Dame Elisabeth Schwarzkopf | |
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| Born | Olga Maria Elisabeth Friederike Schwarzkopf (1915-12-09)9 December 1915 |
| Died | 3 August 2006(2006-08-03) (aged 90) Schruns,Vorarlberg, Austria |
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Dame Olga Maria Elisabeth Friederike Schwarzkopf,DBE (German:[eˌliːzabɛtˈʃvaʁt͡skɔp͡f]ⓘ; 9 December 1915 – 3 August 2006) was a German-born Austro-Britishlyric soprano. She was among the foremost singers oflieder, and is renowned for her performances of Vienneseoperetta, as well as the operas ofMozart,Wagner andRichard Strauss.[1][2] After retiring from the stage, she was a voice teacher internationally. She is considered one of the greatest sopranos of the 20th century.[3]
Schwarzkopf was born on 9 December 1915 inJarotschin in theProvince of Posen inPrussia,Germany (now in Poland), to Friedrich Schwarzkopf and his wife, Elisabeth (née Fröhlich). Schwarzkopf performed in her first opera in 1928, as Eurydice in a school production ofGluck'sOrfeo ed Euridice inMagdeburg, Germany. In 1934, Schwarzkopf began her musical studies at theBerlin Hochschule für Musik, where her singing tutor,Lula Mysz-Gmeiner, attempted to train her to be a mezzo-soprano. Schwarzkopf later trained underMaria Ivogün, and in 1938 joined theDeutsche Oper.[4]
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In 1933, shortly after the Nazis came to power, Elisabeth Schwarzkopf's father, a local school headmaster, was dismissed from his position by the new ruling authorities for having refused to allow aNazi party meeting at his school. He was also banned from taking any new teaching post. Until Friedrich Schwarzkopf's dismissal, the probability was that the 17-year-old Elisabeth would have studied medicine after passing herAbitur; but now, as the daughter of a banned school teacher, she was not allowed to enter university and she commenced music studies at theBerlin Hochschule für Musik. Schwarzkopf made her professional debut at theDeutsche Oper Berlin (then called Deutsches Opernhaus) on 15 April 1938, as the Second Flower Maiden (First Group) in act 2 ofRichard Wagner'sParsifal. In 1940 Schwarzkopf was awarded a full contract with the Deutsches Opernhaus, a condition of which was that she had to join the Nazi party.[5]
Since the theme was brought up in the dissertation of the Austrian historianOliver Rathkolb in 1982, the question of Schwarzkopf's relationship with theNazi Party has been discussed repeatedly in the media and in literature.[6] There was criticism that Schwarzkopf, not only in the years immediately after the war but also in confrontation with revelations made in the 1980s and 1990s, made contradictory statements, including in regard to her membership in the NSDAP (Member No. 7,548,960). At first, she denied this and then with varying explanations defended it. In one version, for example, she claimed that she joined the party only at the insistence of her father who, himself, had earlier lost his position as school principal after forbidding a Nazi program in the school.[7]
Further publications discussed her musical performances during the war before Nazi party conferences and for units of theWaffen-SS.[7] Her defenders argue in favor of her claim that she always strictly separated art from politics and that she was a non-political person.[8][9]
In 1942, she was invited to sing with theVienna State Opera, where her roles included Konstanze in Mozart'sDie Entführung aus dem Serail, Musetta and later Mimì inPuccini'sLa bohème and Violetta inVerdi'sLa traviata.
Schwarzkopf sang four brief cameo roles in films produced by Reich Minister of PropagandaJoseph Goebbels,[10] but she was a voice, not a film star.[8]
In 1947, Schwarzkopf was granted Austrian citizenship to enable her to sing abroad with theVienna State Opera.[8] In 1947 and 1948, Schwarzkopf appeared on tour with the Vienna State Opera at London'sRoyal Opera House, Covent Garden on 16 September 1947 as Donna Elvira in Mozart'sDon Giovanni and atLa Scala on 28 December 1948, as the Countess in Mozart'sThe Marriage of Figaro, which became one of her signature roles.
