718:. On each occasion that a peculiarly fine change from one range to another was accomplished by this incomparable singer the effect was as overwhelming as it was unexpected... Deceit, passion, love, fear and despair were expressed in each note." Another is quoted: "She is one of those rare artists who fills the stage with her attractive personality. ... her voice is one of the rarest beauty. One feels inclined to say that she is a soprano, but her range is so wide that the full tone covers three registers, from the high soprano to the alto range. Certainly no living singer can be compared in fullness of tone to Johanna Wagner."
261:, following his new musical conceptions, Johanna and Tichatschek sang the music of Elisabeth and Tannhäuser for him as it evolved. He had intended to premiere the opera to mark her 17th birthday, 13 October 1845, but she was ill, which forced its postponement for six days. The first performance, on 19 October, a six-hour staging beside Devrient as Venus, and with Dettmer and Mitterwurzer, was followed by a shortened version, with altogether eight repeats by the following January.
27:
980:
740:, the insubordinate toughness of the organ could not be concealed. Though she dashed at every difficulty, with an intrepidity only to be found in German singers, none was, in very deed, mastered.' Chorley, however, had no liking for German stagecraft, which he considered mannered and formulaic, nor for German theatrical singing, which he called "tasteless declamation accompanied by an orchestra".
605:, the dramatic power of her performances giving hope of a rebirth of the German classic drama. Having sung at the coronation concert at Königsberg, her operatic farewell was as Orfeo in December 1861, but she repeated it at a centenary performance in October 1862. She did however continue to sing in various German towns through the 1860s, notably in concert and recital, in the performance of
677:. She was not now capable of BrĂĽnnhild as originally intended, but as the Valkyr, her dramatic control of the scenes, and the energy she infused into them, in rehearsal and performance, realised the composer's true intentions, and set a precedent which was later imitated. Her Norn similarly was invested with her full dramatic resources.
477:, and in concert. After a Romeo she was given a standing ovation by the orchestra and crowned with a laurel wreath, and she had to give repeat performances for the Grand Duke and Duchess. Liszt, whose interest was not only musical, presented her with his portrait. Throughout the 1850s she sang repeatedly at Cologne, and at
751:
in terms that make one imagine the BrĂĽnnhilde she ought to have been: "She appeared: tall, stately, self-possessed, clothed in glittering gilded mail, with her fine fair hair flung in masses upon her neck: a superb air that seemed to give full earnest of victory, and a step revealing innate majesty
90:
in 1830, where both parents worked in the Royal
Bavarian Theatre, father being an actor, singer and stage-manager. She received piano lessons from her mother, a Roman Catholic, and sang duets with the Landgräfin of Hessen, who took singing lessons from her father. Richard Wagner visited in 1833
684:, and at WĂĽrzburg Johanna, with her pension from the Berlin Hochspielhaus, continued her work as a singing teacher, and retained the friendship of kings and princes which she had long held. Her last public performance was at WĂĽrzburg in scenes from
86:. She was the natural daughter of a soldier named Bock von Wülfingen, and was adopted by Albert Wagner (1799–1874) (eldest brother of Richard) and his wife Elise (1800–1864). They had two other daughters. From Seelze the family moved to
565:
in rebellion (where she was first hissed, and then sang under police protection), she decided to make her farewell from the opera stage and to continue her career as a tragédienne. Her contract renegotiated, she studied the role of
244:(the original Adriano and Senta) were the principals with whom she worked. The latter (whom Johanna had first met in Ballenstedt) was an especially inspiring example, and Tichatschek became a lifelong friend. She also befriended
433:
go to
England to get money": and Johanna went home without singing at all. However she returned in June and July 1856 (to Her Majesty's) and appeared repeatedly in her best roles, beginning (14 June) as Romeo, and then in
752:
and grandeur in every movement... She sang! The sonorous voice, which heralded the mission of the young warrior to his enemies, rang through the house as penetrating and awakening as the summons of a clarion."
721:
H.F. Chorley, embittered by Albert Wagner's national insult, found little to like in
Johanna: "Considered as a singer, the claims of Mademoiselle Wagner were very meagre. She must have had originally a fine
560:
family whom she had assisted financially at the collapse of their interests in 1858. Her first daughter was born in March 1860. After a very busy and triumphant tour of German towns in 1860 and a visit to
53:
singer, tragédienne in theatrical drama, and teacher of singing and theatrical performance who won great distinction in Europe during the third quarter of the 19th century. She was a niece of the composer
688:
in 1882. She moved then to Munich, where, in close contact with the Royal Court
Theatre, she accepted the post of instructor in singing at the Royal Conservatoire of Music and the title Professor.
