Dernière mise à jour
2024-04-28
Actualiser
Johanna Gadski Gioachino Rossini Bayreuth Walter Damrosch Mabel Riegelman Engelbert Humperdinck Bayreuth Festival Covent Garden Washington National Opera Damrosch Opera Company Metropolitan Opera 1870 1872 1889 1895 1896 1898 1899 1900 1901 1902 1903 1904 1905 1906 1907 1910 1911 1917 1921 1922 1925 1928 1929 1931 1932
Johanna Gadski - Stabat Mater - Inflammatus - Gioachino Rossini - G.&.T.03093 enregistré le 30 septembre 1910 Johanna Gadski (15 June 1872 – 22 February 1932) was a German soprano. She was blessed with a secure, powerful, ringing voice, fine musicianship and an excellent technique. These attributes enabled her to enjoy a top-flight career in New York City and London, performing heavy dramatic roles in the German and Italian repertoires. She was born in Anklam, Prussia on 15 June 1872, according to most references, but birth records still extant at the Evangelical Church of Saint Mary, Anklam, Germany, state that Johanna Wilhelmine Agnes Emilie Gadski was born on June 15, in 1870. After receiving a musical education in Stettin, she made her operatic debut in Berlin in 1889 in the role of Undine. Highlights of her subsequent career in Germany included appearances in Wagner's works at the 1899 Bayreuth Festival and at the 1905/06 Munich Festival. However, it was in English-speaking countries that Gadski built her international reputation as a diva. She made her successful American debut in New York in 1895 with the Damrosch Opera Company and became popular, too, in England. In 1896 she created the role of Hester Prynne in the fully staged premiere of Walter Damrosch's opera The Scarlet Letter in Boston. She sang in London at the Royal Opera House, Covent Garden, in 1899, 1900, 1901 and 1906. Some sources credit her with appearing at England's Worcester Festival but this is an error. Actually, she sang at America's Worcester festivals, held in the American state of Massachusetts during the late 1890s. Gadski was an extremely popular recitalist and, in 1899 to 1900, she capitalised on this business opportunity by embarking on a concert tour of the United States. She had also joined the star-studded roster of singers at the New York Metropolitan Opera, singing there from 1898 to 1904 and again from 1907 to 1917. Around 1902 she met Mabel Riegelman, a young soprano in San Francisco, and brought Mabel and her sister Ruby Riegelman (who was also her chaperone and accompanist) to Berlin in 1903 as her guest, then settling the two sisters in Stettin to continue their musical studies. In 1911 Gadski and Mabel Riegelman took the SS Kaiser Wilhelm II to New York City, where Gadski arranged for her star pupil Mabel Riegelman to debut as Gretel in Engelbert Humperdinck's Hansel and Gretel. At the height of World War I, however, she was obliged to resign from the Metropolitan Opera because of her German links. Legend has it that she was deported from the United States as an alien enemy but this is not true. She spent the duration of the war living quietly in New York and Lake Spofford, New Hampshire, and did not revisit Germany until 1922. Gadski resumed her professional concert career in the United States in 1921. She did not return to the operatic stage, however, until the late 1920s; her first such appearance being in a 1928 production of Die Walküre mounted by the Washington National Opera, a semi-professional company not related to its present namesake.[1] Thereafter, in the years 1929 to 1931, she toured as the star of the German Grand Opera Company. By this late date, however, her voice had been eroded by advancing age and strenuous use in her early years. A United States citizen since 1925, she was visiting Germany when she died in a car accident in Berlin on 22 February 1932 Source:Wikipedia
Kraus Brewer Damrosch Bayreuth Siegfried Wagner Wagner Krauss Smetana Damrosch Opera Company Metropolitan Opera Covent Garden Hofoper 1863 1881 1890 1893 1896 1903 1904 1907 1923 1941
Ernst Kraus +••.••(...)) was born Ferdinand Ernst Konrad Hermann Schmidtner to a young unwed mother in Erlangen. Raised in humble circumstances, the young man changed his surname to Kraus upon the death of his mother in 1881. He trained as a brewer and was seemingly happy brewing and selling beer but friends encouraged him to pursue his singing talents. Around 1890, Kraus entered a Munich vocal competition and greatly impressed the judges. He was awarded a scholarship, which allowed him to study with German soprano Anna Shimon-Regan. At the relatively late age of thirty, he made his debut in Mannheim as Tamino in Die Zauberflöte in 1893. He remained with the Hoftheater in Mannheim for the next three seasons, during which time he debuted in Berlin as Lohengrin. Kraus made his first North American appearances with the Damrosch Opera Company in 1896. Appearances at Bayreuth and Covent Garden followed, mainly in the Wagnerian repertoire. Kraus made his debut at New York’s Metropolitan Opera as Siegmund in Die Walküre on November 25, 1903. During the 1903/1904 season at the MET, Kraus sang thirty-five performances of Lohengrin, Tannhäuser, Tristan und Isolde, Götterdämmerung, Siegfried and his only non-Wagner role with the company, Tamino in Die Zauberflöte. However, the tenor failed to make a lasting impression and was not invited to come back for subsequent seasons. Taking over the Wagnerian mantel left vacant with the departure of Jean de Rezske was a daunting task and Kraus didn’t make the grade in the opinion of many critics. Of his March 1, 1904 Tristan, a Philadelphia critic wrote, “Krauss (sic) has sung Tristan, on occasion, indifferently well, but his performance last night was a triumph of badness. No one who did not hear the love duet can imagine how badly it can be sung.” The reviewer went on to describe Kraus as, “…simply shocking, rough, tuneless, unintelligent, unmusical, wooden…”. In the tenor’s defense, he was ill during the performance and was compelled to withdraw after the second act. Regardless, Kraus wrapped up his commitments in New York in April and returned to Europe, never to set foot in the U.S. again. Berlin was Kraus’ artistic home for the majority of his career and he remained there as a regular company member for over a quarter century. During his tenure at the Berlin Hofoper, Kraus was given the opportunity to sing a variety of roles including Herod in Salome, Florestan in Fidelio and the title role in Smetana’s Dalibor. He continued to give guest appearances during his years with Berlin Hofoper, including performances in Munich, Frankfurt, Dresden, Zurich, Vienna, Graz, Prague, Riga, Paris, Brussels and Milan. Kraus retired for the stage at the end of the 1923/24 season at the age of sixty and devoted his career to teaching. He passed away in Walchstadt in 1941. In this recording, Kraus sings Herod's aria, "Salome, ich beschwöre dich" from Strauss' Salome. This was recorded in Berlin for G&T in 1907.
