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HELMUT FEHN, Bass * 19 February 1915, Buchbach (Oberfranken), Germany +25 June 1993, Düsseldorf, Germany;

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The German bass, Helmut Fehn, grew up in Bad Reichenhall, Rosenheim and Munich and began the study of the jurisprudence at the Munich University. However, from 1937 to 1940 he trained his voice with Paul Bender in Munich.

Helmut Fehn made his debut in 1940 at the Pfalztheater of Kaiserslautern. In 1941, after Erfurt, he signed with the Opera House of Düsseldorf. Since then he was a member of the Opera of Düsseldorf, the later Deutschen Oper am Rhein Düsseldorf-Duisburg. In 1951 he participated in the premiere of the opera Troilus und Cressida by Winfried Zillig, in 1957 in the premiere of Die Räuber by Giselher Klebe, in 1961 in Die Ameise by Peter Ronnefelds, in 1969 at the Festival of Schwetzingen in the premiere of G. Klebe’s Märchen von der schönen Lilie. At the Bayreuth Festival of 1942 he sang Fasolt in Rheingold, and in 1943-1944 Konrad Nachtigall in Meistersingern. He also appeared as a guest at other opera theatres in Germany, France and Italy, as well as in 1960 at the Wiener Staatsoper (as Kontschak in Prince Igor by Borodin). In more than thirty years of his affiliation with the Düsseldorf Opera House he sang over one hundred roles from the bass-baritone repertoire and was appointed as honour member. In 1985 he still appeared in Düsseldorf as a guest.

Of his many stage roles should especially be noted Figaro in Le Nozze di Figaro, Kaspar in Freischütz, Sarastro in Zauberflöte, Pater Guardioan in Verdi’s La forza del destino, Kezal in Verkauften Braut, Gremin in Eugen Onegin and Boris Godunov.

Recordings: HMV-Electrola (Meistersinger in a performance from Bayreuth, 1943); on Cetra Opera Live he sings Ramphis in Aida (broadcast from Hamburg, 1951); on Melodram in R. Wagner’s Rienzi and in Stabat Mater of Rossini; on Garnet-Records in Bach Cantatas and in Masses of F. Schubert.

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Courtesy: Bach Cantatas Website

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Posted by on February 19, 2018 in Bassses

 

ADELAIDE YULIANOVNA BOLSKAYA, Soprano * 16 November 1863 some sources 04 November, Podolia, Russia + 29 September 1930, Reval (Tallinn), Harjumaa;

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Adelaide Yulianovna Bolskaya (04 November 1863, Podolia, Russia + 29 September 1930, Reval (Tallinn), Harjumaa) was a Russian opera singer .
She made her debut in 1889 on the stage of the Bolshoi Theater in batches Pamina ( ‘Magic Flute’), Gorislava ( ‘Ruslan and Lyudmila’) and Tatiana ( “Eugene Onegin ‘). She has appeared on the scene until 1892 under the name Skompskaya.

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Posted by on February 19, 2018 in Sopranos

 

SELMA VOM SCHEIDT, Soprano * 26 September 1874, Bremen + 19 February 1959, Weimar;

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Selma vom Scheidt (26 September 1874, Bremen – 19 February 1959, Weimar) was a German operatic soprano.
She was a pupil of Heinrich Böllhoff in Hamburg, and later of Theodor Bertram. In 1891 she made her operatic debut as Agathe in Elberfeld. After singing in Essen (1892–94) and Düsseldorf (1894–95), she appeared in Aachen, Bonn, and Berlin. In 1900 she joined the Weimar Opera, where she sang for some 25 years.

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Posted by on February 19, 2018 in Sopranos

 

MARIE GOETZE, Contralto * 02 November 1865, Berlin + 18 February 1922, Berlin;

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Marie Goetze (02 November 1865, Berlin – 18 February 1922, Berlin) was a German contralto.
She made her debut in 1884 at the Berlin Kroll Opera as Azucena in the “Troubadour”. In the same year she was committed to the Berlin Court Opera, where she remained until 1886. In 1886-1890 she sang at the City Theater (opera house) of Hamburg, where she immediately had a sensational success in her first role, the Carmen. In the season 1890-1891 she appeared at the Metropolitan Opera New York.

