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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

 

GERTRUD PÅLSON-WETTERGREN, Contralto * 17 February 1897, Eslöv, Malmö, Sweden + 26 November 1991, Stockholm, Sweden;

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Born in Eslöv, Malmö, the child of singers, she studied first with Kallie Sandberg and later as the Royal Conservatory of Stockholm with Oscar Lejdström. After further studies with Mme. Capiani and Gillis Bratt in Stockholm, she made her debut in 1922 at the Royal Opera in Stockholm as Cherubino. During her long career there she sang in many Swedish operas, world premieres among them . “Resa till Amerika”, “Lycksalighetens ö” and “Marionetter” by Hilding Rosenberg, Korngold’s “Kathrin”, Kurt Atterberg’s “Bäckahästen” and “Singoalla” by Gunnar de Frumerie. In 1935 she made her Metropolitan Opera debut as Amneris. Carmen the following year in Chicago. Azucena at Covent Garden in 1938. Her repertoire included Brangane, Fricka, Venus, Eboli, Dalila, Mignon, Herodias, Marina, and roles in Boito’s “Nerone”, “Jenufa”, “The Consul”, “Peter Grimes”, “Khovanschina” and “Die Ferne Klang”. She retired in 1952.

Artist Biography by Charles Rhodes

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as Carmen

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as Carmen

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as Carmen

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as Carmen

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as Dalila

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as Dalila

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as Dalila

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as Dalila

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as Dalila

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Portrait

 

 
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Posted by on February 18, 2018 in Uncategorized

 

MARCELLA ROESELER, 21 June 1890, Berlin + 29 January 1957, Berlin;

Marcella Roeseler (21 June 1890, Berlin + 29 January 1957, Berlin) was a German operatic soprano.

She made her debut in 1910 at Wiesbaden Court Theatre as Santuzza in “Cavalleria Rusticana”. In 1911 she arrived at the Court Theatre in Kassel and then sang until 1918 at the Court Theater of Dessau.

as Elisabeth (Collection G&K)

as Eva (Collection G&K)

as Aida (Collection G&K)

as Santuzza (Collection G&K)

as Carmen (Collection G&K)

as Carmen (Collection G&K)

as Tosca 1931

Portrait (Collection G&K)

 

 

 

 
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Posted by on January 26, 2018 in Uncategorized

 

ELFRIEDE MARHERR-WAGNER, Soprano/Mezzo-Soprano * 1888, Berlin, Germany (some sources say 1885) + 1973, Berlin, Germany;

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Elfriede Marherr-Wagner (1888 or 1885 – 1975) was a German operatic soprano and Mezzo-soprano.

Elfriede Marherr and Willi Domgraf-Fassbaender in Weber’s “Oberon”, Berlin State Opera

 
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Posted by on January 26, 2018 in Uncategorized

 

TINO FOLGAR, Tenor * 25 January 1892, Barcelona + January 1983, Buenos Aires;

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Tino Folgar (1892-1983) was a Spanish operatic tenor, primarily active in Spain and Italy.

Born Juventino Folgar Ascaso in Barcelona, on 25 January 1892, he studied in his native city with Esteban Pasqual and made his stage debut at the Liceu as Rodolfo in La bohème, in 1922. He made his debut in Italy in Acqui Terme, as Almaviva in Il barbiere di Siviglia, in 1925.

He went on appearing in Genoa, Turin, Cremona, and scored a triumph at the Teatro Adriano in Rome, as Lindoro in L’italiana in Algeri, opposite Conchita Supervia, in 1926. He is partly responsible for the Rossini renaissance, alongside Supervia.

From 1929, he appeared mainly in Spain, singing in zarzuela and operetta. In 1932, he went to London, on tour with a zarzuela-ensemble. He then sang mostly in concert and on radio, he also appeared in a feature film La Canción del Dia.

In 1945, he went to Mexico City where he worked as a teacher, later moving to Buenos Aires, where he remained until his death in January 1983.

A stylish and refined artist, Folgar possessed a rather small but attractive voice, which he passed to posterity through his 1927 recording of the Duke of Mantua in a complete Rigoletto, opposite Luigi Piazza, Lina Pagliughi, and Salvatore Baccaloni.

