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EDITH ELLEN FURMEDGE
(LONDON, 27 MARCH, 1890 — LONDON, 9 OCTOBER, 1956)
After secondary school she attended Homerton College, Cambridge to
train as a teacher. While in attendance she took up singing and abandoned a
career in teaching. She studied with Dinh Gilly whom she eventually married on
2 June 1932.
The first mention of Furmedge in the Musical Times from 1921 speaks of
her as a participating soloist the Sheffield Amateur Musical Society.
Endowed with a powerful voice she obtained small parts in Der Ring des
Nibelungen at Covent Garden. She participated in early acoustic recordings of
excerpts from The Ring.
She sang regularly under Sir Henry Wood in London and at provincial
festivals.
By the 1930s she was appearing regularly as Erda and Fricka in The
Ring. In addition to Wood, she sang under Thomas Beecham, Bruno Walter, Wilhelm
Furtwängler, Albert Coates and others.
She was a member of the British National Opera Company. Her
participation in radio broadcasts helped raise her profile among the public. As
noted in her obituary, "her impressive voice and majestic sense of style
came over particularly well on the air."
After a hiatus she returned to singing the Wagnerian roles in 1948–49.
For many years she taught in the "music school" (actually
their studio) her husband Dinh Gilly, had established, and continued teaching
after his death in 1940.
Her obituary in Opera magazine noted her "refreshing sense of calm" that she imparted to others. Furmedge's self-effacing character provided a sense of ease to her students and the many who came in contact with her.
TRACKLIST
Aida (Verdi) Neath The Chances Of Battle (w. Stiles Allen) X 546 X
1840D Edison Bell
Aida (Verdi) Tremble, Thou Art Discovered (w. Stiles Allen) X 546 X
1841J Edison Bell
Caller Herrin'
(H. Miller - Lady Neirne) 1169 9863F Edison Bell
Madame Butterfly Flower Duet Shake The Cherry Tree part 1 (w. Stiles
Allen) A 5682 EB 1202 Edison Bell
Madame Butterfly Flower Duet Shake The Cherry Tree part 2 (w. Stiles
Allen) B 5682 EB 1203 Edison Bell
Maritana (Wallace)
Alas! those chimes 1169 9617K Edison Bell
Meistersinger von Nürnberg (Wagner) Disdain not the Master's ways (w.
chorus Trenton, Coltham, Glynne, Hubbard, Halland, B Jones, Radford & Peel)
D758 (3-0942) HMV, London 1922-12-18
Rheingold (Wagner) Alberich steals the gold (w. B Jones, Radford & Trenton) D677 (3-0814) HMV, London 1922-12-18
Rheingold (Wagner) The capture of Alberich & Closing, scene 3 (w. Radford)
D677 (3-0815) HMV, London 1922-12-18
JOVITA FLORES FUENTES
(CAPIZ (NOW ROXAS CITY), PHILIPPINES, FEBRUARY 15, 1895 – MANILA, PHILIPPINES, AUGUST
7, 1978)
At the beginning of the 20th century, she came to Europe and gave
guest performances in the title roles of G. Puccini’s Madama Butterfly and P. Mascagni’s Iris. At that time, the authentic representation of these roles
by Japanese and other Asian artists, following the example of the Japanese
soprano Tamaki Miura, came into fashion. She appeared with success in Holland,
France, England, and Germany. On German operatic stages, she also sang Salome
in R. Strauss’s opera of the same name.
In 1930, she performed at the Oper Frankfurt as Cio-Cio-San in Madama Butterfly and as Liù in G.
Puccini’s Turandot. In North
America, she appeared during the 1930s with the San Carlo Opera Company. She
was also active as a concert singer.
After her retirement, she opened an opera school in Manila and exerted
a major influence on the musical life of her native country, the Philippines.
She was honored with the title “First
Lady of Philippine Music.”
TRACKLIST
Aling Puso
(Molina) 16407 Parlophon
Arimunding
Munding Parlophon
Bohème
(Puccini) Sì, mi chiamano Mimì P9320 2-20907 Parlophon, Berlin 1928-09-11
Bohème
(Puccini) Wo ich selig von Glück (It) P9320 2-20908 Parlophon, Berlin
1928-09-11
El Canto del
Expatriado (Trapaga) 16407 Parlophon
Iris
(Mascagni) Spora malata P8531 2-21375 Parlophon, Berlin 1929-04-22
Kundiman
(Abdon) Parlophon
Madama
Butterfly (Puccini) L'ultima scena P9106 2-20126-2 Parlophon, Berlin 1929-04-22
Madama Butterfly (Puccini) Un bel dì P9106 2-20125-2 Parlophon, Berlin 1929-04-22
GEORGETTE
FROZIER-MARROT (1894 - 1978)
She was a member of the Grand Opéra in Paris from 1924 to 1929,
performing roles such as Dalila in Saint-Saëns's Samson et Dalila, Didon in Berlioz's Les Troyens, and Hérodiade in Massenet's opera of the same name.
