FORGOTTEN OPERA SINGERS

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Mar 10, 2025

GERMAN BASS-BARITONE MICHAEL BOHNEN (1887-1965) CDR

FRANZ MICHAEL BOHNEN (COLOGNE, GERMANY, 2 MAY, 1887 – BERLIN, GERMANY, 26 APRIL, 1965)

He studied singing at the Cologne Conservatory under Fritz Steinbach and Richard Dornburg, making his debut in 1910 at the Opernhaus in Düsseldorf as Kaspar in Der Freischütz. In 1910, he also performed in the premiere of Alfred Kaiser’s opera Stella Maris. Between 1911 and 1914, he was engaged at the Hoftheater in Wiesbaden.

In 1914, he joined the Hofoper in Berlin, achieving sensational success as Gurnemanz in Parsifal. That same year, he made guest appearances in London at the Drury Lane Theatre (as Ochs in Der Rosenkavalier under Sir Thomas Beecham) and at the Bayreuth Festival, performing as Hunding and Daland. During World War I, he served as a soldier but formed a 200-strong soldiers’ choir, with whom he toured German cities. Discharged from military service in 1916, he resumed his career at the Hofoper in Berlin, where he performed until 1918.

In 1922, he joined the Metropolitan Opera in New York, enjoying great success until 1932. He sang Francesco in the American premiere of Max von Schillings’ opera Mona Lisa, opposite Barbara Kemp, the composer’s wife (March 1, 1923). His final appearance at the Met was in 1932 as the Wanderer in Siegfried.

The composer Emil Nikolaus von Reznicek wrote his opera Holofernes for him, and he created the title role at its Berlin premiere at the Deutsche Oper on October 27, 1923. He also participated in the world premiere of Leo Blech’s Rappelkopf (1917). In 1928, he starred in Berlin in the operetta Casanova by Johann Strauss-Benatzky and continued to perform in numerous operettas and films.

He made guest appearances in Vienna (1920-1922, 1938), Budapest (1925), Buenos Aires (Teatro Colón, 1933), Basel and Bern (1920-1922), The Hague (as Kaspar in Der Freischütz, 1927), and at the Salzburg Festival (as Kaspar, 1939). He also performed in France, Spain, Italy, Belgium, Holland, Sweden, and Czechoslovakia.

After his success in the U.S., he returned to Germany in 1932 and performed at the Deutschen Opernhaus in Berlin from 1935 to 1945, focusing increasingly on film work. From 1945 to 1947, he served as director of the Städtische Oper in Berlin. His final stage performance was as Hans Sachs in Die Meistersinger von Nürnberg in 1951.

He was briefly married to soprano Mary Lewis (1900–1941) and later to dancer La Jana (1905–1941).

TRACKLIST

Africaine (Meyerbeer) Dir, o Königin Gramophone B22178 1098as

Barbiere di Siviglia (Rossini) Die Verleumdung Favorite 2-15089

Carmen (Bizet) Auf in den Kampf Odeon O-6804, xxB7495

Erlkönig (Loewe) Odeon O-6818 xxB7499

Faust (Gounod) Le veau d’or Odeon O-6804 xxB7497

Faust (Gounod) Mephisto-Serenade Gramophone 4-42557, 13630r

Faust (Gounod) Rondo vom goldenen Kalb (w. chorus) Gramophone 4-42558, 61716

Faust (Gounod) Wohlan, unterschreibe (w. Hutt) Gramophone 3-44163 19040L

Fidelio (Beethoven) Hat man nicht auch Geld beineben Favorite 2-15085

Hans Heiling (Marschner) An jenem Tag Gramophone B22042 1115m

Juive (Halévy) Wenn ew’ger Haß Odeon O-6808

Meistersinger von Nürnberg (Wagner) Doch eines Abends spät Odeon XX76571 xxB6286

Meistersinger von Nürnberg (Wagner) Geliebter, spare den Zorn (w. Bettendorf, Lüders & Öhman) Parlophon P9014 2-8903xxB7518

Meistersinger von Nürnberg (Wagner) Jerum, Jerum (w. Bettendorf, Öhman & Schützendorf) Parlophon P9014

Meistersinger von Nürnberg (Wagner) Wahn! Wahn! Odeon XX76570, xxB6285

Mona Lisa (von Schillings) Seht hier des Meeres wunderbarsten Schatz Gramophone B22093 1009as

Otello (Verdi) O komm, mein liebes Becherlein Gramophone 4-42653 19052L

Pagliacci (Leoncavallo) Prolog Odeon XX76710, xxB6293

Parsifal (Wagner) O Wunden – wundervoller heiliger Speer! Odeon 76461 xxB6061

Parsifal (Wagner) Titurel, der fromme Held Odeon 76462 xxB6060

Prinz Eugen (Loewe) Odeon O-6818, xxB7498

Prodana Nevesta (Smetana) Wer in Lieb’ entbrannt Odeon O-6808 xxB7494

Rheingold (Wagner) Abendlich strahlt Gramophone 042574 1410s

Rigoletto (Verdi) Gleich sind wir beide Odeon XX76709 xxB6292

Robert le diable (Meyerbeer) Voici donc les débris Gramophone F22061 1036as

GERMAN CONTRALTO MARIE GOETZE (1865-1922) CDR

MARIE GOETZE (BERLIN, GERMANY, NOVEMBER 2, 1865 – BERLIN, GERMANY, FEBRUARY 18, 1922)

She received her musical education at the Stern Conservatory and studied singing under Désirée Artôt. She made her debut at the Berlin Kroll Opera as Azucena in Il Trovatore, performing there from 1884 to 1887. She then joined the Hamburg Opera, where she sang from 1887 to 1890.

In the 1890–1891 season, she appeared at the Metropolitan Opera in New York. In 1892, she was appointed the principal contralto at the Berlin Opera House, a role that cemented her reputation as a leading artist of her time. In 1907, she delivered a memorable concert performance in Stockholm.

TRACKLIST

Evangelimann (Kienzl) O schöne Jugendtage 34468 xB989 Odeon, Berlin 1905

Aus der Jugendzeit (Radecke) 15524 Pathé, Berlin 1911-08

Dame Blanche (Boieldieu) Spinnlied 8379 Beka, Berlin 1906-08

Evangelimann (Kienzl) O schöne Jugendtage 43869 9689u G&T, Berlin 1906-08

Faust (Gounod) Als noch in Freude dir die Tage entschwunden 43893 9694u G&T, Berlin 1906-08

Faust (Gounod) Blümlein traut 043101 0795v Gramophone, Berlin 1908-0304

Faust (Gounod) Leichte Wölkchen sich erheben (w. Destinn, Jörn & chorus) 044082 0794u Gramophone, Berlin 1908-0304

Faust (Gounod) Nun, Siebel kommt (w. Jörn, Knüpfer & Zador) 2-44374 7288L Gramophone, Berlin 1908-05

Faust (Gounod) Schnell hierher (Valentins Tod, pt 1) (w. Destinn, Scheele-Müller, Zador & chorus) 2-44376 12569u

Faust (Gounod) Schwerterszene und Choral, act 2 (w. Knüpfer, Zador, Neuendahm & chorus) 044081 0808u Gramophone, Berlin 1908-0304

Orpheus (Gluck) Ach, ich habe sie verloren 8378 Beka, Berlin 1906-08

Prophète (Meyerbeer) Segen-Arie 9410 Anker, Berlin 1911-02

Samson et Dalila (Saint-Saëns) Die Sonne erwachte 043034 262i G&T, Berlin 1904

Samson et Dalila (Saint-Saëns) Die Sonne, sie lachte 8384 Beka, Berlin 1906-08

Samson et Dalila (Saint-Saëns) O Liebe, meinem Hass 8383 Beka, Berlin 1906-08

Samson et Dalila (Saint-Saëns) Sieh mein Herz erschliesst sich 8382 Beka, Berlin 1906-08

Ständchen, pt 1 (Schubert) (w. chorus) 2-43117 7319L Gramophone, Berlin 1908-05

Ständchen, pt 2 (Schubert) (w. chorus) 2-43118 7320L Gramophone, Berlin 1908-05

Trovatore (Verdi) In unsere Heimat kehren wir wieder 43515 2160x (h) G&T, Berlin 1904

Xerxes (Händel) Largo 15525 Pathé, Berlin 1911-08

GERMAN PIANIST AMADEUS WEBERSINKE (1920-2005) 2 CDR

AMADEUS WEBERSINKE (BROUMOV, CZECHOSLOVAKIA, 1 NOVEMBER, 1920 – DRESDEN, GERMANY, 15 MAY, 2005)

Webersinke studied from at the Institut für Kirchenmusik in Leipzig with Karl Straube, Johann Nepomuk David, and Otto Weinreich. He was a lecturer at the Felix Mendelssohn College of Music and Theatre. Until 1953, he worked mainly as an organist, and later only as a pianist. Webersinke was particularly devoted to Bach’s organ and piano works and also gave concerts on the clavichord. He recorded Max Reger’s Piano Concerto. 1966, he assumed a professorship at the Hochschule für Musik Carl Maria von Weber Dresden.

