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ALBERT ALVAREZ, Tenor, * 16 January 1861 Cenon bei Bordeaux, † 26 February 1933 Nizza;

His real name is Raymond Gourron. He was first bandmaster of a military chapel, but in 1883 began to study singing with the martini in Paris. 1886 debut at the Opera of Ghent as Gounod’s Faust. He then sang in Lyon and Marseille in 1892 and came to the Grand Opera of Paris (Left game: fist). He sang on 06.20.1894 in the premiere of Massenet’s “Thaïs” the Nicias, 1895 in the world premiere of “La Montagne Noire” from Augusta Holmès, 1897 the Walther von Stolzing in the Paris premiere of “Meistersinger” Wagner (in french language), in 1897 the world premiere of A. Bruneau »Messidor,” 1901 in the world premiere of “Astarte” by Xavier Leroux, 1904 in of “Le fils de l’Étoile” by Camille Erlanger, he participated in the Grand Opéra Paris also in 1896 at the premiere of the opera “Hellé” by Victor Duvernoy, 1898 at the of “La Burgonde” by Paul Vidal and 1905 at the premiere of the opera “Fredegonde” by Ernest Guiraud part. In Monte Carlo, he starred in the world premieres of operas “Messaline” De Lara (21/03/1899) and “Hélène” (dedicated to Nellie Melba) of Saint-Saëns (02/18/1904) with. With Jules Massenet and with the then-known composer Isidore de Lara, he was acquainted. Almost every year guested frequently 1893-1903 at Covent Garden Opera London. Here he sang on the 20/06/1894 Araquil in the world premiere of the opera “La Navarraise” by Massenet, in 1893 in the world premiere of “Amy Robsart” by Isidore De Lara. In 1899-1903 he was the Metropolitan Opera New York (Roméo first role in “Roméo et Juliette” by Gounod). In 1907-08 he undertook a major tour of Belgium and Germany. Then he worked at the Grand Opéra again, and finally he worked as a teacher in Paris. – Besides the quality of his voice material and high musicality of the lecture you praised his stately stage presence as his intelligent art of presentation. On the Bühen its major roles of Raoul were in the ‘Huguenots’ by Meyerbeer, of Sigurd, in the opera of the same name by Reyer, of Des Grieux in Massenet’s “Manon,” the title role in “Le Cid” by the same master, the Tannhauser Lohengrin, Siegmund in “Die Walküre,” the Radames in “Aida” and the Othello by Verdi. From his very extensive repertoire for the stage are to name yet: the Fernand in “La Favorite,” by Donizetti, the José in “Carmen”, the jeans in “Le Prophete” by Meyerbeer, the Rodrigue, in “Le Cid” by Massenet Matho in the “Salammbô” by Reyer, the title character in “The Tales of Hoffmann,” Tristan in “Tristan and Isolde” by Richard Wagner and his fist into “La damnation de Faust” by Berlioz.

He sang at Pathé plates and cylinders, to Mapleson cylinder

as Tristan Paris 1905

as Stolzing Paris 1897

as Stolzing Paris 1897

as ?

as Otello

as Otello MET 1902

as Otello MET 1902

as Otello

as ? MET

as Romeo

as Romeo

as Romeo

as Samson Paris 1901

as Samson Paris 1901

as Don José

as Don José Paris 1902

as Canio

as Vasco da Gama?

as Jean (?) “Le Prophete” MET

as ? MET 1902

Portrait

Portrait

Portrait

 
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Posted by on February 2, 2013 in Tenors

 

PAUL ALTHOUSE, Tenor, * 02 December 1889 Reading (Pennsylvania), † 06 February 1954 New York;