In 1928, she gave successful performances at Covent Garden in London as Dalila
and Carmen, appearing alongside Fernand Ansseau and Marcel Journet. In 1929,
she joined the Opéra-Comique in Paris, where she sang Carmen, Margared in
Lalo's Le Roi d'Ys, and other
roles. Over the following twenty years, she appeared at leading theaters across
provincial France and, from 1929 onward, frequently at the Monte Carlo Opera.
As late as 1950, she was a guest artist in Strasbourg, performing Brangäne in Tristan.
Recordings: Her beautiful voice was first captured in Pathé
recordings. In 1929, two recordings from Les
Troyens were released by HMV; however, these soon disappeared from
catalogs and are now extremely rare.
TRACKLIST
Carmen
(Bizet) Habanera 0513 200212 Pathé, Paris 19251926
Erlkoening
(Schubert) (Fr.) BFX 4 D 328 Columbia
Samson et
Dalila (Saint-Saëns) Amour, viens aider ma faiblesse 0513 Pathé, Paris 19251926
Samson et
Dalila (Saint-Saëns) Mon coeur s'ouvre à ta voix 0469 1141-c Pathé, Paris
19251926
Serse
(Handel) Largo BFX 4 WLX 1638 Columbia
Trovatore
(Verdi) La flamme brille 0517 Pathé, Paris 1929
Troyens à
Carthage (Berlioz) Adieu, fière cité W1032 (033305) CN410-2 HMV, Paris
1929-03-11
Troyens à
Carthage (Berlioz) Chers Tyriens W1032 (033304) CN409-2 HMV, Paris 1929-03-11
IVOR LLEWELYN FOSTER
(TRAMROAD, PONTYPRIDD, 1 MARCH, 1870 – PORTH-CAWL, 29 MARCH, 1959)
Born at Tramroad, Pontypridd, on 1 March 1870, he was the son of
Ebenezer Foster and Sarah (née John) of Pen-y-graig, Rhondda, Glamorgan. He
left school at the age of 12, and when he was 16, while working in his uncle
William Richards’s business in Dinas, Rhondda, he began to study old notation
in his spare time and took part in eisteddfodau. He won singing prizes at the
Porth annual eisteddfod in 1892, 1893, and 1894, and twice won the baritone
solo at the National Eisteddfod (Caernarfon 1894 and Llanelli 1895).
Following his success in Llanelli, some of his friends in the Rhondda
arranged concerts for him to raise funds for further musical training. He
entered the Royal College of Music in London in May 1896, where he studied for
four years—voice with Henry Blower, harmony with James Higgs, and opera with
Villiers Stanford. He won a gold medal during his first year, and before the
end of his course, Sir Hubert Parry remarked that he was one of the best
baritones ever to study at the College.
In 1901 he portrayed Don Pedro in a performance of Stanford’s opera Much
Ado About Nothing at Covent Garden. He later sang in the Promenade Concerts
and Boosey’s Ballad Concerts in London, and appeared for 27 consecutive seasons
at the Royal Albert Hall. He also sang at music festivals, including the
Cardiff Festival on three occasions, and made recordings of Welsh songs on the
Winner label. After retiring from public performance, he established himself as
a music teacher.
He married Mary Ann Jones of Tonypandy on 29 May 1897 (she died in
1971). He died at his home in Porthcawl on 29 March 1959 and was cremated at
Llanishen, Cardiff. In 1962 his family endowed £300 to establish memorial
prizes in his name for the Open Baritone and the Baritone Under 25 competitions
at the National Eisteddfod.
TRACKLIST
A perfect
day 2869 Winner
Bird of love
devine 2403 Columbia
Corisande
2379 28878 Columbia
In an
old-fashioned town (Squire) 2403 28875 Columbia
Roses of
Picardy 3158 Winner
Samson
(Handel) How willing my paternal love 66358 Odeon
She is far from
the land 1006 Edison Velvet Face
The Heart
Bowed Down (Balfe) 66656 Odeon
Tired hands
3158 Winner
Two eyes of
grey 1006 Edison Velvet Face
Up from
Somerset 2379 28877 Columbia
When you
come home 2869 Winner
GERTRUDE FÖRSTEL (LEIPZIG,
4 DECEMBER, 1876 (ALTERNATIVELY 21 DECEMBER, 1880) – BAD GODESBERG, 7 JUNE,
1950)
Förstel, the daughter of Gewandhaus Orchestra violinist Eduard
Förstel, was originally intended to become a pianist. She studied at the
Leipzig Conservatory from 1891 to 1897, where her teachers included Oscar Paul
and Adolf Ruthardt. In 1897, she made her public debut as a pianist in Werdau.
