1968 THE WINNERS

 
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BIOGRAPHIES

1st Prize Winners

Hans-Georg Dahmen

‘Exeptionally beautiful voice, with a high, light-weight baritone.’ (Johan van Dongen, Eindhovens Dagblad, September 7, 1968)

Just as pointed out in De Volkskrant, by word of Henk Wehberg, it is hard to predict any given winner’s future beyond his appearance in the final concert. We have seen the Jury’s verdict in the 15^TH IVC being torn apart by the critics and audience, who, bar Johan van Dongen, all agreed on one winner, baritone Hans–Georg Dahmen. Precisely with respect to Dahmen, there is little more to be found online or elsewhere, than the things written in various Dutch newspapers with respect to his achievements at the 15^TH IVC, 1968. The quote above is one in many that singled him out as an exquisite baritone, and a great promise for the future. Leo Hanekoot wrote for De Tijd:

‘This German has one of the richest baritone sounds I have ever heard. He is also a true singer, with great artistic refinement. After he had tried his luck with dramatic approach in the semi finals, he wisely returned to his lyrical essence for the finals. In that genre he achieved singing such as only very few are capable of, perhaps Fischer-Dieskau, or Hermann Prey. His singing of Wolf’s “Verschwiegene Liebe,’ and Wolfram’s ‘O du mein holder Abenstern’ from Tannhäuser radiated like shimmering stars.’

Hanekroot further tells us that the audience loved Dahmen, and wholly agreed with his first prize. J.S., in another unidentified newspaper clipping, wholly agreed, labeling Dahmen a singer of great standing:

‘He revealed a refined timbre, which enabled him to captivate the entire audience in a trodden aria as ‘O du mein holder Abendstern,’ which took their breath away. In an aria from Cosi fan tutte he further demonstrated great comical talent.’

Through good fortune, Dahmen’s performance of the Tannhäuser aria at the finals was preserved in a Dutch Radio broacast, and we present a sample of it here:

Wagner: Tannhäuser ‘Wie Todesahnung… O du mein holder Abenstern’ Hans–Georg Dahmen (Wolfram von Eschenbach), Georges van Renesse or Gérard van Blerk (piano), Grand Auditorium Casino en Bosch, September 7, 1968.

At the time of the 15Th IVC, Dahmen had an engagement at the Lübeck Oper, Germany, which made one critic forgive him for the fact that he failed to sing Guglielmo’s Cosi fan tutte aria in the original Italian, since ‘in Lübeck they sing everything In German.’ The only less favorable review for Dahmen came from Johan van Dongen, for De Tijd. He labeled Dahmen ‘a tenor in disguise of a baritone, with a beautiful upper register, but very limited vocal means.’ One can never tell why any given singer fails to make the career that his voice at one point seemed to guarantee. In this case, Van Dongen may have understood the limitations better than those who were seduced by Dahmen’s timbre alone. Effectively, it is impossible to tell this, until we find people who can testify to what exactly happened to Dahmen after September 1968. Fortunately, the highlight of his career, his appearance at the Gala Concert of the Winners in the Casino Den Bosch, has been captured on tape, so that we can at least evaluate what the fuzz was all about. Other than that, we have nothing else except for the few pictures taken following the awards.

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Csilla Zentai

Csilla Zentai was born in Mako, Hungary, on May 23, 1940. She won her IVC Den Bosch 1968 victory as a soprano, but later added also mezzo roles to her repertoire, and billed herself as soprano/mezzo. This later Kammersängerin studied singing at the Colleges of Music in Budapest and Stuttgart. She won many prizes at international competitions. Since 1976 she has been a permanent member of the Deutsche Oper am Rhein. She also had numerous guests appearances at renowned theaters at home and abroad, such as the Wiener-und Bavarian State Opera, the Hamburg State Opera, the Deutsche Oper Berlin, Zurich, Amsterdam, Bordeaux, the Moscow Bolshoi Theater, and the Salzburg Festival. Though a stroke of good fortune, her appearance in the IVC 1968 finale of September 7, has been preserved:

Mozart: Die Zauberflöte ‘Ach, ich fühl’s’ Csilla Zentai (Pamina), Georges van Renesse or Gérard van Blerk (piano), Grand Auditorium Casino en Bosch, September 7, 1968.

