese Bahn"
"Die Weisheitslehre dieser Knaben"
"Wo willst du kühner Fremdling hin?"
"Wie stark ist nicht dein Zauberton"
"Schnelle Füße, rascher Mut"
"Es lebe Sarastro! Sarastro lebe!"
"Herr, ich bin zwar Verbrecherin"
Marsch der Priester
"O Isis und Osiris"
"Bewahret euch vor Weibertücken"
"Wie? Wie? Wie?"
"Alles fühlt der Liebe Freuden"
"Der Hölle Rache kocht in meinem Herze"
"In diesen heil'gen Hallen"
"Seid uns zum zweiten Mal willkommen"
"Ach, ich fühl's"
"O Isis und Osiris, welche Wonne!"
"Soll ich dich, Teurer, nicht mehr sehn?"
"Ein Mädchen oder Weibchen"
"Bald prangt, den Morgen zu verkünden"
"Bald prangt, den Morgen zu verkünden" - "Du also bist mein Bräutigam"
"Der, welcher wandelt diese Straße voll Beschwerden"
"Tamino mein, o welch ein Glück"
"Wir wandelten durch Feuersgluten"
"Papagena! Papagena!"
"Pa-Pa-Pa-Pa-Pa-Pa-Papagena!"
Nur stille, stille, stille
"Die Strahlen der Sonne" - "Heil sei euch"


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