Angelo Neumann, however, recognized her vocal talent and arranged for
her training—at his own expense—in Berlin with Bertha Niklas-Kempner and in
Dresden with Aglaja Orgeni. She made her operatic debut on September 1, 1900,
at the Prague State Theatre as “Amina” in Bellini’s La Sonnambula (The
Nightwalker).
On April 11, 1905, she appeared as a guest at the Vienna Court Opera,
singing Sulamith in Goldmark’s Die Königin von Saba (The Queen of
Sheba). From September 1, 1906, to January 31, 1912, she was a member of
the Vienna Court Opera ensemble, making her house debut on September 4, 1906, as
Mignon. Between 1904 and 1912, she was also a frequent performer at the
Bayreuth Festival.
From 1912 until the end of her stage career, she devoted herself
exclusively to concert singing, later teaching voice at the Cologne University
of Music. She was particularly admired for her interpretation of the soprano
solo in Mahler’s Fourth Symphony.
Gertrude Förstel made recordings for G&T (Prague, 1903 and 1906;
Bayreuth, 1904), Pathé (Vienna, 1909), and Grammophon (Berlin, 1925).
TRACKLIST
Carmen (Bizet) Ich sprach, dass ich furchtlos mich fühle 43519, 1952x
G&T, Praha 1903/1904
Die Nachtigall (Alabieff) 43501 1902x G&T, Praha 1903/1904
Faust (Gounod) Ha! welch Glück 43504, 1903x G&T, Praha 1903/1904
Götterdämmerung (Wagner) Frau Sonne sendet lichte Strahlen (w. Paalen
& Pohlner) 51186, 51187, Pathé, Wien 1909
Lohengrin (Wagner) Du Ärmste (w. Langendorff) 2-44118 3679L G&T,
Praha 1906-03
Mignon (Thomas) Kam ein armes Kind von fern (Styrienne) 43551 1926x
G&T, Praha 1903/1904
Norma (Bellini) Sieh'. O Norma (w. Siems) 2-44095 3677L G&T, Praha
1906-03
Nozze di Figaro (Mozart) Sollt' einst die Gräfin zur (w. Zador)
2-44106 3660L G&T, Praha 1906-03
Rigoletto (Verdi) Liebe ist Seligkeit (w. Aranyi) 44267 1898x G&T,
Praha 1903/1904
Tannhäuser (Wagner) Frau Holda kam aus dem Berg hervor (Lied des
Hirtenknaben) 43576 BAY1121e G&T, Bayreuth 1904-07/08
Wiegenlied (R Strauss) 66151 (B24275) 804az Grammophon, Berlin
1925 (Spring)
GRETE FORST (VIENNA,
AUSTRIA, AUGUST 18, 1878 – MALY TROSTENETS EXTERMINATION CAMP, NEAR MINSK,
BELARUS, JUNE 1, 1942)
Her real name was Margarete Feiglstock. She was born into a Jewish
family. She studied with Hermine Granichstätten in Vienna. In 1898, she made
her first public appearance at a student concert in that city. She made her
stage debut in 1900 at the Cologne Opera House as Lucia in Donizetti's Lucia di Lammermoor. In the same
year, she took part in the world premiere of Emanuel Moor's opera La Pompadour.
In the following years she enjoyed success in Cologne in roles such as
Philine in Thomas’s Mignon and
Marie in Donizetti’s La fille du
régiment. In the latter role, as well as in that of Gilda in Rigoletto, she appeared as a guest at
the Vienna Court Opera, which subsequently engaged her in 1903. Her inaugural
role there was once again Lucia in Lucia
di Lammermoor.
She soon achieved great success in Vienna. On January 2, 1908, she
appeared in the premiere of Goldmark's Ein
Wintermärchen, and on April 14, 1910, in the premiere of Julius
Bittner's Der Musikant. In
1907, she sang the title role in the first Vienna Court Opera performance of
Puccini's Madama Butterfly.
Among her other major successes in Vienna were Adalgisa in Bellini’s Norma (with Lilli Lehmann in the
title role), Eva in Wagner’s Die
Meistersinger von Nürnberg, and several Mozart heroines.
In 1905 she returned to Cologne as Susanna in Mozart’s Le nozze di Figaro. She remained a
member of the Vienna Court Opera until 1911, but also undertook guest
appearances and was active as a concert soprano, performing at events such as
the Lower Rhine Music Festival.
After her marriage in 1911, she often appeared under the name Grete
Forst-Schuschny. She later taught singing in Vienna for many years. After the
Anschluss, as a Jew, she was in grave danger. For a long time she was listed as
missing during World War II, but it was later discovered that on May 27, 1942,
she was deported with other Jewish residents of Vienna to Minsk, where she
perished. Her son, Hans Schuschny, had emigrated to the USA in 1939.