TRACKLIST

Invention No. 3 in D major (Bach)

Invention No. 5 in E flat major (Bach)

Invention No. 6 in E major (Bach)

Invention No. 7 in E minor (Bach)

Invention No. 9 in F minor (Bach)

Invention No. 11 in G minor (Bach)

Invention No. 12 in A major (Bach)

Invention No. 14 in B flat major (Bach)

Invention No. 15 in B minor (Bach)

Sinfonia No. 1 in C major (Bach)

Sinfonia No. 2 in C minor (Bach)

Sinfonia No. 3 in D major (Bach)

Sinfonia No. 4 in D minor (Bach)

Sinfonia No. 5 in E flat major (Bach)

Sinfonia No. 6 in E major (Bach)

Sinfonia No. 7 in E minor (Bach)

Sinfonia No. 8 in F major (Bach)

Sinfonia No. 9 in F minor (Bach)

Sinfonia No. 10 in G major (Bach)

Sinfonia No. 11 in G minor (Bach)

Sinfonia No. 12 in A major (Bach)

Sinfonia No. 13 in A minor (Bach)

Sinfonia No. 14 in B flat major (Bach)

Sinfonia No. 15 in B minor (Bach)

Piano Concerto In D Major, Op. 61A: I. Allegro Ma Non Troppo (Beethoven)

Piano Concerto In D Major, Op. 61A: II. Larghetto (Beethoven)

Piano Concerto In D Major, Op. 61A: III. Rondo (Beethoven)

Fantasiestücke, Op. 73: No. 1, Zart und mit Ausdruck (Schumann) with Michael Simm (clarinet)

Fantasiestücke, Op. 73: No. 2, Lebhaft, leicht (Schumann) with Michael Simm (clarinet)

Fantasiestücke, Op. 73: No. 3, Rasch und mit Feuer (Schumann) with Michael Simm (clarinet)

GERMAN PIANIST ERIK THEN-BERGH (1916-1982) 2 CDR

ERIK THEN-BERGH (HANOVER, MAY 3, 1916 – BALDHAM NEAR MUNICH, APRIL 19, 1982)

Erik Then-Bergh received his first piano lessons at the age of five from his father and further training with the Hanoverian piano teacher Clara Spitta. He made his first public appearance in his hometown at the age of 13. He later studied piano in Frankfurt am Main in the master class of Alfred Hoehn and then deepened his studies with Carl Adolf Martienssen in Berlin. As a 20-year-old he won the Walter Bachmann Prize in Dresden. In 1938 he made his debut at the Deutsche Oper Berlin with piano concertos by Beethoven and Brahms, The high point of his career was during the Second World War, where he played under well-known conductors and won the National Music Prize in 1940 as the best young pianist. After the war, extensive concert tours took him all over Europe, where he played under well-known conductors such as Herbert von Karajan or Joseph Keilberth . In 1954 he played four concerts in Hamburg and Berlin under the conductor Wilhelm Furtwängler . Furtwängler was so impressed by him that he asked him to perform the revised version of his Symphonic Concerto in B minor on a major concert tour with the Berlin Philharmonic. Both rehearsed and worked together on the work, but Furtwängler’s death on November 30, 1954 made the tour fail. Erik Then-Bergh then played this concert almost 4 years later, on January 25, 1958 in the concert hall of the Hochschule für Musik Berlin with the Berliner Philharmoniker in homage to Furtwängler. Artur Rother was the conductor. Then-Bergh was not only a pianist, but also a dedicated music teacher. He had been teaching at the Folkwang School of the City of Essen since 1949, from 1952 at the same time and later at the Music Academy in Munich, where he taught until his death.

TRACKLIST

7 Bagatelles, Op. 33 No. 1 in E-Flat Major (Andante grazioso, quasi allegretto) (Beethoven)

7 Bagatelles, Op. 33 No. 4 in A Major (Andante) (Beethoven)

Concerto No. 1 in D minor for Piano and Orchestra, Op. 15 I. Maestoso (Brahms)

Concerto No. 1 in D minor for Piano and Orchestra, Op. 15 II. Adagio (Brahms)

Concerto No. 1 in D minor for Piano and Orchestra, Op. 15 III. Rondo. Allegro non troppo (Brahms)

Keyboard Suite No. 4 in E Minor, HWV 429 I. (Allegro) (Händel)

Keyboard Suite No. 4 in E Minor, HWV 429 II. Allemande (Händel)

Keyboard Suite No. 4 in E Minor, HWV 429 III. Courante (Händel)

Keyboard Suite No. 4 in E Minor, HWV 429 IV. Sarabande (Händel)

Keyboard Suite No. 4 in E Minor, HWV 429 V. Gigue (Händel)

Nocturne No. 17 in B Major, Op. 62, No. 1 (Chopin)

Piano Concerto No. 5 in E-Flat Major, Op. 73 Emperor I. Allegro (Beethoven)

Piano Concerto No. 5 in E-Flat Major, Op. 73 Emperor II. Adagio un poco mosso (Beethoven)

Piano Concerto No. 5 in E-Flat Major, Op. 73 Emperor III. Rondo. Allegro (Beethoven)

Piano Sonata No. 2 in G Minor, Op. 22 (Schumann)

Piano Sonata No. 2 in G Minor, Op. 22 II. Andantino (Schumann)

Piano Sonata No. 2 in G Minor, Op. 22 III. Scherzo (Schumann)

Piano Sonata No. 2 in G Minor, Op. 22 IV. Rondo (Schumann)

Piano Sonata No. 28 in A Major, Op. 101 (Beethoven)

Piano Sonata No. 28 in A Major, Op. 101 I. Etwas lebhaft und mit der innigsten Empfindung (Beethoven)

Piano Sonata No. 28 in A Major, Op. 101 III. Langsam und sehnsuchtsvoll (Beethoven)

Piano Sonata No. 28 in A Major, Op. 101 IV. Geschwind, doch nicht zu sehr, und mit Entschlossenheit (Beethoven)

Violin Partita No. 2 in D Minor, BWV 1004 V. Chaconne (Arr. F. Busoni) (Bach)

GERMAN PIANIST FRIEDRICH WÜHRER (1900-1975) 2 CDR

FRIEDRICH WÜHRER (VIENNA, AUSTRIA, 29 JUNE, 1900 – MANNHEIM, GERMANY, 27 DECEMBER, 1975)

He was an Austrian-German pianist and piano pedagogue. He was a close associate and advocate of composer Franz Schmidt, whose music he edited and, in the case of the works for left hand alone, revised for performance with two hands; he was also a champion of the Second Viennese School and other composers of the early 20th century. His recorded legacy, however, centers on German romantic literature, particularly the music of Franz Schubert.

Born in Vienna, Wührer began piano study at age six with an Austrian teacher named Marius Szudelsky; after entering the Vienna Academy in 1915, Wührer continued studying piano with Franz Schmidt, along with taking courses in conducting under Ferdinand Löwe and music theory under Joseph Marx. His performing career began in the early 1920s, and he toured Europe and the United States in 1923.

Wührer was a founder of the International Society for Contemporary Music in Vienna. He formed friendships with composers Hans Pfitzner and Max Reger, and became associated with Arnold Schoenberg and his circle, participating in performances of Schoenberg’s setting of 15 poems from Das Buch der hängenden Gärten, Op. 15; his Pierrot Lunaire as part of a touring company presenting the work in Spain; and Webern’s Pieces for Cello and Piano, op. 11. Wührer also performed music by Béla Bartók, Igor Stravinsky, Sergei Prokofiev, and Paul Hindemith. On 3 July 1930 he performed Schoenberg student Paul Pisk’s Suite for Piano in the first broadcast of that composer’s music by the British Broadcasting Corporation. Wührer made his Salzburg Festival debut in 1938. In 1939, as Paul Wittgenstein, who commissioned the work, had fled Austria, Wührer performed in the premiere of Schmidt’s Quintet for piano, violin, clarinet, viola, and cello in A major, albeit in his own arrangement for two hands rather than, as originally written for piano, left hand alone. Thereafter, Wührer performed all the Schmidt left hand compositions in his own two-hand arrangements. He and Wittgenstein viewed each other with animosity; Wittgenstein accused Wührer of being an enthusiastic Nazi who later tried to cover it up, and Wührer disparaged Wittgenstein’s personality and pianism. Whether for this or some other reason, the recital programmes did not, as Wührer had promised Wittgenstein, make any note of the latter’s exclusive rights to the works, and as a descendant of Jews, Wittgenstein had no recourse in Nazi-governed countries.