At the Deutsche Oper am Rhein she was renowned for her Mozart roles, as well as for the title roles in Lucia di Lammermoor, Aida andTosca,Madama Butterfly, Desdemona in Otello, Violetta in La Traviata, Mimi in La Bohème, Leonore inFidelio, Marie in Die verkaufte Braut, Tatiana in Evgeni Onegin, Marschallin in Der Rosenkavalier, Eurydice in Gluck’s Orfeo ed Euridice, Rosalinde in Die Fledermaus, Berthe in Meyerbeer’s La prophète. Csilla Zentai is currently a professor at the Folkwang Hochschule in Essen.

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Discography

Csilla Zentai’s discography includes official recordings of Bach’s ‘Erschallet ihr Lieder’ (BWV 172), and ‘Wer da gläubet und getauft wird’ (BWV 37) for the Corona label (1972, Corona SM2049); Bach’s Johannes Passion (1971, Carus-Verlag FSM 33112 CV); Reinhard Keiser’s Markus Passion (1973, Carus).

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2ND PRIZE WINNERS

Ilie Baciu aka… Boris Bakow

The Romanian baritone Ilie Baciu was born in Iași. During the 1968 IVC, he revealed a beautiful timbre, although one critic thought that his intonation wasn’t always perfect in his semi finals aria from Don Carlo. Nonetheless, Leo Hanekroot for De Tijd judged his heroic, ringing bass voice worthy of his Second Prize in the Jos Orelio {HYPER TO HIS DD PAGE} category. Critic C. de Jong-Stolle further explained that Baciu was already a well-established opera singer [in Romania – RS], who made optimal use of his natural vocal endowments, which were foremost, a powerful voice. Regarding his IVC Gala Concert appearance, L. Sch. further noted that he was somewhat of a showman, a quality that sort of comes through on his winner’s photo – RS). For better or worse, one critic noted that he was singing in a theatrical manner that ‘apparently had survived in his native country, where elsewhere it had been modernized.’ Alas, Baciu seems not to have been a singer for the sophisticated connoisseur, but rather more the sort of singer who reached out to the galleries (a type they still can’t get enough off in a number of large opera houses around the globe – RS). Baciu later changed his name to Boris Bakow, under which name he appears in a pirate video of Busoni’s Doktor Faustus, from Teatro Communale di Bologna, 1985. On EMI’s 1992 recording of Berg’s Lulu, under Jeffrey Tate, he is Der Theaterdirektor. Since the 1980’s Bakow is professor at the Salzburg Mozarteum, where he trained an array of singers, judging on the many testimonies online, where is listed as a noted teacher in countless curriculum vitaes.

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Angela Beale

‘Angela Beale seems to be the most ready soprano among the six finalists in her category. Over the past years, the IVC has not seen a lyrical coloratura soprano of her caliber. Her beautiful, mellifluous voice expands with surprising nuance, especially with respect to the dynamics. Technique and vocal culture seem to equal out in Beale’s singing.’ Her love of song was effectuate din Liszt’s ‘Loreley,’ where she perhaps overdid things a bit with respect to the emotions conveyed.’

With those words, L. Sch. hailed the arrival of Angela Beale {HYPER TO DD-IVC PAGE, COPY THERE THIS TEXT} to Den Bosch, in an unidentified newspaper clipping. Another review noted her beautiful timbre and her sensitive diction. On the one side, little more is known about Beale in terms of biographical data. When it comes to grasp an idea of her career in singing, she is traceable throughout the 1970’s in a good number of provincial performances in England. The earliest trace of her are two 1966 concerts at St. Michael's Church Cornhill, one with a young Robert Tear in the ensemble. On October 12, 1968 she appeared in Haydn’s The Creation, with the City of Bath Bach Choir, conducted by Cuthbert Bates. Next she participated in the Fourth International Singing Contest Rio de Janeiro, where she shared her prize with Finnish soprano Helja Angerve (Dutch bass baritone Marco Bakker came in Third there, along with Venezuelan mezzo Aida Navarro). Beale was a steady performer at the Haslemere Festival from 1970 to 1975, singing in all sorts of music ranging from music from Shakespeare’s time up and to Schobert, Pfeiffer, Bach, Naudot, Handel and Telemann, Carissimi, Heinichen, Mozart, and even Dutch composer Sweelinck! She performed as soloist with countless choral societies, and throughout the British provinces. Allegedly, there’s a private broadcast recording of her in Mirza Shaffy’s song cycle, ‘Die helle Sonne leuchtet,’ for Four Songs, Op. 2 Nr. 4, with baritone John King, and pianist Elaine Hugh-Jones.