He sang as a boy soprano in the choir of the Episcopal Church in his hometown of Reading. There he received his first lessons by Evelyn Essick, he then went to New York for further training. His teachers were in New York educators Perley Dunn Aldrich and Percy Rector Stevens, then Oscar Saenger. He sang in 1911 in New York with a guest performance by the Philadelphia Opera Faust by Gounod. 1913 official debut at the Metropolitan Opera New York in the American premiere of “Boris Godunov” as Dimitrij under the direction of A. Toscanini. He was the first American singer who appeared at the Metropolitan Opera, without having previously gained experience in Europe. Paul Althouse remained until 1921 a member of the Metropolitan Opera and sang here include in the world premieres of operas “Madeleine” by Herbert V. (1914), “Madame Sans-Gêne” by Giordano (1915 Neipperg), “The Canterbury Pilgrims” of de Koven (1917) and “Shanewis” by Charles W. Cadman (1918), more games, which he took during this first engagement at the Metropolitan Opera, were the Turiddu in “Cavalleria Rusticana,” the Good in “Rheingold” of Nicias in “Thais” by Massenet, the Pinkerton in “Madame Butterfly “and the Italian singer in” Rosenkavalier. ” In 1925 stint in San Francisco as Faust, 1929 he performed in Berlin, Stuttgart and Stockholm, mainly as a Turiddu and Canio. A visit to the Bayreuth Festival led him to singing Wagner. In 1930 he sang at the Opera of Chicago Tannhäuser and Siegmund. A dazzling Wagner concert in New York under Arturo Toscanini led to a repeated call to the Metropolitan Opera New York, from 1934 to 1941 where he was now working again, now mostly as a Wagnerian tenor. He sang inter alia here Parsifal, the Walther von Stolzing in the “Meistersinger” and the Tristan, Siegmund in “Die Walküre” (including the debut of Kirsten Flagstad as Sieglinde 1934). At the Opera of Philadelphia, he guested as Samson in “Samson et Dalila” by Saint-Saëns. At the same time he had a great career as an oratorio singer. Here he sang the tenor solo in Beethoven’s 9th Symphony. “Gurrelieder” by A. Schoenberg under L. Stokowski and “The Song of the Earth” by G. Mahler Koussevitzky As a final Wagnerian role he sang in 1941 at the Metropolitan Opera in the box “Rheingold”. In 1941, he took leave of the stage and was now one of the most important American voice teachers (pupils: Richard Tucker, Eleanor Steber, Léopold Simoneau, Irene Dalis).

Recordings: Some Pathé cylinders were recorded before his debut in 1912, Edison plates and cylinders, Victor plates (since 1915), Pathé plates Electrical recording of Gurrelieder of Schoenberg under Stokowski (Victor, 1933) (since 1920), Private recordings from the Metropolitan Opera, including on ANNA records scenes from the “Twilight of the Gods,” Glad to EJS in full “Rheingold” in 1938. In the twenties, originated in Italy acoustically recorded HMV plates.

as Tristan Chicago

as Tristan Chicago 1939

as Tristan with Flagstad MET 1935

as Siegmund

as Canio

as Dimitrij with Homer “Boris”MET

Portrait

Portrait

Portrait

Promo

Roles

with the “Liebeslieder Ensemble”1931

 
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Posted by on February 1, 2013 in Tenors

 

BERND ALDENHOFF, Tenor, * 14 June 1908 Duisburg, † 08 October 1959 München.

Having been brought up in an orphanage, he learned the trade of a carpenter. There he was able to join in the chorus of the Municipal Theatre of Duisburg-Bochum, where he was supported by the well-known director Saladin Schmidt. In 1929-30 he sang in the choir of Cologne Opera. Study and training for a solo career at Julius Lenz in Cologne. In 1930-32 was again a chorister at the Opera House of Stuttgart, 1932-33 again in Cologne. Finally, he was employed at the Cologne Opera as a soloist and first used in lyrical passages (Lyonel in Flotow’s “Martha,” Pinkerton in “Madame Butterfly”, Matteo in “Arabella” by R. Strauss). He worked there in 1933 in the world premiere of the opera “with the pagan king” of Siegfried Wagner. He came through the theater of Darmstadt (1934-35) and Erfurt (1935-38) at the Opera House from Dusseldorf (1938-44). In 1943-52 he worked at the State Opera in Dresden, he was after the Second World War, known internationally as a Wagner singer. 1951-52 and 1957, he appeared at the Bayreuth Festival on as Siegfried in Nibelungen Ring. In 1939 guest performance at the Opera House of Frankfurt as Manrico in “Il Trovatore” and as Riccardo in “Masked Ball” by Verdi; 1952-57 he was a member of the Frankfurt Ensemble as a member. Since 1952, at the State Opera in Munich from commitment. He has appeared in 1937 at the Festival of Sopot as Tannhäuser, 1944 at the Vienna Volksoper. At the Berlin Comic Opera he sang 1950 the title role in “The poor sailor,” by D. Milhaud, 1950 at the Vienna State Opera of Walther von Stolzing in “Die Meistersinger” and the Othello by Verdi, at the Grand Opéra Paris 1955 the Siegfried at the Teatro Comunale in Florence in 1954 and Parsifal at Covent Garden Opera in London in 1957 the Siegfried in “Götterdämmerung.” Further guest performances at the Théâtre de la Monnaie in Brussels (1957), at La Scala (1959 as Erik in “The Flying Dutchman”), the Teatro San Carlos, Lisbon (1959), at the Opera House of Zurich (1959), at the City Opera Berlin, at the State Operas of Hamburg and Stuttgart and the Staatstheater Karlsruhe. In the 1954-55 season at the Metropolitan Opera in New York City involved (inaugural game: Tannhauser, then known as Tristan and Parsifal as). In 1956 he appeared at the Munich State Opera in the world premiere of the opera “Don Juan de Mañara” by H. Tomasi, his last stage appearance was in 1959 at the Municipal Theatre of Duisburg place as Siegfried. His stage Florestan in “Fidelio”, Lohengrin, Siegmund in “Valkyrie”, Matthias in “Evangelimann” by W. Kienzl, title role in “Poor Henry,” by H. Pfitzner, Pedro “lowlands” of E. d ‘ Albert, Bacchus in “Ariadne auf Naxos,” Herod in “Salome” and Aegisthus in “Elektra” by Richard Strauss, Fabiano in “The favorite” by R. Wagner Régeny, Rodolfo in “La Bohème”, title roles in “Hoffmann narratives “of Offenbach and” Sly “by E. Wolf-Ferrari. In addition to his work on stage, he also had a distinguished career in the field of concert singing.

