Schröder-Devrient, Wilhelmine. (1804-1860). Original "Fidelio" Broadside Program featuring the most celebrated of all Leonores.. A very fine and rare original program from an 1843 Weimar Hof-Theater performance of Beethoven's Fidelio.
The role of Leonore was performed by the great German soprano closely associated with the role ever since, in the Vienna revival of 1822, she created a huge stir when she chose not to sing but defiantly to declaim the great cry, " First kill his wife!" (Tot' erst sein Weib!). A somewhat later performance of the role made an important impression on Richard Wagner, who went on to write several important roles for her: "When I look back across my entire life I find no event to place beside this in the impression it produced on me. Whoever can remember this wonderful woman at that period of her life will certainly confirm in some fashion the almost demonic fire irresistible kindled in them by the profoundly human and ecstatic performance of this incomparable artist."
"All accounts agree on the dramatic powers of ‘The Queen of Tears’, as Schröder-Devrient was dubbed when observed actually to be weeping on stage. In an age when few singers matched their vocal prowess with equal dramatic skill, she impressed audiences especially with her interpretation of Leonore. In this role, Moscheles preferred her to Malibran, and many reports give details of the dramatic effect of her performance. Beethoven, who had rehearsed her, thanked her personally, and promised to write an opera for her." (John Warrack, Grove Online)
The role of Leonore was performed by the great German soprano closely associated with the role ever since, in the Vienna revival of 1822, she created a huge stir when she chose not to sing but defiantly to declaim the great cry, " First kill his wife!" (Tot' erst sein Weib!). A somewhat later performance of the role made an important impression on Richard Wagner, who went on to write several important roles for her: "When I look back across my entire life I find no event to place beside this in the impression it produced on me. Whoever can remember this wonderful woman at that period of her life will certainly confirm in some fashion the almost demonic fire irresistible kindled in them by the profoundly human and ecstatic performance of this incomparable artist."
"All accounts agree on the dramatic powers of ‘The Queen of Tears’, as Schröder-Devrient was dubbed when observed actually to be weeping on stage. In an age when few singers matched their vocal prowess with equal dramatic skill, she impressed audiences especially with her interpretation of Leonore. In this role, Moscheles preferred her to Malibran, and many reports give details of the dramatic effect of her performance. Beethoven, who had rehearsed her, thanked her personally, and promised to write an opera for her." (John Warrack, Grove Online)
Schröder-Devrient, Wilhelmine. (1804-1860). Original "Fidelio" Broadside Program featuring the most celebrated of all Leonores.. A very fine and rare original program from an 1843 Weimar Hof-Theater performance of Beethoven's Fidelio.
The role of Leonore was performed by the great German soprano closely associated with the role ever since, in the Vienna revival of 1822, she created a huge stir when she chose not to sing but defiantly to declaim the great cry, " First kill his wife!" (Tot' erst sein Weib!). A somewhat later performance of the role made an important impression on Richard Wagner, who went on to write several important roles for her: "When I look back across my entire life I find no event to place beside this in the impression it produced on me. Whoever can remember this wonderful woman at that period of her life will certainly confirm in some fashion the almost demonic fire irresistible kindled in them by the profoundly human and ecstatic performance of this incomparable artist."
"All accounts agree on the dramatic powers of ‘The Queen of Tears’, as Schröder-Devrient was dubbed when observed actually to be weeping on stage. In an age when few singers matched their vocal prowess with equal dramatic skill, she impressed audiences especially with her interpretation of Leonore. In this role, Moscheles preferred her to Malibran, and many reports give details of the dramatic effect of her performance. Beethoven, who had rehearsed her, thanked her personally, and promised to write an opera for her." (John Warrack, Grove Online)
The role of Leonore was performed by the great German soprano closely associated with the role ever since, in the Vienna revival of 1822, she created a huge stir when she chose not to sing but defiantly to declaim the great cry, " First kill his wife!" (Tot' erst sein Weib!). A somewhat later performance of the role made an important impression on Richard Wagner, who went on to write several important roles for her: "When I look back across my entire life I find no event to place beside this in the impression it produced on me. Whoever can remember this wonderful woman at that period of her life will certainly confirm in some fashion the almost demonic fire irresistible kindled in them by the profoundly human and ecstatic performance of this incomparable artist."
"All accounts agree on the dramatic powers of ‘The Queen of Tears’, as Schröder-Devrient was dubbed when observed actually to be weeping on stage. In an age when few singers matched their vocal prowess with equal dramatic skill, she impressed audiences especially with her interpretation of Leonore. In this role, Moscheles preferred her to Malibran, and many reports give details of the dramatic effect of her performance. Beethoven, who had rehearsed her, thanked her personally, and promised to write an opera for her." (John Warrack, Grove Online)