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𝑭𝒓𝒐𝒎 𝑺ł𝒐𝒘𝒏𝒊𝒌 𝒃𝒊𝒐𝒈𝒓𝒂𝒇𝒊𝒄𝒛𝒏𝒚 𝒕𝒆𝒂𝒕𝒓𝒖 𝒑𝒐𝒍𝒔𝒌𝒊𝒆𝒈𝒐 𝟏𝟕𝟔𝟓-𝟏𝟗𝟔𝟓, 𝒕. 𝑰, 𝑷𝑾𝑵 𝑾𝒂𝒓𝒔𝒛𝒂𝒘𝒂 𝟏𝟗𝟕𝟑:

𝐇𝐄𝐋𝐋𝐄𝐑 𝐌𝐢𝐫𝐚, real name Kazimiera H., married name Olszewska (born February 28, 1866, 1868, or 1869 in Kraków – died after 1920 in the USA), singer. She was the daughter of Władysław H., an official, and Maria née Huber, and the sister of Ludwik H. She studied singing under M. Biernacki in Stanisławów and at the school of A. Paschalis and A. Souvestre in Lviv. She made her debut on March 13, 1887, at the Lviv Opera in the title role of Carmen. For several years, she sang mezzo-soprano roles on this stage (including Rosina in The Barber of Seville, April 24, 1891) and went on guest performances to Kraków (1890), Milan, and Venice. During the 1891/92 season, she performed with the Italian Opera in Odessa and Kyiv, and in the 1892/93 season in Budapest. She was subsequently engaged in Vienna but soon broke the contract because she was inappropriately cast in alto roles. From January 1 to May 1893, she performed with great success at the Warsaw Grand Theatre (Teatr Wielki), singing, among others, the title roles in Mignon and Carmen, as well as Santuzza (Cavalleria rusticana), Selika (L'Africaine), and Amneris (Aida). That same year, she also gave concerts in Łódź, St. Petersburg, Moscow, and again in Warsaw (October 24 – November 12).

#MiraHeller #soprano #Vissidarte #HistoricalVoices

bel canto • chest voice • Singers of the century • aria • Golden Age of Opera • Art of Singing • Music • photography • Voices from the past • Echoes from the past • Art • Voices of the past • Opera • Art of Bel Canto • Art of Song • Historical Voices • Poland • Metropolitan Opera • Met • Soprano • Forgotten Divas • Mira Heller taken in Poland by @opera.ghosts

10

3

3 hours ago

𝐑𝐚𝐜𝐡𝐞𝐥 𝐌𝐨𝐫𝐭𝐨𝐧 𝐇𝐚𝐫𝐫𝐢𝐬 - 𝐕𝐢𝐬𝐬𝐢 𝐝'𝐚𝐫𝐭𝐞 𝐟𝐫𝐨𝐦 𝐓𝐨𝐬𝐜𝐚 𝐛𝐲 𝐆𝐢𝐚𝐜𝐨𝐦𝐨 𝐏𝐮𝐜𝐜𝐢𝐧𝐢 (𝐬𝐮𝐧𝐠 𝐢𝐧 𝐄𝐧𝐠𝐥𝐢𝐬𝐡).

𝑹𝒂𝒄𝒉𝒆𝒍 𝑴𝒐𝒓𝒕𝒐𝒏 (𝑾𝒆𝒃𝒔𝒕𝒆𝒓, 𝑴𝒂𝒔𝒔𝒂𝒄𝒉𝒖𝒔𝒆𝒕𝒕𝒔, 𝟏𝟖𝟖𝟗 – 𝑪𝒂𝒓𝒎𝒆𝒍, 𝑪𝒂𝒍𝒊𝒇𝒐𝒓𝒏𝒊𝒂, 𝟏𝟑 𝑨𝒑𝒓𝒊𝒍, 𝟏𝟗𝟖𝟐)

She had a Canadian mother and a Yorkshire-born father who emigrated to the US from Canada. In 1912, she auditioned in Berlin for Lilli Lehmann, who recommended that she study with Clara Willenbucher. She also trained under Gertrude Miller, Frank King-Clark, and Frau Niklaus Kempner, the teacher of Frieda Hempel. After auditioning for Gatti-Casazza at the New York Metropolitan Opera, she returned to Europe to study with Jean de Reszke.

