Historic Photo
This Lotte Lehmann photo shows her aboard the Queen Mary on 27 April 1938, on her way to sing three performances as the Marschallin in London’s Covent Garden’s production of Der Rosenkavalier. It ranks as “historic” in that Lehmann famously fainted during the first act of the series, but went on to successfully sing the two performances on 10 and 12 May.
More LL on YouTube
The famous Hugo Wolf Town Hall recital of 18 January 1938 is available.
You’ll hear LL reading from her book (to an audience, so she makes comments not found in the book): Five Operas and Richard Strauss.
50th Year LL Memorial
Lotte Lehmann died 26 August 1976, fifty years ago. A German radio station marked the occasion with a wonderful tribute that includes thoughtful choices from her recordings and a script that was almost completely devoid of errors. (LL’s husband wasn’t Jewish; he had married into a Jewish family.) Whether you speak German or not, you may enjoy the Lehmann arias and songs. This was sent from my Munich-based friend, Frank Manhold, many thanks!. https://share.deutschlandradio.de/dlf-audiothek-audio-teilen.html?audio_id=dira_AC5F11E8A09311F170F1B883034C2FA0
LL and Arabella
I have written an article on the turmoil that accompanied the premiere of Arabella. The page includes a condensed portion of the Chronology of that year as well as many photos of LL as Arabella.
LL on YouTube
YouTube has recently offered many Lotte Lehmann-related elements that you may find enjoyable and enlightening. The following are not listed in the chronological order of their appearance on YouTube, nor of LL’s life.
First, the 14 March 1964 radio interview by John Amis with Joan Cross and LL followed by the Lieder and Die Walküre Act II, masterclasses.
Second, you’ll find the BBC broadcast of LL’s masterclass at Wigmore Hall in 1957 (this features Der Rosenkavalier)
Third, LL Radio Concerts broadcast between 1935-1939.
Fourth, LL’s 77th Birthday radio interview, 15 Jan 1965.
Fifth, LL’s Town Hall recital of 27 Feb 1949.
Sixth, LL and Maria Jeritza interviewd by John Gutman on 21 Nov 1962
Seventh, the famous Bruno Walter 1935 Die Walküre Act I in a fine remaster by Velissiotis.
Eighth, LL’s Town Hall recital of 9 Feb 1947.
Ninth, Der Rosenkavalier Act I Live at the Met 1939
LL Outdoors
When, during her later years, Lehmann took time away from her art, writing, or teaching, she did spend a lot of time outdoors. Here’s a hitherto unknown photo with LL surrounded by hills.
LL as Tatjana
We don’t often link Lehmann with Tchaikovsky’s Pique Dame, but here is a positive review of her 1937 performance in Vienna. An English translation follows.
“The performance is carried, elevated, and transfigured in particular by the Tatyana of Lotte Lehmann. Under the breath of her soulful soprano, everything that rises from Tchaikovsky’s music as herbarium aroma transforms into the fragrance of fresh, living flowers. The fading novel character receives full right to exist, she sheds her old-fashioned character, appears almost current, and makes even her over-eccentricity seem natural and plausible. Truly, it is a great art of enchantment that the singer practices with her magic voice. As Onegin, Alexander Sved strides across the stage, albeit without a romantic and demonic nimbus, but still as the bearer of an unusually beautiful voice. At the conductor’s podium works Bruno Walter, who, alongside his mastery, brings along the love of a true musical romantic. Under his master hand, everything pale and withered likewise vanishes to make room for blossoming emotional expression.”
Carnegie Hall 1932
Lotte Lehmann.
[Under the Photo]: The outstanding German singer was tempestuously celebrated yesterday evening in Carnegie Hall.
The German vocal artist gave a song recital in Carnegie Hall.
Highly esteemed gracious lady: The song recital, which you gave yesterday evening in Carnegie Hall, will enter into New York concert history as one of the most significant events of the season.