 
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Posted by on January 26, 2018 in Uncategorized

 

TILLY KOENEN, Soprano * 25 December 1873 Salatiga, Java, Indonesia + 04 January 1941 The Hague, Netherlands;

Tilly (Mathilde Caroline) Koenen born at the isle of Java in Salatiga. Familiar with the language she liked to sing Malay songs. Already in 1906 she performed Malay songs written down by Indisch composer Constant van de Wall in Berlin. These ‘Maleische liederen’ she also performed later in all major cities in Europe.

She made her debut in Berlin, where she followed her teacher – the famous contralto and singing-pedagogue Cornélie van Zanten. She made quickly furore in Germany and the Netherlands and sang a.o. for the German Kaiser and at the Dutch Court. After very successful concert-tours through Middle-Europe, she settled down in London. In 1909 and 1910 she made concert-tours through the U.S. and Canada, where she also appeared in oratorio. Only once she sang in an opera – Orpheus – under the baton of Cornélie van Zanten in Amsterdam.

Program Elias with Tilly Koenen (1873-1941).

Gustav Mahler

  • Tilly Koenen letter to Mahler dated 09-01-1907, Paris. The dates of her three Vienna recitals were 05-02-1907, 07-02-1907 and 25-02-1907. It is obvious in the letter that Mahler had wanted to engage her as soloist for his Berlin performance of his Third Symphony, but that she had been unable to accept.
  • Undated letter to Tilly Koenen (mid-Jan. 1907). Accompanied by Coenraad V. Bos, Tilly Koenen sang the Kintertotenlieder in Berlin in her third recital on 21-02-1907.
  • In 1910 she sang in the premiere of Mahler’s Eighth Symphony under the direction of Gustav Mahler in Munich.                                                                                                       Courtesy: Gustav-Mahler
 
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Posted by on January 11, 2018 in Uncategorized

 

FLORENCE KOPLEFF, Contralto * 24 May 1924, New York City, New York, USA + 25 July 2012, Atlanta, Georgia, USA;

The renowned American contralto, Florence Kopleff, began her distinguished career in 1941, during her senior year of high school, when she auditioned for iconic conductor Robert Shaw. She appeared since end of the 1940’s very successfully in North America as a concert and oratorio singer. She appeared with important conductors and together with the big symphony orchestras. She became particularly known by her numerous appearances as soloist with Robert Shaw Chorale. She performed mostly Baroque music and works of the 19th century. She also had a distinguished solo career, from performing and recording the great oratorio roles with illustrious conductors and orchestras, to concert performances with the American Opera Society.

Florence Kopleff started also an activity as teacher at the Georgia State University in 1968, when Thomas Brumby, founder and head of the School of Music, persuaded her to become a professor and the school’s first artist-in-residence. Kopleff also continued her solo career nationally and became an asset to the Atlanta Symphony Orchestra, giving many memorable performances and offering her expertise by giving vocal classes and preparing transliterations of foreign-language texts for the Symphony Chorus. In 1984, the New York native established a scholarship at the Georgia State University to support the education of future generations of vocalists. Recently, she made a pledge to help renovate Recital Hall and a substantial bequest in her will to support vocal performance at Georgia State.

Georgia State University celebrated the contributions of Professor Emerita Florence Kopleff on her 80th birthday with a ceremony May 2, naming the School of Music’s Recital Hall in her honor. “Florence Kopleff possessed one of the greatest contralto voices in the last half of the 20th century,” said John Haberlen, director of the School of Music. “American concert audiences lauded her artistry, and listening to any of her recorded concerts provides the evidence of her accomplishments.”

Recordings: RCA (Mass in B minor (BWV 232) by J.S. Bach, Symphony No. 9 of L.v. Beethoven under Fritz Reiner, L’Enfance du Christ by Berlioz). With the Robert Shaw Chorale, she was a contralto soloist in Grammy-winning recordings of masterworks by George Frideric Handel, J.S. Bach and Benjamin Britten, among others.

Image result for Florence Kopleff (Contralto)

Courtesy: Bach Cantatas Website

 
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Posted by on December 28, 2017 in Uncategorized

 
 
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