Her operatic debut came in December 1924 in Nice, where she performed as Donna Anna, followed by Sieglinde. This success led to Frederic Austin offering her a contract with the British National Opera Company (BNOC), where she made her debut as Tosca in 1925. The cast included Tudor Davies and Percy Heming, conducted by Malcolm Sargent. She remained with BNOC until 1928, performing roles such as Tosca, Aïda, Elsa, Elisabeth, Eva, Sieglinde, Kundry, and Isolde, often under the baton of Adrian Boult.

#RachelMortonHarris #soprano #Vissidarte #Tosca #GiacomoPuccini

Rachel Morton • soprano • dramatic soprano • Rachel Morton Harris • concert singer • voice teacher • Vissi d'arte • Tosca • Opera in English • Giacomo Puccini • bel canto • chest voice • Singers of the century • aria • Golden Age of Opera • Art of Singing • Music • photography • Voices from the past • Echoes from the past • Art • Voices of the past • Opera • Art of Bel Canto • Art of Song • Historical Voices • Forgotten Divas • Love And Music • Thse Have I Lived For • United State taken in United States by @opera.ghosts

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3 hours ago

𝐓𝐫𝐢𝐬𝐭𝐚𝐧 𝐮𝐧𝐝 𝐈𝐬𝐨𝐥𝐝𝐞

There are many opera singers who – although they have not achieved world fame – have nevertheless contributed greatly to the spread of Richard Wagner’s operas.

Here are a few of them in a rule from the opera "Tristan und Isolde".

1. Alois Hadwiger as Tristan - Bremen, ?

#TristanundIsolde #Opera #RichardWagner #HistoricalVoices

Tristan und Isolde • Richard Wagner • Opera • bel canto • chest voice • aria • music drama • Tristan and Isolde • medieval romance • Tristan and Iseult • medieval legend • German Romantic movements • German Romanticism • Middle Ages • Germany • Golden Age of Opera • Art of Singing • Music • photography • Voices from the past • Echoes from the past • Art • Voices of the past •Art of Bel Canto • Art of Song • Wagnerian repertoire • Historical Voices

2. Mathilde Fraenkel-Claus as Isolde - Hamburg, 1897

3. Clotilde Bressler-Gianoli as Brangäne - Brussels, 1906

4. Willy Lüppertz as Marke - Leipzig, ?

5. Paula Ucko-Hüsgen as Isolde - Schwerin, ?

6. Matilde de Lerma as Isolde - Padova, 1913

7. Max Merter Ter Meer as Tristan - Zurich, ?

8. Emilie Frick as Isolde - Weimar, 30s

9. Cecilia Gagliardi as Isolde - Barcelona, 1909

10. Florence Easton as Isolde - Metropolitan Opera New York, 1920

11. Maud Perceval Allen as Isolde (or Brangäne?) - UK, ?

12. Josephine von Hübbenet as Isolde - Düsseldorf, ?

13. Margarete Krämer-Bergau as Brangäne - Schwerin, 1926

14. Elisabeth Ohms as Isolde - Munich, ?

15. Elena Rakoswska-Serafin as Isolde - ?, ?

16. Gina de Zorzi as Isolde - Parma, 1925 taken in Germany by @opera.ghosts

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2 days ago

𝐄𝐥𝐢𝐬𝐚𝐛𝐞𝐭𝐡 𝐎𝐡𝐦𝐬 - 𝐌𝐢𝐥𝐝 𝐮𝐧𝐝 𝐥𝐞𝐢𝐬𝐞 𝐰𝐢𝐞 𝐞𝐫 𝐥ä𝐜𝐡𝐞𝐥𝐭 (𝐈𝐬𝐨𝐥𝐝𝐞’𝐬 𝐋𝐢𝐞𝐛𝐞𝐬𝐭𝐨𝐝) 𝐟𝐫𝐨𝐦 𝐓𝐫𝐢𝐬𝐭𝐚𝐧 𝐮𝐧𝐝 𝐈𝐬𝐨𝐥𝐝𝐞 𝐛𝐲 𝐑𝐢𝐜𝐡𝐚𝐫𝐝 𝐖𝐚𝐠𝐧𝐞𝐫

𝑭𝒓𝒐𝒎 𝑶𝒑𝒆𝒓𝒂 𝑽𝒊𝒗𝒓à:

𝐄𝐥𝐢𝐬𝐚𝐛𝐞𝐭𝐡 𝐎𝐡𝐦𝐬 (1888-1974), Soprano.

