Description

SARA CHARLES-CAHIER OR MADAME CHARLES CAHIER (BORN SARA LAYTON WALKER) (NASHVILLE, TENNESSEE, 8 JANUARY, 1870 – MANHATTAN BEACH, CALIFORNIA, 15 APRIL, 1951)

 

 

 

 

Sara Jane Layton Walker, known professionally as Sara Charles-Cahier, was born in Nashville, Tennessee. She began her musical education in Indianapolis before studying in Paris under the guidance of Jean de Reszke. Additional training came from Gustav Walter, Victor Capoul, and Amalie Joachim.

Career Highlights:

• Debut: She made her professional debut in 1904 as Orpheus in Orpheus and Eurydice at the Théâtre de Nice.
• Marriage and Name Change: Her first marriage was to Morris Black. In 1905, she married Swedish impresario Charles Cahier, and from then on, she was often billed as “Madame Charles Cahier” or “Sara Charles-Cahier.”
• European Career:
  • Vienna: She joined the Hofoper in Vienna in 1907.
  • Munich: She performed frequently at the Munich Court Opera, often under Gustav Mahler’s directorship. Her roles included Amneris, Carmen, Delilah, Fidès, Ortrud, and Santuzza. Notably, she and tenor William Miller were chosen by Bruno Walter to premiere Mahler’s Das Lied von der Erde in Munich in November 1911. She also performed the work in New York in 1922 with tenor Orville Harrold, under Artur Bodanzky.
• International Performances: Sara Charles-Cahier sang across France, Italy, England, and Germany. She worked with notable conductors including Edvard Grieg and Richard Strauss.
• Metropolitan Opera: She was active at the Metropolitan Opera in New York from 1912 to 1914, making her debut as Azucena in Il Trovatore. Other roles at the Met included Fricka in Die Walküre, alongside Olive Fremstad and Margaret Matzenauer.
• Stockholm: From 1915 to 1917, she enjoyed great success in Stockholm, during which she acquired Swedish citizenship.
• Teaching Career: After retiring from the stage, she became a teacher and vocal coach at the Curtis Institute of Music in Philadelphia. Her students included Marian Anderson, Göta Ljungberg, and Rosette Anday. She also played a key role in advising Lauritz Melchior to transition from baritone to heldentenor.

Legacy: Sara Charles-Cahier is remembered for her significant contributions to both performance and pedagogy, leaving a lasting impact on the operatic world and shaping the careers of many notable singers.

 

 

TRACKLIST

 

 

1. Carmen (Bizet) Ja, die Liebe (Habanera) 43944 10894u G&T, Wien 1907
2. Carmen (Bizet) L’amour est un oiseau rebelle (Habanera) V197 (7-83059) HMV, Stockholm 1928-09-20
3. Carmen (Bizet) Wenn dir die Karten 43945 10910u G&T, Wien 1907
4. En svane (Grieg) (renumbered from Sto3116!) D4836 (A162337) Odeon, Berlin 1928-09-29
5. Favorita (Donizetti) O mio Fernando M109 (2-083023) HMV, Stockholm 1928-09-20
6. Ich bin der Welt abhanden gekommen (Mahler) E288 30371 Ultraphon, Berlin 1929-12
7. Menuet (Martini) (in French) V197 (7-83058) HMV, Stockholm 1928-09-21
8. Prophète (Meyerbeer) Ah! Mon fils M109 (2-083022) HMV, Stockholm 1928-09-20
9. Säf, säf, susa (Sibelius) D4836 (A162337) Odeon, Berlin 1928-09-29
10. Sally in our Alley (Carey) X2911 (7-283350) HMV, Stockholm 1928-09-21
11. Swing low, sweet chariot (trad) X2911 (7-283349) HMV, Stockholm 1928-09-21
12. Urlicht aus der II Symphonie (Mahler) E288, 30372 Ultraphon, Berlin 1929-12
13. Der Tod und das Mädchen (Schubert) test, unpubl Sto3118 Odeon, Berlin 1928-09-29