Helena Forti (April 25, 1884 – May 11, 1942) was a dramatic soprano active 1906 – 1924, closely associated with the Dresden royal court opera, known for her beauty, voice and strong stage presence.[ Neue Zeitschrift für Musik, 1924 Jg91, p. 658] in Dresden, Bayreuth and internationally. Other repertoire included the title role in Verdi's Aida, Santuzza in Mascagni's Cavalleria and contemporary works such as Marietta in Korngold's Die tote Stadt. She created the role of Myrtocle in d'Albert's Die toten Augen.[ Neue Zeitschrift für Musik 1924 Jg91, s. 658] Her Sieglinde in Die Walküre in Braunschweig was described by the Neue Zeitschrift für Musik[1915 Jg. 82] as "Equally endowed with youth, beauty and vocal means... ( Forti) immerses herself so intensely in her role that one believes the transformation of the virgin-Goddess into a human form." After retiring from the stage she taught voice and acting in Gera, Düsseldorf and Vienna.
Family
Helene Minna Antonie Therese Fiedler in Berlin, on April 25, 1884.
[Landesarchiv Berlin; Berlin, Deutschland; Personenstandsregister Geburtsregister; Laufendenummer: 188] An alternative birth date is 25 April 1886.
[This is doubtful, since the 1884 date is confirmed by a birth certificate][Bühnenjahrbuch 1943] Forti was "a true stage child"
[ Neue Zeitschrift für Musik, 1924 Jg91 p.658] to theater-parents. Her father Anton Johann Fiedler, born August 29, 1838, "so called Forti",
[ Adreßbuch für Dresden und Vororte Bandzählung1887|according to the Dresden Address book of 1887] was an operatic tenor
[Landesarchiv Sachsen-Anhalt; Magdeburg, Deutschland; Film Number: 1190634, his first marriage to a Laura Fricke lists him as an operatic tenor in Düsseldorf.][Deutsches bühnen-jahrbuch ; theatergeschichtliches jahr- und adressenbuch .v.22 1911, p.233|Minna Hänsel, married to the former tenor and currently painter Anton Forti.] in Düsseldorf who retired from singing and by the 1880s was an "academic painter" who ran a shop renting out paintings and etchings
Anton Forti died February 14, 1920.
[Stadtarchiv der Landeshauptstadt Dresden; Dresden, Deutschland; Städtisches Friedhofs-und Bestattungswesen-Krematorium Tolkewitz und Urnenhain; Einäscherungsbücher Dresden 1911–1952; Repositurnummer: 9.1.24; Laufende Nummer der Registerbandes: 1920][ Adreßbuch für Dresden und Vororte Bandzählung1920] "Forti" appears to have been the family's stage name, and her last name in the personnel file at the Dresden court theater was like her father's, "Fiedler, so-called Forti".