Like Lotte Lehmann, Frida Leider, Elisabeth Schumann, Heinrich Schlusnus and Friedrich Schorr, Elisabeth Ohms, too, was born in 1888 – to be more precise on May 17th in Arnhem, The Netherlands. She studied violin and piano and only at the age of 28 decided to become a singer. She was trained at the Conservatory of Amsterdam and later at Frankfurt am Main in Germany and made her debut in 1921 at the Stadttheater in Mainz. Only two years later she signed a contract with the Munich State Opera, which was to become her artistic home for the next 20 years. It was in Beethoven´s “Fidelio“ that she was heard there for the first time on March 14th 1922. She was Munich´s first Turandot on November 11th 1927 and also the first “Ägyptische Helena“ under Hans Knappertsbusch on October 8th 1928. Arturo Toscanini, who was one of her greatest admirers, brought her to the Scala of Milan, where she sang the roles of Kundry and Isolde in 1927 and 1929. In Vienna she appeared in guest performances as Brünnhilde in “Die Walküre“ and Ortrud and as Isolde under the direction of Richard Strauss on January 8th 1928. In the years 1928, 1929 and 1935 Elisabeth Ohms was heard at the Covent Garden Opera in London and in 1930 made her debut at the Metropolitan Opera in New York in “Fidelio“. During this and the following season in New York she was greatly acclaimed as Ortrud, Venus and Isolde and furthermore sang all Brünnhildes in the „Ring“-cycle.

#ElisabethOhms #soprano #IsoldesLiebestod #TristanundIsolde #RichardWagner
Elisabeth Ohms • dramatic soprano • soprano • Covent Garden • Metropolitan Opera • Met • La Scala • Bayreuth Festival • taken in The Netherlands by @opera.ghosts

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2 days ago

𝐅𝐞𝐛𝐫𝐮𝐚𝐫𝐲 𝟔, 𝟏𝟗𝟎𝟗 𝐚𝐭 𝐭𝐡𝐞 𝐌𝐞𝐭𝐫𝐨𝐩𝐨𝐥𝐢𝐭𝐚𝐧 𝐎𝐩𝐞𝐫𝐚. 𝐎𝐧 𝐭𝐡𝐢𝐬 𝐞𝐯𝐞𝐧𝐢𝐧𝐠, 𝐭𝐡𝐞 𝐠𝐫𝐞𝐚𝐭 𝐟𝐚𝐫𝐞𝐰𝐞𝐥𝐥 𝐆𝐚𝐥𝐚 𝐭𝐨𝐨𝐤 𝐩𝐥𝐚𝐜𝐞, 𝐦𝐚𝐫𝐤𝐢𝐧𝐠 𝐭𝐡𝐞 𝐥𝐚𝐬𝐭 𝐭𝐢𝐦𝐞 𝐭𝐡𝐚𝐭 𝐭𝐡𝐞 𝐠𝐫𝐞𝐚𝐭 𝐬𝐨𝐩𝐫𝐚𝐧𝐨 𝐌𝐚𝐫𝐜𝐞𝐥𝐥𝐚 𝐒𝐞𝐦𝐛𝐫𝐢𝐜𝐡 𝐚𝐩𝐩𝐞𝐚𝐫𝐞𝐝 𝐨𝐧 𝐬𝐭𝐚𝐠𝐞 𝐢𝐧 𝐭𝐡𝐢𝐬 𝐨𝐩𝐞𝐫𝐚 𝐡𝐨𝐮𝐬𝐞. 𝐓𝐡𝐢𝐬 𝐰𝐚𝐬 𝐡𝐞𝐫 𝐬𝐢𝐥𝐯𝐞𝐫 𝐉𝐮𝐛𝐢𝐥é𝐞. 𝐓𝐡𝐢𝐬 𝐰𝐨𝐧𝐝𝐞𝐫𝐟𝐮𝐥 𝐏𝐨𝐫𝐭𝐫𝐚𝐢𝐭 𝐟𝐫𝐨𝐦 𝐭𝐡𝐞 𝐢𝐦𝐩𝐨𝐫𝐭𝐚𝐧𝐭 𝐏𝐡𝐨𝐭𝐨𝐠𝐫𝐚𝐩𝐡𝐞𝐫 𝐀𝐢𝐦é 𝐃𝐮𝐩𝐨𝐧𝐝 𝐰𝐚𝐬 𝐬𝐢𝐠𝐧𝐞𝐝 𝐞𝐱𝐚𝐜𝐭𝐥𝐲 𝐨𝐧 𝐭𝐡𝐚𝐭 𝐟𝐚𝐦𝐨𝐮𝐬 𝐞𝐯𝐞𝐧𝐢𝐧𝐠 𝐟𝐨𝐫 𝐡𝐞𝐫 𝐠𝐫𝐞𝐚𝐭 𝐅𝐫𝐢𝐞𝐧𝐝 𝐌𝐚𝐱 𝐇𝐢𝐫𝐬𝐜𝐡.
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𝑭𝒓𝒐𝒎 𝑷𝒐𝒍𝒔𝒌𝒂 𝑩𝒊𝒃𝒍𝒊𝒐𝒕𝒆𝒌𝒂 𝑴𝒖𝒛𝒚𝒄𝒛𝒏𝒂:
𝐌𝐚𝐫𝐜𝐞𝐥𝐥𝐚 𝐒𝐞𝐦𝐛𝐫𝐢𝐜𝐡-𝐊𝐨𝐜𝐡𝐚ń𝐬𝐤𝐚 (born Marcella Sembrich, née Prakseda Marcelina Kochańska, married name Stengel; adopted her mother's maiden name Sembrich), born February 15 or 18, 1858 in Wiśniowczyk (near Tarnopol), died January 11, 1935 in New York, Polish singer (soprano). She studied the piano and the violin under her father, Kazimierz, an amateur musician who played the clarinet, organ, and cello. She made her first public appearance at the age of 12. From 1870 to 1873, she studied at the Lviv Conservatory in the violin class of Z. Brückmann and the piano class of Wilhelm Stengel (1846–1917), her future husband and manager. Supported by a small scholarship from the Galician Diet and private funding, she graduated in 1875 with a degree in piano and violin and traveled to Vienna to pursue further studies at the conservatory (studying piano under J. Epstein and violin under J. Hellmesberger I). In 1875, she began her systematic vocal training under V. Rokitansky in Vienna, and after a year, she continued her studies in Milan under G.B. Lamperti. Later, she also took lessons from his father, F. Lamperti, and worked on the German opera repertoire with R. Löwy in Vienna.