Schwarzkopf later made her official debut at the Royal Opera House on 16 January 1948, as Pamina in Mozart'sThe Magic Flute, in performances sung in English, and at La Scala on 29 June 1950 singing Beethoven'sMissa solemnis. Schwarzkopf's association with the Milanese house in the early 1950s gave her the opportunity to sing certain roles on stage for the only time in her career: Mélisande in Debussy'sPelléas et Mélisande, Iole in Handel'sHercules, Marguerite in Gounod'sFaust, Elsa in Wagner'sLohengrin, as well as her first Marschallin in Richard Strauss'sDer Rosenkavalier and her first Fiordiligi in Mozart'sCosì fan tutte at the Piccola Scala. On 11 September 1951, she appeared as Anne Trulove in the world premiere of Stravinsky'sThe Rake's Progress. Schwarzkopf made her American concert debut with theChicago Symphony Orchestra on 28 and 29 October 1954, in Strauss'sFour Last Songs and the closing scene fromCapriccio withFritz Reiner conducting; herCarnegie Hall debut was alied recital on 25 November 1956;[11] her American opera debut was with theSan Francisco Opera on 20 September 1955 as the Marschallin, and her debut at theMetropolitan Opera on 13 October 1964, also as the Marschallin.[12]
In March 1946, Schwarzkopf was invited to audition forWalter Legge, an influential British classical record producer and a founder of thePhilharmonia Orchestra. Legge asked her to singHugo Wolf's liedWer rief dich denn? and, impressed, signed her to an exclusive contract withEMI. They began a close partnership and Legge subsequently became Schwarzkopf's manager and companion. They were married on 19 October 1953 inEpsom,Surrey; Schwarzkopf thus acquired British citizenship by marriage. Schwarzkopf would divide her time between lieder recitals and opera performances for the rest of her career. When invited in 1958 to select her eight favourite records on theBBC'sDesert Island Discs, Schwarzkopf chose seven of her own recordings,[13] and an eighth ofKarajan conducting theRosenkavalier prelude, as they evoked fond memories of the people she had worked with.[14][15][16][17]
In the 1960s, Schwarzkopf concentrated nearly exclusively on five operatic roles: Donna Elvira inDon Giovanni, Countess Almaviva inThe Marriage of Figaro, Fiordiligi inCosì fan tutte, Countess Madeleine in Strauss'sCapriccio, and the Marschallin. She was also well received as Alice Ford in Verdi'sFalstaff. However, on the EMI label she made several "champagne operetta" recordings like Franz Lehár'sThe Merry Widow and Johann Strauss II'sThe Gypsy Baron.
Schwarzkopf's last operatic performance was as the Marschallin on 31 December 1971, in the theatre ofLa Monnaie in Brussels. For the next several years, she devoted herself exclusively to lieder recitals. On 17 March 1979, Walter Legge suffered a severe heart attack. He disregarded doctor's orders to rest and attended Schwarzkopf's final recital two days later in Zurich. Three days later, he died.
After retiring (almost immediately after her husband's death), Schwarzkopf taught and gavemaster classes around the world, notably at theJuilliard School in New York City. After living inAscona, Switzerland, for many years,[18] she took up residence in Austria. She was made a doctor of music by theUniversity of Cambridge in 1976, and became a Dame Commander of theOrder of the British Empire (DBE) in 1992.[19]
Schwarzkopf died in her sleep during the night of 2–3 August 2006 at her home inSchruns,Vorarlberg, Austria, aged 90. Her ashes, and those of Walter Legge, were buried next to her parents inZumikon nearZürich, where she had lived from 1982 to 2003.
Her discography is considerable both in quality and in quantity and is distinguished for her Mozart and Richard Strauss operatic portrayals, her two commercial recordings of Strauss'sFour Last Songs and her recordings of lieder, especially those ofWolf.
Schwarzkopf is generally considered to have been the greatest Germanlyric soprano of the twentieth century and one of the finest Mozart singers of all time with an "indescribably beautiful" voice.[20]
Schwarzkopf's entry inThe Grove Book of Opera Singers concludes: "Although she dismissed her [Nazi Party] membership as a professional necessity, her reputation has remained tarnished by what seems to have been an active party membership."[1] Charles Scribner III, writing inThe New Criterion, has defended Schwarzkopf's party affiliation on the grounds that she was the daughter of an anti-Nazi dissident living in constant fear of the authorities.[8]
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 Schwarzkopf as Hanna Glawari ina complete recording of Lehár's operettaThe Merry Widow,Lovro von Matačić conducting thePhilharmonia Orchestra withEberhard Waechter andNicolai Gedda in 1963 |
Bach
Brahms
Humperdinck
Lehár
Mozart
Puccini
Johann Strauss II
Richard Strauss
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| Schwarzkopf ina complete recording of Brahms'A German Requiem,Herbert von Karajan conducting theVienna Philharmonic withHans Hotter in 1947 |
Verdi
Richard Wagner
She can be seen in two videotaped performances as theMarschallin:
Schwarzkopf who justified Party membership as a passport to performance
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