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Ria Bollen (alto)

Alto Ria Bollen was born on February 11, 1942, in St. Truiden, Limburg, Belgium. Initially, she studied psychology at the University of Leuven. In 1961 she began her vocal studies at the Conservatory of Antwerp. Her professors were Lucie Frateur, Pierre Bernac and Felix de Nobel. The combination of a sound alto voice with etremely charming looks, proved a winning combo from the start. As early as 1965, she made her professional debut in Edgar Tinel’s Godelieve, and Bach's Christmas Oratorio , conducted by Eduard Flipse. While continuing her studies, she started winning numerous awards at vocal competitions, such as at the Maria Canals Competition in Barcelona, the International Competition of the German radio stations, the Concours International de Genève, the Contest of the Gesellschaft der Musik Freunde Wien, and, in 1968, she won a Second Prize at the IVC in Den Bosch in the Kathleen Ferrier category, with mezzos/altos.

Bollen at the IVC

Given that she had debuted four years prior to the IVC competiton, and had just finished her studies at the Connservatory of Antwerp with distinction, the press thought surprisingly little of her, dubbing her almost unanimously ‘charming but lightweight,’ both during he finals and the concluding Gala Concert. Onwards, she perfected her voice with Erik Werba. Offers for concerts and radio recordings poured in, including Bach's Passions, numerous oratorios and other works from the classical repertoire, alongside contemporary works of Stravinsky and Bird in different cities of Germany, Belgium, Netherlands, France and Switzerland. At the major international festivals in Flanders, The Netherlands, Lucerne, Athens , an others, she was active as a soloist. In 1984 she appeared togther with Christa Ludwig in a performance of Debussy’s Le martyre de Saint–Sébastien, in the Viennese Musikverein, conducted by Georges Prêtre.

She further appeared in Frank Martin’s Requiem, in a Dutch broadcast of Bach’s St. Matthew’s Passion with Elly Ameling, {HYPER TO DD} Ernst Haefliger, Max van Egmond, {HYPER TO DD} under Ferninand Leitner. The Amsterdam Concertgebouw further heard her in various Passions of Bach. In 1976 Ria Bollen took part in the master classes of Christa Ludwig during the Carinthian Summer in Ossiach, which led to the invitation to participate in a performance of Mozart Betulia Liberata, at the Carinthian Summer 1977. She frequently appeared in the Aachener ‘Musik im Dom’ series, which were released on LP’s. We mention also appearances under Helmuth Rilling, with whom, in 1985, she recorded Händel’s Allesandro:

Händel: Alessandro ACT III ‘Saro qual ventò’ Ria Bollen (Cleone), La Petite Bande – Sigswald Kuijken (1985, CD Deutsche Harmonia Mundi GD 77110)

Apart from the conducters mentioned above, she also worked with Karl Richter, Gennady Roschdestvensky, Rafael Frühbeck de Burgos, Christopher Hogwood, and Nicolaus Harnoncourt.

Lieder singer

Lieder evenings with songs by Robert and Clara Schumann, Mahler or even - Schubert - Brahms - Debussy, confirmed Bollen’s success, not only as a concert singer, but especially as an interpreter of song, often accompanied from the piano by Jozef De Beenhouwer. She recorded, among others, an LP with songs by Belgian composer Jef van Hoof, and participated in a good number of other recordings that preserved the Belgian classical music heritage. We mention, among others, the LP Vlaanderen mijn Heimatland, in which she sang together with 1968 IVC Jury member Renaat Verbruggen (incognto, as ‘René’).

