File:Herman Jadlowker by Herman Mishkin.jpg

Identifier: grandoperasinger02lahe (find matches)
Title: The grand opera singers of to-day : an account of the leading operatic stars who have sung during recent years, together with a sketch of the chief operatic enterprises
Year: 1912 (1910s)
Authors: Lahee, Henry Charles, 1856-1953
Subjects: Singers Opera
Publisher: Boston : L. C. Page
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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nse of the falsetto in the upper tones, andof vibrato at moments of emotion and intensity,American audiences do not like. Herman Jadlowker, who first appeared at theMetropolitan Opera-House on January 22,1910, as Faust, was born in Eiga in 1879, andwas intended by his father for a businesscareer. This was not quite in accordance withthe views of the youth, who accordingly fledfrom Eussia. He was then but fifteen years ofage. He succeeded in reaching Vienna, wherehe became a pupil of Gensbacher. He con-tinued his studies in Italy, and eventually gotan engagement at Cologne, when he was twentyyears of age, taking a small part in an operaof German origin entitled The Nightwatchof Granada. He sang for a short time at Stettin, but firstattracted attention by his work at Karlsruhe,where the Emperor William heard him and in-vited him to sing at the Eoyal Opera-House inBerlin. A contract for five years ensued.This was followed by a similar contract atVienna, in which city he had studied under
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Copyright by Mishkin Studio, New York HERMAN JADLOWKER The Metropolitan Opera-House 321 Gaensbacher at the Conservatoire, through thecourtesy of the Grand Duke of Baden. Jadlowker made his American debut at theMetropolitan Opera-House as Faust on Janu-ary 22, 1910. He is thoroughly schooled inthe finer ways of music drama, one of thecritics wrote, his well knit and supple figure,and comeliness of face serve him well in roman-tic parts, — his movements are free, his ges-tures intelligent and he avoids the trite andempty conventionalities of operatic pose. If hehas not exactly personal distinction, he has in-teresting individuality that plays through anevident sense of operatic character and evidentresource in operatic impersonation. Mr. Jad-lowker made his tones his chief histrionic andcharacterizing means. He truly sang, — withjustice of intonation, with heed of melodic de-sign, with musical shapeliness of phrase, withunforced and intelligently ordered quality oftone. His enunciat

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