[Ministerium des Königlichen Hauses
Archivaliensignatur, Loc. 44 Nr. 49, years 1915 – 1917]
Her mother was the Dresden-Residenztheater actress[ cast list from Residenztheater] and operetta singer,[ page 183] Minna Amalie Forti-Hänsel (before 1853 – 1925). Minna Hänsel was "one of the best soubrettes ever", according to the Die deutsche Schaubühne,[ Die deutsche Schaubühne, Organ für theater und literatur. Jahrg.10 (1869)] and played in the "second theater" in Dresden in 1869. After the loss of Gottfried Semper's "first court opera" due to fire, her theater closed as well, (it was deemed a fire hazard: the loss of Semper's court-theater prompted reevaluation in all theaters). Minna Hänsel moved to Berlin.[Not in the scope of this article, yet a demonstration of her mother's fame: The Pall mall budget, v.4 1870, reports of Minna Hänsel's creation of an "amazons corps" which was treated with derision. "That spirited lady had actually already gathered fifty-three young heroines under her banners, all ready and eager for the fray...Yet before proceeding further it was considered wise to inquire at head-quarters in what portion of the army these female volunteers would be considered most desirable. A letter was therefore addressed to General~Governor Von Falckenstein, whose answer, somewhat delayed, arrived a few days ago. He declines with many thanks the patriotic offer of their guarding the coast...Miss Hansel, however, "considering the rapid and victorious progress of the war," thinks that the delay in the general's answer has frustrated her plans, and has accordingly disbanded her corps." This was reported widely, including Kladderadatsch v.22–23 yr.1869–70, and in the Deutsche Schaubühne, 1869 and in Ellen C. Clayton, Female Warriors, Tisnley Brothers, 1879] Semper would go on to rebuild the theater to its current form, where Minna Hänsel's daughter would sing for many years. Hänsel sang the title role in Offenbach's Helena at the Imperial German Court Theater ( Kaiserlich-Deutsches Hoftheater) in St. Petersburg, in 1874,[ Neue Zeitschrift für Musik1911 Jg. 78
p.635|Forti and her mother's career] later a fine comic character-actress.[ Dresdner neueste Nachrichten , 23.04.1903, p.2| positive review of Minna Hänsel's comic talent.] By 1872 the Residenz theater in Dresden was built in the Zirkusstrasse,[The large building seated more than 1100 people, played operettas and lighter plays. By 1934 it was converted to a storage space, and was destroyed in 1945] and Hänsel became one of its main artists.
The family's apartment in Dresden was in Zeughausstrasse 2, adjacent to the Semper Synagogue (also designed by Gottfried Semper, the court opera architect). The Jewish local community had its offices in this building as well.[Dresden historic address books, 1900–1925)] Apart from participation in a 1916 concert in the synagogue,[ Neue Zeitschrift für Musik, 83. jg, 1916, p.55] it is not known if Forti had any specific connection to the Jewish community or if she was Jewish – later, in 1933, her husband would be accused by the Nazi party of having a Jewish wife.[| p. 49]
Life
Already at age five, Helena appeared in children's roles at the Residenztheater in Dresden. Her professional stage debut was as an actress, at the
Dessau court theater, at age sixteen in Goethe's
The Brother and Sister (
Die Geschwister).
[Forti as actress in Dessau v.13 1902, Listing: 'Dessau'] In Dessau she played the "Naive and Sentimental" "Fach".
[ Deutsche Bühnen Jahrbuch, 1943] She also worked at the theater in Colberg.
[ Deutsches bühnen-jahrbuch v.14 1903.Listing: 'Colberg']
In 1903 she studied singing with the Dresden baritone Karl Scheidemantel,[Vrbka Tomáš, Státni opera Praha: opera 1888–2003 : historie divadla v obrazech a datech, 2004, 597 pages. p.111]
who would become opera director in Dresden in 1920, in her final years there; Further studies were with Teresa Emmerich in Berlin.[ Musical courier,a weekly journal devoted to music and the music trades, 1908| Forti as student of Teresa Emmerich in Berlin (advertisement of Emmerich) p. 14] Forti's stage Debut as a soprano operatic singer came in 1906, as Valentine in Giacomo Meyerbeer's Les Huguenots at the Hoftheater Dessau,[ Debut 1906 in Dessau] where she was a member of the soloist ensemble, staying till 1907.[ Deutsches bühnen-jahrbuch,v.18 1907|HF listed under 'Dessau'] Numerous national and international performances followed, at the Royal opera in Stuttgart in 1907,[Deutsches Bühnen Jahrbuch, v.19, 1908] and 1910–11 in Angelo Neumann's Estates Theatre in Prague. There she learned her first dramatic roles, and sang contemporary pieces such as Deltnar's Carmelita,[which was cancelled after the first performance. The papers were full of general director Neumann, the composer, and the "Temperamentvolle Diva (='Diva full of personality') Helena Forti".] and Felix Weingartner's "Orestea Trilogie".[ Bühne und Welt: 1909, v. 11, P.830] She sang as a guest in the Court Opera in Berlin (Valentine in Meyerbeer's Huguenots) in 1908,[ Guide musical; Revue internationale de la musique et de theâtres lyriques, Vol. 60|Review of Valentine in Huegenottes (with Siems, Vogelstrom, Staegemann)] in the theaters of Bremen and Braunschweig,[ Bühne und Welt, v. 2;v. 11, 1909] in Vienna (as Elisabeth in Tannhäuser) in 1910 and 1913, and at the Munich Wagner-Festival (in 1911). Her last performance in Prague was Leonora in Fidelio, Alexander von Zemlinsky conducted.[ Deutsche Arbeit, v. 11,Ausgaben 1–6, 1911| comments on Forti's positive development as a singer, and regrets her departure.]
