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Luise Helletsgruber

Most widely known to record enthusiasts for her shows using the fledgling Glyndebourne Celebration from 1934 to 1938, Luise Helletsgruber was a high, slender lyric soprano whose primary activities in any other case centered approximately the Wiener Staatsoper. Her association using the last mentioned organization concluded during WWII, however in her 2 decades of stage function, she attained a popularity for dependable artistry, albeit a sort falling lacking highest specifications. After research in her indigenous city, Helletsgruber produced her debut on the Staatsoper in 1922, performing the brief area of the shepherd in Tannhäconsumer. Her satisfying stage character and attractive tone of voice shortly led her to such leading lyric jobs as Eva, Cherubino, Dorabella, Micaëla, and Marguerite, with periodic ventures into somewhat heavier roles such as for example Elsa in Lohengrin and Puccini’s Liù. In 1934, she was involved by John Christie for the initial season from the Mozart celebration conceived generally for a chance for Christie’s wife, soprano Audrey Mildmay. Hence, the Austrian soprano became a member of worldwide casts for shows of Così enthusiast tutte (Dorabella) and Le nozze di Figaro (Cherubino) for the initial period of what would become among the world’s most celebrated summertime festivals. Beneath the performing of Fritz Busch as well as the stage path of Carl Ebert, Helletsgruber’s intuition being a Mozartean had been honed and she attained a worthy popularity for her function for the reason that repertory. For 1935, she repeated her Cherubino and Dorabella and added the Initial Lady in Pass away Zauberflöte. In 1936, Helletsgruber added Donna Elvira to her family portrait gallery while duplicating Dorabella as well as the Initial Female. In her last season at Glyndebourne, Helletsgruber sang five even more Dorabellas and distributed Donna Elvira with another Viennese soprano, Hilde Konetzni. From 1928 to 1937, Helletsgruber also performed at Salzburg. Upon HMV’s documenting of Le nozze di Figaro, Don Giovanni, and Così enthusiast tutte, Helletsgruber’s function became an integral part of an important section of music background; these recordings possess seldom been from the catalog since their issuance in the 1930s. Furthermore to fleeting occasions documented live on-stage in Vienna and some studio room arias, Helletsgruber is usually remembered on her behalf performing from the soprano component in the fabled Felix Weingartner documenting of Beethoven’s Symphony No. 9, put together from two individual series of classes in 1935 and 1938.

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