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410:. It was also the beginning of a friendship with D'Andrade that would last until the singer's death. When D'Andrade died suddenly in 1921, Slevogt rushed to his house to paint him one last time, but was so overcome by the sight of his dead friend that he was unable do so. Only later did he create a sketch of the coffin from memory entitled
338:("The Red D'Andrade"), it depicts the graveyard scene in act 2 of the opera where Don Giovanni taunts the statue of the dead Commendatore and invites him to dinner. It was the last of three large scale oil portraits which Slevoght had painted of D'Andrade in different aspects of the role. The first of these,
313:
D'Andrade moved back to Lisbon during World War I, but returned to
Germany and the Hofoper after the war ended in 1918. He retired from the stage in 1919 and died in Berlin two years later at the age of 65. His body was taken back to Lisbon, where he was buried in the family tomb. He was survived by
163:
D'Andrade was born in Lisbon. His father was a prominent jurist there, and he initially trained as a lawyer. However, like his older brother António, D'Andrade also had a keen interest in opera and theatre. Both frequently attended performances in the Teatro do Ginásio and participated in amateur
390:
405:
The young Max
Slevogt first encountered D'Andrade in 1894 when he was captivated by his triumphant performance as Don Giovanni in Munich. It was the beginning of Slevogt's fascination with Mozart and particularly
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Although he continued to tour Europe as a guest singer and recitalist, D'Andrade spent his later career primarily based in
Germany, where in 1894, he received the Grand Gold Medal of Arts and Sciences from
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his wife, the
Austrian pianist and singer Irma Noethig, whom he had married in 1900, and their son Francisco António Luís de Andrade. His widow later returned to Vienna, where she died in 1937.
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168:, and gave his first public recital in 1879 at the Salão da Trindade in Lisbon. In the spring of 1881, he left for Milan to continue his musical training, first with the tenor
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productions with the
Sociedade Taborda. He studied the basics of acting and music with Manuel Carreira and Arturo Pontecchi, the principal conductor of the
354:("The Black D'Andrade") painted in 1903 depicts the final scene of the opera where the white marble hand of the Commendatore summons Don Giovanni to hell.
173:
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in Moscow for the 1885/86 season. They would appear together again in several other productions, most notably the 1888 world premiere of
Alfredo Keil's
650:
342:("The White D'Andrade") painted in 1902, depicts D'Andrade singing the "Champagne Aria" from act 1. It was an immediate success at the 1902
500:(Bertrand 1981) established it as 1856 on the basis of documents in the possession of D'Andrade's son. See Bispo (February 2007).
131:. Considered a "very elegant and cultured singer," he was particularly admired for his portrayal of the title role in Mozart's
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in London in 1886. During that time he sang a wide range of leading baritone roles with the company including Renato (
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568:"Francisco de Andrade (1856–1921): Colóquio interdisciplinar pelos 150 anos de nascimento de Francisco de Andrade"
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who sang leading roles in opera houses throughout Europe, including five years as the principal baritone at the
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286:. Throughout his career he was widely admired for his portrayal of Don Giovanni and also sang it at the
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D'Andrade made several recordings for the
Lyrophon label in 1906, including the "Champagne Aria" from
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in 1889 and became an official member of the company in 1906 remaining a member until his retirement.
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189:. Over the next four years he sang in the opera houses of Portugal, Spain and Italy, including the
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from 1891 to 1910 as well as several other major German opera houses. He had first sung with the
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which became an unofficial centre of
Portuguese culture in Germany and sang regularly with the
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440:. Five of the 1906 recordings were also released by the Symposium label in 2006 on the CD
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D'Andrade made his operatic debut on 23 December 1882 at the Teatro
Principe Amedeo in
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Although many sources still give the birth year as 1859, Mario Moreau in his
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at the Teatro São Carlos with
Francisco as Adaour and António as Aben-Afan.
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Der Sänger Francisco d'Andrade als Don Giovanni in Mozarts Oper
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and Severo in the theatre's first performance of Donizetti's
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Exhibition and marked Slevogt as a major exponent of German
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679:"Landesmuseum Mainz: Slevogts prickelndes Champagnerlied"
630:. Staatliche Museen zu Berlin. Retrieved 11 January 2014
205:. Both he and his brother were engaged as singers at the
119:, (11 January 1856 – 8 February 1921) was a Portuguese
444:: "The Champagne Aria ("Finch' han dal vino") from
234:D'Andrade began a five-year association with the
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193:in Rome, where he sang Count de Luna in Verdi's
151:, appearing with his elder brother, the tenor
603:Servizio Bibliotecario Nazionale (Venezia).
