HENNY TRUNDT, Soprano, * 29 August 1897 Worms, † (?);

She study under by Rudolf von Milde  in Karlsruhe and Mathilde Mallinger in Berlin. In 1919 she made her debut at the Municipal Theatre of Mainz as Marzelline in “Fidelio”. 1920-23 she sang at the Theatre of Saarbrücken, 1923-24 at the Municipal Theatre of Szczecin, came in 1924 by Otto Klemperer at the opera house in Cologne, where they became the first high dramatic soprano to 1933, a great career, and where they later even guested. 1931-32 she was a member of the Vienna State Opera, 1933-35 she sang at the State Opera in Munich, 1933-39 at the Opera House of Frankfurt since 1939, she was hired by the City Theater Duisburg, where her career came in 1943 to a close. Guest performances made them primarily as an interpreter of Wagner internationally. In 1929 she sang at the Wagner Festival in Paris by Hoesslin in 1931 she performed in Amsterdam as Isolde in “Tristan”, in 1933 as Brünnhilde. At Covent Garden Opera in London in 1933 was admired their Isolde. Further guest brought her at La Scala, the Berlin State Opera, Brussels, Stockholm, Paris, Monte Carlo, Barcelona, Madrid, Bucharest, Sofia and Budapest is a great success. At the Bayreuth Festival 1927-28 she sang Kundry in “Parsifal” and 1930 as Sieglinde in “Valkyrie” under Karl Muck. In addition to the Wagnerian heroines were the Marschallin in “Der Rosenkavalier,” Leonore in “Fidelio”, the Dyer’s Wife in “Frau ohne Schatten” that Aida and Amelia in “Masked Ball” by Verdi highlights in her repertoire. She spent her remaining years in Bad Neuenahr.
In Historia the voice of the artist in a scene from Wagner’s “Tristan”, with the contralto Louise Willer, Carl Hartmann and Jean Stern was composed, published, at Koch / Schwann came out fragments of performances from the archives of the Vienna State Opera, in which they: Others heard as Brünnhilde in “Götterdämmerung”.

as Isolde (by courtesy of Joe Parry)

as Brünnhilde München (Collection G&K)

as Brünnhilde

as Brünnhilde with Kalenberg”Götterd.” Wien

as Brünnhilde with Szantho”Götterd.” Wien 1931 (by ourtesy of Peter Giljum)

as Kundry Bayreuth 1927 (Collection G&K)

as Kundry Bayreuth 1927 (Collection G&K)

as Sieglinde Bayreuth 1927 (Collection G&K)

as Fricka with Stern and Seibert”Rheingold” Frankfurt 1935 (by ourtesy of Peter Giljum)

as Isoldewith team and Nazi WallackPzrtheater München 10.jun.1935

as Isolde with Pölzer und Furtwängler Pzrtheater München 10.jun.1935

with Melchior and cast Bayreuth 1927

with Siegfried Wagner, Melchior and cast Bayreuth 1927

with Elmendorff and cast Bayreuth 1928

with Larsen- Todsen and cast Bayreuth 1928 (Collection G&K)

with Carl Braun and Krüger Bayreuth 1927

Portrait 1931

 

ANNY THOMAS-SCHWARTZ, Soprano, * 26 May 1872 Koblenz, † 2 April 1927 Frankfurt a.M.;

 

She studied at the Conservatory of Cologne and during this training by educators Edward Thomas (* 1860), whom she married, retrained from soprano to alto. She debuted at the Municipal Theatre of Strasbourg in 1892 as the Countess in “The Marriage of Figaro” and remained until 1892 in this theater. After the 1892-93 season at the Vienna Court Opera (first role: Valentine in Meyerbeer’s Huguenots) had been committed, she accepted a position at the Court Theatre Hanover, where she had great success in the years 1893-1909 (first role: Donna Anna in “Don Giovanni”). She sang inter alia here in the premiere of the opera “Matteo Falcone” by Theodor Gerlach (10/23/1898). From Hanover, she went to an intense guest performances. In the years 1900-1910 she performed regularly at the Court Theatre Braunschweig. In 1906 she was a guest at the Berlin Court Opera (Elisabeth in “Tannhauser”), 1908 at the Court Theatre in Kassel. They lived together at the end of their engagement in Hanover with her husband in Frankfurt, where they both were active pedagogy. By 1914 Anny Thomas Schwartz joined yet often at the Opera House of Frankfurt, the last time the 1920th On stage, she sang mostly games from the young dramatic subject, later also highly dramatic roles as Brünnhilde in Nibelungenring. Their major roles in the rest were in the Rezia “Oberon” by Weber, the Jessonda in the eponymous opera by L. Spohr, the Rachel in “La Juive,” by Halévy, the Aida, Desdemona in Verdi’s “Othello,” which Agathe “Freischütz” and the Butterfly. Well as a concert and oratorio singer, she was held in high esteem.

Records: From Anny Schwartz Thomas are four shots on favorite (Hanover, 1907), then some of HMV (Hanover, 1908) and later recordings on Odeon.