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as Brangäne

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as Ortrud

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as Adriano

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as Adriano

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as Dalila

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as Dalila

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as Carmen Hamburg

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as Fides in Le Prophete

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Portrait

 
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Posted by on February 18, 2018 in Contraltos

 

CHARLOTTE HELEN SAINTON-DOLBY, Contralto * 17 May 1821, London, United Kingdom +

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SAINTON-DOLBY, CHARLOTTE HELEN (1821-1885), English contralto singer, was born in London on the 17th of May 11821, studied at the Royal Academy of Music from 1832 to 1837, Crivelli being her principal singing-master. In 1837 she was elected to a king’s scholarship, and first appeared at a Philharmonic concert in 1841. In October 1845 she sang at the Gewandhaus, Leipzig, through the influence of Mendelssohn, who had been delighted by her singing in St Paul. The contralto music in his Elijah was written for her voice, but she did not appear in that Work till the performance at Exeter Hall on the 16th of April 1847. She married M. Sainton in ISOO, and in 1870 she retired from the career of a public singer, but two years afterwards started a “ vocal academy” in London. She made various successful attempts as a composer, and the cantatas “ The Legend of St Dorothea” (1876), “The Story of the Faithful Soul “(1879), and “ Florimel ” (1885), enjoyed considerable success. Her last public appearance was at her husband’s farewell concert in June 1883, and she died on the 18th of February 1885. A scholarship in her memory was founded at the Royal Academy of Music. Her voice was of moderate power and of fine quality, but it was her dignified and artistic style that gave her the high place she held for so many years both in oratorio and ballads.

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Charlotte Dolby, 1860

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Posted by on February 18, 2018 in Uncategorized

 

ÁNGELES GULÍN, Soprano * 18 February 1939, Ribadavia, Spain + 10 October 2002, Madrid, Spain;

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Ángeles Gulín (18 February 1939 – 10 October 2002) was a Spanish operatic soprano particularly associated with early Verdi works.

Life and career
Born María de los Ángeles Gulín Domínguez in Ribadavia, Spain, she moved with her family at the age of eight in Montevideo, Uruguay, where she studied singing with her father, who became a local music director who organized concerts in parks. She made her operatic debut there in 1963, as the Queen of the Night in The Magic Flute, as last minute replacement. She then returned to Europe where she sang mostly in Spain and Italy in roles such as Lucia in Lucia di Lammermoor, Gilda in Rigoletto and Violetta in La traviata.

After winning the Busseto Verdian Voices Competition in 1968, she turned to more dramatic roles and specialized in early Verdi works. Gulín’s repertoire included Oberto, Nabucco, I due Foscari, Giovanna d’Arco, Attila, Alzira, Il corsaro, Luisa Miller, Stiffelio, Aroldo, I vespri siciliani, Simon Boccanegra, Un ballo in maschera, La forza del destino and Aida. Her repertoire also included roles in Rossini’s La donna del lago, Bellini’s Beatrice di Tenda and Norma, Spontini’s Fernand Cortez, Meyerbeer’s Les Huguenots, Ponchielli’s La Gioconda, Rachmaninoff’s Francesca da Rimini, de Falla’s La vida breve, Giordano’s Andrea Chénier and Puccini’s Turandot.

Gulín’s voice was rich and large, but capable of agility. Her career was cut short in 1987 due to serious health problems. She died in Madrid.

She was married to the baritone Antonio Blancas. In 1980, the couple appeared together in the world premiere of Federico Moreno Torroba’s opera, El poeta, with Plácido Domingo in the title role. Their daughter Ángeles Blancas Gulín is also a soprano.

She was rediscovered through the appearance of several recordings of her live performances.

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Ángeles Gulín in La donna del lago, Teatro Comunale di Bologna, December 1974.
Photo credit: Santiago Vela Archives

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Ángeles Gulín in Il corsaro, Teatro La Fenice de Venecia, March 1971.
Photo credit: Santiago Vela Archives

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Ángeles Gulín in Turandot
Source: Santiago Vela Archives

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Ángeles Gulín in I vespri siciliani, Deutsche Oper Berlin, February 1977
Source: Santiago Vela Archives

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Ángeles Gulín in Nabucco, Deutsche Oper Berlin, February 1979
Source: Santiago Vela Archives

 
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Posted by on February 18, 2018 in Sopranos

 

MARITA NAPIER, Soprano * 16 February 1939, Johannesburg, South Africa + 10 April 2004, Cape Town, South Africa;

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She began her singing studies in her native South Africa,with Margaret Roux, Stella Cavall and Maartin Coetzee, before traveling to Germany for further work with Theo Lindenbaum. She made her debut in 1969 at the Stadttheater of Bielefeld as Venus in “Tannhäuser”. She sang in Essen, Hannover and Hamburg before joining the Berlin State Opera in 1975. At Bayreuth she was heard first as Helmwige, followed by the Third Norn, Sieglinde, and Eva. Turandot at the Metropolitan Opera in 1988. Her repertoire included Brünnhilde, Venus,Senta, Leonore in “Fidelio”, the Trovatore Leonore, Abigaile, Amelia, Lady Macbeth, Ariadne, Chrysotemis, the Empress, and Giulietta.

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Marita Napier as Senta  in “Der Fliegende Hollander”  San Francisco.

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“Lohengrin”  in Berlin

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Marita Napier during her Metropolitan Opera  days, 1986

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Posted by on February 18, 2018 in Sopranos

 
 
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