It is chiefly thanks to your high artistic reputation that, despite the hardship of the times,[1932] a large audience attended the charity concert, and you may be proud that you, in partnership with the “New York Women’s Trade Union League,” were granted the opportunity to contribute to the alleviation of the unprecedented misery among the unemployed world of women and girls of this great city —
As said, you sang magnificently as always, and the thunderous applause, the splendid floral offerings, and the encores, which people begged from you, should be a testament to you of the appreciation and love that New York’s concert audience harbors for you. —
And yet, as deeply as it pains, we started our way home with a tiny bit of disappointment. —
Not that the great, incomparable song singer Lotte Lehmann had somehow lost her artistic magical power over us! — Oh, no! — We could have listened to your gifts for many hours more!
And yet we hold it, in memory of the two unforgettable song recitals in the last season in Town Hall, and no less in remembrance of glorious experiences in the old homeland, of which a high-spirited, radiantly beautiful “Leonore” in Salzburg […]*highly esteemed gracious Lady! — If you can, fulfill the wish of your many New York friends and come back very soon! —In sincere adoration for the great artist: J. H. M.
New LL Photos
These photos seem new to our eyes. What do you think?
LL Chronology Up-date
The complete LL Chronology has been revised with many new recital appearances discovered. The number of recitals, combined with Lehmann’s opera performances, sometimes seems overwhelming for one person. Here’s a screen shot of a portion of her routine in 1934.
LL in Athens
Here’s an English translation of a French-language review of Lehmann’s concerts and recitals in Athens, 29 November 1931.
Madame Lotte Lehmann is undoubtedly one of the greatest artists of our time. She appears so completely, so simply, so deeply musical, and is so enlightened by an ideal in her superb flights as a singer who pours her whole soul into bringing her art to life, that one is instantly captivated by the noble persuasion and fullness of her musical nature. It is pure and grand art.
We had the opportunity to hear her three times during this week: first at two lieder recitals, where she sang, superbly accompanied on the piano by Mitropoulos, the most joyful [gems] of the genre (Schubert, Schumann, Mendelssohn, Brahms, Richard Strauss, and Robert Franz); then at the Symphonic Concert on Sunday, performing the grand arias from Oberon and Fidelio, to which she added, with great artistic generosity, that little marvel by Wagner entitled Träume (Dreams).
A masterpiece of pure music, Fidelio is above all a German masterpiece. And Lotte Lehmann is an eminently German singer, worthy of fulfilling the high word of Beethoven by interpreting this sublime phrase from his unique opera: “He who fully feels my music shall be delivered from the miseries that other men drag after them.”
LL’s Last Recital in Vienna
An English translation appears below.
The promising concert season opened with a farewell: Lotte Lehmann, who is now leaving Europe again for ten months, gave a joint recital with Bruno Walter before her departure. [Lehmann didn’t return to Vienna until its reopening after WWII in 1955.]
It is the third time in two months that one was able to hear Schumann’s “Dichterliebe” performed by these two artists, [they had performed it in two Salzburg Festival recitals] and the intensification that one felt from one time to the next is certainly not to be explained merely by the accumulation of impressions. It is an ever deeper immersion into this song cycle, into the poetry of a Romanticism that appears consoling even in pain and bitterness. The simple grandeur of a folk song, which is inherent in this Heine-Schumann cycle, becomes apparent when Lehmann sings the sorrows of love and Walter accompanies the singing on the piano with dreaming sounds, almost as if he were casually improvising.
Schubert, Brahms, and Richard Strauss followed in indescribable beauty; the deep secret surrounding the ultimate knowledge of song interpretation—where might its recognizable essence be fathomed? In what inexpressible realm lies the core of this oppressive and at the same time blissful art? “All the city councilors of the town and all the wise men of the world remain silent on the question…” [A quote from the Brahms song, performed at this recital: Therese.]
LL Film Planned
This recently discovered newspaper article from 1935 offers the “What IF?” question to the past.
Gerron to direct Lotte Lehmann film
Lotte Lehmann is now also set to star in a film. She will portray a great singer who must grapple with the conflict between her career and her private life. She tries to renounce her art to save her marriage and family happiness. However, she doesn’t quite succeed, and ultimately returns to her art. Kurt Gerron will direct the film. Negotiations with Ms. Lehmann are expected to be finalized in the coming days, with only financial details remaining to be settled. Filming is scheduled to begin in September. 1935
Town Hall, Australia
1935 Review
