Operatic soprano Tiana Lemnitz was most widely known on her behalf interpretations of Mozart, Strauss, as well as the lighter Wagner heroines; her physical and vocal beauty produced her Pamina specifically adored among her Mozart functions. She was justly popular as both Octavian as well as the Marschallin in Der Rosenkavalier aswell as Wagner’s Elisabeth, Elsa, Eva, and Sieglinde. Her elegant femininity was a pleasant relief from a number of the bigger, even more imposing sopranos frequently noticed in these functions. Lemnitz was an similarly good recitalist but her operatic profession overshadowed her concert looks. Her tone of voice was a shiny silvery soprano of great purity, specifically beautiful in smooth passages. She sang under lots of the biggest conductors including Arturo Toscanini, Karl Böhm, Bruno Walter, Clemens Krauss, Thomas Beecham, and Erich Kleiber. Delivered into a huge family members, Lemnitz was encircled by music from delivery. Her dad was a bandmaster and her mom had a fantastic tone of voice. Although she begun to sing solos in college at age seven, she received no formal vocal schooling until she moved into the Metz music college at age group 15. In 1919, she visited Frankfurt-am-Main to review with Dr. Hoch and Anton Kohmann. She produced her debut in Albert Lortzing’s Undine in 1921 on the Heilbronn Stadttheater. Her initial agreement was using the Aachen Stadttheater in 1922 where she debuted as Waltraute in Die Walküre. Her 1st success was like a last-minute alternative as Woglinde in Das Rheingold that same time of year. She continued to be at Aachen until 1928 performing many diverse functions including Cherubino (The Relationship of Figaro), Pamina (The Magic Flute), Elisabeth in Tannhäconsumer, Jenufa, Octavian, and Agathe in Der Freischütz. In 1928, she visited the Stadttheater Bühnen in Hanover, 1st as a visitor artist and having a three-year agreement. Her repertoire extended to include functions in The Stories of Hoffmann, Madama Butterfly, Mignon, Manon Lescaut, Falstaff, Fanciulla del Western, as well as the Merry Widow. During this time period she also produced visitor looks in Zoppot, Dresden, Antwerp, and Brussels. In 1933 she 1st made an appearance in Berlin as Eva in Die Meistersinger von Nuremberg and in 1934 started her agreement using the Berlin Staatsoper where she’d stay for over twenty years. In her last years at Berlin she added the Marschallin in Der Rosenkavalier and Marie in Wozzeck to her lengthy set of opera functions. In Berlin she required part in lots of globe premieres including Graener’s Der Prinz von Homburg, Wagner-Régeny’s Die Bürger von Calais, and Künnecke’s Die grosse Sünderin. Beside performing all the regular functions befitting her tone of voice she also made an appearance in Moniuszko’s Halka, Rimsky-Korsakov’s Unseen Town of Kitezh, Smetana’s Dalibor, and Tchaikovsky’s The Enchantress. During her Berlin tenure Lemnitz produced many visitor performances in London, Buenos Aires, Montevideo, and Warsaw. Because of the outbreak of Globe Battle II, her lengthy awaited debut on the Metropolitan Opera was terminated. Upon her pension she got some learners, but never got to teaching as a career.