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WILHELM RODE, Bass-Baritone * 17 February 1887, Hanover, Germany + 02 September 1959, Munich, Germany;

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He studied with Rudolf Moest in Hanover, and made his debut in 1909 at the Stadttheater of Erfurt as theHeerrufer in “Lohengrin”. In 1917 he sang in the premiere of “Eros and Psyche” by the Polish composer Lubomir Rózycki. in Breslau. He sang at the Stadttheater in Bremerhaven, the Wernesau Opera House, the Stuttgart Opera House, the Munich State Opera, and at the Vienna State Opera. He made the Deutsches Opernhaus Berlin his artistic home, succeeding Max von Schillings as the general director in 1933. He sang in the world premieres of Kurt Weill’s “Bürgschaft” , and .Schreker’s “Der Schmied von Gent” Wotan at Covent Garden in 1928. Pizarro and Mozart’s Count in Salzburg. Amonasro, Rigoletto, Simon Boccanegra, Escamillo, the four villains in Hoffmann, Scarpia, Sebastiono in “Tiefland”, and Jokanaan. in addition to his Wagner repertoire. As Munich’s Wagner baritone ( Hans Sach, Wotan, Amfortas, and the Dutchman), he never sang at Bayreuth. Rode’s career is considered a “characteristic example of favoritism in the Third Reich.”

Artist Biography by Charles Rhodes

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Posted by on February 18, 2018 in Bass-Baritones

 

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 Dalila

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Portrait

 

 
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Posted by on February 18, 2018 in Uncategorized

 

LEÏLA BEN SEDIRA, Soprano * 17 February 1902, Alger + 01 June 1982, Paris;

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She first studied piano with Lazare-Lévy in Paris, then singing at the Conservatoire National de Paris. Her debut was in 1929 at the Opéra-Comique Paris as Olympia, and in 1931she sang in the world premiere of “Cantegril” by Roger-Ducasse. She appeared with the ensemble ‘Ars Rediviva’ under the direction of Claude Crossard, which devoted itself particularly to the music of the 17th and 18th centuries beginning in 1936. Her repertoire included Lakmé, Mireille, Juliette, Cherubino, Rosina, Leila, Jeannette in Massé’s “Les Noces de Jeannette” and Laoula in “L’Étoile” by Chabrier.

Short Biography by Charles Rhodes

 
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Posted by on February 18, 2018 in Sopranos

 

ELIZABETH CONNELL, Mezzo-Soprano * 22 October 1946, Port Elizabeth, South Africa + 18 February 2012, London, United Kingdom;

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Elizabeth Connell was a South African-born soprano with a strong international reputation in the dramatic soprano roles of Strauss and Wagner.

Her debut was as Varvara in Janacek’s Katya Kabanova at the Wexford Festival in 1972. Following that, she primarily sang with the English National Opera and the Australian National Opera. She won a nomination for an Australian Drama Critics’ Award for her performance in the title role of Beethoven’s Fidelio.

Her debut at London’s Royal Opera House, Covent Garden was in Verdi’s I Lombardi. She first sang at Bayreuth in 1980 as Ortrud in Lohengrin, a role she performed in a video production, at the Vienna State Opera and the Paris Opéra (Bastille). Her dramatic qualities were praised in her performance (as Senta in The Flying Dutchman) in Tokyo with Seiji Ozawa conducting. Her San Francisco Opera debut was in 1987 and she was frequently invited back.

She sang the role of Brünnhilde in both Die Walküre (Santiago, Chile opera) and Siegfried (Rome Opera). Her repertory included leading roles in the Verdi operas Nabucco, Macbeth, and Oberto. Her performances as Isolde in Wagner’s Tristan und Isolde included appearances at the Opera Real in Madrid and a concert performance in Carnegie Hall. Other parts she sang were Ellen Orford in Britten’s Peter Grimes and the Kostelnicka in Janacek’s Jenufa.

Connell also had an active concert career. She performed in the Beethoven Missa Solemnis under Carlo Maria Giulini, the Verdi Requiem, Mahler’s Eighth Symphony, and Arnold Schoenberg’s Guerre-Lieder.

She was recorded in all those works, in addition to Mendelssohn’s Second Symphony, as well as Guillaume Tell, Poliuto, Lohengrin, I Due Foscari, and Schreker’s Die Gezeicheten.

Artist Biography by Joseph Stevenson

 
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Posted by on February 18, 2018 in Mezzo-Sopranos

 

EDMOND VERGNET, Tenor * 04 July 1850, Montpellier + 15 February 1904, Nice;

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Edmond-Alphonse Vergnet (4 July 1850, Montpellier-d 15 February 1904, Nice) was a French operatic tenor.