The tragically fated coloratura soprano possessed extraordinary vocal
brilliance, with exceptional technical facility and a floating, luminous tone.
Fortunately, a number of fine recordings of her survive on G&T (Vienna,
1905), Lyrophon (Vienna, 1904), and Pathé (Vienna, 1904).
TRACKLIST
Aida (Verdi) Tempelszene (w. Stehmann & chorus) 2-44322
11756u G&T, Wien 1907-1112
Aida (Verdi) Zu des Niles heil'gen Ufern (w. Elizza, Slezak,
Stehmann, Mayr & chorus) 3-44055 15230u Gramophone, Wien 1909-10-02
Ballo in maschera (Verdi) Durchstrahlt von tausend Lampen (w.
Elizza, Weidemann, Stehmann & Mayr) 3-44034 14691u Gramophone, Wien 1909-05
Barbiere di Siviglia (Rossini) Also soll ich (w. Weidemann)
2-44175 10058u G&T, Wien 1906-1112
Barbiere di Siviglia (Rossini) Arie der Rosina 43830 4244L
G&T, Wien 1906
Bohème (Puccini) Lebt wohl, ihr süssen Stunden (w. Kurz,
Slezak & Weidemann) 2-44237 10777u G&T, Wien 1907
Bohème (Puccini) Mimis Tod 43942 10785u G&T, Wien 1907-06
Bohème (Puccini) Walzer der Musette 43943 10786u G&T,
Wien 1907-06
Carmen (Bizet) Arie der Micaela 43902 9953u G&T, Wien
1906-1112
Carmen (Bizet) Quintett (w. Elizza, Kittel, Preuss &
Stehmann) 2-44121 4286L G&T, 1906
Contes d'Hoffmann (Offenbach) Lied der Antonia (Elle a fui)
43978 11126u G&T, Wien 1907-07
Contes d'Hoffmann (Offenbach) Puppenarie 43792 4206L G&T,
Wien 1906
Der Musikant (Bittner) Arie der Violetta 2-43373 15050b
Gramophone, Wien 1910-10-29
Die Trommel gerührt (Beethoven) 943022 12491L Gramophone,
Wien 1911-05-31
Don Giovanni (Mozart) Schmäle, tobe, lieber Junge 43872 9947u
G&T, Wien 1906-1112
Don Giovanni (Mozart) Viva la libertà (Freiheitschor) (w.
Preus, Kittel, Hesch, Stehmann & chorus) 2-44226 10828u G&T, Wien
1907-06
Don Giovanni (Mozart) Wenn du fein fromm bist 43865 9954u
G&T, Wien 1906-1112
Dragons de Villars (Maillart) Arie der Rose Friquet (Il
m'aime) 43905 9952u G&T, Wien 1906-1112
Faust (Gounod) Arie der Siebel 43877 9948u G&T, Wien
1906-1112
Fidelio (Beethoven) Jetzt, Schätzchen, jetzt sind wir allein
(w. Preuss) 044129 01008v Gramophone, Wien 1909-05
Fidelio (Beethoven) Mir ist so wunderbar (w. Elizza, Preuss
& Mayr) 044130 01011v Gramophone, Wien 1909-05
Fille du Régiment (Donizetti) Abschiedslied (w. Preuss, Hesch
& chorus) 2-44268 10829u G&T, Wien 1907
Fille du Régiment (Donizetti) Ach umsonst denkt ihr mich
43803 4205L G&T, Wien 1906
Fra Diavolo (Auber) Arie der Zerline (Quel bonheur) 43906
9949u G&T, Wien 1906-1112
Fra Diavolo (Auber) Welches Glück 2-43144 13043u Gramophone,
Wien 1908-0506
Guillaume Tell (Rossini) O Seligkeit (w. Slezak) 2-44419 13045u
Gramophone, Wien 1908-06
Guillaume Tell (Rossini) Romanze (Sombre forêt) 43891 9951u
G&T, Wien 1906-1112
Huguenots (Meyerbeer) Pagenarie 43662 6602½b G&T, Wien
1905-02
Königin von Saba (Goldmark) Lockruf 43814 4245L G&T, Wien
1906
Lakmé (Delibes) Laub'ges Dach (w. Kittel) 3-44070 15100u
Gramophone, Wien 1909-09-15
Lustigen Weiber von Windsor (Nicolai) Du reizend liebes
Schätzchen (w. Kittel, Hesch & chorus) 2-44269 10830u G&T, Wien 1907
Lustigen Weiber von Windsor (Nicolai) Frohsinn und Laune 43890
9950u G&T, Wien 1906-1112
Lustigen Weiber von Windsor (Nicolai) Nun eilt vorbei 43903
9996u G&T, Wien 1906-1112
Madama Butterfly (Puccini) Blumenduett (w. Kittel) 2-44410
13310u Gramophone, Wien 1908-0506
Madama Butterfly (Puccini) Deine Mutter 2-43112 13042u
Gramophone, Wien 1908-0506
Madama Butterfly (Puccini) Eines Tages sind wir 2-43111 13041u
Gramophone, Wien 1908-0506
Madama Butterfly (Puccini) Wollt ihr mich nun lieben (w.