#MarcellaSembrich #soprano #ForgottenDivas #HistoricalVoices

Marcella Sembrich • dramatic soprano • soprano • coloratura soprano • the nightingale • polska Patti • Artystka świata • Polska artystka świata • Absolutna primadonna taken in Polska by @opera.ghosts

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4 days ago

𝐌𝐚𝐫𝐜𝐞𝐥𝐥𝐚 𝐒𝐞𝐦𝐛𝐫𝐢𝐜𝐡 - 𝐎 𝐥𝐮𝐜𝐞 𝐝𝐢 𝐪𝐮𝐞𝐬𝐭'𝐚𝐧𝐢𝐦𝐚 𝐟𝐫𝐨𝐦 𝐋𝐢𝐧𝐝𝐚 𝐝𝐞 𝐂𝐡𝐚𝐦𝐨𝐮𝐧𝐢𝐱 𝐛𝐲 𝐆𝐚𝐞𝐭𝐚𝐧𝐨 𝐃𝐨𝐧𝐢𝐳𝐞𝐭𝐭𝐢

#MarcellaSembrich #soprano #Olucediquestanima #LindadeChamounix #GaetanoDonizetti

Marcella Sembrich • dramatic soprano • soprano • coloratura soprano • the nightingale • polska Patti • Artystka świata • Polska artystka świata • Absolutna primadonna • Królowa Metropolitan Opera • Pierwsza gwiazda The Met • Metropolitan Opera • Met • Royal Opera House • Polish Patti • Covent Garden • O luce di quest anima • Polska • Linda de Chamounix • Gaetano Donizetti • chest voice • bel canto • aria • Golden Age of Opera • Art of Singing • Music • photography • Voices from the past • Echoes from the past • Art • Voices of the past • Opera • Art of Bel Canto • Art of Song • Historical Voices • Forgotten Divas taken in Polska by @opera.ghosts