Dresden 1911–1925
The reigning
Richard Wagner prima-donnas of the court theater of Dresden were
Therese Malten and her successor
Marie Wittich.
[Calico, Joy, Staging Scandal with Salome and Elektra,] Stars of Dresden and Bayreuth, they made way for a new, dramatically oriented singer like
Annie Krull,
Richard Strauss's choice for Diemuth (in Feuersnot) and the title role of Elektra.
Yet Krull failed to achieve Wittich's star-status and left Dresden for Mannheim in 1911.
[p.287] Forti had first appeared in Dresden during the Esperanto Congress in 1908,
[ La Bela mondo. 1908–1909, Dresden. p.12-14 in Esperanto, no publisher given] and in September 1911 sang Sieglinde in Die Walküre as a guest at the Royal court opera. She was then hired as Krull's replacement in the soloist ensemble, and started her contract in Dresden on October 14, 1911.
[ letter of October 13, 1911] The music director, Ernst von Schuch, writing to Strauss, described Forti as "A Brunnhilde presence, with a big voice". Yet this very "Brunnhilde look" was a problem for Strauss, who warned against casting Forti as Salome, her being too "giant".
Strauss, later writing to the Dresden conductor Hermann Ludwig Kutzschbach, suggester her as the Composer in
Ariadne (she later sang the title role), and was happy to accept her as Herodias in
Salome (1916).
[ Richard Strauss und die Sächsische Staatskapelle: Tagungsband, Georg Olms, 2019, , p.615] Forti's first role in Dresden was Elisabeth in
Tannhäuser on October 25, 1911,
[ Neue Zeitschrift für Musik, 1911 v. 78, p.635] With Elisabeth, Forti earned a "noticeable success which should be decisive for her being further cast in Wagner roles. She brings not only the vocal size, but also the necessary pathos of expression."
[ Die Musik, vl. 12, XLVI, 1912–1913 p.299] and she remained in Dresden till 1925, her last performance that of Adriano in Wagners
Rienzi.
Forti sang the title roles of Aida, Fidelio[ Die Musik 11Jg, 1Q, v.41, 1911–1912, p.441] and Carmen,[ Bühne und Welt, p. 137 vol 16 part 2, 1914] Marina in Boris Godunov,[ Neue Zeitschrift für Musik, 1923 Jg90] Santuzza in Cavalleria,[ Die Musik 11Jg, 2Q, V.42, 1911–1912, p.425] Antonia in Contes d'Hoffmann, Rachel in La Juive,[ Neue Zeitschrift für Musik, 1917,p.84] Leonore im Il Trovatore, Amelia in Ballo in Maschera and even Pamina in Die Zauberflöte, but mainly she was the Wagner-singer of Dresden: Senta in Der fliegende Holländer[ Die Musik, 11Jg, 1Q, Bd.41, 1911–1912 |Senta in Dresden p.354] Ortrud in Lohengrin,[ Die Musik, 14Jg, 1Q, Bd.53, 1914–1915 s.254 |Ortrud in Dresden] Isolde in Tristan und Isolde,[Watt, Charles E., 1861–1933 Music news] Sieglinde in Die Walküre,[ Neue Zeitschrift für Musik, 1911 Jg. 78p.635] and all other Wagner heroines, Elsa, Eva, Brünnhilde, Fricka, etc. Forti sang more contemporary pieces as well, the title role of Ariadne auf Naxos, Minneleide in Pfitzner's Die Rose vom Liebesgarten; most notably she created the role of Myrtocle in d'Albert's opera Die toten Augen in 1916.