Wührer continued his advocacy for modern works at least into middle age. For instance, he gave the premiere of Pfitzner’s Sechs Studien für das Pianoforte, Op. 51, of which he was the dedicatee,[8] shortly after its composition in 1943 and in the 1950s, he performed Kurt Hessenberg’s Piano Concerto, Op. 21 (1939). Nonetheless, notwithstanding his pioneering work for music of the Second Viennese School and other moderns of his day, Wührer’s principal focus as a performer, his posthumous reputation, and his recorded legacy came to rest on performances of music from the romantic era, particularly works in the German and Austrian traditions.

Later in life, Wührer was a juror at the Second Van Cliburn International Piano Competition in 1966, which awarded first prize to Radu Lupu. Wührer was also a member of the piano jury at the 1968 Queen Elisabeth International Music Competition. Wührer’s son, also named Friedrich, was a violinist and conductor who made classical records.

He died in Mannheim.

TRACKLIST

1 Concerto brandebourgeois No. 3 in G Major, BWV 1048 I. Allegro moderato (Bach)

2 Concerto brandebourgeois No. 3 in G Major, BWV 1048 II. Adagio (Bach)

3 Concerto brandebourgeois No. 3 in G Major, BWV 1048 III. Allegro (Bach)

4 Concerto brandebourgeois No. 4 in G Major, BWV 1049 I. Allegro (Bach)

5 Concerto brandebourgeois No. 4 in G Major, BWV 1049 II. Andante (Bach)

6 Concerto brandebourgeois No. 4 in G Major, BWV 1049 III. Presto (Bach)

7 Concerto brandebourgeois No. 5 in D Major, BWV 1050 I. Allegro (Bach)

8 Concerto brandebourgeois No. 5 in D Major, BWV 1050 II. Affettuoso (Bach)

9 Concerto brandebourgeois No. 5 in D Major, BWV 1050 III. Allegro (Bach)

10 Concerto brandebourgeois No. 6 in B-Flat Major, BWV 1051 I. Allegro (Bach)

11 Concerto brandebourgeois No. 6 in B-Flat Major, BWV 1051 II. Adagio ma non tanto (Bach)

12 Concerto brandebourgeois No. 6 in B-Flat Major, BWV 1051 III. Allegro (Bach)

13 Concerto pour piano in A Minor, Op. 16 I. Allegro molto moderato (Grieg)

14 Concerto pour piano in A Minor, Op. 16 II. Adagio (Grieg)

15 Concerto pour piano in A Minor, Op. 16 III. Allegro moderato molto e marcato (Grieg)

16 Concerto pour piano No. 1 in B-Flat Minor, Op. 23 I. Allegro non troppo e molto maestoso – Allegro con spirito (Tchaikovsky)

17 Concerto pour piano No. 1 in B-Flat Minor, Op. 23 II. Andantino semplice – Prestissimo (Tchaikovsky)

18 Concerto pour piano No. 1 in B-Flat Minor, Op. 23 III. Allegro con fuoco (Tchaikovsky)

19 Concerto pour piano No. 2 in G Major, Op. 44 I. Allegro brillante (Tchaikovsky)

20 Concerto pour piano No. 2 in G Major, Op. 44 II. Andante non troppo (Tchaikovsky)

21 Concerto pour piano No. 2 in G Major, Op. 44 III. Allegro con fuoco (Tchaikovsky)

22 Piano Concerto No. 1, Opus 23 1. Allegro Non Troppo E Molto Maestoso – Allegro Con Spirito (Tchaikovsky)

23 Piano Concerto No. 1, Opus 23 2. Andantino Semplice – Prestissimo – Tempo I (Tchaikovsky)

24 Piano Concerto No. 1, Opus 23 3. Allegro Con Fuoco (Tchaikovsky)

25 Sonate pour piano No. 13 in A Major, Op. 120, D. 664 I. Allegro moderato (Schubert)

26 Sonate pour piano No. 13 in A Major, Op. 120, D. 664 II. Andante (Schubert)

27 Sonate pour piano No. 13 in A Major, Op. 120, D. 664 III. Allegro (Schubert)

28 Sonate pour piano No. 18 in G Major, D. 894 I. Fantasie (Schubert)

29 Sonate pour piano No. 18 in G Major, D. 894 II. Andante (Schubert)

30 Sonate pour piano No. 18 in G Major, D. 894 III. Menuetto (Schubert)

31 Sonate pour piano No. 18 in G Major, D. 894 IV. Allegretto (Schubert)

GERMAN SOPRANO ELSA BLAND (1880-1935) 2 CDR

ELSA BLAND (VIENNA, 16 APRIL, 1880 – VIENNA, 27 SEPTEMBER, 1935)

She was celebrated as one of the finest German opera singers of her time. A pupil of Marianne Brandt in Vienna, she debuted in 1903 at the Municipal Theater of Olmütz (Olomouc) as Leonore in Fidelio. Her early engagements included the Municipal Theater of Magdeburg (1903–1904) and the Court Theater in Altenburg (1904–1905).

In 1905, she made a guest appearance at the Vienna Court Opera, where she subsequently became a member (1905–1908). After a hiatus, she rejoined the Vienna Court Opera in 1912 and performed there until 1913. During the 1912–1913 season, she sang at the German Opera House in Berlin, earning acclaim for roles such as Leonore in Fidelio and Martha in Eugen d’Albert’s Tiefland.

Her career featured numerous prominent guest appearances:

1908: Opera House of Riga.

1910: Teatro Costanzi in Rome (La Festa del Grano by Fino-Giario).

1911: Covent Garden, London (Amelia in Un ballo in maschera).

1910 & 1911: Teatro Regio in Torino (Isolde in Tristan und Isolde).

20 November 1910: Teatro Comunale in Bologna, premiere of Ottorino Respighi’s Semirama (title role).

She returned to the Vienna State Opera from 1920 to 1924 and appeared at other prestigious venues:

1919: Municipal Theater of Basel.

1923: Teatro Colón in Buenos Aires and Rio de Janeiro, performing roles such as Isolde, Brünnhilde (Die Walküre), and Elektra (Elektra by R. Strauss).

Her extensive repertoire included Aida, Tosca, Elsa in Lohengrin, Salome (Salome by R. Strauss), and numerous Wagnerian roles. After retiring from the stage, she devoted herself to teaching singing in Vienna. She was married to Austrian captain Barthelmus.

TRACKLIST

Königin von Saba (Goldmark): Kommst du endlich wieder (w. Slezak) Gramophone 2-44426 13226u

Cavalleria Rusticana (Mascagni): Romanze der Santuzza Pathé 19065

Lohengrin (Wagner): Fragmente Pathé 19064

Aida (Verdi) Als Sieger kehre heim!… pt 2 X-23354, X-23355 Zonophone, Wien

Walküre (Wagner): Walkürenruf Zonophone X-23339

Cavalleria Rusticana (Mascagni): Als euer Sohn Zonophone X-23370

Königen von Saba (Goldmark): Arie der Königin Odeon X38384 Vx1397

Fidelio (Beethoven): Komm, Hoffnung Odeon X38379 Vx1401

Otello (Verdi): Wenn du erzählst (w. Schmedes) G&T 2-44485 13825u

Otello (Verdi): Komm der Tod nun! (w. Schmedes) G&T 2-44486 13826u

Trovatore (Verdi): Miserere (w. Slezak & chorus) Gramophone 2-44242 10864u

Trovatore (Verdi): Sieh’ meiner hellen Tränen (w. Demuth) Gramophone 2-44239 10837u

Aida (Verdi): Finale der grossen Arie 19066 Pathé cylinders & discs, Wien 1904/1905

Zigeunerbaron (Strauss) Lied der saffi Zonophone X-23325, Wien 1908

Walküre (Wagner) Walkürenruf X-23339 Zonophone, Wien 1908

Aida (Verdi): Nil-Arie X-23371 Zonophone, Wien

Tristan und Isolde (Wagner): So stürben wir (w. Schmedes) Gramophone 2-44411 13156u

