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Jan Kiepura

This handsome Polish tenor became renowned both for the wonder of his voice and his characterizations for the concert stage and in films. Kiepura started his education by learning regulation in Warsaw, but quickly switched to tone of voice research with Waclaw Brzezinski and Tadeusz Leliwa, and later on Garbin in Milano. In 1924, Kiepura produced his debut in Lvov in Gounod’s Faust. He auditioned and was approved for the Vienna Staatsoper, producing his very effective debut on Sept 21, 1926, in Tosca. Kiepura sang Calaf in Turandot 11 instances during his first time of year and continued to be a guest designer, though he was under no circumstances a member from the Staatsoper. In 1927, he sang the business lead male part in Korngold’s Das Wunder der Heliane, posting the stage using the famous Lotte Lehmann. After Vienna, Kiepura sang in Milano (La Scala in Tosca, Manon, Turandot, Le Preziose Ridicole), Paris (both in the Opéra and Opéra Comique), Berlin, Buenos Aires, London, Brussels, Budapest, Prague, Havana, Sao Paulo, Rio de Janeiro, and produced his American debut in Chicago in 1931. Within the 1930s, Kiepura started acting in films, which produced him extremely popular and even the thing of the cult pursuing. Kiepura made an appearance in a complete of 20 films, several of that have been made in alternative versions in various languages, such as for example his 1st two movies Die singende Stadt (1930) as well as the American edition City of Melody (1931), both in which Kiepura performed the function of Giovanni Cavallone. J’aime toutes les femmes and Ich liebe alle Frauen (I REALLY LIKE All the Females) had been both manufactured in 1935, and he was in La chanson d’une nuit as well as the German edition Das Lied einer Nacht (The Melody of Evening, 1932), where Kiepura made an appearance as Ferraro. Kiepura frequently appeared along with his wife, soprano Marta Eggerth, whom he wedded in 1936. After starring in Das Abenteuer geht weiter (THE EXPERIENCE Goes Forwards, 1939), aka Jede Frau head wear ein süsses Geheimnis (Every Wife Includes a Special Top secret), he ceased producing movies until he re-emerging by the end of the battle with four productions: Addio Mimí (1947), aka Her Great Lifestyle (U.S.A., 1950); Valse brillante (1948); Absender unbekannt (Sender Unidentified, 1950); and Das Property des Lächelns (The Property of Smiles, 1952). From 1938-1942, Kiepura sang at New York’s Metropolitan, where he made an appearance in La bohème, Carmen, Manon, Tosca, and Rigoletto. He also proved helpful in lots of American opera homes, appeared in films, and performed for 3 years within a Broadway creation of Franz Lehár’s operetta Die lustige Witwe (The Merry Widow). Two decades later, Kiepura came back to Vienna to surface in Lehár’s Zarewitsch (Czarina).

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