,[Berliner illustrierte Zeitung. v.25(1916).p.151]]] Forti's role is the most exposed, written in a late romantic idiom, high in tessitura and expansive in expression, containing music of tenderness such as Myrtocle's first monologue "Psyche wandelt durch Säulenhallen" ,[D'Albert Eugen, ]Die Toten Augen , Bote und Bock, 1913, p. 69 intensely dramatic sections such as "Doch! Doch! Doch!" ,[D'Albert Eugen, ]Die Toten Augen , Bote und Bock, 1913, p. 76 and the final duett with Arcesius (sung by Friedrich Plaschke) which closes the opera.[D'Albert Eugen, ]Die Toten Augen , Bote und Bock, 1913, p. 159-202 The opera proved a great success for the conductor Fritz Reiner and Forti, it was played often,[Bie, Oskar, ]die Oper'', S.Fischer, Berlin, 1938, p.549 but did not enter into the canon of standard repertoire, the music and biblical theme of controversial quality.[Neue Zeitschrift für Musik 1916 Jg083, p.91]
Other role creations were Maria in Arthur Wulffius's opera Gabina (1914),[ Bühne und Welt v.16,pt.2 (1914), p.279] Eroon in Karl v. Kaskel's Schmiedein von Kent,(1916)[ Neue Musik Zeitung, 37 Jg 1916 pp. 61, 153.] Ilsebil in Naumann's opera Mantje timpe te, (1918), and Irene in Siegfried Wagner's Sonnenflammen, (1920). The opera was a success with the audience, due to Forti's excellent performance.[ Menschen. "Monatsschrift für neue Kunst." volumes 3–5 1920–22. p.55.][ Neue Zeitschrift für Musik, 1916 Jg. 83] as well as the role of Weibes (=a woman) in Paul Hindemith's opera, Mörder Hoffnung der Frauen[ Neue Musik Zeitung 43 Jg 1922]
During her Dresden period she sang in Amsterdam, Berlin (the world premiere of Alfred Kaise]'s Stella Maris),[ Die Musik, 12Jg, 2Q, Bd.46, 1912–1913 feb 1913] Brussels, Bucharest, Cologne, Dessau (Isolde)[ Neue Zeitschrift für Musik, 88. Jg 1921, p.368]
Munich,[ Signale für die musikalische Welt v.69 1911 no.3-5,18,20–21,23–38,40–48.|Münchener Festspiele]
Vienna, Zürich (Boris Godunov),
and in Italy.[ Die Stimme: Centralblatt für Stimm- und Tonbildung, Gesangunterricht und Stimmhygiene, Bände 13–14, p.247] She appeared in the concerts of the summer season of 1920 in Toeplitz Schonau.[Neue Zeitschrift für Musik 1920 Jg87 p.474]
In 1914 Forti appeared for her only season at the Bayreuth Festsical as Sieglinde in Die Walküre and Kundry in Parsifal.[Die Musik 14Jg, 1Q, Bd.53, 1914–1915, s. 333] Bühne und Welt[ Bühne und Welt, vol 16 part 2, 1914 p.137] wrote: "It was an event. No stage should have two such powerful Kundry-interpreters at the same time. Forti drew from the depths of all femininity, and was – in her internalization, and lightly consuming ecstasy, of indescribable urgency. One experienced the mystery of compassion."
Forti received the title of Kammersängerin in 1917.[ Neue Musik Zeitung, 38 Jg 1917, p.295] At the time of her death, Forti had two such titles, the one granted by the King in Dresden in 1917 ("Kgl. sächsische Kammersängerin"), it is unknown when and where she was granted the other title, "fürstlich-preußische Kammersängerin". .
