Description

MARIA MÜLLER (TEREZÍN, BOHEMIA, 29 JANUARY, 1898 – BAYREUTH, 15 MARCH, 1958)

 

 

 

 

She spent her youth in Leitmeritz (Litoměřice). She trained at the Prague Conservatory and with Erik Schmedes in Vienna, later continuing her studies with Max Altglass in New York. She made her debut in 1919 at the Linz City Theatre as Elsa in Lohengrin. From 1920 to 1921, she was engaged at the Brno City Theatre, from 1921 to 1923 at the German Theatre in Prague, and from 1924 to 1925 at the Bavarian State Opera in Munich.

In 1925, she joined the Metropolitan Opera in New York, where she sang until 1935, primarily as a Wagnerian soprano but also in Italian and other repertoire. Her debut role there was Sieglinde in Die Walküre. At the Met, she appeared in several important premieres: Montemezzi’s Giovanni Gallurese (1925), Alfano’s Madonna Imperia (1928), Pizzetti’s Fra Gherardo (1929, as Mariola), Mussorgsky’s The Fair at Sorochyntsy (1930, as Parassja), Weinberger’s Schwanda the Bagpiper (1931, as Dorotka), and Verdi’s Simon Boccanegra (1932, as Amelia/Maria).

During her eleven-year engagement at the Met, she appeared in 167 performances across 19 roles, including Elisabeth in Tannhäuser, Elsa in Lohengrin, Freia in Das Rheingold, Gutrune in Götterdämmerung, Aida, Cio-Cio-San, Agathe in Der Freischütz, Donna Elvira in Don Giovanni, Marie in Smetana’s The Bartered Bride, and Octavian in Der Rosenkavalier.

In 1926, she joined the Berlin Municipal Opera, and in 1927 the Berlin State Opera, where she enjoyed great success. There, she appeared in the premieres of Richard Strauss’s Die Ägyptische Helena (1928) and Weinberger’s Schwanda der Dudelsackpfeifer (1929), achieving a notable triumph in 1929 as Desdemona in Verdi’s Otello under Bruno Walter. She was also a regular guest at the Vienna State Opera and performed with distinction at La Scala in Milan, the Paris Opera, Covent Garden in London (1934, 1937), and in Hamburg, Dresden, Brussels, and Amsterdam. In 1927, she sang Agathe in Der Freischütz in The Hague, and in 1939, Elisabeth in Tannhäuser in Frankfurt am Main.

She first appeared at the Bayreuth Festival in 1930, where she continued to perform regularly until 1944 — singing Elisabeth in Tannhäuser (1930–31), Elsa in Lohengrin, Sieglinde in Die Walküre, and in 1943, Eva in Die Meistersinger von Nürnberg. She was also heard at the Salzburg Festival between 1931 and 1934, where she sang Eurydice in Gluck’s Orpheus (1931–32), Rezia in Weber’s Oberon (1932–34), and Donna Elvira in Don Giovanni (1934).

She remained with the Berlin State Opera until 1945. After World War II, she appeared only occasionally, performing at the Berlin Municipal Opera between 1950 and 1952 in roles such as Aida, Butterfly, and Donna Elvira. In 1952, she retired from the stage and later lived in Bayreuth.

Her soprano voice was of luminous timbre and subtle expressiveness, and she mastered a broad repertoire both on stage and in the concert hall. She captivated audiences with her charm and dramatic talent. In addition to her celebrated Wagnerian heroines, she was highly praised for her portrayals of Jenůfa, Iphigenia (in both Gluck operas), and Rezia in Oberon.

Recordings: HMV, Columbia (Tannhäuser, Bayreuth, 1930), Telefunken (Bayreuth, 1936), DGG (Der Freischütz – nearly complete, Berlin, 1943; Die Walküre, Act I; final recordings, 1950), HMV (Die Meistersinger, complete, Bayreuth), Preiser (Lohengrin, as Elsa, Berlin, 1941).

 

 

TRACKLIST

 

 

Feldeinsamkeit (Brahms) DB3285 HMV, 1937

Im Treibhaus (Wagner) DB3256 2EA4797-1 HMV, London 1937-05-24

Lohengrin (Wagner) Das süße Lied verhallt, pt 1 (w. Völker) SKB02052 021355-Z Telefunken, Berlin 1936-08

Lohengrin (Wagner) Das süße Lied verhallt, pt 2 (w. Völker) SKB02052 021356-1Z Telefunken, Berlin 1936-08

Lohengrin (Wagner) Königsgebet (w. Klose, Völker, Prohaska & von Manowarda) SKB02050 021339-X Telefunken, Berlin 1936-08

Tannhäuser (Wagner) Allmächt’ge Jungfrau hör mein Flehen! LX95 WAX5713 Columbia, Bayreuth 1930

Tannhäuser (Wagner) Dich, teure Halle LX89 WAX5700 Columbia, Bayreuth 1930

Tannhäuser (Wagner) Doch, konnt’ ich jeden Fehl nicht büssen LX96 WAX5714 Columbia, Bayreuth 1930

Tannhäuser (Wagner) Dort ist sie (w. Pilinszky & Janssen) LX89 WAX5701 Columbia, Bayreuth 1930

Tannhäuser (Wagner) Durch Sühn’ und Buss LX95 WAX5712 Columbia, Bayreuth 1930

Tannhäuser (Wagner) Mit ihnen sollst du wallen (w. Pilinszky & Janssen) LX94 WAX5710 Columbia, Bayreuth 1930

Tannhäuser (Wagner) Weh! Weh! Mir Unglücksel’gen! (w. Pilinszky & Janssen) LX93 WAX5708 Columbia, Bayreuth 1930

Tannhäuser (Wagner) Zurück von ihm! LX92 WAX5707 Columbia, Bayreuth 1930

Träume (Wagner) DB3256 2EA4796-1 HMV, London 1937-05-24

Waldeinsamkeit (Reger); Zum Schlafen (Reger) DB3285 HMV, 1937

Walküre (Wagner) Siegmund heiss ich (w. Völker) NSKB2047 021340 Telefunken, Berlin 1936-08

Walküre (Wagner) Wie dir die Stirn so offen steht (w. Windgassen) 72173 03291LKS DGG, Berlin 1952-01

Walküre (Wagner) Winterstürme wichen dem Wonnemond (w. Windgassen) 72173 03290LKS DGG, Berlin 1952-01

Walküre (Wagner) Winterstürme wichen dem Wonnemond, pt 1 (w. Völker) SKB02048 021341-2X Telefunken, Berlin 1936-08

Walküre (Wagner) Winterstürme wichen dem Wonnemond, pt 2 (w. Völker) SKB02048 021342-1X Telefunken, Berlin 1936-08