Paul Gilson: ‘ Oomke’ Ria Bollen (alto), Symfonisch Orkest – Gaston Nuyts (1970’s, LP Fama 12.003 Vlaanderen mijn Heimatland)

• For extra info and Ria Bollen’s full discography, please visit 401DutchDivas.nl here

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Wendy Eathorne

‘Perhaps not the largest, but certainly a very beautiful voice, is the hallmark of the inspired lyrical soprano Wendy Eathorne. She made her point in her favorite genre, oratorio, with ‘The Sun goeth down,’ from Elgar’s The Kingdom.’ (L. Sch., unidentified newspaper clipping, September 8, 1968)

Wendy Eathorne was born on September 25, 1939, in Four Lanes, Cornwall, England. She studied at the Royal Academy of Music, from 1959 to 1965, with May Blyth, Flora Neilson, and later with Dame Eva Turner. She received several Prizes at the Royal Academy of Music, and she arrived to the IVC Den Bosch 1968, as Winner of the Kathleen Ferrier Competition in 1965, and with an award from the Gulbenkian Foundation in 1967. By then se was already active in musical, debuting in the West End Musical Robert and Elizabeth (1965-1967), where she gained valuable stage experience before singing many soubrette roles. She has had numerous concert appearances, including Promenade Concerts, London; Engagements with the London Bach Choir, London Symphony Orchestra, Hallé Orchestra and other leading British orchestras. Her repertoire includes works such as George Frideric Handel’s Susanna and Belshazzar, Franz Liszt’s Missa Solemnis, and Haydn’s The Creation. She appeared with Welsh National Opera, English National Opera and Royal Opera Covent Garden and at Glyndebourne Festival Opera in 1969-1971, as Sophie in Werther, Erste Knappe in Die Zauberflöte and Atalanta in Nicholas Maw’ 1970 opera The Rising of the Moon . She made her Italian debut in Ariadne auf Naxos. Her repertoire also includes Julia in La Vestale by Spontini and Marguerite in Faust. At the time of her IVC appearance, some critics judged her not very ‘exciting,’ a label that also clang to her harmless English songs LP ‘Wendy Eathorne sings…’ However, as Sesto in Händel’s Giulio Cesare, she was particularly thrilling in France, 1978. What starts in ‘Svegliatevi nel core,’ culminates in a determined, and powerful execution of ‘Langue offesa.’

Händel: Gulio Cesare ACT I ‘Vani sono i lamenti… Svegliatevi nel core’ Wendy Eathorne (Sesto), Festival Orchestra – Charles Farncombe, Grande de La Besnadiere, France, September 23, 1978

Händel: Gulio Cesare ACT II ‘Langue offesa’ Wendy Eathorne (Sesto), Festival Orchestra – Charles Farncombe, Grande de La Besnadiere, France, September 23, 1978

Should these brief excerpts make one curious, then there’s a bit more singing of Miss. Eathorne out there, for the devoted collector, who knows where to look. Eathorne continued her busy career in concerts, broadcasts, including the Proms, and gramophone recordings under such celebrated conductors as Simon Rattle, Pierre Boulez, Bernard Haitink and Adrian Boult. She has given many recitals with the pianist Geoffrey Pratley, performing repertoire ranging from Purcell songs to modern pieces. From 1989-1994 she was Head of Vocal Studies, Opera and Music Theatre at Trinity College of Music, London, devising and administering the course there. She specialists in voice and drama, and is currently a Senior Lecturer and examiner at the college. In 1994 she was awarded the Sir Charles Santley Memorial Prize by the Worshipful Company of Musicians. She is a member of the Royal Society of Musicians, Honorary Fellow of the Cambridge Society of Musicians and a Fellow of the Royal Society of Arts.