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4 days ago

𝐏𝐨𝐬𝐭𝐜𝐚𝐫𝐝 𝐟𝐨𝐫 𝐭𝐡𝐞 𝐩𝐫𝐞𝐦𝐢𝐞𝐫𝐞 𝐨𝐟 "𝐓𝐨𝐬𝐜𝐚" 𝐚𝐭 𝐭𝐡𝐞 𝐂𝐨𝐬𝐭𝐚𝐧𝐳𝐢 𝐓𝐡𝐞𝐚𝐭𝐫𝐞 𝐢𝐧 𝐑𝐨𝐦𝐞 𝐨𝐧 𝐉𝐚𝐧𝐮𝐚𝐫𝐲 𝟏𝟒, 𝟏𝟗𝟎𝟎.

#GiacomoPuccini #Puccini #Tosca #Postcards #Postcard

Postcard • 1900s • Tosca • Postcards • Giacomo Puccini • Costanzi Theatre • Rome • Italy • chest voice • bel canto • aria • Golden Age of Opera • Art of Singing • Music • photography • Voices from the past • Echoes from the past • Art • Voices of the past • Opera • Art of Bel Canto • Art of Song • Historical Voices • vintage postcards • Opera History • Italy • classical composer • Maestro • Vissi d'arte taken in Italy by @opera.ghosts

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6 days ago

𝐎𝐏𝐄𝐑𝐀 𝐎𝐍 𝐏𝐎𝐒𝐓𝐂𝐀𝐑𝐃𝐒

"𝐅𝐚𝐮𝐬𝐭" 𝐚𝐬 𝐝𝐞𝐩𝐢𝐜𝐭𝐞𝐝 𝐨𝐧 𝐞𝐚𝐫𝐥𝐲 𝟐𝟎𝐭𝐡-𝐜𝐞𝐧𝐭𝐮𝐫𝐲 𝐩𝐨𝐬𝐭𝐜𝐚𝐫𝐝𝐬 𝐩𝐮𝐛𝐥𝐢𝐬𝐡𝐞𝐝 𝐛𝐲 𝐄. 𝐒𝐨𝐫𝐦𝐚𝐧𝐢-𝐌𝐢𝐥𝐚𝐧𝐨.

#Faust #CharlesGounod #Opera #OperaonPostcards #Postcards

chest voice • bel canto • aria • Golden Age of Opera • Art of Singing • Music • photography • Voices from the past • Echoes from the past • Art • Voices of the past • Opera • Art of Bel Canto • Art of Song • Historical Voices • Opera on Postcards • Postcards • Postcard • Faust • Charles Gounod • vintage postcards taken in France by @opera.ghosts

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8 days ago

𝐏𝐚𝐮𝐥 𝐏𝐥𝐚𝐧ç𝐨𝐧 - 𝐕𝐨𝐮𝐬 𝐪𝐮𝐢 𝐟𝐚𝐢𝐭𝐞𝐬 𝐥'𝐞𝐧𝐝𝐨𝐫𝐦𝐢𝐞 (𝐒𝐞𝐫𝐞𝐧𝐚𝐝𝐞 𝐌𝐞𝐩𝐡𝐢𝐬𝐭𝐨𝐩𝐡𝐞𝐥𝐞𝐬) 𝐟𝐫𝐨𝐦 𝐅𝐚𝐮𝐬𝐭 𝐛𝐲 𝐂𝐡𝐚𝐫𝐥𝐞𝐬 𝐆𝐨𝐮𝐧𝐨𝐝. 𝐑𝐞𝐜. 𝟏𝟗𝟎𝟔

𝑭𝒓𝒐𝒎 𝑺𝒊𝒏𝒈𝒆𝒓𝒔 𝒐𝒇 𝒕𝒉𝒆 𝒄𝒆𝒏𝒕𝒖𝒓𝒚 𝒃𝒚 𝑺𝒕𝒆𝒂𝒏𝒆, 𝑱. 𝑩:

Paul Plançon

Even Plançon… had some faults
W.J. Henderson

Even Plançon W.J. Henderson, no stranger to these pages, was writing on 3 August 1921 to mark the death of Enrico Caruso. He was music critic for the New York Sun, and his writings date back to the early 1880s. When Caruso made his debut at the Metropolitan, Henderson had already the experience of two decades of opera-going, having lived through what to so many of his generation was the golden age of singing, when the principal tenor was Jean de Reszke. Of that 'golden age', the bass Po Plançon was the most steadfast of leading lights. He remained with the company till 1908, and his continuing memory shed its glow over the rest of the Caruso era. At any rate, when Henderson, even on this solemn occasion, could not refrain from striking a proper critical balance, reminding his readers that 'Mr Caruso's art was far from faultless', it was Plançon whose name came to mind as having been the nearest to perfection in his long experience.