Tristan und Isolde (Wagner): O sink’ hernieder (w. Schmedes) Gramophone 2-44412 13157u

Huguenots (Meyerbeer): Nimm von mir Lieb’ um Liebe (w. Slezak) G&T 2-44050 694r

Huguenots (Meyerbeer): Nein, ich darf nicht (w. Slezak) G&T 2-44033 695r

Aida (Verdi): Entflieh’n aus diesem Lande wir (w. Slezak) 2-44061 696r

Walküre (Wagner): Du bist der Lenz Zonophone X-23340

Lohengrin (Wagner): Euch Lüften G&T 43911 10789u

Tannhäuser (Wagner): Dich teure Halle G&T 43910 10788u

Ballo in maschera (Verdi) Ich bin dir nah (w. Slezak) 2-44425 13225u Gramophone, Wien 1908

Huguenots (Meyerbeer) Ach, dies Herz (w. Hesch) 044070 0743v G&T, Wien 1907

Freischütz (Weber) All’ meine Pulse schlagen X-23326, Zonophone Wien 1908

GERMAN SOPRANO GERTRUD RUNGE (1880-1948) CDR

GERTRUD RUNGE (BRANDENBURG, GERMANY, 1880 – WEIMAR, GERMANY, 7 AUGUST, 1948)

She studied singing under Mrs. Danker-Dreyschock and Felix Schmidt in Berlin. In 1902, she made her debut at the Stadttheater in Kiel and the following year joined the Hoftheater in Weimar, where she performed until 1913. From 1913 to 1918, she was engaged by the Hoftheater in Mannheim.

She was well-regarded for her interpretations of roles such as Carmen and Violetta (La Traviata), making guest appearances at various German opera houses. Highlights included performances at the Hoftheater in Wiesbaden in 1904, multiple engagements in Leipzig starting in 1905, a guest appearance at the Hoftheater in Schwerin in 1908, and a return to Weimar in 1920.

During the 1925–1926 season, she was a member of the Berlin Volksoper. Later in life, she transitioned to a career as a journalist. Married in 1902 to a lieutenant, the son of a Prussian minister of war, she spent her later years at the Marie Seebach-Stift in Weimar.

Chronology of some appearances

1902 Kiel Stadttheater

1903-1913 Weimar Hoftheater

1904 Wiesbaden Hoftheater

1905 Leipzig Opera

1908 Schwerin Hoftheater

1913-1918 Mannheim Hoftheater

1920 Weimar Hoftheater

1925-1926 Berlin Volksoper

TRACKLIST

Carmen (Bizet) Bei meiner Mutter (w. Jörn) 044048 238m G&T, Berlin 1905-01

Carmen (Bizet) Ich seh’ die Mutter dort (w. Haberl) 21390 Polyphon, Berlin 1911-04

Der Gärtner (Mendelssohn) (w. Leonhardt) 44185 1231x G&T, Berlin 1902-0911

Die Bekehrte (Stange) 14838 Pathé, Berlin 1909

Die Nachtigall, als ich sie fragte (Goldmark) 14839 Pathé, Berlin 1909

Dragons de Villars (Maillart) O wäre ein Dragoner ich (w. Steinegg) X-24117 Zonophone, Berlin 1905-09

Faust (Gounod) Es ist schon spät (w. Haberl) 5314 Polyphon, Berlin 1910-07

Faust (Gounod) Es ist schon spät (w. Meader) 2-944176 12834r Gramophone, Berlin 1913-08-22

Faust (Gounod) Ewig dein! (w. Meader) 2-944177 12835r Gramophone, Berlin 1913-08-22

Fledermaus (Strauss) Mein Herr Marquis 43775 4289h G&T, Berlin 1906-03

Fledermaus (Strauss) Mein Herr, was dächten Sie von mir 43764 4301h G&T, Berlin 1906-03

Freischütz (Weber) Kommt ein schlanker Bursch’ gegangen (Ariette) 43205 178x G&T, Berlin 1901-10

Huguenots (Meyerbeer) Wer bist du, himmlisch schönes Wesen (w. Jörn (as Gerini)) X-24067 Zonophone, Berlin 1905-01

Lohengrin (Wagner) Wenn ich im Kampfe (w. Haberl) 5311 Polyphon, Berlin 1910-07

Mignon (Thomas) Kennst du das Land 3774 Polyphon, Berlin 1911-04

Mignon (Thomas) Titania ist herabgestiegen (Polonaise) 71027 Victor

Nozze di Figaro (Mozart) Neue Freuden, neue Schmerzen 43653 2698L G&T, Berlin 1905-01

Nozze di Figaro (Mozart) O säume länger nicht (Rosenarie) 43781 4287h G&T, Berlin 1906-03

Trovatore (Verdi) Dass noch einmal (Mal reggendo) (w. Jörn) 44498 2645L G&T, Berlin 1905-01

Trovatore (Verdi) Nie ist noch in meinem Herzen 43638 2642L G&T, Berlin 1905-01

Undine (Lortzing) Ich scheide nun aus eurer Mitte 43768 4299h G&T, Berlin 1906-03

Wildschütz (Lortzing) Auf des Lebens raschen Wogen 55782 Pathé, Berlin 1912-10

Zauberflöte (Mozart) Bei Männern, welche Liebe fühlen (w. Rittmann) 1-19297 1014-b Favorite, Hannover 1908-10-12

Zauberflöte (Mozart) Pa-Pa-Pa-Pa-Pa-Papagena! (w. Rittmann) 1-19298 1015-b Favorite, Hannover 1908-10-12

Freischütz (Weber) Trübe Augen (date) D3078 Dacapo, Berlin 1908-06-23

GERMAN SOPRANO MARCELLA ROESELER (1890-1957) CDR

MARCELLA ROESELER (BERLIN, GERMANY, 21 JUNE, 1890 – BERLIN, GERMANY, 29 JANUARY, 1957)

She received her musical education at the Stern Conservatory in Berlin and made her stage debut in 1910 at the Hoftheater in Wiesbaden as Santuzza in Cavalleria Rusticana. In 1911, she joined the Hoftheater in Kassel and later performed at the Court Theater in Dessau from 1912 to 1918. While in Dessau, she created the role of Sunilda in the 1914 premiere of Christian Sinding’s opera Der heilige Berg.

She briefly sang at the Munich Court Opera and married bass Rudolf Sollfrank (1883–1939), although the marriage later ended. Between 1919 and 1921, she appeared at the Opera House in Breslau, followed by an engagement at the Berlin Volksoper in 1922–1923.

In 1923, she toured North America with the German Opera Company and was subsequently engaged by the New York Metropolitan Opera, where she sang from 1923 to 1927. After returning to Berlin in 1928, she gave guest performances in Vienna, Dresden, Hamburg, the Municipal Opera in Berlin, and the Leipzig Opera House. She also performed extensively on German radio and toured Holland, Belgium, and France for concerts and guest appearances.

Later, she became a vocal pedagogue in Berlin, counting among her students the renowned film actress Hildegard Knef.

TRACKLIST

An die Musik (Schubert) B 24228 66012 Gramophone 1925

Aida (Verdi) Als Sieger kehre heim AA 79264 xxB 6615 Odeon

Carmen (Bizet) Hier in der Schreckensschlucht AA 79265 xxB 6616 Odeon

Freischütz (Weber) All’ meine Pulse schlagen B 24148 999 as Gramophone

Freischütz (Weber) Leise, leise, fromme Weise B 2414 998 as Gramophone

Freischütz (Weber) Leise, leise, fromme Weise F253 Ultraphon, Berlin 1929

Freischütz (Weber) Und ob die Wolke sie verhülle F253 Ultraphon, Berlin 1929

Gretchen am Spinnrade (Schubert) 66012 24229 Gramophone 1925

Lohengrin (Wagner) Einsam in trüben Tagen 13037 Gramophone

Lohengrin (Wagner) Einsam in trüben Tagen F144 Ultraphon, Berlin 1929

Madama Butterfly (Puccini) Eines Tages Rxx76220 xxB6632 Odeon, Berlin 1921

Mariä Wiegenlied (Max Reger) 02709m Tri-Ergon

Tannhäuser (Wagner) Allmächt’ge Jungfrau F144 Ultraphon, Berlin 1929

Tannhäuser (Wagner) Dich teure Halle 02200 Vox

Tosca (Puccini) Nur der Schönheit Rxx76219 xxB6617 Odeon, Berlin 1921

Tristan und Isolde (Wagner) Isoldes Liebestod 02200 Vox

Weihnachtslied (Berger) 02758m Tri-Ergon

GERMAN TENOR JULIUS LIEBAN (1857-1940) CDR

JULIUS LIEBAN (LUNDENBURG, MÄHREN, 19 FEBRUARY, 1857 – BERLIN, GERMANY, 1 FEBRUARY, 1940)

He was the son of a Jewish cantor who worked in various locations, including Brno. Three of his brothers—Adalbert, Adolf, and Siegmund Lieban—also pursued careers as singers. At the age of 14, he left home and initially supported himself as a violinist in a Gypsy band, later joining the orchestra of the Theater an der Wien in Vienna. He subsequently studied singing with Joseph Gänsbacher in Vienna.

