Volume 2: Acknowledgements

Many thanks to Benita Valente for her Foreword. Her long study with Lotte Lehmann allows her an uncommon perspective. Thanks also to her son, Peter Checcia, for providing Lehmann’s drawing of Benita.

For the use of elements from the Lotte Lehmann estate, thanks to University of California Santa Barbara Library, Department of Special Collections. The staff, which helped greatly, includes David Seubert, Zak Liebhaber, and Nadine Turner. Special thanks to Daisy C. Muralles, Information Services Assistant, Special Collections, UC Santa Barbara Library. It was through her that we received many of the rare photos and Lehmann’s drawings for Dichterliebe.

Thanks to the Music Academy of the West for permission to use portions of Music Academy of the West, Santa Barbara: Fifty Years 1947–1997 by Sharon Crawford.

Marianne Clark, Foundation Administrator of the Lobero Theatre Foundation in Santa Barbara, CA, helped confirm Lehmann performances there for the Chronology.

The copy editors of my sometimes questionable English were Ginny Turner and Judith Sutcliffe. Judy also provided suggestions and permission to use her articles found in the chapters “Her Legendary Marschallin” and “Frances Holden.”

Dr. Michael Kater gave us permission to use his talk found in the chapter “Lehmann Meets Goering.”

The audio engineer was Lani Spahr, who was able to make enjoyable some heretofore unlistenable historic Lehmann recordings.

The rare audio tracks were provided by Ward Marston, as well as by the Stanford University Archive of Recorded Sound at the Braun Music Center. Thanks to the Sound Archives Librarian, Jonathan Manton.

Seth Winner gave us permission to use the 1945 Town Hall radio broadcast of Beethoven’s “In questa tomba oscura,” which he had resurrected.

Research in Vienna was handled by Peter Claussen and Damian Griego.

Philip Ulanowsky provided the Lehmann photos that she had sent to his father.

Thanks are due to Hawaii Public Radio’s Charles Husson, for the transcriptions of the DATs which contained rare Lehmann recordings and master classes. Thanks also to Jon Tolansky for his permission for various audio tracks.

Warm thanks to Eric Hvølboll, Frances Holden’s lawyer and Lehmann fan, who provided the wonderful photos of Orplid taken shortly after Holden’s death in 1996.

Dr. Herman Schornstein dug up photos and negatives of photos that he took while on trips with Mme Lehmann. He also gave permission for the publication of his Lehmann memories, letters, and photos of her paintings.

The negatives and slides mentioned above were digitized by Hawaii Pacific Photo.

Joaquin Villarreal, usually the webmeister of www.lottelehmannleague.org, was also responsible for allowing us to enjoy the “Duffy’s Tavern” segment found in the chapter “Exclusive Photos II.”

Australian lawyer Lyndon Garbutt let us know about the movie The von Trapp Family—a Life in Music in which a role (played by an opera singer) of Lotte Lehmann appears. In real life Lehmann did encourage the ensemble to go professional.

Christine Edmonson, of the Cleveland Museum of Art, tracked down the Lehmann performance there.

To the pianists, singers, and other music lovers who recorded their Lehmann memories and appreciations, I give my thanks. They have helped preserve history. Their contributions can be found in the chapters called “Tributes” and “The Lehmann Others Knew.”

We were granted permission to use excerpts from the master class videos courtesy of Video Artists International (www.vaimusic.com).

Here is a discography of the VAI Lehmann items, with links:

Lotte Lehmann: The New York Farewell Recital (1961)? http://www.vaimusic.com/product/1038.html
Lotte Lehmann Sings Lieder and Orchestral Songs (1941–1950)? http://www.vaimusic.com/product/1247-2.html
Lotte Lehmann: Master Classes, Vol. 1 – Lieder? http://www.vaimusic.com/product/4326.html
Lotte Lehmann: Master Classes, Vol. 2 – Opera?http://www.vaimusic.com/product/4327.html