Preuss) 2-44409 13051u Gramophone, 1908
Martha (Flotow) Diese Hand (w. Preuss) 2-44420 13049u
Gramophone, Wien 1908-0506
Martha (Flotow) Mag der Himmel (w. Kittel, Preuss, Hesch,
Stehmann & chorus) 2-44225 10827u G&T, 1907
Martha (Flotow) Wass soll ich dazu sagen (w. Kittel, Preuss
& Stehmann) 3-44017 14652u Gramophone, Wien 1909-05
Meistersinger von Nürnberg (Wagner) Selig wie die Sonne (w. Preuss,
Kittel, Slezak & Demuth) 044144 01198v Gramophone, 1909-09-17
Mignon (Thomas) Titania ist herabgestiegen 2-43264 14666½u
Gramophone, Wien 1909-05
Nozze di Figaro (Mozart) Ihr, die ihr Triebe 2-43242 14649u
Gramophone, Wien 1909-05
Nozze di Figaro (Mozart) Neue Freuden 2-43263 13855u
Gramophone, Wien 1908-0910
Nozze di Figaro (Mozart) Nun wird's bald geschehen (w. Kittel
& Weidemann) Gramophone, Wien 1909-05
Nozze di Figaro (Mozart) O säume länger nicht (Rosenarie)
2-43241 14648u Gramophone, Wien 1909-05
Pagliacci (Leoncavallo) Heute fällt mein Geschick (w.
Weidemann) 3-44040 15110u Gramophone, Wien 1909-09-16
Pagliacci (Leoncavallo) Sieh, wie Vögel fliegen (Vogellied)
2-43326 11169u G&T, Wien 1907-07
Pagliacci (Leoncavallo) Warum hieltst du mich sehnend
umfangen (w. Weidemann) 3-44041 15111u Gramophone, Wien 1909-09-16
Pagliacci (Leoncavallo) Was gibt's (w. Demuth) 044155 01216v
Gramophone, Wien 1909-10-07
Pikova Dama (Tchaikovsky) Schäfer-Duett (w. Kittel) 3-44005
14577u Gramophone, Wien 1909-05
Prodana Nevesta (Smetana) Gern ja will ich dir vertrauen
2-43359 15140b Gramophone, Wien 1910-11-09
Prodana Nevesta (Smetana) Wart' noch ein Weilchen, Marie (w.
Elizza, Kittel, Stehmann, Weidemann & Hesch) 2-44323 11737½u G&T, Wien
1907-1112
Prodana Nevesta (Smetana) Wie fremd ist alles um mich her
2-43360 15139b Gramophone, Wien 1910-11-09
Rigoletto (Verdi) Gestern spät abends (w. Demuth) 044154 0993v
Gramophone, Wien 1909-05
Roméo et Juliette (Gounod) Pagenarie (Que fais-tu) 2-43372
15138b Gramophone, Wien 1910-11-09
Ständchen (Brahms) 943023 12492L Gramophone, Wien 1911-05-31
Traviata (Verdi) Er ist es 043045 817f G&T, Wien 1904-0708
Wintermärchen (Goldmark) Schmücket euch 2-43145 13044u
Gramophone, Wien 1908-0506
Zauberflöte (Mozart) Schnelle, Füsse, raschen Mut (w. Preuss,
Weidemann & chorus) 044133 0995v Gramophone, 1909-05
GRETE FORST (VIENNA, AUSTRIA, AUGUST 18, 1878 –
MALY TROSTENETS EXTERMINATION CAMP, NEAR MINSK, BELARUS, JUNE 1, 1942)
Her real name was Margarete
Feiglstock. She was born into a Jewish family. She studied with Hermine
Granichstätten in Vienna. In 1898, she made her first public appearance at a
student concert in that city. She made her stage debut in 1900 at the Cologne
Opera House as Lucia in Donizetti’s Lucia di Lammermoor. In the same year, she
took part in the world premiere of Emanuel Moor’s opera La Pompadour.
In the following years she enjoyed
success in Cologne in roles such as Philine in Thomas’s Mignon and Marie in
Donizetti’s La fille du régiment. In the latter role, as well as in that of
Gilda in Rigoletto, she appeared as a guest at the Vienna Court Opera, which
subsequently engaged her in 1903. Her inaugural role there was once again Lucia
in Lucia di Lammermoor.