In 1878, he made his stage debut at the Opera House in Leipzig, where he remained until 1881. During his time there, he created the role of Jakob in the premiere of Viktor Nessler’s opera Der Rattenfänger von Hameln (1879). Initially performing as a baritone, he sang roles such as Rigoletto and Count di Luna in Il Trovatore.

He transitioned to tenor buffo roles and gained international fame, particularly as Mime in Wagner’s Ring cycle. In 1882–1883, he participated in Angelo Neumann’s traveling Wagner theater tour, earning high praise, including commendation from Richard Wagner himself, who considered him the finest Mime he had ever heard. Despite this acclaim, he was never invited to perform at Bayreuth.

From 1882 to 1912, he was a celebrated member of the Berlin Court Opera (later the Staatsoper). He premiered numerous works there, including Moritz Moszkowski’s Boabdil (1892), Wilhelm Kienzl’s Don Quixote (1892) and Heilmar, der Narr (1902), and Ruggero Leoncavallo’s Roland von Berlin (1904). He also sang in the Berlin premiere of Puccini’s Madame Butterfly (1907).

In 1910, he appeared at the Salzburg Mozart Festival as Monostatos in Die Zauberflöte. From 1912 to 1915, he performed at the Städtische Oper in Berlin, participating in the 1914 premiere of Ignatz Waghalter’s Mandragola.

Even after retiring, he made a notable return to the Berlin Staatsoper on his 75th birthday, reprising his iconic role as Mime. He later taught singing in Berlin, counting among his students Ejnar Forchhammer, Peter Cornelius, Albert Reiss, and Mafalda Salvatini.

He was married to soprano Helene Lieban-Globig (1866–1916), a soloist at the Berlin Court Opera. Remarkably, despite being Jewish, he survived the Nazi era.

TRACKLIST

Siegfried (Wagner) Er sinnt und erwägt (w. Kraus) 044288 850m Gramophone, Berlin 1915-0506

Barbiere di Siviglia (Rossini) Sieh’ schon die Morgenröte 116 Lyrophon, Berlin 1905

Boccaccio (Suppé) Wie Gott will, ich halt still 942760 18623L Gramophone, Berlin 1916-07

Carmen (Bizet) Halt, zwischen den Felsen vergilt (w. Destinn, Nast, Dietrich, Parbs, Jörn, Bachmann, Krasa & chorus) 044103 0839v Gramophone, Berlin 1908-10-17

Carmen (Bizet) Hola, Carmen, hola (w. Destinn, Dietrich, Parbs, Jörn, Krasa, Dahn & chorus) 044100 0844v

Carmen (Bizet) Kommt herein (w. Metzger, Dietrich, Parbs & Krasa) 044098 900i Gramophone, Berlin 1908-11-17

Chanson de Fortunio (Offenbach) Was ich so tief und heimlich trage 8558 Beka, Berlin 1906-09

Der Schweinehirt (Schwedisches Volkslied) 2-42533 1509x G&T, Berlin 1903

Fledermaus (Strauss) Dialog, act 1 (w. Herzog) 41971, 3037r G&T, Berlin 1907-0507

Fledermaus (Strauss) Glücklich ist, wer vergisst (w. Herzog) 2-44213 3012r G&T, Berlin 1907-0507

Fledermaus (Strauss) Ich stehe voll Zagen (w. Herzog & Philipp) 2-44220, 3015r G&T, Berlin 1907-0507

Fledermaus (Strauss) Mein schönes grosses Vogelhaus (w. Herzog & Arnold) 2-44215 3014r G&T, Berlin 1907-0507

Hans Sachs (Lortzing) Die Schusterzunft bleibt immer noch 3-42792 2962r G&T, Berlin 1907-0507

Mikado (Sullivan) Bachstelzenlied 3-42820, 2959r G&T, Berlin 1907-0507

Orphée aux Enfers (Offenbach) Als ich einst Prinz war von Arkadien 3-42819 2958r G&T, Berlin 1907-0507

Schäfers Sonntagslied (Kreutzer) (w. Adalbert, Siegmund & Adolf Lieban, as Lieban Quartett) 679 Lyrophon, Berlin 1905

Siegfried (Wagner) Sieh’, du bist müde (w. Kraus) 044289, 851m Gramophone, Berlin 1915-0506

Undine (Lortzing) Im Wein liegt Wahrheit (w. Adolf Lieban) 3-44101 1584ak Gramophone, Berlin 1912-10-08

Undine (Lortzing) Was mag das für ein Ding wohl sein 3-42793, 2961r G&T, Berlin 1907-0507

Zar und Zimmermann (Lortzing) Sonst spielt’ ich mit Zepter 253 a Lyrophon

AMERICAN TENOR PAUL REIMERS (1877-1942) CDR

PAUL REIMERS (LUNDEN, SCHLESWIG-HOLSTEIN, MARCH 14, 1878 – NEW YORK, APRIL 14, 1942)

He came from a German-Danish family and initially studied singing under Spengel in Berlin. Later, he refined his skills with Sir George Henschel and Raimund von zur Mühlen in England, as well as with Jean Criticos in Paris. He made his stage debut in 1903 in Hamburg, performing as Max in Weber’s Der Freischütz. However, he soon transitioned from opera to focus exclusively on a career as a recitalist and oratorio singer.

He gained significant recognition in Germany as an interpreter of the tenor solo in Beethoven’s Symphony No. 9. His artistry extended beyond Germany, with performances in Holland, Belgium, England, and France. Notably, he was among the first German singers to include French impressionist songs in his repertoire, broadening the scope of art song interpretation.

In 1913, he traveled to North America, where he achieved tremendous success as a concert artist. He decided to settle there and became a prominent figure in the musical landscape. During the 1920s, he returned to Europe in the summer months to perform song recitals in Baden-Baden.

In 1924, he was appointed as a professor and director of the vocal program at the Juilliard School of Music in New York. His teaching and performances cemented his reputation as one of the most distinguished song interpreters of the 20th century. His mastery of the art song repertoire and his contributions to vocal pedagogy left an enduring legacy.

Chronology of appearance

1903 Hamburg Opera Freischütz (Max)

TRACKLIST

Das Steierland (Seydler) (w. Gluck) 87227 B15971 Victor, Camden NJ 1915-04-29

Der Tannenbaum (trad) (w. Gluck) 87229 B15968 Victor, Camden NJ 1915-04-29

Dimanche a l’aube (Bourgault-Ducoudray) 45063 B15696 Victor, Camden NJ 1915-02-10

Drunten im Unterland (trad) (w. Gluck) 87224 B15970 Victor, Camden NJ 1915-04-29

Du bist wie eine Blume (Schumann) 45060 B14618 Victor, Camden NJ 1914-03-23

Du, du liegst mir im Herzen (Pax) (w. Gluck) 87182 B14544 Victor, Camden NJ 1914-03-07

Es steht ein’ Lind’ (arr Berger) (w. Gluck) 87228 B15967 Victor, Camden NJ 1915-04-29

Hans und Liesel (arr Berger) (w. Gluck) 87183 B14545 Victor, Camden NJ 1914-03-07

I wonder how the old folks are at home (Lincoln) 45134 B20492 Victor, Camden NJ 1917-08-03

Ich denke dein (Schumann) (w. Culp) 30655 Odeon

Memories (van Alstyne) 45134 B20493 Victor, Camden NJ 1917-08-03

Phyllis und die Mutter (arr Erk) 45062 B15698 Victor, Camden NJ 1915-02-10

Silent night, holy night (Gruber) (w. Gluck) 3014 B15968 Victor, Camden NJ 1915-04-29