Biography
Vergnet studied singing in Paris before making his professional opera début at the Paris Opéra in 1874 as Raimbaut in Giacomo Meyerbeer’s Robert le diable. He continued to sing leading tenor roles at that house for many years including the title role in Charles Gounod’s Faust, Léopold in Fromental Halévy’s La Juive, Ruodi in Gioachino Rossini’s Guillaume Tell, Laertes in Ambroise Thomas’s Hamlet, Don Ottavio in Wolfgang Amadeus Mozart’s Don Giovanni, Fernand in Donizetti’s La favorite, Max in Carl Maria von Weber’s Der Freischütz, Alim in Jules Massenet’s Le roi de Lahore, John of Leyden in Giacomo Meyerbeer’s Le prophète, Vasco da Gama in Meyerbeer’s L’Africaine, Samson in Camille Saint-Saëns’s Samson et Dalila and the title role in Richard Wagner’s Lohengrin.

At the Théâtre de la Monnaie in Brussels, Vergnet portrayed John the Baptist in the world premiere of Massenet’s Hérodiade (1881) and Shahabarim in Ernest Reyer’s Salammbô (1890). He sang at the Royal Opera House, Covent Garden (1881–2) as Radames, Faust, Belmonte and Wilhelm Meister. In 1883 he created Admetus in Alfredo Catalani’s Dejanice at La Scala. At the Opéra de Monte-Carlo (1884–9) he sang Riccardo in Giuseppe Verdi’s Un ballo in maschera, the title role in Fra Diavolo, Raoul de Nangis in Les Huguenots, Edgardo in Donizetti’s Lucia di Lammermoor, the Duke of Mantua in Verdi’s Rigoletto, Gérald in Léo Delibes’s Lakmé, and Florestan in Beethoven’s Fidelio. He also sang Zarastra in the world premiere of Massenet’s Le mage (1891) and Dominique in the world premiere of Alfred Bruneau’s L’attaque du moulin at the Opéra-Comique (1894).

Image result for Edmond Vergnet

 

 
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Posted by on February 15, 2018 in Tenors

 

EUGEN GURA, Tenor * 08 November 1842, Žatec, Czech Republic + 26 August 1906, Berg, Germany;

34334439.a04d6e61.640                                                                                                                                                                                                                                                              Eugen Gura (8 November 1842 – 26 August 1906) was a German operatic baritone.

Life
Gura was born in Nové Sedlo, Louny District, Bohemia (now in the Czech Republic).

He was at first educated for the career of a painter at Vienna and Munich; but later, developing a fine baritone voice, he took up singing and studied it at the Munich Conservatorium. In 1865, he made his debut at the Munich opera, and in the following years he gained the highest reputation in Germany, being engaged principally at Leipzig till 1876 and then at Hamburg till 1883.

He sang in 1876 in Wagner’s Ring at Bayreuth, and was famous for his Wagnerian roles; his Hans Sachs in Die Meistersinger von Nürnberg, as performed in London in 1882, was magnificent. He created the role of Gűnther in Wagner’s Götterdämmerung on 17 August 1876.

In later years, he showed the perfection of art in his singing of German Lieder. He died in Aufkirchen, Bavaria.

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Eugen Gura 1889

 
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Posted by on February 15, 2018 in Tenors

 

HEINRICH WILHELM GUDEHUS, Tenor * 30 March 1842, (some sources say 1845) Altenhagen, Celle, Germany + 09 October 1909, Dresden, Germany;

The tenor Heinrich Gudehus was a pupil of Malwine Schnorr von Carolsfeld. In 1866 he married Celle Caroline Johanne Klippel, but she died in 1867 after she gave birth to a dead child. In 1868 he married her sister Dorothee Friedrike, but she died in 1869.

In 1871 he debuted at the Court Opera in Berlin. Afterwards Luise Ress (1843-1908) became his teacher and after several other stations he was was engaged at the Court Opera in Dresden in 1880. There he worked until 1890. In 1877 he had married Elisabeth Tovote in Meppen and with her he had two daughters and two sons.

He met Richard Wagner in Dresden in 1891 and Wagner was so impressed that he invited him to Bayreuth in 1882 where he sang the title part in the second performance of Wagner’s final opera “Parsifal”. He performed in Bayreuth several more times. In 1890 he was engaged at the Metropolitan Opera for one season. He ended his career in 1896. After he lost most of his money during a banking crisis in Leipzig and was forced to work as a teacher. He died in 1909 and his wife survived him until 1925.

as Tristan Bayreuth 1886

as Lohengrin

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as Stolzing with Malten and Scheide- mantel Dresden

as Siegfried “Siegfried”

as Siegfried “Siegfried”

as Parsifal Bayreuth 1882

as Parsifal Bayreuth 1882

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as Parsifal Bayreuth 1888

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as Parsifal with Malten Bayreuth

as Parsifal with Brandt and Siehr Bayreuth 1882

as Parsifal with Malten and Siehr Bayreuth 1882

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as Parsifal with Malten and Siehr Bayreuth 1882

Portrait

The grave of Heinrich Gudehus at the Alter Annenfriedhof, Dresden.
Picture by Androom (06 Aug 2016)

 

 
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Posted by on February 15, 2018 in Tenors

 
 
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