Discs; Sang on the brands Oceanic and Urania in complete opera recordings (“Salome”, “Der Freischütz,” “Meistersinger”). At Rococo appeared a complete recording of the “Rose of the Garden of Love,” by Hans Pfitzner, on melodrama Erik in “The Flying Dutchman,” Pedro, “lowland” and an extensive album of opera scenes (radio recordings) on Estro Armonico Siegfried in the Ring cycle (Bayreuth 1957), and recordings of performances on EJS Cetra Live Opera (“Siegfried”), BASF and Orfeo (“Twilight of the Gods”, Munich 1955).

as Parsifal

as Tannhäuser 1940

as Tannhäuser Dresden

as Tannhäuser

as Siegfried (collection G&K)

as Siegfried Bayreuth 1952

as Siegfried with Varnay Bayreuth 1952

as Siegfried with Dick Zürich 1959

as Siegfried with Kuen Bayreuth 1952

as Siegmund

as Otello Köln 1957

as Otello Dresden

as Otello

as Pedro (?) Dresden

as ? Dresden

as Max (?) Dresden

as Herodes München 1955

Portrait

Portrait

Portrait Bayreuth 1952 (by courtesy of Hanny Kopetz)

 
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Posted by on January 25, 2013 in Tenors

 

ANNA ZODER, Soprano, * 15 July 1882 Wien, † (?);

She was trained by the educator Adolf Limlay in Vienna and by Teresa Arkel in Milan singer. In 1905 she began her career with an engagement at the City Theatre of Zurich. From there she was hired in 1908 at the Court Opera in Dresden. Here she sang on 01/25/1909 at the premiere of the opera “Elektra” by Richard Strauss, the match of the 4th Maid. After the termination of their contract in Dresden in 1911 occurred only gas tierend. She appeared as a guest inter alia at the Court Opera in Vienna (1909 as Isolde in “Tristan” and as Leonore in “Fidelio”), the court theaters of Karlsruhe, Brunswick and Weimar, the city theater of Zurich 1911 (as Isolde) Main and at the Opera House of Frankfurt undertook concert tours to Romania and Denmark. Her repertoire for the stage was extensive and included inter alia Aida, the Amelia in Verdi’s “Masked Ball”, the Valentine in the “Huguenots” by Meyerbeer, Norma, Leonore in “Fidelio”, the Venus in “Tannhauser” that Goetz Katharina in “The Taming of the Shrew” by H. that. Martha in “lowland” of d’Albert, the Countess in “the Marriage of Figaro”, the Brünnhilde as Sieglinde in Nibelungenring and Rachel in “La Juive,” by Halévy After she married the writer Otto Schabbel, she lived in Munich, where she was then also pedagogical activities (as an educator it is mentioned there in 1934).

as Isolde

as Isolde

as Brünnhilde Zürich (Collection G&K)

as Brünnhilde Zürich (Collection G&K)

as Fielio Zürich (Collection G&K)