Ständchen (Schubert) (w. Lashanska) BVE43658 3050 Victor, New York 1928-05-17

Au clair de la lune (trad) (w. Gluck) 87185 B14547 Victor, Camden NJ 1914-03-07

Still wie die Nacht (Bohm) (w. Lashanska) BVE43657 3050 Victor, New York 1928-05-17

To Mary (White) 45062 B15697 Victor, Camden NJ 1915-02-10

Treue Liebe (Kücken) (w. Gluck) 87226 B15969 Victor, Camden NJ 1915-04-29

Wiegenlied (Schumann) (w. Culp) 30656 Odeon

Wohin (Schubert)… Auf Flügeln des Gesanges (Mendelssohn) 45065 B15700 Victor, Camden NJ 1915-02-10

Mar 9, 2025

GERMAN TENOR ROBERT PHILIPP (1852-1933) CDR

ROBERT PHILIPP (OFFENBACH AM MAIN, 21 NOVEMBER, 1852 – BERLIN, 12 AUGUST, 1933)

Robert Philipp began his career as an actor, performing at the Walhalla Theater in Berlin starting in 1870 and later at the Belle Alliance Theater in 1877. He transitioned into operetta singing, appearing at the Wallner Theater in 1882-83 and returning to the Walhalla Theater from 1884 to 1887. During this time, he toured Russia with the Hasse Operetta Society in 1882 and also performed at Berlin’s Friedrich Wilhelm Theater in the 1880s.

Encouraged by Count Hochberg, the director of the Berlin Court Opera, Philipp shifted his focus to opera. He made his operatic debut in 1890, stepping in as Don José in Carmen at the Berlin Court Opera. His performance earned him a permanent position, and he remained with the company—later known as the State Opera—for 40 years.

Initially celebrated as a lyric tenor, he excelled in roles like Don José in Carmen, Wilhelm Meister in Mignon, Faust in Gounod’s opera, Tamino in Die Zauberflöte, Don Ottavio in Don Giovanni, and Fra Diavolo in Auber’s opera. Later in his career, he transitioned to buffo and character roles.

Philipp was a regular participant in premieres at the Berlin Court Opera. Notable appearances included:

Angla by Ferdinand Hummel (1894)

Der Evangelimann by Wilhelm Kienzl (1895)

Don Quixote (1898)

Die Beichte by Hummel (1900)

Heilmar, der Narr by Kienzl (1902)

Der Roland von Berlin by Leoncavallo (1904)

Die Heirat wider Willen by Engelbert Humperdinck (1905).

He also appeared in The Rose of Pontevedra by Josef Foerster at the Court Theatre in Gotha (1893). His guest engagements included performances at prestigious venues such as Dresden, Wiesbaden, Weimar, Schwerin, Munich, Frankfurt, and the Theater des Westens in Berlin. He also toured internationally, performing in St. Petersburg and Moscow.

Philipp remained active at the Berlin Opera until 1930, transitioning to smaller roles in his later years. Alongside his stage career, he taught singing in Berlin, where he was highly regarded as a pedagogue.

Philipp was briefly married to soprano Marie Dietrich (1865–1940), who was also a member of the Berlin Court Opera. His career spanned decades, and his legacy was firmly rooted in Berlin, where he achieved his greatest successes.

Chronology of some appearances

1880-90 Berlin Friedrich-Wilhelm-Theater

1890-1930 Berlin Hofoper

1883 Berlin Wallner-Theater

1884-1887 Berlin Walhalla Theater

1893 Gotha Hoftheater

1897 Schwerin Hoftheater

1899 Wiesbaden Hoftheater

1899 Berlin Theater des Westens

1900 Dresden Hoftheater

1902 Frankfurt a. M Oper

1902 Berlin Theater des Westens

1903 Dresden Hoftheater

1906 Weimar Hoftheater

1916 Munich Hoftheater

TRACKLIST

Fledermaus (Strauss): Nein, mit solchen Advokaten (w. Herzog & J Lieban) 044059, 200s G&T

Fledermaus (Strauss): Dialog, act 3 (w. Dietrich, J Lieban, Arnold & Vallentin) 41974 3058r G&T, Berlin 1907-05/07

Fledermaus (Strauss): Dieser Anstand, wie manierlich (w. Herzog) 044061 199½s G&T

Fledermaus (Strauss): Brüderlein und Schwesterlein (w. Herzog, Dietrich, von Scheele-Müller, Arnold, Begemann, Ensemble & chorus) 044062 202s G&T

Pagliacci (Leoncavallo): Bajazzo, mein Gemahl (w. Dietrich) XX76047, xxB4589 Odeon

Evangelimann (Kienzl): Selig sind, die Verfolgung leiden X34505 Bx967? Odeon

Carmen (Bizet): Hier an dem Herzen treu geborgen X34506 Bx968 Odeon

Evangelimann (Kienzl): Salve Regina (w. Dietrich & chorus) 044065 187s G&T

Evangelimann (Kienzl): Hab’ Dank, du Gute (w. von Scheele-Müller & chorus) 044066 88s G&T

Freischütz (Weber): Nein, länger trag’ ich nicht die Qualen… Durch die Wälder X34509 Bx971 Odeon

Walküre (Wagner): Winterstürme wichen dem Wonnemond X34575 xB1082 Odeon

Zar und Zimmermann (Lortzing): Lebe wohl, mein flandrisch Mädchen (w. chorus) X-22684 Zonophone

Evangelimann (Kienzl): O Zitterbart, o Zitterbart! (w. chorus) X-22685 Zonophone

Fledermaus (Strauss): Ich lade gern mir Gäste ein (w. von Scheele-Müller & Ensemble) 2-44217 3033r G&T

Waffenschmied (Lortzing): War einst ein junger Springinsfeld (w. chorus) 3-42796 2905r G&T

Waffenschmied (Lortzing): Man wird ja nur einmal geboren 3-42797 2906r G&T

Fledermaus (Strauss): Dialog, act 2 (w. Herzog, Dietrich, von Scheele-Müller, Arnold & Begemann) 41972 3036r G&T, Berlin 1907-05/07

Carmen (Bizet): Hier an dem Herzen treu geborgen 14186 Lyrophon

Fliegende Holländer (Wagner): Mit Gewitter und Sturm (w. chorus) 14196 Lyrophon

Fledermaus (Strauss): Es scheint fast, als empfinden Sie (w. Herzog & J Lieban) 2-44221 3016r G&T

Fledermaus (Strauss): Ich stehe voll Zagen (w. Herzog & J Lieban) 2-44220 3015r G&T

Fledermaus (Strauss): Finale act 3 mit Dialog (w. Herzog, J Lieban, von Scheele-Müller, Arnold, Begemann, Ensemble & chorus) 2-44222 3034r G&T

Fledermaus (Strauss): Im Feuerstrom der Reben (w. Dietrich, von Scheele-Müller, Ensemble & chorus) 2-44218 3031r G&T

Fledermaus (Strauss): Genug damit, genug (w. Herzog, Dietrich, von Scheele-Müller, Arnold, Begemann, Ensemble & chorus) 2-44219 3032r G&T

Fledermaus (Strauss): Dialog, act 2 (w. Herzog, Dietrich, von Scheele-Müller, Arnold & Begemann) 42972 3036r G&T

AMERICAN BARITONE ROBERT LEONHARDT (1877-1923) CDR

ROBERT LEONHARDT (LINZ, AUSTRIA, 1877 – NEW YORK CITY, FEBRUARY 2, 1923)

Robert Leonard began his operatic career in 1898 at the Theater in Linz (Donau). His early engagements included the Theater des Westens in Berlin (1899-1900) and the Theater in Teplitz-Schönau (1900-1903). Returning to the Theater des Westens in the 1904-1905 season, he soon joined the Deutschen Theater in Prague (1905-1909), where he took part in significant premieres, including Eugen d’Albert’s Flauto solo and Anselm Goetzl’s Zierpuppen in 1905.

From 1909 to 1911, Leonard performed at the Opernhaus in Brünn (Brno) and subsequently joined the Volksoper in Vienna (1911-1913). Highlights of his time at the Volksoper included the role of the Minstrel in the Viennese premiere of Humperdinck’s Königskinder (1911) and the world premiere of Wilhelm Kienzl’s Der Kuhreigen on November 23, 1911. He also performed as Beckmesser in Die Meistersinger von Nürnberg and Alberich in Wagner’s Der Ring des Nibelungen at Berlin’s Gura-Sommer-Oper (1910). Leonard made a guest appearance at the Vienna Hofoper in 1909.

