729:. 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."
272:, 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.
38:
991:
751:, 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".
616:, 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
688:. 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.
488:, 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
762:
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
101:
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
695:, 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
97:. 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
576:
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
255:(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
444:
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
763:
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."
732:
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
571:
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
64:
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
699:
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.
709:
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
644:
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
537:, 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
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238:
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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
393:
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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416:) sought to tempt her away, an offer which Albert Wagner (always Johanna's agent) accepted. In the ensuing row, including two famous
363:, 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
1021:
897:, p. 40, where the words have been translated into German and then back into English (without reference to the original).
880:, p. 40, where the words have been translated into German and then back into English (without reference to the original).
259:, an actor with great knowledge of theatrical costume, and Countess Helene Kaminska, who made several portraits of her.
203:, where she gave guest appearances in these operas and received a three-year contract, being engaged as a Royal Saxon
781:
589:, the actress whose mantle she was to inherit, and performed it in September 1861 at the Royal Theatre, Berlin, for
620:. 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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266:, and as her family moved to the city they became part of Richard Wagner's circle there. As he was now composing
252:
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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
582:
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351:. At the end of the year she returned to Dresden, to perform Norma and Valentine, under a new contract.
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661:
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69:
and was the original performer, and in some respects the inspiration, of the character of
Elisabeth in
959:
A Dictionary of Music and Musicians (A.D. 1450-1880) by Eminent Writers, English and Foreign, Volume 4
276:
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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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142:, 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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818:, English edition translated by M.A. Trechman (Novello & Co., London 1944), pp. 6-7.
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636:. 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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371:. 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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790:(in German), vol. 40, Leipzig: Duncker & Humblot, pp. 587–589
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492:. In 1858 she made a debut at Leipzig, as Lucrezia, and performed Romeo,
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189:. Her first important operatic appearance was as Catherina Cornaro in
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624:. 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
262:
Johanna studied several roles with her uncle, especially Irene in
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199:. In May 1844 Richard Wagner arranged an audition for her at the
75:. 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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219:
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927:. The quotation of this passage in Jachmann, trans. Trechman,
893:(of 1856, exact date not given) in Jachmann, trans. Trechman,
876:(of 1856, exact date not given) in Jachmann, trans. Trechman,
533:, as Lady Macbeth. However, it was in the Berlin premieres of
163:
roles for the theatre, and operatic roles with her father in
990:
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482:'s direction, as Orfeo, Romeo, Lucrezia Borgia, in Gluck's
134:(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
504:, before going on to Dresden, where she rejoiced to sing
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in the solo quartet in the performance of Beethoven's
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of heart illness three days after her 66th birthday.
691:Alfred Jachmann's fortune crashed again after the
543:in 1859, with Johanna as Ortrud. She also trained
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931:, pp. 39-40, has lost the force of the original.
779:
400:In May 1852 Johanna accepted an invitation from
41:Johanna Jachmann-Wagner, as Ortrud in the opera
974:The New Grove Dictionary of Music and Musicians
648:, she was awarded a gold medal by the Emperor.
563:In May 1859 Johanna married Alfred Jachmann of
805:, 5th ed, 1954, Vol. X (Supplementary), p. 472
354:
319:(in French), though his attempt to teach her
120:), who attended the same confirmation class.
945:Jachmann, H. (Trechman, M. A. (translator))
859:(Hurst and Blackett, London 1862), Vol. II,
716:
672:of 1876, taking the role of Schwertleite in
285:in concert, with financial support from the
297:) for whom she sang Agathe's first aria in
155:The managing director moved his company to
152:in a performance attended by Duke Leopold.
112:'s ballad "Edward". Johanna knew the young
725:and is equally fine in the low tones of a
60:(13 October 1828 – 16 October 1894) was a
844:Grove's Dictionary of Music and Musicians
802:Grove's Dictionary of Music and Musicians
684:in the original first full production of
508:again with Tichatschek and Mitterwurzer.
233:(tenor, the first Rienzi)), the baritone
467:. She gave a Court concert, after which
81:, but in the event assumed other roles.
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1057:19th-century German women opera singers
159:during the summer, and Johanna studied
14:
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664:at the foundation-stone laying of the
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827:
668:. She also participated in the first
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593:'s birthday, and soon afterwards was
275:In 1846, after singing excerpts from
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108:) and often accompanied her singing
923:(Hurst and Blackett, London 1864),
908:Thirty Years' Musical Recollections
857:Thirty Years' Musical Recollections
632:by "Georg Conrad", the pen-name of
24:
1037:Pupils of Manuel GarcĂa (baritone)
1027:People from the Kingdom of Hanover
25:
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555:) Wilhelm Taubert the conductor.
289:she left for Paris to study with
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758:wrote of her 1856 appearance as
381:'s attention. He brought her to
291:Manuel Patricio RodrĂguez GarcĂa
116:(later wife of Wagnerian singer
949:London: Novello & Co, 1944.
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547:as Elsa. For these productions
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1032:German operatic mezzo-sopranos
947:Wagner and his first Elisabeth
929:Wagner and his first Elisabeth
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895:Wagner and his first Elisabeth
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878:Wagner and his first Elisabeth
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816:Wagner and his first Elisabeth
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787:Allgemeine Deutsche Biographie
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397:to Berlin with great success.
