#rosette anday

[opera-ghosts]

Here a picture of Rosette Anday.

Hungarian-Jewish Opera Singer. A leading mezzosoprano of mid-20th Century Europe, she was one of the youngest ladies ever to be designated "kammersangerin", a German honorific title for distinguished singers. Raised in Budapest, she studied both violin and voice at that city's conservatory. Rosette received her break when she was heard by the Vienna State Opera's director and was signed for her September 23, 1921, debut as the title 'heroine' of George Bizet's "Carmen". After bowing in a major role she had the good sense to refine her craft in smaller ones such as Cherubino in Mozart's "The Marriage of Figaro" but was soon singing most of the mezzo soprano repertory including Amneris in Giuseppe Verdi's "Aida", Azucena from the same composer's "Il Trovatore", several Wagnerian parts including Fricka, Erda, and Waltraute from "The Ring" and Brangane in "Tristan und Isolde", Laura in Ponchielli's "La Gioconda", Klytemnestra from Richard Strauss' "Elektra", and the seductress Dalila in Camille Saint-Saens' "Samson et Dalila". Calling upon her early training Rosette was even able to play the violin solo in Pietro Mascagni's "L'amico Fritz" herself. A busy oratorio and recital singer, she was on one occasion accompanied by Richard Strauss at the piano and was an early champion of Gustav Mahler's "Das Lied von der Erde" performing the work throughout Europe with such noted conductors as Bruno Walter and Oskar Fried. Though the Vienna State Opera was to be her main base she toured extensively on both sides of the Atlantic and retired following a 1961 Vienna performance as Klytemnestra. Rosette lived out her days on a Pressbaum street named for, teaching voice; it remains uncertain whether she died in that city or in Vienna.

[moncoeurmisanu]

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This music thrilled him to the very marrow, driving back an infinity of forgotten griefs, of old vexations, on a heart amazed to contain so many confused miseries and obscure sorrows. This music of desolation, crying from the deepest depths of being, terrified, while fascinating him. Never, without nervous tears rising to his eyes, had he been able to repeat the "Young Girl’s Plaints," for in this lamento there was something more than heart-broken, something despairing that tore his entrails, something recalling the end of love’s dream in a dismal landscape.

Diese Musik drang ihm zitternd bis unter die Haut und drängte unendlich viel vergessenes Leid, alten Lebensüberdruß in das Herz zurück, das sich wunderte, soviel verworrenes Elend und unbestimmten Schmerz in sich bergen zu können. Diese Musik der Trostlosigkeit, ein Schrei aus dem tiefsten Inneren, erschreckte ihn, indes sie ihn bezauberte. Nie hatte er sich, ohne daß ihm Tränen der Nervosität in die Augen gestiegen wären, "Des Mädchens Klage" wiederholen können, denn es war in dieser Klage etwas, das mehr war als Herzeleid, etwas Entrissenes, das ihm in den eingeweiden wühlte, etwas wie das Ende einer Liebe in einer trüben Landschaft.

Cette musique lui entrait, en frissonnant, jusqu'aux os et refoulait un infini de souffrances oubliées, de vieux spleen, dans le coeur étonné de contenir tant de misères confuses et de douleurs vagues. Cette musique de désolation, eriant du plus profond de l'être, le terrifiait en le charmant. Jamais, sans que de nerveuses larmes lui montassent aux yeux, il n'avait pu se répéter "les Plaintes de la jeune fille", car il y avait dans ce lamento quelque chose de plus que de navré, quelque chose d'arraché qui lui fouillait les entrailles, quelque chose comme une fin d'amour dans un paysage triste.

(Joris Karl Huysmans, Against nature/Gegen den Strich/À rebours)

Music: "Young Girl's Plaints", Composer: Franz Schubert, Lyrics: Friedrich Schiller, Mezzo-Sopran: Rosette Anday, Piano: Franz Rupp

Picture: "Landscape" by Odilon Redon, 1868

[elretratodeisabela]

Rosette Anday sings 'Ach, mein Sohn, Segen dir' "Der Prophet" (in German) conducted by Julius Prüwer 1929