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Rec Numb | 83046-R | 83046-L |
Take | C | C |
Title | ATTILA (Giuseppe Verdi / Temistocle Solera), III: Terzetto (Odabella, Foresto, Ezio) "Praise ye, o praise the Holy Lord" | TROVATORE (Giuseppe Verdi / Salvatore Cammarano), IV/3: Duetto (Azucena, Manrico) "Home to our mountains" |
Artist | Marie Rappold (S), Karl J÷rn (T), Arthur Middleton (Bs), (O) | Julia Heinrich (S), Hardy Williamson (T), (O) |
Recorded | 1916.03.06/9 | 1915.10.18 |
Place | NYC | NYC |
EXCELLENT faint scuffs, BUT faint crazing of surface first 15 mm causes light swish/ prounounced swith at start
Rappold, Marie, Sopran, * 1879 London, å 12.5.1957 Los Angeles; Actually Marie Winterroth. She was already in childrens' roles with her five years in London; later her parents emigrated to America. She studied with Oscar Saenger in New York. She debuted in 1905 at the Metropolitan Opera New York as Sulamith in Goldmarks + Queen of Saba½. At first she remained at the Metropolitan Opera until 1909. In 1909 she came to the opera in Bucharest and then toured Germany. During her performance in Bucharest, she was awarded a high order in 1910 by the art-loving Georgian queen Carmen Sylva. In the first marriage she was married to the American doctor Julius Rappold, from whom she separated in 1906; In 1913 she married the German tenor Rudolf Berger (1874-1915), who had already died two years later. She was again bound to the New York Metropolitan Opera in 1910, which she now belonged to 1920. At the New York Metropolitan Opera, she sang a variety of roles, including the Leonore in Troubadour, Desdemona in Verdis + Othello, Aida, Euridice in Gluck's + Orpheus, Elsa in + Lohengrin, and Freia In the Rheingold. It appeared there in the premieres of the operas + Iphigenie on Tauris by Gluck (1916) and by H. Goetz (1916) by Der Rückspenstige ZShmung. In the twenties she undertook touring the capital with the San Carlo Opera Company through North America and in 1923 was a guest at the Havana Opera. In 1925 she sang the Aida at the Yankee Stadium in New York. In 1927-28 she was a member of the Chicago Opera, and in 1929 she toured Europe, where she performed mainly in Germany and Holland. Last PSDagogin in Los Angeles.
From their expressive soprano voice are Edison cylinders and plates.
[Supplement] Rappold, Marie; In 1910 and 1912 she appeared at the Boston Opera as Aida and as Leonore in the Troubadour.
J ÷ rn, Karl, tenor, * 5.1.1873 Riga, å 19.12.1947 Denver (Colorado); He came from a poor German-Baltic family. He was adopted by General Baron von Dellinghausen after his son died. His education was by the PSdagogen Schntte-Harmsen, Jacobs and Mrs. Luise Ress in Berlin. Debnt 1896 Freiburg i. Br. As Lyonel in Flotows + Martha½. Other engagements: 1898-99 Stadttheater Znrich, 1899-1902 Stadttheater (Opernhaus) Hamburg. 1902-08 he was a celebrated member of the Berlin Court Opera. He appeared there on 13.12.1904 in the (unsuccessful) premiere of Leoncavallos + Der Roland of Berlin½. He was the favorite singer of Emperor Wilhelm II, who gave him several souvenirs. He enjoyed 1905-08 regularly at the London Covent Garden Opera, among others. 1906 in + The Barber of Bagdad½ by P. Cornelius; He also appeared as a guest in Brnssel and Amsterdam. In 1908, he followed a call to the New York Metropolitan Opera, which he had until 1914. Here he debuted in January 1909 as Walther von Stolzing in the + Master's singers and sang the Hans in the same year in the premiere of the + sold bride of Smetana. In total, he sang 18 performances at the Metropolitan Opera in 103 performances, including the Tannhsuser, the Grieux in + Manon½ of Massenet, the Faust of Gounod and the Tamino in the + Magic Flute. Another great role of the artist was the JosT in + Carmen½. In 1914, he played the title role at the Deutsche Opernhaus in the premiere of the Parsifal. Although he wanted to keep him in Berlin, and even Kaiser Wilhelm II was involved in these efforts, he went back to the USA. In 1916 he accepted the American nationality; He abandoned his career, and lost all his fortune through speculations about dubious inventions in the twenties. He lived quite forgotten as a connoisseur in Denver (Colorado). When Johanna Gadski undertook a North American tour with the German Opera Company in 1929-31, she invited the artist to participate. He had great success again, especially as Tristan (a part he had never sung before), Siegmund and Siegfried. In 1932, he opened a vocal studio in New York, but later settled down in Denver. Karl J ÷ rn was married to the soprano Else J ÷ rn-Becker (* 1884 Berlin).
Expressive, especially in the high strata, gloriously fond tenor voice, celebrated at the beginning of the career predominantly in lyric, late in the heroic and predominantly in the Wagner repertoire.
Numerous records on G & T (Berlin, 1903-07), on HMV and on Columbia (1916). On HMV in the complete operas + Faust½ and + Carmen½ (Berlin, 1908). Also Edison cylinders and plates (1910-17, recorded in the USA).
[Supplement] Jn, Karl; He was a member of the Berlin court opera in 1902-12, in which he sang the Italian singer in the Berlin premiere of the + Rosenkavaliers in 1911. He's a guest
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