#PolPlançon #bass #SérénadedeMéphistophélès #CharlesGounod #Faust

Pol Plançon • bass • basse chantante • Paris Opera • Royal Opera House • Covent Garden • Metropolitan Opera • Met • France • bel canto • chest voice • Singers of the century • aria • Golden Age of Opera • Art of Singing • Music • photography • Voices from the past • Echoes from the past • Art • Voices of the past • Opera • Art of Bel Canto • Art of Song • Historical Voices • Vous qui faites l'endormie • Faust • Charles Gounod • Sérénade de Méphistophélès taken in France by @opera.ghosts

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8 days ago

𝐓𝐫𝐢𝐬𝐭𝐚𝐧 𝐮𝐧𝐝 𝐈𝐬𝐨𝐥𝐝𝐞

There are many opera singers who – although they have not achieved world fame – have nevertheless contributed greatly to the spread of Richard Wagner’s operas.

Here are a few of them in a rule from the opera "Tristan und Isolde".

1. Auguste Gerstorfer as Isolde - Bremen, ?

#TristanundIsolde #RichardWagner #Wagner #Opera #HistoricalVoices

Tristan und Isolde • Richard Wagner • Opera • bel canto • chest voice • aria • music drama • Tristan and Isolde • medieval romance • Tristan and Iseult • medieval legend • German Romantic movements • German Romanticism • Middle Ages • Germany • Golden Age of Opera • Art of Singing • Music • photography • Voices from the past • Echoes from the past • Art • Voices of the past • Art of Bel Canto • Art of Song • Wagnerian repertoire • Historical Voices

2. Francis Maclennan as Tristan - Berlin, ?

3. Louise Kirkby-Lunn as Brangäne - London, ?

4. Josef Groenen as Kurwenal - Hamburg, ?

5. Felix von Kraus as Marke - Bayreuth, 1906

6. ? as Isolde - Prague, around 1900

7. Theo Drill-Oridge as Isolde - Hamburg, 1919

8. Louise Mancini as Isolde - Strassbourg, 1929

9. Flora Perini as Brangäne - Buenos Aires, 1911

10. Rudolf Jung as Tristan - München, 1923

11. Sara Sebeök as Isolde - Budapest, 1913

12. Robert Blass as Marke - Metropolitan Opera New York, 1904

13. Beatrice Sutter-Kottlar as Isolde - Frankfurt, 20s

14. Sofie Wolf as Isolde - Frankfurt, ?

15. Sophie Wiesner as Isolde - Riga, 1905

16. Eva Clairmont as Brangäne - München, ? taken in Germany by @opera.ghosts

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10 days ago

𝐋𝐢𝐥𝐥𝐢𝐚𝐧 𝐍𝐨𝐫𝐝𝐢𝐜𝐚 - 𝐌𝐢𝐥𝐝 𝐮𝐧𝐝 𝐥𝐞𝐢𝐬𝐞 𝐰𝐢𝐞 𝐞𝐫 𝐥ä𝐜𝐡𝐞𝐥𝐭 (𝐈𝐬𝐨𝐥𝐝𝐞’𝐬 𝐋𝐢𝐞𝐛𝐞𝐬𝐭𝐨𝐝) 𝐟𝐫𝐨𝐦 𝐓𝐫𝐢𝐬𝐭𝐚𝐧 𝐮𝐧𝐝 𝐈𝐬𝐨𝐥𝐝𝐞 𝐛𝐲 𝐑𝐢𝐜𝐡𝐚𝐫𝐝 𝐖𝐚𝐠𝐧𝐞𝐫

𝑭𝒓𝒐𝒎 𝑳𝒊𝒍𝒍𝒊𝒂𝒏 𝑵𝒐𝒓𝒅𝒊𝒄𝒂'𝒔 𝑯𝒊𝒏𝒕𝒔 𝒕𝒐 𝑺𝒊𝒏𝒈𝒆𝒓𝒔 𝒃𝒚 𝑵𝒐𝒓𝒅𝒊𝒄𝒂, 𝑳𝒊𝒍𝒍𝒊𝒂𝒏, 𝟏𝟖𝟓𝟕-𝟏𝟗𝟏𝟒:

𝐖𝐚𝐠𝐧𝐞𝐫

In the Study of Wagner one must begin with the lighter parts, but in his operas the length of a rôle has nothing to do with its degree of 'difficulty; to Gutrune he has allotted just as difficult music as to Brünnhilde, the only difference lies in the duration of the terrible strain, which in the latter must be sustained for hours, and in the former for minutes.

