Félia Vasilyevna Litvinne (given birth to Françoise Jeanne Schütz) was among the great opera singers from the years before and after 1900. A dramatic soprano, her effective voice was however versatile, her musical design was passionately expressive, and she got, by eyewitness accounts, impressive stage presence. Furthermore, she was a superb linguist. This can be due to her history and upbringing: she grew up in Russia but her parents had been a German-descended dad and a French-Canadian mom. In those times when the best cast members within an opera might sing a component in his / her personal native vocabulary, Litvinne would change to whichever vocabulary her colleague of as soon as was using. She was students of Victor Maurel and Pauline Viardot in Paris. She produced her debut there at age 23 as Amelia in Verdi’s Simon Boccanegra. She swiftly become among the preferred exponents of heroic Verdi and Wagner soprano tasks. She sang Brünnhilde in 1887 at La Monnaie in Brussels, the first creation of Wagner’s Die Walküre in French. She made an appearance in the best European opera homes, including La Scala of Milan, La Fenice in Venice, as well as the Opéra of Paris. From 1890 she was a normal in the Imperial Theaters in Moscow and St. Petersburg, where she sang Russian opera furthermore to her regular Western repertory. Her Metropolitan Opera debut was as Valentine in Meyerbeer’s Les Huguenots in 1896. She became a preferred in NY, where her tasks included Verdi’s Aida, Donna Anna in Mozart’s Don Giovanni, Sélika in Meyerbeer’s L’Africaine, and Brünnhilde in Wagner’s Siegfried. Her debut at Covent Backyard in London is at another great Wagnerian part, Isolde in Tristan und Isolde. She sang in London frequently until 1910, with Brünnhilde of Götterdämmerung as her farewell. She became referred to as among the great Brünnhildes, performing it many times in full Band cycles in Russia between 1899 and 1915, and participated in the belated French premieres of both Tristan and Götterdämmerung in 1902 carried out by Alfred Cortot. She remaining several recordings manufactured in the initial decade from the twentieth hundred years, several of that have Cortot as her pianist. She was the writer of the memoir, MY ENTIRE LIFE and My Artwork.