13:
1:
1047:19th-century German actresses
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361:Dresden revolution of 1848/49
1062:German women music educators
253:Wilhelmine Schröder-Devrient
7:
832:Wagner, Johanna p. 345
355:Hamburg, Berlin and touring
303:to audition. After hearing
89:Johanna Wagner was born in
10:
1078:
1022:People from Hanover Region
921:Reminiscences of the Opera
889:Quoted as from the London
872:Quoted as from the London
780:Max Friedlaender (1896), "
579:Johann Wolfgang von Goethe
567:, diplomat, of an eminent
29:
717:Descriptions of her voice
603:, and Countess Orsina in
436:– Albert Wagner offended
277:Christoph Willibald Gluck
782:Wagner-Jachmann, Johanna
634:Prince George of Prussia
229:(1843), and the singers
686:Der Ring des Nibelungen
545:Louise Harriers-Wippern
408:in London. However the
226:Der fliegende Holländer
78:Der Ring des Nibelungen
54:Johanna Jachmann-Wagner
1042:German stage actresses
910:, Vol. II, pp. 242-47.
666:Bayreuth Festspielhaus
585:under the guidance of
295:Pauline GarcĂa-Viardot
209:before the age of 18.
50:
1052:German voice teachers
422:equitable proceedings
406:Her Majesty's Theatre
248:, and the celebrated
239:Wilhelm Georg Dettmer
40:
32:Johanna Wagner (ship)
701:Ludwig II of Bavaria
485:Iphigénie en Tauride
474:In 1856 she sang in
345:Ludwig van Beethoven
170:Maurer und Schlosser
150:Marguerite de Valois
962:. London: Macmillan
754:On the other hand,
693:Franco-Prussian War
201:Dresden Royal Opera
27:German opera singer
874:Morning Advertiser
678:and First Norn in
652:Bayreuth and after
595:Friedrich Schiller
383:Berlin State Opera
235:Anton Mitterwurzer
196:La reine de Chypre
161:Friedrich Schiller
51:
30:For the ship, see
670:Bayreuth Festival
587:Auguste Crelinger
513:Nibelungen operas
459:Gioachino Rossini
454:Orfeo ed Euridice
410:Royal Opera House
379:Giacomo Meyerbeer
231:Josef Tichatschek
213:Dresden and Paris
102:(while composing
16:(Redirected from
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614:Fanny Janauschek
549:Botho von HĂĽlsen
515:, but it was in
250:dramatic soprano
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191:Fromental Halévy
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756:Benjamin Lumley
749:Lucrezia Borgia
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681:Götterdämmerung
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646:Theodor Fontane
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531:Wilhelm Taubert
448:Lucrezia Borgia
433:Lumley v Wagner
402:Benjamin Lumley
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325:Frédéric Chopin
257:Ferdinand Heine
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175:Albert Lortzing
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469:Queen Victoria
377:she attracted
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300:Der FreischĂĽtz
287:King of Saxony
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206:Kammersängerin
180:Der WildschĂĽtz
118:Albert Niemann
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67:Richard Wagner
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964:. Retrieved
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939:Bibliography
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891:Morning Post
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559:A new career
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349:7th Symphony
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305:Giulia Grisi
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85:Early career
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1017:1894 deaths
1012:1828 births
972:, see also
919:B. Lumley,
675:Die WalkĂĽre
600:Mary Stuart
480:Franz Liszt
404:to sing at
374:Le prophète
333:Jean Racine
242: [
223:(1842) and
140:Ballenstedt
128: [
1006:Categories
966:1 November
828:Grove 1889
767:References
565:Königsberg
535:Tannhäuser
506:Tannhäuser
498:Tannhäuser
451:, Gluck's
387:Donna Anna
327:play, saw
269:Tannhäuser
110:Carl Loewe
72:Tannhäuser
906:Chorley,
727:contralto
638:Sophocles
583:Iphigenie
553:Lohengrin
540:Lohengrin
519:'s opera
365:Valentine
49:, c. 1860
43:Lohengrin
745:Tancredi
711:WĂĽrzburg
706:Parsifal
642:Antigone
622:Trutenau
569:Prussian
494:Tancredi
464:Tancredi
418:lawsuits
343:conduct
341:Habeneck
136:Bernburg
105:Die Feen
99:WĂĽrzburg
723:soprano
527:Macbeth
490:Stettin
369:Leonore
282:Orpheus
237:, bass
183:and in
95:Hanover
982:Portal
925:p. 382
861:p. 177
626:Phädra
618:lieder
574:Warsaw
478:under
476:Weimar
339:, and
337:Phèdre
329:Rachel
321:Rosina
264:Rienzi
220:Rienzi
91:Seelze
996:Opera
760:Romeo
747:, or
743:, or
741:Romeo
697:Orfeo
502:Orfeo
442:could
395:Romeo
391:Reiza
310:Norma
246:]
157:Halle
132:]
968:2015
658:alto
628:and
500:and
457:and
430:and
420:and
367:and
359:The
138:and
784:",
640:')
597:'s
581:'s
529:of
461:'s
347:'s
335:'s
331:as
307:as
279:'s
193:'s
177:'s
167:'s
56:or
45:by
1008::
830:,
609:.
496:,
424:–
389:,
244:de
173:,
130:de
93:,
984::
970:.
863:.
834:.
34:.
20:)
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