Many, without having an idea of their contents or their demand, are imbued with the idea that they would like to sing certain Wagnerian rôles. Anton Seidl once told me with great amusement of a young lady who constantly expressed her intention to sing Isolde, when, in fact, she had never been able to conquer the syncopated quartette in Mefistofele.

After progressing a little way in the music of Isolde, the singer who is not fully equipped and fitted for the task through gradual musical growth and development, is apt to find the pons asinorum of the school boy Nordi.

#LillianNordica #soprano #IsoldesLiebestod #TristanundIsolde #RichardWagner

Lillian Nordica • dramatic soprano • soprano • Royal Opera House • Covent Garden • Bayreuth Festival • Metropolitan Opera • Met • chest voice • bel canto • aria • Golden Age of Opera • Art of Singing • Music • photography • Voices from the past • Echoes from the past • Art • Voices of the past • Opera • Art of Bel Canto • Art of Song • Historical Voices • Forgotten Divas • Isolde’s Liebestod • Tristan und Isolde • Richard Wagner • Mild und leise wie er lächelt • Lily taken in United States by @opera.ghosts

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10 days ago

Thank You @edwardian_ephemera

𝑭𝒓𝒐𝒎 𝑻𝒉𝒆 𝒀𝒐𝒖𝒏𝒈 𝒘𝒐𝒎𝒂𝒏. 𝑪𝒐𝒏𝒅𝒖𝒄𝒕𝒆𝒅 𝒃𝒚 𝑭.𝑨. 𝑨𝒕𝒌𝒊𝒏𝒔 (𝟏𝟖𝟗𝟖) 𝒃𝒚 𝑭𝒓𝒆𝒅𝒆𝒓𝒊𝒄𝒌 𝑨𝒏𝒕𝒉𝒐𝒏𝒚 𝑨𝒕𝒌𝒊𝒏𝒔:

𝐓𝐡𝐞 𝐲𝐨𝐮𝐧𝐠 𝐰𝐨𝐦𝐚𝐧

𝗔 𝗰𝗵𝗮𝘁 𝘄𝗶𝘁𝗵 𝗮 𝗳𝗮𝗺𝗼𝘂𝘀 𝘀𝗶𝗻𝗴𝗲𝗿.

𝑴𝒊𝒔𝒔 𝑪𝒍𝒂𝒓𝒂 𝑩𝒖𝒕𝒕 𝒂𝒕 𝒉𝒐𝒎𝒆.

"I SING because I love singing," said Miss Clara Butt; and no one who has been under the wonderful charm of her sweet voice will doubt that its music is from the heart. "Poets are born, not made," said somebody, and what is true of poets is equally true of singers. You can never train a crow to sing like the nightingale, and the nightingale, even without training, can never croak like a crow. So that and women undistinguished, whose hearts had been touched by the sweet simple music which has won for Miss Butt a high fame in more than one royal palace, in more than one great country, and in hundreds of great cities and towns throughout the world. These photographs are what you notice first of all on entering Miss Butt's drawing-room, and across many of them are written some affectionate training, essential and important as it is, is merely a secondary thing. "God sends His singers into the world," Miss Butt whispered as we talked to-gether, "and if He does not send them they can't be made."

#ClaraButt #contralto #dramaticcontralto #HistoricalVoices #ForgottenDivas

Clara Butt • contralto • dramatic contralto • Dame Clara Ellen Butt • Royal College of Music • England • Royal Albert Hall • Covent Garden • Voice of the Empire • chest voice • bel canto • aria • Golden Age of Opera • Art of Singing • Music • photography • Voices from the past • Echoes from the past • Art • Voices of the past • Opera • Art of Bel Canto • Art of Song • Historical Voices • Forgotten Divas taken in England, UK by @opera.ghosts

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12 days ago