In 1913, Leonard was engaged by the Metropolitan Opera in New York, debuting as the Father in Humperdinck’s Hänsel und Gretel. During his tenure, he participated in notable premieres, including Umberto Giordano’s Madame Sans-Gêne (February 25, 1915) and Reginald de Koven’s The Canterbury Pilgrims (1917). However, during World War I, the political climate compelled him to adopt the anglicized stage name Robert Leonard. Despite this, he was forced to retire from the stage in 1918 due to his Austrian nationality.

Leonard returned to the Metropolitan Opera in 1920, marking a triumphant comeback. On November 19, 1921, he sang Fritz alongside Maria Jeritza in the U.S. premiere of Erich Wolfgang Korngold’s Die tote Stadt. His final performance at the Met was in Puccini’s Tosca during the 1922-1923 season.

Robert Leonard’s career was marked by his versatility in both German and international repertoire, his contributions to operatic premieres, and his resilience amidst geopolitical challenges.

Chronology of some appearances

1898 Linz Theater

1899-1900 Berlin Theater des Westens

1900-1903 Teplitz-Schönau Theater

1904-1905 Berlin Theater des Westens

1905-1909 Prague Deutschen Theater

1909 Wien Hofoper

1909-1911 Brünn Opernhaus

1910 Berlin Gura-Sommer-Oper

1911-1913 Wien Volksoper

1913-1923 New York Metropolitan Opera

TRACKLIST

Bohème (Puccini) Will ich allein des Abends in Paris mich ergeh’n (w. Runge) 944244 15572b Gramophone, Berlin 1911-08-04

Contes d’Hoffmann (Offenbach) Leuchte, heller Spiegel, mir 11367 Homokord, Berlin 1909-07-05

Don Giovanni (Mozart) Reich mir die Hand (w. Runge) 1501 Homokord, Berlin 1907-07-26

Don Giovanni (Mozart) Treibt der Champagner 11364 Homokord, Berlin 1909-07-03

Mignon (Thomas) Ihr Schwalben in den Lüften (w. Runge) 944245 15573b Gramophone, Berlin 1911-08-04

Tannhäuser (Wagner) Blick’ ich umher 11369 Homokord, Berlin 1909-07-05

Trovatore (Verdi) Befreit, o welche Seligkeit! (w. Runge) 1507 Homokord, Berlin 1907-07-26

Zauberflöte (Mozart) Der Vogelfänger bin ich ja 3-42167 2660L G&T, Berlin 1905-01?

Zauberflöte (Mozart) Der Vogelfänger bin ich ja 1214 Homokord, Berlin 1906-11-06

Zauberflöte (Mozart) Pa-Pa-Pa-Pa-Pa-Papageno (w. Runge) X-24064 Zonophone, Berlin 1904-08/09

Allerseelen Stell’ auf den Tisch die duftenden Reseden 1220 Homokord, Berlin 1907-07-29

An der Weser (Pressel) 12239 Edison 2-min cylinders, Berlin 1904/1905

Bettelstudent (Millöcker) Ich knüpfte manche zarte Bande 42321 1101B Berliner, Berlin 1901-10

Boccaccio (Suppé) Wie Gott will, ich halt’ still 42041 2807B G&T, Berlin 1902-09/11

Czar und Zimmermann (Lortzing) Sonst spielt ich mit Szepter 1715 Homokord, Berlin 1907-07-29

Das Edelweiss (Peuschel) 15189 Edison 2-min cylinders, Berlin 1904-10

Das Grab auf der Heide (Heiser) 1152 Homokord, Berlin 1907-07-24

Muss i denn zum Städtele hinaus (trad) 15254 Edison 2-min cylinders, Berlin 1905 (early)

Wohin ich geh’ und schaue (Mendelssohn) (w. Runge) 44185 1231x G&T, Berlin 1902-09/11

Zwei dunkle Augen (Heins) 12262 Edison 2-min cylinders, Berlin 1904/1905

ITALIAN SOPRANO AYRES BORGHI ZERNI CDR

AYRES BORGHI ZERNI (BUENOS AYRES, 1895 – ?)

The Italian soprano, whose father was the tenor Edgardo Zerni and whose nephew was the soprano Adele Borghi, had a notable career in the early 20th century. She studied singing with Bonanno and made her operatic debut in 1914 at the Teatro Dal Verme in Milan as Micaela in Bizet’s Carmen.

Her early career included guest appearances during the 1916-17 season at the Teatro Nazionale in Havana and performances at the Teatro Donizetti in Bergamo in 1918. In 1919, she sang at the Teatro Massimo in Palermo and achieved significant acclaim at Covent Garden in London, particularly for her portrayal of Violetta in Verdi’s La Traviata.

In 1920, she performed at the Teatro Del Casinò in Monte Carlo, where she sang Gilda in Verdi’s Rigoletto alongside the famous tenor Beniamino Gigli. That same year, she participated in the premiere of Raoul Gunsbourg’s opera Satan on March 20, 1920. She also made a guest appearance in Zurich during this period.

In 1922, she again excelled as Violetta, this time at the Teatro Costanzi in Rome, further cementing her reputation as a skilled interpreter of Verdi’s heroines. She retired from the stage in 1928, concluding a career that encompassed a range of lyric and bel canto roles, including Rosina in Rossini’s Il barbiere di Siviglia, Elvira in Bellini’s I Puritani, and Amina in Bellini’s La Sonnambula.

Her artistry was marked by her technical finesse and ability to embody both dramatic and light-hearted characters with equal success.

Chronology of some appearances

1914 Milan Teatro Dal Verme

1916 Havana Teatro Nazionale

1917 Havana Teatro Nazionale

1918 Bergamo Teatro Donizetti

1919 Palermo Teatro Massimo

1919 London Covent Garden

1920 Monte Carlo Teatro Del Casinò

1922 Rome Teatro Costanzi

TRACKLIST

Gramophone, Milano 1916

Complete Rigoletto (Verdi) with Ayres Borghi-Zerni, Carlo Broccardi, Giuseppe Danise, Vincenzo Bettoni, Nelda Garrone, Giuseppe Sala and Napoleone Limonta, Orchestra and Chorus of La Scala, Milan, conductor Carlo Sabajno

ITALIAN SOPRANO ANITA CONTI (1889-1975) CDR

ANITA CONTI (VERONA, ITALY, 1889 – MILAN, ITALY, 1975)

Anita Conti was an accomplished Italian soprano known for her dramatic intensity and versatility across a wide range of operatic roles. She made her professional debut in 1912 at the Teatro Ballarin in Lendinara, captivating audiences as Carlotta in Massenet’s Werther. This performance marked the beginning of a career that spanned nearly three decades, earning her acclaim both in Italy and abroad.

Career Highlights

1912: Anita Conti began her career at the Teatro Ballarin in Lendinara with her portrayal of Carlotta in Werther.

1914-1916: She gained recognition for her interpretation of Maddalena in Giordano’s Andrea Chénier, performing at the Teatro Vittorio Emanuele in Turin and later at the Politeama Chiarella.

1918: At the Teatro Petruzzelli in Bari, she delivered a poignant performance as Mimì in Puccini’s La Bohème, showcasing her lyricism and emotional depth.

1920-1922: Conti expanded her repertoire with the role of Aida, appearing at the Teatro Coccia in Novara and Lisbon’s Teatro São Carlos. Her portrayal of Verdi’s heroic titular character was widely praised for its vocal power and dramatic sensitivity.

1924-1926: Her performances of Tosca in Puccini’s opera at the Politeama Ariosto in Reggio Emilia and the Politeama Duca di Genova in La Spezia affirmed her status as a leading dramatic soprano.

1929-1939: Conti achieved international success with her portrayal of the demanding title role in Ponchielli’s La Gioconda. She performed the role at the Teatro Municipal in São Paulo in 1929 and revisited it triumphantly a decade later at the Teatro Petruzzelli in Bari.

1932: At Milan’s Teatro Carcano, she portrayed Margherita in Boito’s Mefistofele, displaying both vocal brilliance and dramatic depth.

1937: Returning to Bari’s Teatro Petruzzelli, she took on the emotionally charged role of Santuzza in Mascagni’s Cavalleria Rusticana, adding another signature role to her repertoire.