Portrait

Portrait

Portrait

 
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Posted by on January 24, 2013 in Sopranos

 

CHRISTA-MARIA ZIESE, Soprano * 13 July 1924 Aschersleben † 22 January 2012 in Meiningen)

Her teachers are Bass-baritone Gottlieb Zeithammer and Prof. Josef-Maria Hausschild in Leipzig. She won the Bach Vocal Competition in Dresden and the International Concours of Prague (1949). Stage debut in 1947 at the Leipzig Opera as Hansel in “Hansel and Gretel”. She was then to 1951 and again 1954-77 highly valued member of this opera house, a guest at the same time at the State Operas of Dresden and Berlin and the Berlin Comic Opera. 1952-54 she worked at the National Theatre in Weimar. Ertfolgreiche guest performances at Moscow’s Bolshoi Theater, at the Deutsche Oper am Rhein in Dusseldorf, Duisburg, at the opera houses of Hamburg, Hanover, Zurich, Brno (Brno) and Nice. Their large-scale, supported by special expressiveness soprano achieved their best performances in highly dramatic repertoire (Leonore in “Fidelio”, Santuzza, Salome, Aida, Tosca, Carmen, Puccini’s opera Turandot, Senta, Isolde, Venus in “Tannhauser”). In the concert hall, the artist had great success. Married to the bass-baritone Rainer Lüdeke (* 1927), who was also at the Opera House of Leipzig.

Records: Eterna.

as Elsa with E. Gruber Leipzig Aug. 1958

as Senta with Spisar Komische Opera Berlin Feb. 62

as Fidelio Leipzig

as Fidelio Leipzig

as Salome with Bey and Bürbmann Lepzig Mar. 1956

as Preziosilla Leipzig 1949

 
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Posted by on January 23, 2013 in Sopranos

 

SOPHIE WOLF, Soprano, * 27 July 1880 Colmar im Elsaß, † 29 March 1938 Seefeld (Tirol);

She was a student of the famous Aglaya Orgéni. In 1906 she began her career at the City Theatre of Halle (Saale), where she was employed until 1909. In 1909-1921 she was a member of the opera house in Cologne. She continued her career in 1921-1925 continued at the City Theatre of Duisburg and decided it with an engagement at the Municipal Theatre (Opera House) from Nuremberg 1925-30. Guest performances were the name of the singer known internationally. In 1907 she was a guest at the Court Theatre of Mannheim, 1908 at the Court Opera in Dresden, in 1910 and 1911 at the Théâtre de la Monnaie in Brussels. In 1910 she sang in the Rotterdam Sieglinde in ‘Valkyrie’, 1913 at the Covent Garden Opera House in London, the Marschallin in one of the first performances of “Der Rosenkavalier” in this house. At the Bayreuth Festival of 1914, she was heard as Wellgunde and as the third Norn Nibelungenring. In 1917 she sang as a guest at the Opera House of Frankfurt aM, 1921 at the Teatro Liceo in Barcelona, in 1926 at the Bavarian State Opera in Munich. She was particularly successful in the State Opera of Vienna, where she performed in 1922 and 1926-28 as hospitable. In 1925 she worked at the city theater in Duisburg in the world premiere of the opera “A Dream Play” by Julius Weismann as Indra’s daughter. From its wide-ranging repertoire stage were the highlights as Elsa in “Lohengrin”, the Isolde in “Tristan”, Kundry in “Parsifal” that Leonore in “Fidelio”, in Chrysothemis in “Elektra” by Richard Strauss, the Ariadne called the “Ariadne auf Naxos,” the Empress of “Frau ohne Schatten” and the title character in ‘Mona Lisa’ by Max von Schillings.

Recordings of the singer are not known.

as Isolde Köln 1918 (Collection G&K)

as Isolde Köln 1918

as Kundry (by courtesy of Hanny Kopetz)

as Wellgunde with Bruntsch and Finger “Rheingold” Bayreuth 1914 (Collection G&K)

as Wellgunde with Bruntsch (close-up)

Portrait

Portrait

 
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Posted by on January 22, 2013 in Sopranos

 

MARIE WITTICH, Soprano, * 27 May 1868 (nach anderen Quellen 1862) Gießen, † 04 August 1931 Dresden;

