Forgotten Opera Singers

Forgotten Opera Singers

Jun 13, 2016

Emil Schipper (Baritone) (Vienna, Austria 19. 8. 1882 † Vienna, Austria 20. 7. 1957)

First he studied jurisprudence and done a doctorate, then studied singing under Guarino in Milan. He made his debut in 1910 at the German Theater of Prague as Telramund in ''Lohengrin''. In the 1910-1911 season he was engaged by the Theater of Teplitz (Teplice), in the 1911-1912 season he appeared at the Theater in Linz (Danube). From 1912 to 1915 he sang at the Vienna People's Opera, where he performed in 1912 in the German première of P. Mascagni's opera ''Isabeau'' and sang also the part of Amfortas in the premiere of  ''Parsifal'' (1914). In the 1915-1916 season he was engaged by the Vienna Court Opera. In the 1916-1922 seasons he was active at the Court Opera (since 1918 State Opera) of Munich, where he sang in 1919 the part of Barak in the première of "Frau ohne Schatten" by  R. Strauss. Then from 1922 to 1938 he spent his career at the Vienna State Opera, where he appeared with great success. In the 1925-1927 seasons at the same time he was a member of the German Opera in Berlin. He sang in the premieres of the operas ''Theophano'' of Paul Graener (Munich, 1918), "Das Spielwerk" by Franz Schreker (Munich, 1920) and "Die Vögel" of Walter Braunfels (Munich, 4. 12. 1920). Guest performances brought him to Madrid, Barcelona, Amsterdam, Brussels, Paris (1928, Grand Opéra, as Wotan) and Budapest. In the 1924-1928 seasons he guested constantly at the Covent Garden in London. In the 1922-1923 and 1928 seasons he undertook a tours through South America. In 1922 he sang at the Teatro Colón in Buenos Aires the part of Wotan in the première of Nibelungenring. In 1923 at the same house he appeared as Orest in the première of the opera ''Elektra'' by Richard Strauss under the management of the composer, in addition he added to his repertoire  Jochanaan in ''Salome'', Telramund and Kurwenal. In North America he sang in the 1928-1929 season at the Opera Houses of Chicago and Boston. At the Salzburg festival he appeared in 1930 as an Agamemnon in Gluck's "Iphigenie in Aulis", in the 1935-1936 season as Kurwenal in ''Tristan und Isolde'' under Toscanini. In 1938 he retire from the stage. Married the contralto Maria Olszewska (1892-1964), with whom he made a few recordings.

Chronology of some appearances

1910 Prague German Theater
1910-1911 Teplitz Theater 
1911-1912 Linz Theater
1912-1915 Vienna People's Opera
1915-1916 Vienna Court Opera
1916-1922 Munich Court Opera
1922-1938 Vienna State Opera
1924-1928 London Covent Garden
1925-1927 Berlin German Opera
1928 Paris Grand Opera


Odeon, Wien 1924-11-28
Fliegende Holländer (Wagner): Die Frist ist um, pt 1 80792 xxB7034-2

Polydor, Wien? 1924/1925
Herr Oluf, pt 1 (Loewe) 70703 B2143
Herr Oluf, pt 2 (Loewe) 70703 B2144

HMV, Wien 1928-04-25
Siegfried (Wagner): Dir Urweisen ruf' ich in's Ohr D1534 (2-042049)

Siegfried (Wagner) Stark ruft das Lied with Olszewska D1533 (2-044037)
Siegfried (Wagner) Wache Wala D1533 (2-042050)
Walküre (Wagner) Meinst Du, Brunnhild' die Maid with Olszewska D1534 (2-044038) 

HMV, Wien 1929-04-24
Lohengrin (Wagner): Dank, König dir! EJ435 (2-042070)
Lohengrin (Wagner): O König! Trugbetörte Fürstin, haltet ein! EJ435 (2-042071)
Lohengrin (Wagner) Erhebe dich, Genossin meiner Schmach with Olszewska 72989 (B25069)
Lohengrin (Wagner) Ha! Dann begreif' ich sein Verbot with Olszewska 72990 (B25071)
Lohengrin (Wagner) Was macht dich in so wilder Klage doch vergehn with Olszewska 72989 (B25070) 

HMV, Wien 1929-05-24
Rigoletto (Verdi): Feile Sklaven ES587 (32-621) 

HMV, Wien 1929-05-03
Aida (Verdi): Wehe mein Vater! (Ciel, mio padre!) with Nemeth EJ491 (2-044068)
Aida (Verdi): Wohlauf denn, erhebt euch (Su dunque) with Nemeth EJ491 ES588 

HMV, Wien 1929-06-06
Iphiginie in Aulis (Gluck): O Artemis ES586 (32-618)
Iphiginie in Aulis (Gluck): O Du, die ich so innig liebe  ES586 (32-619)

1 comment:

  1. This is a beautiful excerpt. Schipper's voice is smooth and velvety; he actually sings his part rather than barking it and straining for volume. This is artistic singing. Nemeth is a known commodity and is well worth her rank as a leading soprano of her generation