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in his own theatre. She had many pupils, but, eventually dissatisfied with Munich, she returned to Berlin in 1888 and continued to teach, arranging public concerts for her pupils. She died in
633:
became particularly her own. Her retirement became necessary after a paralysis of one side of her face, which occurred in 1869. After her dramatic farewells in 1871 and 1872, eulogised by
526:, in January 1856, that she rediscovered her place in Richard's pantheon, with such success that permission was also granted for the (belated) first Berlin production of
510:
227:
112:
She showed aptitude for the stage as a child. Owing to poor health she went to stay with her aunt
Christine Gley, a singer and mother of the Vienna actress
382:
and a repeat of Fides. She also sang Fides in Vienna in 1850. Her
Hamburg obligations discharged, she brought her famous interpretation of Bellini's
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at
Ballenstedt, she began to give concerts with much success. In Bernburg she gained favourable notice by standing in to take the role of
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405:) sought to tempt her away, an offer which Albert Wagner (always Johanna's agent) accepted. In the ensuing row, including two famous
352:, which resulted in Richard Wagner's exile and Mme Schröder-Devrient's temporary imprisonment, found Johanna singing in Hamburg, as
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at Berlin, during
Richard's exile, that she performed the role of this name. She also made some effect in the little-known
1010:
886:, p. 40, where the words have been translated into German and then back into English (without reference to the original).
869:, p. 40, where the words have been translated into German and then back into English (without reference to the original).
248:, an actor with great knowledge of theatrical costume, and Countess Helene Kaminska, who made several portraits of her.
192:, where she gave guest appearances in these operas and received a three-year contract, being engaged as a Royal Saxon
770:
578:, the actress whose mantle she was to inherit, and performed it in September 1861 at the Royal Theatre, Berlin, for
609:. She made a return visit to WĂĽrzburg in 1866. From 1861 to 1869 she lived part of each year at Berlin and part at
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255:, and as her family moved to the city they became part of Richard Wagner's circle there. As he was now composing
241:
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and others by a widely quoted remark (from private correspondence which was produced in court) that "one only
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Wagner, not then on friendly terms with
Johanna, had intended her for his BrĂĽnnhilde in early plans for the
571:
588:
214:
340:. At the end of the year she returned to Dresden, to perform Norma and Valentine, under a new contract.
970:
650:
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58:
and was the original performer, and in some respects the inspiration, of the character of
Elisabeth in
948:
A Dictionary of Music and Musicians (A.D. 1450-1880) by Eminent Writers, English and Foreign, Volume 4
265:
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met with less success. He suggested she should sing in Paris: she declined, but while there she saw
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A London reviewer is quoted to have written, "Her range comprises the soft female loveliness of a
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presented her with a free seat in the Munich opera, and invited her to a private performance of
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131:, and her father undertook her training as a singer. After appearing as a page in the new opera
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She now took the name Johanna Jachmann-Wagner for her new career. She was soon compared to
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At the time of her arrival in 1844, Dresden had recently witnessed the world premieres of
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807:, English edition translated by M.A. Trechman (Novello & Co., London 1944), pp. 6-7.
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625:. Her performances as Goethe's Iphigenie and in the classical drama, as Phädra and (
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to sing it for her début there in May 1851, which she followed (June 1851) with
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voice. She can never have learned how to produce, or how to use it. Whether as
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360:. Dresden vacillated so she accepted a contract at Hamburg where, as Fides in
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In May 1872 Johanna fulfilled a promise to her uncle Richard Wagner, singing
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779:(in German), vol. 40, Leipzig: Duncker & Humblot, pp. 587–589
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481:. In 1858 she made a debut at Leipzig, as Lucrezia, and performed Romeo,
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178:. Her first important operatic appearance was as Catherina Cornaro in
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613:. In 1868 and 1869 she gave the first performances of two dramas,
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she studied the role with him (in Italian), and also Valentine in
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Johanna studied several roles with her uncle, especially Irene in
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188:. In May 1844 Richard Wagner arranged an audition for her at the
64:. She was also the original intended performer of BrĂĽnnhilde in
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broke her rule and attended this theatre to hear her on stage.