509:Prior to 1920, the festival was held by the
728:, Vol. 4, pp. 1001–1002. Walter de Gruyter
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617:
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817:19th-century Portuguese male opera singers
698:Fehlemann, Sabine; Hartje, Nicole (2005).
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647:Das Champagnerlied (Der Weiße d'Andrade)
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574:, Issue 106. Retrieved 10 January 2014
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19:For the Portuguese Olympic sailor, see
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605:Library record: Document VEA1198767T
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127:in London and thirteen years at the
590:. L'Almanacco di Gherardo Casaglia
57:Francisco Augusto D'Andrade e Silva
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544:"D'Andrade (De Andrade), Francisco
511:International Mozarteum Foundation
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677:C.A.B.-Artis (20 February 2014).
550:, p. 109. Oxford University Press
434:and also included in Volume 1 of
414:("The burial of Don Giovanni").
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226:, the role in which he made his
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705:
700:Max Slevogt, die Berliner Jahre
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548:The Grove Book of Opera Singers
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566:Bispo, A. A. (February 2007).
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546:in Laura Williams Macy (ed).
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498:Cantores de Ópera Portugueses
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755:Brenesal, Barry (May 2007).
685:. Retrieved 11 January 2014
683:Brikada – Magazin für Frauen
661:. Retrieved 11 January 2014
607:. Retrieved 11 January 2014
466:O, du mein holder Abendstern
426:which was later reissued on
384:("The Black D'Andrade") 1903
369:("The White D'Andrade") 1902
7:
588:"Performances by D'Andrade"
322:A portrait of D'Andrade as
113:Francisco Augusto D'Andrade
10:
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773:12 January 2014. See also
586:Casaglia, Gherardo (2005).
474:; and "Vien Leonora" from
400:("The Red D'Andrade") 1912
274:), and the title roles in
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645:Max Slevogt (1868–1932):
334:in Berlin. Also known as
296:William II of Württemberg
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79:
51:
35:
28:
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412:Grablegung Don Giovannis
318:Portraits by Max Slevogt
137:. In his native city of
659:Staatsgalerie Stuttgart
458:; "Sois immobile" from
455:Il barbiere di Siviglia
247:Il barbiere di Siviglia
183:as Amonasro in Verdi's
16:Portuguese opera singer
720:"D'Andrade, Francisco"
382:Der schwarze D'Andrade
352:Der schwarze D'Andrade
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623:Wesenberg, Angelika.
572:Revista Brasil-Europa
437:The Record of Singing
330:in 1912 hangs in the
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207:Théâtre Privé d'Opéra
42:D'Andrade in 1890 as
759:Major Vocal Rarities
725:Großes Sängerlexikon
442:Major Vocal Rarities
332:Alte Nationalgalerie
298:. He had a villa in
256:), Giorgio Germont (
46:, his signature role
21:Francisco de Andrade
812:Singers from Lisbon
781:for the CD edition.
643:Becker, Christoph.
367:Der weiße D'Andrade
340:Der weiße D'Andrade
265:Lucia di Lammermoor
236:Royal Italian Opera
125:Royal Italian Opera
30:Francisco D'Andrade
797:Operatic baritones
712:Kutsch, Karl-Josef
653:2015-01-11 at the
397:Der rote D'Andrade
336:Der rote D'Andrade
262:), Enrico Ashton (
232:
174:Sebastiano Ronconi
771:HighBeam Research
702:, p. 160. Wienand
540:Forbes, Elizabeth
450:Largo al factotum
288:Salzburg Festival
241:Ballo in maschera
166:Teatro São Carlos
153:António D'Andrade
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807:1921 deaths
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730:(in German)
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632:(in German)
477:La favorita
328:Max Slevogt
326:painted by
259:La traviata
244:), Figaro (
791:Categories
521:References
471:Tannhäuser
418:Recordings
117:De Andrade
74:, Portugal
64:1856-01-11
779:310780751
757:"Review:
432:Parlophon
290:in 1901.
277:Rigoletto
271:Lohengrin
224:Rigoletto
93:, Germany
718:(2003).
651:Archived
542:(2008).
121:baritone
104:baritone
745:3967289
468:" from
452:" from
202:Poliuto
181:Sanremo
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253:Carmen
139:Lisbon
91:Berlin
72:Lisbon
484:Notes
428:78rpm
115:, or
775:OCLC
741:OCLC
714:and
280:and
186:Aida
80:Died
52:Born
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430:by
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