She studied singing with Mrs. upper Ubrich (a sister of the famous Asminde Ubrich) in Würzburg and debuted in 1882 (supposedly at the age of 14 years) in Magdeburg as Azucena in “Il Trovatore” by Verdi. She sang in succession in Dusseldorf, Basel (1883), at the Court Opera in Dresden (1884-86) and at the Court Theatre of Schwerin (1886-89). Here she wore in the opening performance of the after the great fire of 1882 reconstructed Court Theatre on 10.03.1886 before the title role in Gluck’s “Iphigenia in Aulis.” It was then in 1889 after a stint as Leonore in “Fidelio” and as Senta in “The Flying Dutchman” engaged again at the Court Opera in Dresden. During the next 25 years she worked there as a first soprano, and their activities in Dresden took place at a special splendor of this opera house, which under the direction of conductor Ernst von Schuch occupied a leading position among the German opera houses. Marie Wittich reached it their best performances in dramatic roles, and in the interpretation of Wagner roles. On 10/03/1892 she looked then at the Dresden Court Opera in the world premiere of the opera “Herrat” of Draeseke, on 08.12.1892 with the premiere of the opera “Frauenlob” by Reinhold Becker, 17 Second 1897 »in the world premiere of hashish” by Oscar von Chelius, on 29.05.1901 in the opera “Manru” by I. Paderewski, on 12/12/1896 in “Odysseus return home,” on 03/20/1901 by in “Nausicaa” August Bungert (both from the tetralogy “Homeric world”) with. Of great historical importance to her music to occur in the premiere of the opera “Salome” by Richard Strauss on 12/09/1905, in which she sang Salome. Although they corresponded by their appearance here is in no way the young Jewish princess and Richard Strauss (of them as “Aunt Wittich” called) like Annie Krull would have seen in this game, could they, having regard to the tradition of the Dresden Opera, their claim prevail in the game. If she had to be replaced at the dance of the seven veils by Sidonie ballerina basket, the performance due to their large size dramatic voice was a brilliant success. (In fact, she was the lot of Salome are opposed and should have come forward, they would rather not take on because it “an honest woman” was). 1905-06 she was at the Covent Garden Opera in London as a guest, where she sang Elisabeth in “Tannhauser”, the Elsa in “Lohengrin” and Brünnhilde in “Valkyrie”. Further guest at the German Theatre in Prague (1902), at the Munich Court Opera (1906, 1907) and at the Théâtre de la Monnaie in Brussels (1907). Another high point reached her career at the Bayreuth Festival, where she sang in the years 1901-10 as Sieglinde in “Valkyrie”, Kundry in “Parsifal” and Isolde in “Tristan und Isolde.” In 1894 she created the Amsterdam Wagner Society for the Holland game of Sieglinde. In 1914 she took in Dresden as Isolde from the stage farewell. After the end of her career, she was active in Dresden on pedagogical field. – She was married to the Dresden City Council Dr. Paul.
The voice of the great singer is not handed down through records.

 as Isolde Bayreuth 1906 (Collection G&K)

as Isolde

 as Isolde Bayreuth 1906

as Isolde Bayreuth 1906 (Collection G&K)

as Isolde Bayreuth 1906

as Isolde Bayreuth 1906

as Isolde Bayreuth 1906 (Collection G&K)

as Isolde Bayreuth 1906

as Isolde Bayreuth 1906 (Collection G&K)

as Isolde Bayreuth 1906 (Collection G&K)

as Isolde Bayreuth 1906 (Collection G&K)

as Brünnhilde Dresden 1911

as Brünnhilde (Collection G&K)

as Kundry Bayreuth 1901 (Collection G&K)

as Kundry Bayreuth 1901

as Kundry Bayreuth 1901

as Sieglinde (Collection G&K)

as Sieglinde Bayreuth

as Sieglinde Bayreuth 1906

as Sieglinde 1901 (Collection G&K)

as Sieglinde with Heidkamp and Kraus Bayreuth 1901

as Ortrud Dresden 1911 (Collection G&K)

as Ortrud Dresden 1911 (Collection G&K)

as Elisabeth Dresden 1911

as Elsa

as Elsa Dresden

as Eva

as Eva

as Fidelio Dresden 1909 (Collection G&K)

as Salome Dresden 1905

as Salome (Premiere)Dresden 1905 (Collection G&K)

as Salome (Premiere) Dresden 1905

as Salome (Close-Up)

as Salome with Schuh, Sembach and Strauss Dresden 1905

as ?

Portrait

Portrait

Portrait

Portrait

 
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Posted by on January 21, 2013 in Sopranos

 
 
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