Special offer. Ruth-Margret Pütz: Recital
Ruth-Margret Pütz (soprano)
Special offer. Ruth-Margret Pütz: Recital
Ruth-Margret Pütz (soprano)
Purchase product
This is an ideal way to get to know the vocal artistry of Ruth-Margret Pütz.
About
If there is one German singer of the post-war era who rose from nowhere to fame and fortune, then surely that singer is Ruth-Margret Putz. When she was born on February 26, 1930 – sometimes wrongly given as 1931 – in Krefeld, she was the daughter neither of a family of musicians nor of a middle-class, educated household where an early musical education would have been seen as a character-building exercise. On the contrary: young Margret Doerkens rarely came into contact with music, except through a distant uncle who owned a piano. It is all the more rewarding therefore that this CD offers twenty-first-century listeners the opportunity of acquainting themselves with Ruth-Margret Putz's wide-ranging vocal ability and artistic attributes.
Contents and tracklist
- Ruth-Margret Pütz (soprano), Leopold Clam (tenor), Karl-Ernst Mercker (tenor), Marcel Cordes (baritone)
- Berlin Municipal Opera Choir, Berliner Symphoniker
- Berislav Klobučar
- Ruth-Margret Pütz (soprano)
- Berliner Symphoniker
- Berislav Klobučar
- Ruth-Margret Pütz (soprano)
- Berliner Symphoniker
- Berislav Klobučar
- Ruth-Margret Pütz (soprano)
- Berliner Symphoniker
- Berislav Klobučar
- Ruth-Margret Pütz (soprano), Liselotte Becker-Egner (soprano), Josef Traxel (tenor), Gerhard Unger (tenor)
- Mozarteum Orchestra Salzburg, Orchester der Württembergischen Staatsoper
- Istvan Kertesz, Ferdinand Leitner
- Recorded: 4 August 1961
- Recording Venue: Residenz, Salzburg, Austria
- Ruth-Margret Pütz (soprano)
- Orchester der Württembergischen Staatsoper
- Ferdinand Leitner
Awards and reviews
December 2018
This is an ideal way to get to know the vocal artistry of Ruth-Margret Pütz.
December 2018
The Mozart concert aria is artfully and sensitively performed, and it is remarkable just how much feeling she can inject into what is basically a soubrette-sized tone. Constanze’s ‘Traurigkeit’ is another deeply perceptive performance…[in ‘Grossmächtige Prinzessin’] Pütz establishes that she knows exactly what to do with Strauss’s notes beyond merely singing them.