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(1)
American bass Léon Rains (1870-1954) made his debut (1897) with the
Damrosch-Ellis Opera Company. He spent eighteen years with the Dresden Royal
Opera (and in other European houses) but because he was an American citizen
he felt obliged to leave Germany at the outbreak of World War I. Although he
was one of the finest basses in Germany, he appeared, sadly, with few
accolades at the Metropolitan Opera in 1909.
(2) French
mezzo-soprano Jeanne Raunay [-Dumény] Richomme (1863 [also given as
1869]-1942) was a student of Obin. In 1895 she joined the Monnaie to sing
in Tannhäuser and Faust. In Brussels she created the role of
Guilhen in Vincent D'Indy's Fervaal (1897). In 1898 she joined the
Paris Opéra -Comique. She also created roles in l'Ouragan and
Titania. She made her Paris Opéra debut (1 Jun 1888) as Uta in Sigurd.
During the 1905 Royal Opera Season at Covent Garden she was seen in
Orphée, and in Ballo in Maschera with Enrico Caruso. In 1910 she
appeared with the Monte Carlo Opera. She was also quite successful in
Cologne, Lamoureux, and at the Renaissance (Ipgihénie en Tauride).
She retired in 1908 upon her marriage to André Beaunier.
(3) A rare
postcard of French contralto Alice Raveau (1887-1945) as Orpheus from
an Opéra-Comique production. In his book, Opera on Record, Alan Blythe
wrote, ". . . no ear of faith is needed to appreciate the beauty of Alice
Raveau's Orpheus; the impact is immediate. No voice ever poured itself into
the music with greater purity or passion. . . . Raveau's is an exalted art,
difficult to pin down in words." This postcard was signed by Raveau in 1912.
(4)
Hedwig Reicher as Salome (doing her veil dance).
(5) German
baritone Theodor Reichmann (15 Mar 1849 - 22 May 1903): Studied
Berlin, Milan, Prague. Debut Magdeburg (1869). Engagements in Berlin,
Hamburg, Munich, Strasbourg, and Vienna (1883 - 1889, 1893, 1903). Created
Amfortas (Bayreuth: 1882). Also sang at Covent Garden, Metropolitan Opera.
(6)
Nicolai Reinford as Siegfried. Performed mostly in Munich.
(7) German
soprano Delia Reinhardt (1892-1974) as Eva in Meistersinger.
She was well known for her portrayal of Octavian in the famous Lehmann/Schumann/Mayr/Bruno
Walter performance of Der Rosenkavalier.
(8) German
tenor Albert Reiss (1870-1940) was an actor before he turned to
music. His voice was discovered by Bernhard Pollini and Ernestine Schumann-Heink.
He was an admired buffo tenor who was seen at the Metropolitan Opera for
eighteen seasons (1901-1919) where he was the Broommaker in the world
premiere of Königskinder (28 Dec 1910). Those who are inclined to
believe that all witches should be female should note that Reiss played the
Witch in Hänsel und Gretel thirty times at the Metropolitan! Reiss
logged over 1,000 performances at the Metropolitan, and his career there
might have been extended had he not had a petty backstage argument with
management.
(9)
Fritz Rémond as Lohengrin.
(10)
French baritone Maurice Renaud (1861-1933) as Athanaël in Massenet's
Thaïs. He introduced this role to American audiences with a
performance of Thaïs at the Manhattan Opera (25 Nov 1907) along with
Charles Dalmorès and Mary Garden. His performance opposite Garden was
described in the following manner: "Every movement of those marvelously
beautiful and soulful eyes was eloquent of spirituality. . . . One needed no
book nor spoken words to realize the gradual change of the saint to the
sinner in thought, the triumph of the man over the monk." It is believed
that Renaud joined the Monnaie in Brussels early in his career to avoid
military service in his home country of France. He later atoned for his act
of avoidance by enlisting during the first World War. Renaud did not have
the most beautiful baritone voice of his time, but that fact is overlooked
when one considers the power and embodiment of characterization that this
artist attained.