She soon achieved great success in
Vienna. On January 2, 1908, she appeared in the premiere of Goldmark’s Ein
Wintermärchen, and on April 14, 1910, in the premiere of Julius Bittner’s Der
Musikant. In 1907, she sang the title role in the first Vienna Court Opera
performance of Puccini’s Madama Butterfly. Among her other major successes in
Vienna were Adalgisa in Bellini’s Norma (with Lilli Lehmann in the title role),
Eva in Wagner’s Die Meistersinger von Nürnberg, and several Mozart heroines.
In 1905 she returned to Cologne as
Susanna in Mozart’s Le nozze di Figaro. She remained a member of the Vienna
Court Opera until 1911, but also undertook guest appearances and was active as
a concert soprano, performing at events such as the Lower Rhine Music Festival.
After her marriage in 1911, she
often appeared under the name Grete Forst-Schuschny. She later taught singing
in Vienna for many years. After the Anschluss, as a Jew, she was in grave
danger. For a long time she was listed as missing during World War II, but it
was later discovered that on May 27, 1942, she was deported with other Jewish
residents of Vienna to Minsk, where she perished. Her son, Hans Schuschny, had
emigrated to the USA in 1939.
The tragically fated coloratura
soprano possessed extraordinary vocal brilliance, with exceptional technical
facility and a floating, luminous tone. Fortunately, a number of fine
recordings of her survive on G&T (Vienna, 1905), Lyrophon (Vienna, 1904),
and Pathé (Vienna, 1904).
TRACKLIST
Meistersinger von Nürnberg (Wagner)
Selig wie die Sonne (w. Preuss, Kittel, Slezak & Demuth) 044144 01198v
Gramophone, 1909-09-17
Mignon (Thomas) Titania ist
herabgestiegen 2-43264 14666½u Gramophone, Wien 1909-05
Nozze di Figaro (Mozart) Ihr, die
ihr Triebe 2-43242 14649u Gramophone, Wien 1909-05
Nozze di Figaro (Mozart) Neue
Freuden 2-43263 13855u Gramophone, Wien 1908-0910
Nozze di Figaro (Mozart) Nun wird’s
bald geschehen (w. Kittel & Weidemann) Gramophone, Wien 1909-05
Nozze di Figaro (Mozart) O säume
länger nicht (Rosenarie) 2-43241 14648u Gramophone, Wien 1909-05
Pagliacci (Leoncavallo) Heute fällt
mein Geschick (w. Weidemann) 3-44040 15110u Gramophone, Wien 1909-09-16
Pagliacci (Leoncavallo) Sieh, wie
Vögel fliegen (Vogellied) 2-43326 11169u G&T, Wien 1907-07
Pagliacci (Leoncavallo) Warum
hieltst du mich sehnend umfangen (w. Weidemann) 3-44041 15111u Gramophone, Wien
1909-09-16
Pagliacci (Leoncavallo) Was gibt’s
(w. Demuth) 044155 01216v Gramophone, Wien 1909-10-07
Pikova Dama (Tchaikovsky)
Schäfer-Duett (w. Kittel) 3-44005 14577u Gramophone, Wien 1909-05
Prodana Nevesta (Smetana) Gern ja
will ich dir vertrauen 2-43359 15140b Gramophone, Wien 1910-11-09
Prodana Nevesta (Smetana) Wart’
noch ein Weilchen, Marie (w. Elizza, Kittel, Stehmann, Weidemann & Hesch)
2-44323 11737½u G&T, Wien 1907-1112
Prodana Nevesta (Smetana) Wie fremd
ist alles um mich her 2-43360 15139b Gramophone, Wien 1910-11-09
Rigoletto (Verdi) Gestern spät
abends (w. Demuth) 044154 0993v Gramophone, Wien 1909-05
Roméo et Juliette (Gounod)
Pagenarie (Que fais-tu) 2-43372 15138b Gramophone, Wien 1910-11-09
Ständchen (Brahms) 943023 12492L
Gramophone, Wien 1911-05-31
Traviata (Verdi) Er ist es 043045
817f G&T, Wien 1904-0708
Wintermärchen (Goldmark) Schmücket
euch 2-43145 13044u Gramophone, Wien 1908-0506
Zauberflöte (Mozart) Schnelle,
Füsse, raschen Mut (w. Preuss, Weidemann & chorus) 044133 0995v Gramophone,
1909-05
GRETE FORST (VIENNA, AUSTRIA, AUGUST 18, 1878 –
MALY TROSTENETS EXTERMINATION CAMP, NEAR MINSK, BELARUS, JUNE 1, 1942)
Her real name was Margarete
Feiglstock. She was born into a Jewish family. She studied with Hermine
Granichstätten in Vienna. In 1898, she made her first public appearance at a
student concert in that city. She made her stage debut in 1900 at the Cologne Opera
House as Lucia in Donizetti’s Lucia di Lammermoor. In the same year, she took
part in the world premiere of Emanuel Moor’s opera La Pompadour.
