Sabine Kalter

Sabine Aufrichtig, who took the stage name Kalter, produced a strong profession in German opera theater that lasted twenty years. She produced her debut in the Vienna Volksoper at age 21, where she had opted to review. She became a member of the roster from the Hamburg Opera in 1915. She was a dramatic mezzo-soprano, focusing on roles such as for example Delilah in Saint-Saëns’ Samson and Delilah, the name part of Gluck’s Orfeo, Marina in the Rimsky-Korsakov edition of Mussorgsky’s Boris Godunov, and Fidès in Meyerbeer’s Le prophète. Nevertheless, she became most carefully identified using the main Wagner and Verdi mezzo bottoms. She was one of the better known titles in what offers become seen as a “Golden Age group” of Wagner performing, and made an appearance as Brangäne in the famous 1936 complete documenting of Tristan und Isolde with Lauritz Melchior and Kirsten Flagstad. She continued to be using the Hamburg Opera for twenty years, when Goebbels and Hitler expelled Jews from involvement in opera. She still left Germany in 1935 and effectively debuted at London’s Covent Backyard the same season as Ortrud. There she quickly became a preferred in Wagnerian jobs, as well as the elements of Herodias in Strauss’ Salome and Háta in Smetana’s The Bartered Bride-to-be. She still left Covent Backyard in 1939, but continued to be energetic on the recital stage, where she was cherished for the wonder of her tone of voice and the usage of her effective veteran dramatic abilities to portray the storyplot of the tracks. She also got a notable profession as a tone of voice instructor in London.