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(11)
German, later American, soprano Elisabeth Rethberg (1894-1976) as
Amelia in Un Ballo in Maschera. She was regarded as one of the
principal lyric-dramatic sopranos of her day. Musicians, critics, and the
public praised her voice for its purity. Rethberg made her debut in Dresden
(1915) as Arsena in Zigeunerbaron. She sang over 300 performances at
the Metropolitan Opera from 1922 through 1944. Her interpretation of Aida
was considered her signature role, and her Metropolitan Opera debut as the
Ethiopian slave was greeted favorably. Her "high, clear, liquid tones . . .
floated above Verdi's orchestration with unforced ease." She created the
title role in Strauss's Aegyptische Helena (1928).
(12) A Cosima Wagner protégée was Austrian soprano Luise Reuss-Belce
(1862-1945), seen here as Fricka in the Ring cycle. She made her
debut (1881) at Karlsruhe. Her Bayreuth debut was in the world premiere of
Parsifal (1882) as a Flowermaiden. She was a principal singer in
Bayreuth until 1912. She eventually became the dramatic coach at Bayreuth.
Circa 1904.
(13)
Belgian tenor of Russian birth, Joseph Rogatschewsky (Mirgorod: 8/20
Nov 1891 - Ixelles, Belgium: May 1985): Studied at the Conservatory in
Paris. Served in the French army during World War I and was wounded twice.
Made his debut (1922) in Toulouse. Hired for Opéra-Comique that same year,
and then in 1924 he joined the Monnaie in Brussels to become their principle
tenor. Sang throughout Belgium and France. In 1929 and 1930 he sang at the
Vienna State Opera. In 1931 he was back in Paris singing Lohengrin at the
Palais Garnier. He was the director of the Brussels Opera (1953-59) and also
a teacher.
(14)
Helge Roswaenge (29 Aug 1897 - 17 Jun 1972) Danish tenor. He first
studied with the ambition to become a chemist. He then studied singing in
Copenhagen and Berlin. Debut 1921 in Neustrelitz. He performed throughout
central Europe. Said to have been one of the greatest interpreters of
Mozart's operas. Married for a time to soprano Ilonka Holndonner. He was a
very expressive singer.
(15)
French tenor Charles Rousselière (1875-1950), originally a
blacksmith, made his operatic debut (1900) at the Paris Opéra in the role of
Samson. His world premieres included Saint-Saëns's Les barbares and
L'Ancêtre, Mascagni's Amica, Fauré's Pénélope, and
Charpentier's Julien. Rousselière's Metropolitan Opera debut as Roméo
(seen here) in 1906 was barely noticed by the critics, who devoted their
reviews to the introduction of the American soprano, Geraldine Farrar, who
was Rousselière's Juliette that evening. As Roméo he was "a manly and
engaging figure." His voice was described as "a powerful and vibrant tenor."
A Paul Berger photograph, published by F.C. et Cie, number 87.
(16) Spieltenor Hans Rudiger (1862-1937). He specialized in character
roles such as David and Mime. The mastery he exhibited in his
characterizations led to his selection for the role of Valzacchi in the
world premiere of Der Rosenkavalier. Postcard, Dresden circa 1907.
(17)
Italian baritone Titta Ruffo (1877-1953) made his debut (1898) at the
Teatro Costanzi in Rome as the Herold in Lohengrin. At Covent Garden
as the Duke in Rigoletto (1903) he was abruptly dismissed after his
Gilda, Nellie Melba, proclaimed him "too young" to be her father (she was
sixteen years his senior). His American career began in Chicago in 1912,
where he was a regular visitor until 1926. His Metropolitan debut (1922) as
Rossini's Figaro was greeted with "tremendous applause and cheers"
when he stepped on stage to sing Largo al factotum.
(18)
English baritone Kennerley R. Rumford (1870-?). He was married to
Clara Butt and often gave joint recitals with her. His career was briefly
interrupted when he served in the British Military Intelligence Department
during World War I.
(19)
Cäcilie Rüsche-Endorf (1873-1939) as Brünnhilde.
(20)
Giannina Russ (1878 - 1951): Italian dramatic soprano. Debut 1903. That
same year she sang at La Scala. She performed all over the world, with the
exception of the Metropolitan Opera and the Paris Opéra. She did appear at
the Manhattan Opera. Her best successes were in Italy and in South America (Teatro
Colón). Her last days were spent at Verdi's Casa di Riposo.
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