In the following years she enjoyed
success in Cologne in roles such as Philine in Thomas’s Mignon and Marie in
Donizetti’s La fille du régiment. In the latter role, as well as in that of
Gilda in Rigoletto, she appeared as a guest at the Vienna Court Opera, which
subsequently engaged her in 1903. Her inaugural role there was once again Lucia
in Lucia di Lammermoor.
She soon achieved great success in
Vienna. On January 2, 1908, she appeared in the premiere of Goldmark’s Ein
Wintermärchen, and on April 14, 1910, in the premiere of Julius Bittner’s Der
Musikant. In 1907, she sang the title role in the first Vienna Court Opera
performance of Puccini’s Madama Butterfly. Among her other major successes in
Vienna were Adalgisa in Bellini’s Norma (with Lilli Lehmann in the title role),
Eva in Wagner’s Die Meistersinger von Nürnberg, and several Mozart heroines.
In 1905 she returned to Cologne as
Susanna in Mozart’s Le nozze di Figaro. She remained a member of the Vienna
Court Opera until 1911, but also undertook guest appearances and was active as
a concert soprano, performing at events such as the Lower Rhine Music Festival.
After her marriage in 1911, she
often appeared under the name Grete Forst-Schuschny. She later taught singing
in Vienna for many years. After the Anschluss, as a Jew, she was in grave
danger. For a long time she was listed as missing during World War II, but it
was later discovered that on May 27, 1942, she was deported with other Jewish
residents of Vienna to Minsk, where she perished. Her son, Hans Schuschny, had
emigrated to the USA in 1939.
The tragically fated coloratura
soprano possessed extraordinary vocal brilliance, with exceptional technical
facility and a floating, luminous tone. Fortunately, a number of fine
recordings of her survive on G&T (Vienna, 1905), Lyrophon (Vienna, 1904),
and Pathé (Vienna, 1904).
TRACKLIST
Fidelio (Beethoven) Mir ist so
wunderbar (w. Elizza, Preuss & Mayr) 044130 01011v Gramophone, Wien 1909-05
Fille du Régiment (Donizetti)
Abschiedslied (w. Preuss, Hesch & chorus) 2-44268 10829u G&T, Wien 1907
Fille du Régiment (Donizetti) Ach
umsonst denkt ihr mich 43803 4205L G&T, Wien 1906
Fra Diavolo (Auber) Arie der
Zerline (Quel bonheur) 43906 9949u G&T, Wien 1906-1112
Fra Diavolo (Auber) Welches Glück
2-43144 13043u Gramophone, Wien 1908-0506
Guillaume Tell (Rossini) O
Seligkeit (w. Slezak) 2-44419 13045u Gramophone, Wien 1908-06
Guillaume Tell (Rossini) Romanze
(Sombre forêt) 43891 9951u G&T, Wien 1906-1112
Huguenots (Meyerbeer) Pagenarie
43662 6602½b G&T, Wien 1905-02
Königin von Saba (Goldmark) Lockruf
43814 4245L G&T, Wien 1906
Lakmé (Delibes) Laub’ges Dach (w.
Kittel) 3-44070 15100u Gramophone, Wien 1909-09-15
Lustigen Weiber von Windsor
(Nicolai) Du reizend liebes Schätzchen (w. Kittel, Hesch & chorus) 2-44269
10830u G&T, Wien 1907
Lustigen Weiber von Windsor
(Nicolai) Frohsinn und Laune 43890 9950u G&T, Wien 1906-1112
Lustigen Weiber von Windsor
(Nicolai) Nun eilt vorbei 43903 9996u G&T, Wien 1906-1112
Madama Butterfly (Puccini)
Blumenduett (w. Kittel) 2-44410 13310u Gramophone, Wien 1908-0506
Madama Butterfly (Puccini) Deine
Mutter 2-43112 13042u Gramophone, Wien 1908-0506
Madama Butterfly (Puccini) Eines
Tages sind wir 2-43111 13041u Gramophone, Wien 1908-0506
Madama Butterfly (Puccini) Wollt
ihr mich nun lieben (w. Preuss) 2-44409 13051u Gramophone, 1908
Martha (Flotow) Diese Hand (w.
Preuss) 2-44420 13049u Gramophone, Wien 1908-0506
Martha (Flotow) Mag der Himmel (w.
Kittel, Preuss, Hesch, Stehmann & chorus) 2-44225 10827u G&T, 1907
Martha (Flotow) Wass soll ich dazu
sagen (w. Kittel, Preuss & Stehmann) 3-44017 14652u Gramophone, Wien
1909-05
GRETE FORST (VIENNA, AUSTRIA, AUGUST 18, 1878 –
MALY TROSTENETS EXTERMINATION CAMP, NEAR MINSK, BELARUS, JUNE 1, 1942)
Her real name was Margarete Feiglstock. She was born into a
Jewish family. She studied with Hermine Granichstätten in Vienna. In 1898, she
made her first public appearance at a student concert in that city. She made
her stage debut in 1900 at the Cologne Opera House as Lucia in Donizetti’s
Lucia di Lammermoor. In the same year, she took part in the world premiere of
Emanuel Moor’s opera La Pompadour.