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Discography

Wendy Eathorne’s official recordings include a solo recital LP ‘Wendy Eathorne sings Songs for Everyone’ (LP VIP Records 2058; Recorded in Wigmore Hall circa 1970, contains British concert classics by the likes of Bach, Handel, Arne, Quitler, Head, and Warlock), Bach’s ‘Mass in F major BVW 233,’ ‘Mass in A major BVW 234,’ and ‘Mass in G major BVW 236’ (ARGO ZRG 873); Delius A Village Romeo and Juliet (EMI SLS 869); Händel ‘Wedding Cantata Sing Unto God’ (Nonesuch), Monteverdi ‘Madrigals Libro IV’ (PHILIPS 9502 023); Alessandro Scarlatti’s Clori e Zeffiro (MHS 1057), and his ‘St Cecilia Mass’ (ARGO ZRG 903); Schubert ‘Mass in A flat’ (ARGO ZRG 869); Vaughan Williams The Pilgrim's Progress (EMI SLS 3741), and Sir John in Love (EMI SLS 980); Bridge’s The Christmas Rose (PAVILION SHE 582).

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Oriel Sutherland

Given that critic Johan van Dongen was the only one who recognized in Ruxandra Vlad’s singing ‘a diamond in the very rough,’ one can only ponder about his observation regarding Oriel Sutherland, who could:

‘…easily claim to have the widest ranging alto voice in the world. Her compass showed enormous depths, while she was able to rise from there to remarkable hights. She had already been the best vocalist on Friday morning, with a glorious rendition of ‘Schlagende Herzen,’ by Strauss.’

Such reflections obviously make one curious as to the voice and further career of ‘the other’ Sutherland. Regrettably, her appearance at the 1968 IVC and Van Dongen’s review (the only downright positive one in all), are also the only traceable facts of her professional career. Should you have further info about  Oriel Sutherland’s career, you may contact us at This email address is being protected from spambots. You need JavaScript enabled to view it.

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SPECIAL PRIZE WINNERS

Kaja Borris

‘Of the three Dutch sopranos, Kaja Borris was without doubt the best one. She turned her not very large voice to greater goods in terms of fine interpretation of wolf’s ‘Kennst du das Land.’ It was picture perfect up to the very last measure, without forcing. She demonstrated great musical taste.’ (L. Sch. on Kaja Borris IVC participation, unidentified newspaper clipping, September 8, 1968)

Katja/Kaja Borris (aka Katja de Boer) won her Prize from the Foundation ‘Dutch Musical Interests,’ and the Foundation ‘Friends of Song,’ apparently for her courageous recital of a song by Dutch composer Léon Orthel. Not less courageous was her breathtaking performance of the difficult ‘Gloria,’ from a Passion by the little known Dutch composer Leon C. Bouwman, which has been miraculously preserved in an odd radio broadcast of the finals:

Leon C. Bouwman, [Unidentified] Passion ‘Gloria’ Kaja Borris (soprano), Georges van Renesse or Gérard van Blerk (piano), Grand Auditorium Casino en Bosch, September 7, 1968.

Although born in The Hague, The Netherlands have completely forgotten Kaja Borris as a singer of Dutch descent. Yet, L. Sch. was wholly right when he wrote down that the name of thise extremely intelligent singer was a name to remember, for the IVC 1968’s aspiring soprano is the same Kaja Borris that enjoyed a fabulous 30 years career at the Deutsche Oper Berlin. According to the Deutsche Oper, she grew up in Berlin, and joined the ensemble there in 1973. She sang there both character roles, and leading roles. I have known collectors who marked her Erda in a 1988 performance of Siegfried as ‘sensational’. Her 1e Norn in Götterdämmerung is secure.

Wagner: Siegfried ‘Wirr wird mir!’ Kaja Borris (Erda), Wotan (Robert Hale), Deutsche Oper Berlin- Heinrich Hollreiser, October 26, 1988.

Her Cieca in La Gioconda (a.o. with Franco Bonisolli and later IVC winner Marina Slatinaru is thrilling, and treasured in Berlin, judging from the following Opera Notes review by Birgit Pop:

‘Kaja Borris could not have achieved a more touching performance of La Gioconda’s blind mother, La Cieca. She must have studied blind people very closely, in order to portray La Cieca so wholly convincing. She had previously also convinced the audience in other mezzo and alto parts, such as Tatjana’s Nurse in Evgeni Onegin. In La Gioconda she raised the stakes and impressed both with her performance and with her clear, differentiated, sensitive, well-phrased singing. With these eapons, she stole the limelight away from the other two divas.’