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79:
916:. The quotation of this passage in Jachmann, trans. Trechman,
882:(of 1856, exact date not given) in Jachmann, trans. Trechman,
865:(of 1856, exact date not given) in Jachmann, trans. Trechman,
522:, as Lady Macbeth. However, it was in the Berlin premieres of
152:
roles for the theatre, and operatic roles with her father in
979:
646:
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471:'s direction, as Orfeo, Romeo, Lucrezia Borgia, in Gluck's
123:(1809–1866). In 1842 she accepted a contract as actress at
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was the manager, Albert Wagner the stage-manager and (in
493:, before going on to Dresden, where she rejoiced to sing
649:
in the solo quartet in the performance of Beethoven's
968:
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of heart illness three days after her 66th birthday.
680:Alfred Jachmann's fortune crashed again after the
532:in 1859, with Johanna as Ortrud. She also trained
992:
920:, pp. 39-40, has lost the force of the original.
768:
389:In May 1852 Johanna accepted an invitation from
30:Johanna Jachmann-Wagner, as Ortrud in the opera
963:The New Grove Dictionary of Music and Musicians
637:, she was awarded a gold medal by the Emperor.
552:In May 1859 Johanna married Alfred Jachmann of
794:, 5th ed, 1954, Vol. X (Supplementary), p. 472
343:
308:(in French), though his attempt to teach her
109:), who attended the same confirmation class.
934:Jachmann, H. (Trechman, M. A. (translator))
848:(Hurst and Blackett, London 1862), Vol. II,
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661:of 1876, taking the role of Schwertleite in
274:in concert, with financial support from the
286:) for whom she sang Agathe's first aria in
144:The managing director moved his company to
141:in a performance attended by Duke Leopold.
101:'s ballad "Edward". Johanna knew the young
714:and is equally fine in the low tones of a
49:(13 October 1828 – 16 October 1894) was a
833:Grove's Dictionary of Music and Musicians
791:Grove's Dictionary of Music and Musicians
673:in the original first full production of
497:again with Tichatschek and Mitterwurzer.
222:(tenor, the first Rienzi)), the baritone
456:. She gave a Court concert, after which
70:, but in the event assumed other roles.
25:
1046:19th-century German women opera singers
148:during the summer, and Johanna studied
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653:at the foundation-stone laying of the
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657:. She also participated in the first
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582:'s birthday, and soon afterwards was
264:In 1846, after singing excerpts from
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97:) and often accompanied her singing
912:(Hurst and Blackett, London 1864),
897:Thirty Years' Musical Recollections
846:Thirty Years' Musical Recollections
621:by "Georg Conrad", the pen-name of
13:
1026:Pupils of Manuel GarcĂa (baritone)
1016:People from the Kingdom of Hanover
14:
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544:) Wilhelm Taubert the conductor.
278:she left for Paris to study with
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747:wrote of her 1856 appearance as
370:'s attention. He brought her to
280:Manuel Patricio RodrĂguez GarcĂa
105:(later wife of Wagnerian singer
938:London: Novello & Co, 1944.
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536:as Elsa. For these productions
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1021:German operatic mezzo-sopranos
936:Wagner and his first Elisabeth
918:Wagner and his first Elisabeth
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884:Wagner and his first Elisabeth
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867:Wagner and his first Elisabeth
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805:Wagner and his first Elisabeth
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776:Allgemeine Deutsche Biographie
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386:to Berlin with great success.
1:
1036:19th-century German actresses
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350:Dresden revolution of 1848/49
1051:German women music educators
242:Wilhelmine Schröder-Devrient
7:
821:Wagner, Johanna p. 345
344:Hamburg, Berlin and touring
292:to audition. After hearing
78:Johanna Wagner was born in
10:
1067:
1011:People from Hanover Region
910:Reminiscences of the Opera
878:Quoted as from the London
861:Quoted as from the London
769:Max Friedlaender (1896), "
568:Johann Wolfgang von Goethe
556:, diplomat, of an eminent
18:
706:Descriptions of her voice
592:, and Countess Orsina in
425:– Albert Wagner offended
266:Christoph Willibald Gluck
771:Wagner-Jachmann, Johanna
623:Prince George of Prussia
218:(1843), and the singers
675:Der Ring des Nibelungen
534:Louise Harriers-Wippern
397:in London. However the
215:Der fliegende Holländer
67:Der Ring des Nibelungen
43:Johanna Jachmann-Wagner
1031:German stage actresses
899:, Vol. II, pp. 242-47.