Marriage to W.B. Iltz
in 1917, she married Dresden's "most famous and excellent"
[Mühsam, Paul, Ich bin ein Mensch gewesen,Lebenserinnerungen, Bleicher Verlag, Gerlingen, 1989, s. 175] actor Walter Bruno Iltz,
[ Neue Musik Zeitung 38 Jg 1917, p. 375] who was "always seen sitting in the artist's box when Forti sang, utterly immersed at her stage presence."
[ pp.128–129] Iltz (1886–1965), was an actor in the Dresden Schauspiel, a stage-director and later general-director of the Reussisches Theater in Gera,(1924-19279), Düsseldorf Schauspiel (1927–1937), Volkstheater in Vienna (1938–1944), and after the war, the Nürnberg, Braunschweig and Düsseldorf theaters.
The wedding took place in Tegernsee, Bavaria,
[ Deutsches Bühnen-Jahrbuch Spielzeit 1966/67. Genossenschaft Deutscher Bühnen-Angehörigen, Deutscher Bühnenverein, F. A. Günther & Sohn, Hamburg 1967] where they purchased a house from Forti's tenor-colleague
Leo Slezak.
[ p.355] In Dresden the couple lived in Forti's parent's apartment in Zeughausstraße 2. The Dresden artist
Georg Gelbke designed the couple's wedding announcement, as well as stationary for her, based on a motif from Walküre.
[http://www.exlibris-archiv.de/EXL-KUENSTLER/exl-kue-Gelb/Bieger.pdf ][ Mitteilungen des Exlibrisvereins zu Berlin. jahrg.7–11 (1913–17). p. 13] The Forti-Iltz couple were an important part of the Dresden artistic society,
[ Die Woche V.20, 1918, Teil 1 ( Jan März), p. 170] and were friends of
Siegfried Wagner and
Winifred Wagner, Paul Adolph (administrative director of the Dresden Theater), the Austrian-German literary scholar Oskar Walzel,
,
the German author Max Mohr,
[Max Ludwig Mohr (1891–1937), Jewish author, lived in Tegernsee, emigrated to Shanghai 1934: Gabriele Geibig-Wagner: Max Mohr – ein wiederentdeckter Schriftsteller. In: Ulrich Wagner (Hrsg.): Geschichte der Stadt Würzburg. 4 Bände, Band I-III/2, Theiss, Stuttgart 2001–2007; III/1–2: Vom Übergang an Bayern bis zum 21. Jahrhundert. 2007, ] and others. The artist Rudolf Scheffler included them in his book of caricatures of the most famous members of the royal court theater in Dresden.
Retirement from the stage
Forti's contract in Dresden Opera ended in 1925,
her performances in Dresden and elsewhere dwindled. Online and other references (e.g. Kutsch – Riemens
Sängerlexikon)
to a "career breakthrough" in Germany after her "excellent"
[Musical Courier: A Weekly Journal Devoted to Music and the Music Trades, Band 87, 1923, p.23] Marina in
Boris Godunov in 1923 cannot be sourced and are in error; Forti definitely retired from singing by 1925. Years of singing the dramatic repertoire and a possible addiction to morphium may have taken their toll.
[W.B. Iltz's colleague the choreographer Yvonne Georgi, quoted in|p. 88] Siegfried Wagner wrote her a flattering letter, expressing regret at her early retirement from the stage.
[
]
Later life
Forti's mother Minna died about 1925. Forti and her husband left the apartment in Zeughausstrasse 2 (it was taken over by Kurt Striegler, the Dresden Kapellmeister). She followed her husband to Gera where he was Intendant and where she worked with the actors of his company.[ Neue Musik Zeitung, 45 Jg 1924, p.23] According to Theo Anna Sprüngli, Forti now "saw her own success in the success of her husband, her highest ambition was to see him achieving his plans".[|
p. 88] offended public sensibilities, and Iltz, as well as his wife received an anonymous letter with threat of being shot.[ Neue Zeitschrift für Musik, 1924, Jg91, p.729|Well-known teacher of female voices][Harold Rosenthal, OPERA ANNUAL 1954–1955, 1954, JOHN CALDER LTD]
The couple moved to Vienna, when Iltz became director of the Volksoper there. Forti died in Vienna, on the 11th of May, 1942, 58 years old, "after a long, severe nervous disorder triggered by her husband's clashes with the Nazi press and the Nazi party in Düsseldorf, which for many years had been "incomprehensible and agonizing" to her and her husband's existence".