Borris was also a commanding Quickly in Falstaff, and an imaginative Ulrica in Un ballo in maschera 1983. In additon, there is at least one video of her on the stage of the Deutsche Oper, a filmed staging of Reimann’s Gespenstersonate. Among her many solo appearances, we mention some with the Berliner Philharmoniker in Felix Mendelssohn Bartholdy’s Elias (19769), Brahms’ ‘Altrhapsodie (1983), c Alexander Skriabin’s ‘Symphonie Nr. 1’ conducted by Riccardo Muti (1986).

For Kaja Borris’ discography, please visit 401DutchDivas.nl here {LINK TO HER DUTCHDIVAS PAGE}

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Hubert Waber

{VIDEO INTRO + OUTRO:‘Hoe schoon us Limburg is’

‘Maastricht born Hubert Waber revealed a splendid timbre in ‘The trumpet shall sound,’ from Händel, an aria that he performed with amazing ease. Likewise his renditions of Poulenc’s ‘Le bestiaire,’ and aria’s by Verdi and Halévy.’ (L. Sch., unidentified newspaper clipping)

Hubert Waber was born on April 3, 1938 in Heer, Maastricht, Limburg. Initially, he was employed in the graphic industry, in a printing facility. Once he discovered his deep, dark, bass voice, he trained with Leo Ketelaars in Maastricht. In 1966 he debuted as Ramfis in Aïda on the stage of the Zuid-Nederlandse Opera (South-Dutch Opera). For a while, he sang with the Wiener Kammeroper, where he debuted in 1967, in Mozart’s La finta semplice. This was also the year in which his steady engagement with the Dutch National Opera started. His winning the Encouragement Prize at the IVC 1968 was to be followed by a Second Prize in 1969. On his 1968 appearance, C. de Jong–Stolle wrote:

‘The Dutch bass Hubert Waber from Maastricht cut a fine figure. His voice has a splendid color, he sings with ease, and is very musical.’

In 1970, Waber was among the prizewinners in the Montréal Vocal Competition. His term with the Dutch National Opera culminated in portrayals of Donizetti’s Don Pasquale, and Osmin in Mozart’s Die Entführung aus dem Serail. Other roles in his repertoire were Philips II in Verdi’s Don Carlo, Sarastro in Mozart’s Die Zauberflöte, Méphistophélès in Gounod’s Faust, and Varlaam in Mussorgsky’s Boris Godunov. Beyond the mentioned engagements, he made guest appearances with the Deutsche Oper am Rhein in Düsseldorf-Duisburg. Waber was also a noted concert bass.

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SECUNDARY PRIZES

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Catherine Ryan

An undentified critic noted Catherine Ryan’s aria from Menotti’s The Consul during the semi finals, as ‘wholly convincing,’ but other than that, all nformation on Ryan is lacking, other than that she received an Honoray Diploma.

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Paula Page

Critic J.S., in an unidentified newspaper clipping, writote of Paula Page that it was ‘impossible to understand why the Jury elected Cszila Zentai as the winner among three excellent candidates, instead of soprano Angela Beale, or the American mezzo Paula Page, who revealed a level such as we do not witness every year here.’ A fascinating, bold statement that makes you wish you could hear her voice either in the Final, or in the VARA Radio concert. Regrettably, she was not recorded at the finals, and not selected for the radio broadcast either.

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Dirk Schortemeier

All critics agreed that baritone Dirk Schortemeier’s voice was not technically developed enough to merit any prize, although there were some interesting elements in his voice that made him a singer who was noted, even though he didn’t reach beyond the semi finals. In fact, he was so much noted, that VARA Radio selected him among their pick for a VARA Radio recital. Critic C. de Jong-Stolle noted of Schortemeier must have been pleased to see that, since he regretted that the young baritone had not passed to the finals, even though he had evident shortcomings. Notwithstanding these technical defects, De Jong-Stolle noted that what this Lieder singer achieved with a varied and refined recitation, was absolutely worth listening to