In the following years she enjoyed success in Cologne in
roles such as Philine in Thomas’s Mignon and Marie in Donizetti’s La fille du
régiment. In the latter role, as well as in that of Gilda in Rigoletto, she
appeared as a guest at the Vienna Court Opera, which subsequently engaged her
in 1903. Her inaugural role there was once again Lucia in Lucia di Lammermoor.
She soon achieved great success in Vienna. On January 2,
1908, she appeared in the premiere of Goldmark’s Ein Wintermärchen, and on
April 14, 1910, in the premiere of Julius Bittner’s Der Musikant. In 1907, she
sang the title role in the first Vienna Court Opera performance of Puccini’s
Madama Butterfly. Among her other major successes in Vienna were Adalgisa in
Bellini’s Norma (with Lilli Lehmann in the title role), Eva in Wagner’s Die
Meistersinger von Nürnberg, and several Mozart heroines.
In 1905 she returned to Cologne as Susanna in Mozart’s Le
nozze di Figaro. She remained a member of the Vienna Court Opera until 1911,
but also undertook guest appearances and was active as a concert soprano,
performing at events such as the Lower Rhine Music Festival.
After her marriage in 1911, she often appeared under the name
Grete Forst-Schuschny. She later taught singing in Vienna for many years. After
the Anschluss, as a Jew, she was in grave danger. For a long time she was
listed as missing during World War II, but it was later discovered that on May
27, 1942, she was deported with other Jewish residents of Vienna to Minsk,
where she perished. Her son, Hans Schuschny, had emigrated to the USA in 1939.
The tragically fated coloratura soprano possessed
extraordinary vocal brilliance, with exceptional technical facility and a
floating, luminous tone. Fortunately, a number of fine recordings of her
survive on G&T (Vienna, 1905), Lyrophon (Vienna, 1904), and Pathé (Vienna,
1904).
TRACKLIST
Aida (Verdi) Tempelszene (w. Stehmann & chorus) 2-44322
11756u G&T, Wien 1907-1112
Aida (Verdi) Zu des Niles heil’gen Ufern (w. Elizza, Slezak,
Stehmann, Mayr & chorus) 3-44055 15230u Gramophone, Wien 1909-10-02
Ballo in maschera (Verdi) Durchstrahlt von tausend Lampen (w.
Elizza, Weidemann, Stehmann & Mayr) 3-44034 14691u Gramophone, Wien 1909-05
Barbiere di Siviglia (Rossini) Also soll ich (w. Weidemann)
2-44175 10058u G&T, Wien 1906-1112
Barbiere di Siviglia (Rossini) Arie der Rosina 43830 4244L
G&T, Wien 1906
Bohème (Puccini) Lebt wohl, ihr süssen Stunden (w. Kurz,
Slezak & Weidemann) 2-44237 10777u G&T, Wien 1907
Bohème (Puccini) Mimis Tod 43942 10785u G&T, Wien 1907-06
Bohème (Puccini) Walzer der Musette 43943 10786u G&T,
Wien 1907-06
Carmen (Bizet) Arie der Micaela 43902 9953u G&T, Wien
1906-1112
Carmen (Bizet) Quintett (w. Elizza, Kittel, Preuss &
Stehmann) 2-44121 4286L G&T, 1906
Contes d’Hoffmann (Offenbach) Lied der Antonia (Elle a fui)
43978 11126u G&T, Wien 1907-07
Contes d’Hoffmann (Offenbach) Puppenarie 43792 4206L G&T,
Wien 1906
Der Musikant (Bittner) Arie der Violetta 2-43373 15050b
Gramophone, Wien 1910-10-29
Die Trommel gerührt (Beethoven) 943022 12491L Gramophone,
Wien 1911-05-31
Don Giovanni (Mozart) Schmäle, tobe, lieber Junge 43872 9947u
G&T, Wien 1906-1112
Don Giovanni (Mozart) Viva la libertà (Freiheitschor) (w.
Preus, Kittel, Hesch, Stehmann & chorus) 2-44226 10828u G&T, Wien
1907-06
Don Giovanni (Mozart) Wenn du fein fromm bist 43865 9954u
G&T, Wien 1906-1112
Dragons de Villars (Maillart) Arie der Rose Friquet (Il
m’aime) 43905 9952u G&T, Wien 1906-1112
Faust (Gounod) Arie der Siebel 43877 9948u G&T, Wien
1906-1112
Fidelio (Beethoven) Jetzt, Schätzchen, jetzt sind wir allein
(w. Preuss) 044129 01008v Gramophone, Wien 1909-05