Critical appreciation
There are no films or Video documents of Forti's artistry. She earned her place in the history of modern opera following the footsteps of singing actresses like Annie Krull.[Calico, Joy, Staging Scandal with Salome and Elektra] Bühnen und Welt of 1909 describes the young Forti in the Prag Maifestspiele as a "youthful singer with great sensuous charm and excellent vocal, acting and intellectual qualities". Upon her farewell from Dresden, the Neue Zeitschrift für Musik summed her up as a „singing actress" who was "for more than ten years an 'artistic personality'", one who "unified acting and singing",[Neue Zeitschrift für Musik 1924 Jg91, p.658] The author Oskar Walzel describes her Slavonic features, yet "on stage one could not imagine a more convincing personification of a Wagner heroine. Tall and slim, with reddish hair, she commanded gesture masterfully. Upon entering the stage as a Walkyrie, one says to one's self, this, and in no other way, should a Brünnhilde look like...[Die Musik: Verzeichnis der Kunstbeilagen, Band 12,Ausgabe 3] also comments that Forti's vocal material and craftsmanship did not match her visual qualities, Forti was "no replacement for Marie Wittich". ibid, [ Die Musik: Verzeichnis der Kunstbeilagen, Band 12,Ausgabe 3] As early as 1911, Die Musik, while praising[Die Musik 11Jg, 1Q, Bd.41, 1911–1912 p.354] her Senta in Der fliegende Holländer, notes a certain difficulty in the top range of her voice. Her first attempt at the role of Kundry was "scenically quite impressive" but vocally insufficient;[Neue Zeitschrift für Musik 1914 Jg081, p.562] Her Isolde "looked better than it was sung",[ Die Musik, 14jg 3q Bd. 551914 1915 ( 1) p.85] By the end, Der Merker, merely labels her last performance (Adriano in Rienzi) as "disappointing".[ Der Merker, Band 4;Band 10]
Theo A Sprüngli, the critic and activist wrote:
"An almost mystical magic, the magic of glowing life, emanated from her when she was on stage. She was always on fire inside, she always had to burn herself out; the fire of her enthusiasm, kindled by the primal-power of her heart, was never extinguished. Forti's innermost being was a rushing melody, her art a return of the heart to its divine origin: divine love."
Recordings
-
Brahms, song: Vergebliches Ständchen, 1920, Odeon
-
Gounod, Faust, aria: Jewel song, Zonophone
[EMI Music archive
]
His Master's Voice: The German Catalogue : a Complete Numerical Catalogue of German Gramophone Recordings Made from 1898 to 1929 in Germany, Austria, and Elsewhere by the Gramophone Company Ltd.
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Rotoli, song: La Serenata, Zonophone
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Wagner, Rinezi, aria: „in seiner Blüte“, 1920 odeon
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Wagner, Parsifal, "Grausamer! Fühlst Du im Herzen
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Leoncavallo, song: Mattinata, 1920, Odeon
Repertoire
Sources:
-
Hochmuth: Chronicles of the Dresden opera (in German)
-
German Bühnenjahrbuch, (yearbook of theater activity) from 1943 (with an article about Forti listing her roles).