655:Bayreuth Festspielhaus
574:under the guidance of
284:Pauline GarcĂa-Viardot
198:before the age of 18.
39:
1041:German voice teachers
411:equitable proceedings
395:Her Majesty's Theatre
237:, and the celebrated
228:Wilhelm Georg Dettmer
29:
21:Johanna Wagner (ship)
690:Ludwig II of Bavaria
474:Iphigénie en Tauride
463:In 1856 she sang in
334:Ludwig van Beethoven
159:Maurer und Schlosser
139:Marguerite de Valois
951:. London: Macmillan
743:On the other hand,
682:Franco-Prussian War
190:Dresden Royal Opera
16:German opera singer
863:Morning Advertiser
667:and First Norn in
641:Bayreuth and after
584:Friedrich Schiller
372:Berlin State Opera
224:Anton Mitterwurzer
185:La reine de Chypre
150:Friedrich Schiller
40:
19:For the ship, see
659:Bayreuth Festival
576:Auguste Crelinger
502:Nibelungen operas
448:Gioachino Rossini
443:Orfeo ed Euridice
399:Royal Opera House
368:Giacomo Meyerbeer
220:Josef Tichatschek
202:Dresden and Paris
91:(while composing
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603:Fanny Janauschek
538:Botho von HĂĽlsen
504:, but it was in
239:dramatic soprano
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180:Fromental Halévy
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670:Götterdämmerung
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635:Theodor Fontane
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520:Wilhelm Taubert
437:Lucrezia Borgia
422:Lumley v Wagner
391:Benjamin Lumley
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314:Frédéric Chopin
246:Ferdinand Heine
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164:Albert Lortzing
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458:Queen Victoria
366:she attracted
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289:Der FreischĂĽtz
276:King of Saxony
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195:Kammersängerin
169:Der WildschĂĽtz
107:Albert Niemann
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953:. Retrieved
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548:A new career
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338:7th Symphony
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294:Giulia Grisi
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74:Early career
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1006:1894 deaths
1001:1828 births
961:, see also
908:B. Lumley,
664:Die WalkĂĽre
589:Mary Stuart
469:Franz Liszt
393:to sing at
363:Le prophète
322:Jean Racine
231: [
212:(1842) and
129:Ballenstedt
117: [
995:Categories
955:1 November
817:Grove 1889
756:References
554:Königsberg
524:Tannhäuser
495:Tannhäuser
487:Tannhäuser
440:, Gluck's
376:Donna Anna
316:play, saw
258:Tannhäuser
99:Carl Loewe
61:Tannhäuser
895:Chorley,
716:contralto
627:Sophocles
572:Iphigenie
542:Lohengrin
529:Lohengrin
508:'s opera
354:Valentine
38:, c. 1860
32:Lohengrin
734:Tancredi
700:WĂĽrzburg
695:Parsifal
631:Antigone
611:Trutenau
558:Prussian
483:Tancredi
453:Tancredi
407:lawsuits
332:conduct
330:Habeneck
125:Bernburg
94:Die Feen
88:WĂĽrzburg
712:soprano
516:Macbeth
479:Stettin
358:Leonore
271:Orpheus
226:, bass
172:and in
84:Hanover
971:Portal
914:p. 382
850:p. 177
615:Phädra
607:lieder
563:Warsaw
467:under
465:Weimar
328:, and
326:Phèdre
318:Rachel
310:Rosina
253:Rienzi
209:Rienzi
80:Seelze
985:Opera
749:Romeo
736:, or
732:, or
730:Romeo
686:Orfeo
491:Orfeo
431:could
384:Romeo
380:Reiza
299:Norma
235:]
146:Halle
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957:2015
647:alto
617:and
489:and
446:and
419:and
409:and
356:and
348:The
127:and
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586:'s
570:'s
518:of
450:'s
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324:'s
320:as
296:as
268:'s
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156:'s
45:or
34:by
997::
819:,
598:.
485:,
413:–
378:,
233:de
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119:de
82:,
973::
959:.
852:.
823:.
23:.
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