Brahms Walter Johannes Damrosch Leopold Damrosch Wilhelm Albert Rischbieter Felix Draeseke Anton Seidl Bülow Sarnoff Schonberg Franz Schubert Tchaikovsky Richard Wagner Gustav Mahler Edward Elgar George Gershwin Dresden Conservatory Carnegie Hall Metropolitan Opera Oratorio Society New York Symphony Society New York Damrosch Opera Company 1832 1859 1862 1867 1871 1884 1885 1887 1890 1891 1894 1898 1899 1900 1902 1903 1912 1920 1923 1925 1926 1927 1928 1937 1942 1947 1949 1950
1.Allegro non troppo 13:47 2.Adagio non troppo 24:00 3. Allegretto grazioso (quasi andantino) 29:33 4. Allegro con spirito Recorded in 1928. Walter Damrosch +••.••(...)) The distinguished German-American conductor, music educator and composer, Walter (Johannes) Damrosch, was the son of the eminent German-American conductor and violinist, Leopold Damrosch +••.••(...)), and brother of the German-American conductor and teacher, Frank (Heino) Damrosch +••.••(...)). Walter Damrosch exhibited an interest in music at an early age and was instructed by his father in harmony and also studied under Wilhelm Albert Rischbieter and Felix Draeseke at the Dresden Conservatory. Walter Damrosch went to New York with his family in 1871, where he continued his music studies. In 1884, when his father began his season of German Opera in New York, Walter was made an assistant conductor. When his father fell ill, he received some deathbed coaching from him and made his Metropolitan Opera debut conducting Tannhäuser on February 11; 1885, just 4 days before his father succumbed. He remained on the roster of the Metropolitan Opera (under Anton Seidl) until 1891. He also served as his father's successor as conductor of the Oratorio Society of New York +••.••(...)) and the Symphony Society of New York (from 1885). In 1887 he pursued training in conducting with Hans von Bülow in Frankfurt am Main. In 1894 he founded the Damrosch Opera Company in New York, which he conducted in performances of German operas until 1899, both there and in other major USA cities. From 1900 to 1902 he was again on the roster of the Metropolitan Opera. He was conductor of the New York Philharmonic Orchestra in 1902-1903. After the reorganisation of the Symphony Society of New York in 1903, he was its conductor until it merged with the New York Philharmonic Orchestra in 1928. In 1920 he conducted the Symphony Society of New York on a major tour of Europe. In 1912 he took over the symphonic concerts for young people originally organised by his brother, and he also conducted young people's concerts with the Symphony Society of New York. Walter Damrosch's interest in music education prompted him to utilise the medium of radio to further the cause of music appreciation; on October 19, 1923, he conducted the Symphony Society of New York in its first radio broadcast from Carnegie Hall. He the National Broadcasting Company's music director under David Sarnoff, and in 1926 he inaugurated a regular series of radio broadcasts, which were later aired as the "NBC Music Appreciation Hour" throughout the USA and Canada from 1928 to 1942. This was a popular series of radio lectures on classic music aimed at students. (The show was broadcast during school hours, and teachers were provided textbooks and worksheets by the network.) According to former New York Times critic Harold C. Schonberg in his collection Facing the Music, Damrosch was notorious for making up silly lyrics for the music he discussed in order to "help" young people appreciate it, rather than letting the music speak for itself. An example: for the first movement of Franz Schubert's Unfinished Symphony, the lyric went: This is the symphony, That Schubert wrote and never finished He also served as musical counsel to NBC from 1927 to 1947. Damrosch conducted the USA premieres of Tchaikovsky's 4th and 6th symphonies as well as scores by Wagner, Gustav Mahler, and Edward Elgar. He also conducted premieres of works by American composers, including world premiere performances of George Gershwin's Piano Concerto in F (1925), and An American in Paris (1928). Walter Damrosch was best known in his day as a conductor of Richard Wagner and was also a pioneer in the performance of music on the radio, and as such became one of the chief popularizers of classical music in the USA. Although now remembered almost exclusively as a conductor, before his radio broadcasts he was equally well-known as a composer. On May 17, 1890, Walter Damrosch married Margaret Blaine +••.••(...)), the daughter of American politician and presidential candidate James G. Blaine. They had four daughters.
Pas plus ?
Tous les jours, soclassiq cherche de nouveaux articles, vidéos, concerts, etc. sur la musique classique et l'opéra, leurs artistes, leurs lieux de concert, leurs orchestres....
Damrosch Opera Company ? Nous n'avons pas encore rassemblé beaucoup de contenu sur ce sujet, mais nous continuons à chercher.
ou
- Compagnies d'opéra (Amérique du Nord).
- Index (par ordre alphabétique): D...