 

as Isolde 1903

 

as Isolde

 

MARIANNA (Borisowna) TCHERKASKAYA Soprano, * 13 February 1875 St. Petersburg, † 1934 Riga;

She was educated at the exclusive Smolny Institute in St. Petersburg. Then she study her voice at the conservatory trained by Ossip Paletchek and by the famous Italian soprano Carolina Fermi. In 1898 she debuted in Narva (Estonia) as Tatiana in Tchaikovsky’s “Eugene Onegin.” Since April 1900 she was a member of the Imperial Court Opera of St. Petersburg, which she was until after the October Revolution of 1917. They estimated there in dramatic roles as Lisa in “Pique Dame,” as Donna Elvira in “Don Giovanni”, the Marina in “Boris Godunov”, the Rimsky-Korsakov Fevronia in “Legend of the Invisible City of Kitezh” (St. Petersburg, 1907), the and Valentine in the “Huguenots,” but especially in Wagner roles (Senta in “The Flying Dutchman,” Elisabeth and Venus in “Tannhauser”, Ortrud in “Lohengrin”, Isolde in “Tristan”, Sieglinde Brünnhilde in Nibelungenring). In 1909, she made guest appearances at La Scala as Brünnhilde in “Valkyrie” and attracted the criticism as the public stir. In 1911, she sang with a Russian opera company at the Théâtre Sarah Bernhardt in Paris, Tatiana in “Eugene Onegin” with Georges Baklanoff; 1916-17 also welcoming as occurred at the Monte Carlo Opera. In March 1918, she sang her last performance in St. Petersburg (Leningrad), the Lisa in “Pique Dame”. They then fled to Latvia and lived in Riga since 1919. But she could no longer continue their great career and was only occasionally in Riga. Even a guest appearance in 1925 at the Théâtre des Vieux Colombiers in Paris led to no real success. In 1927 she appeared as Carmen in Riga again on, but otherwise limited to a teaching position in the Latvian capital. Other spelling of their name: Tscherkasskaya, Tcherkasskaya. It was originally thought that she had left no records. However recordings on HMV (Disque Amour) from the period around 1912 have emerged, including the duet “Ah viens mon doux berger” from “Pique Dame,” along with the alto Panina. On Melodiya recordings were released in 1907, including the great scene of Lisa from “The Queen of Spades” and a duet from the same opera with tenor Alexander Davidoff.

as Brünnhilde “Walküre”Scala 1909

as Brünnhilde “Siegfried”Scala 1909 (Collection G&K)

as Walkyrie “Walküren” St. Petersburg 1900

as Fewronja “Kitesch”St. Petersburg Feb. 1907 (Collection G&K)

as Fewronja “Kitesch” St. Petersburg Feb. 1907

as Lisa

as Tatjana

as Aida

as Aida as ? with Smirnov

as ?

with Baratoff “Rusalka” by Darjomiski Paris 1911

with Baratoff and Smirnov Paris 1911

Portrait

Portrait (Collection G&K)

 

BEATRICE SUTTER-KOTTLAR, Soprano, * 06 January 1883 Czernowitz (Tschernowzy), † 15 March 1935 Liel in Baden;

 

The stage debut of the artist found in 1907 at the Municipal Theatre of Strasbourg, in the role of Santuzza in “Cavalleria Rusticana.” She stayed for three years in Strasbourg and was then 1910-1917 at the court theater of Karlsruhe, committed since 1917 at the Opera House of Frankfurt. They came here first under the name of Beatrice Lauer Kottlar, when she married in 1924 the director of the press office, Otto Ernst Sutter, as Beatrice Sutter Kottlar on and soon the real prima donna of the Frankfurt Opera, at the same time one of the greatest lyric-dramatic sopranos of her generation in the German language. Their comprehensive stage repertoire included first roles as the Countess in “The Marriage of Figaro,” Donna Anna in “Don Giovanni”, the Leonore in Beethoven’s “Fidelio”, the title character in “Alceste” by Gluck, the Rachel in Halévy’s “La Juive “The Selika in” L’Africaine “by Meyerbeer, the Amelia in Verdi’s” Masked Ball “, the Aida, the Senta in” The Flying Dutchman, “the Isolde in” Tristan “, the Brünnhilde in Nibelungenring and the Marschallin in” Rosenkavalier ” by R. Strauss. On 07/01/1920 she sang in the Frankfurt premiere of the opera “The First People” of the role of Rudi Stephan Hevah. She sat down again and again in contemporary music, created for Frankfurt the title role in “Jenufa” by Janácek, and on 6/11/1924 she was wearing at the Music Festival of the Allgemeine Deutsche Musikverein in Frankfurt, conducted by Hermann Scherchen three scenes from Alban Berg’s opera “Wozzeck” in front of that came in the following year for the premiere. She gave guest performances at the Court Opera in Vienna (1908, 1912), Berlin (1909) and Munich (1911), at the Teatro Colón in Buenos Aires (1928 as Isolde, as Brünnhilde, and as the Marschallin), at the Covent Garden Opera in London and at the Teatro Liceo Barcelona (1928). In 1932, she had to breach his contract with the Frankfurt Opera, due to illness, and retired in the Baden Black Forest. They said goodbye with a recital of their audience in Frankfurt, which she admired very much. Since the twenties, it was an educational Täitgkeit pursued at the Hoch Conservatory in Frankfurt.

It is not easy to understand why the voice of this famous singer not a single recording session is available.

 

as Isolde

 

as Isolde

 

as Fidelio

 

as Marschallin

 

as Salome

 

as Armide

 

as Countess

 

as Santuzza

 

with her husband Sutter, Schickele and Paquet (f.r.t.l.) Freiburg 1931

 

Portrait

 

Portrait

 

Portrait