TRACKLIST

Gramophone, Milano 1917

Complete Pagliacci (Leoncavallo) with Anita Conti, Luigi Bolis, Giuseppe Montanelli and Ernesto Badini, Orchestra and Chorus of La Scala, Milan, conductor Carlo Sabajno

GREEK PIANIST GINA BACHAUER (1913-1976) 2 CDR

GINA BACHAUER (ATHENS, MAY 21, 1913 – ATHENS, AUGUST 22, 1976)

Gina Bachauer was a Greek classical pianist who toured extensively in the United States and Europe. She was Jewish. She gave her first recital in Athens at the age of eight. She graduated from the Athens Conservatory in 1929. Her first concert with an orchestra was in 1932, when she was 19 years old. She recorded for the HMV (His Master’s Voice), RCA Victor and Mercury labels. She gave hundreds of concerts, including 630 for the Allied troops in the Middle East during World War II. Gina Bachauer was also the piano teacher of Princess Irene. Bachauer was a close friend of Maurice Abravanel and often appeared with the Utah Symphony Orchestra. She died in 1976 of a heart attack at the Athens Festival, on the day she was to appear as soloist with the National Symphony Orchestra of Washington, D.C.

TRACKLIST

19 Hungarian Rhapsodies, S. 244 No. 12 in C-Sharp Minor (Liszt)

Ballade in F-Sharp Major, Op. 19 (Fauré)

Concerto pour piano No. 1 in B-Flat Minor, Op. 23 I. Allegro non troppo e molto maestoso – Allegro con spirito (Tchaikovsky)

Concerto pour piano No. 1 in B-Flat Minor, Op. 23 II. Andantino semplice – Prestissimo (Tchaikovsky)

Concerto pour piano No. 1 in B-Flat Minor, Op. 23 III. Allegro con fuoco (Tchaikovsky)

Gaspard de la nuit, M. 55 I. Ondine (Ravel)

Gaspard de la nuit, M. 55 II. Le gibet (Ravel)

Gaspard de la nuit, M. 55 III. Scarbo (Ravel)

Harmonies poétiques et religieuses, S. 173 VII. Funérailles (Liszt)

Piano Concerto in a Minor, Op. 16 I. Allegro molto moderato (Grieg)

Piano Concerto in A Minor, Op. 16 II. Adagio (Grieg)

Piano Concerto in A Minor, Op. 16 III. Allegro moderato molto e marcato (Grieg)

Piano Concerto No. 2 in B-Flat Major, Op. 83 I. Allegro non troppo (Brahms)

Piano Concerto No. 2 in B-Flat Major, Op. 83 II. Allegro appassionato (Brahms)

Piano Concerto No. 2 in B-Flat Major, Op. 83 III. Andante (Brahms)

Piano Concerto No. 2 in B-Flat Major, Op. 83 IV. Allegretto grazioso (Brahms)

Piano Concerto No. 2 in G Minor, Op. 22, R. 190 I. Andante sostenuto (Saint-Saëns)

Piano Concerto No. 2 in G Minor, Op. 22, R. 190 II. Allegro scherzando (Saint-Saëns)

Piano Concerto No. 2 in G Minor, Op. 22, R. 190 III. Presto (Saint-Saëns)

Piano Concerto No. 5 in E-Flat Major, Op. 73 Emperor I. Allegro (Beethoven)

Piano Concerto No. 5 in E-Flat Major, Op. 73 Emperor II. Adagio un poco mosso (Beethoven)

Piano Concerto No. 5 in E-Flat Major, Op. 73 Emperor III. Rondo. Allegro (Beethoven)

Piano Concerto No. 24 in C Minor, K. 491 I. Allegro (Mozart)

Piano Concerto No. 24 in C Minor, K. 491 II. Larghetto (Mozart)

Piano Concerto No. 24 in C Minor, K. 491 III. Allegretto (Mozart)

Piano Concerto No. 26 in D Major, K. 537 Coronation I. Allegro (Mozart)

Piano Concerto No. 26 in D Major, K. 537 Coronation II. Larghetto (Mozart)

Piano Concerto No. 26 in D Major, K. 537 Coronation III. Allegretto (Mozart)

Pour le piano, L. 95 (Debussy)

Pour le piano, L. 95 II. Sarabande (Debussy)

Pour le piano, L. 95 III. Toccata (Debussy)

Rhapsodie espagnole, S254R90, Folies d’Espagne et jota aragonesa (Liszt)

Toccata, Adagio & Fugue in C Major, BWV 564 I. Preludio (Bach)

Toccata, Adagio & Fugue in C Major, BWV 564 II. Intermezzo (Bach)

Toccata, Adagio & Fugue in C Major, BWV 564 III. Fugue (Bach)

FRENCH PIANIST JEAN DOYEN (1907-1982) CDR

JEAN DOYEN (PARIS, FRANCE, 8 MARCH, 1907 – PARIS, FRANCE, 21 APRIL, 1982)

He graduated from the Conservatoire de Paris as pianist in 1922. He began learning the instrument with Jeannine Barbulée (teacher of Samson François and Yvonne Lefébure), then studied with Louis Diémer (1919) and finally with Marguerite Long. In 1924, he made his solo debut with the Concerts Colonne. He also participated in Jacques Ibert’s ballet Les Rencontres, at the Opera Garnier. In 1926 he worked at the Radiodiffusion Française, but at the same time he returned to the Conservatoire in counterpoint class with Georges Caussade and music composition with Paul Vidal and Henri Büsser. From 1941 to 1977, he was professor of piano at the Conservatoire de Paris, succeeding Marguerite Long. Among his pupils were Idil Biret, Roger Boutry, Philippe Entremont, Marie-Thérèse Fourneau, Claude Kahn, André Krust, Arthur Moreira Lima, Bernard Job, Dominique Merlet and Chantal Riou. Doyen is best known for his interpretations of 19th and 20th century French music, notably in the works of Gabriel Pierné, Reynaldo Hahn and Vincent d’Indy and is considered one of the great interpreters of this repertoire and above all, of Maurice Ravel and Gabriel Fauré. He also enjoyed playing Vincent d’Indy’s Fantaisie sur un vieil air de ronde française and Samazeuilh’s Trois Danses. However, he recorded Chopin’s waltzes, and premiered the Variations sur un thème de Don Juan. As composer, he published one Requiem, a piano concerto, a suite in B, Marine for string quartet and female vocal quartet. His daughter, Geneviève Doyen (1944-2004) was also a pianist. However, there is no relationship with Ginette Doyen (alias Geneviève Fournier, 1921-2002), married to and musical collaborator of violinist Jean Fournier, himself Pierre Fournier’s brother.

TRACKLIST

Apres un reve (Faure) with Maurice Marechal (cello) Columbia J5217 WL1778B

Ballade no. 2 op. 38 in F major (Chopin) Voix de son maître DB5146 2LA 3445

Bourrée fantasque, 1ère partie (E. Chabrier) Ultraphone BP1440 77226

Bourrée fantasque, 2e partie (E. Chabrier) Ultraphone BP1440 77227

Caprices poétiques il Lamento, 1ère partie (Liszt) Gramophone W1569

Caprices poétiques il Lamento, 2e partie (Liszt) Gramophone W1569

Caprices poétiques la leggierezza (Liszt) Gramophone W1569

Caprices poétiques un sospiro (Liszt) Gramophone W1569

Concerto no20 en ré mineur pour piano et orchestre 1er mvt, 1ère partie (Mozart) Gramophone W1524

Concerto no20 en ré mineur pour piano et orchestre 1er mvt, 2e partie (Mozart) Gramophone W1524

Concerto no20 en ré mineur pour piano et orchestre 1er mvt, 3e partie (Mozart) Gramophone W1524

Concerto no20 en ré mineur pour piano et orchestre 2e mvt, 1ère partie (Mozart) Gramophone W1525

Concerto no20 en ré mineur pour piano et orchestre 2e mvt, 2e partie (Mozart) Gramophone W1526

Concerto no20 en ré mineur pour piano et orchestre 3e mvt, 1ère partie (Mozart) Gramophone W1526

Concerto no20 en ré mineur pour piano et orchestre 3e mvt, 2e partie (Mozart) Gramophone W1527

Fantaisie en ré mineur (Mozart) Gramophone W-1324

Images – Book I; Reflets dans l’eau; Mouvement (Debussy) Voix de son maître W1503 2LA 4016

Nocturne n°6 1ère partie (Fauré) Gramophone DB 5029

Nocturne n°6 2e partie (Fauré) Gramophone DB 5029

Déodat de Séverac Les naïades et le faune indiscret Les Muletiers Devant Le Christ De Llivia… Le Retour Des Muletiers (Extraits de Cerdana) Erato STU 70471A

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