-
Dresden SLUB library, Musiconn, Repertoire list for Helena Forti
-
Other sources noted specifically
Composer – Role – Opera title – note (if any)
-
d'Albert, Marion Liebesketten
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d'Albert, Marta, Tiefland
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d'Albert, Myrtocle‚ Die toten Augen, Role creation, Dresden
-
Aubert, Muette, Muette de Portici
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Beethoven, Leonore, Fidelio
-
Bizet, Michaela, Carmen
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Deltnar, Carmelita, Carmelita, Role creation, Prague,
[ Neue Musik Zeitung, 31 Jg, 1910, p.108]
-
Goetz, Katharina Wiederspenstigen Zähmung
-
Halevy, Rachel, La Juive
[Neue Zeitschrift für Musik 1917 Jg084, p.250]
-
Hindemith, Frau, Mörder Hoffnung der Frauen
-
Kaiser, Marga, Stella Maris
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Kaskel, Eroon, Schmiedin von Kent, Role creation, Dresden
-
Korngold, Marietta‚ die tote Stadt
-
Leoncavallo, Nedda, Pagliacci
-
Mascagni, Santuzza, Cavalleria
-
Meyerbeer, Valentine, Die Hugenotten
-
Meyerbeer, Selika, Die Afrikanerin
-
Mozart, Pamina, Die Zauberflöte
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Mussorgsky, Marina, Boris Godunow
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Naumann, Ilsebill‚ Mantje Timpe Te, Role creation, Dresden
-
Offenbach, Antonia, Tales of Hoffmann
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Pfitzner, Minneleide, Die Rose vom Liebesgarten
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Strauss, Ariadne, Ariadne auf Naxos
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Verdi, Aida‚ Aida
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Verdi, Amelia, Un Ballo in Maschera
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Verdi, Leonora, Il Trovatore
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Wagner, Siegfrid, Irene, Sonnenflammen, Role creation, Dresden
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Wagner, Elisabeth, Tannhäuser
-
Wagner, Elsa, Lohengrin
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Wagner, Senta, Der Fliegende Holländer
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Wagner, Brünnhilde, Die Walküre
[Neue Zeitschrift für Musik 1915 Jg082, p. 348]
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Wagner, Brünnhilde, Götterdämmerung
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Wagner, Kundry, Parsifal
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Wagner, Adriano Rienzi
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Wagner, Sieglinde, Die Walküre
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Wagner, Isolde, Tristan und Isolde
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Wagner, Venus, Tannhäuser
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Wagner, Eva, Meistersinger
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Wagner, Fricke, Das Rheingold
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Wagner, Ortrud, Lohengrin
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Waltershausen, Rosine, Oberst Chabert
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Weingertner, Kassandra, Orestes Trilogie, Role creation, Prague
Literature (selected)
English:
-
Calico, Joy, Staging Scandal with Salome and Elektra
German:
-
Detken & Schonau, Rollenfach und Drama
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Hanke Krauss, Gabrielle, Richard Strauss Ernst von Schuch, ein Briefwechsel
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Hochmuth, Michael, Chronik der Dresdner Oper – Zahlen, Namen, Ereignisse
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Kugel, Wilfried, Der Unverantwortliche : das Leben des Hanns Heiz Ewers
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Manker, Paulus, Enttarnung eines Helden: Das unbekannte Leben des Walter Bruno Iltz
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Mühsam, Paul, Ich bin ein Mensch gewesen,Lebenserinnerungen
[Mühsam, Paul, Ich bin ein Mensch gewesen,Lebenserinnerungen, Bleicher Verlag, Gerlingen, 1989]
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Stahl, Ernst Leopold, Das Mannheimer Nationaltheater, ein Jahrhundert deutscher Theaterkultur im Reich
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Schäffler, Rudolf, HUKA ALBUM
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Walzel, Oskar, Wachstum und Wandel
German Periodicals from the beginning of the 20th Century:
-
Berliner Illustrirter Zeitung
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Bühne und Welt
-
Die Musik
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Die Stimme: Centralblatt für Stimm- und Tonbildung, Gesangunterricht und Stimmhygiene
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Menschen, Monatsschrift für neue Kunst. volumes 3–5 1920–22
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Neue Zeitschrift für Musik
-
Neue Musik Zeitung
-
Signale für die musikalische Welt
Notes
External links
