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 Dimitrij with Homer “Boris”MET
with the “Liebeslieder Ensemble”1931