Maria Jeritza sang the premiere of ROSENKAVALIER and was honored at The Met with a display of her costume jewelry on the Grand Tier in 2017.
Opera and Concert Series could be dedicated to Maria Jeritza for NJPAC in 2021/22. Jeritza was a superstar at the Metropolitan, Vienna, Czech, + LaScala Opera Companies. Jeritza also premiered Opera’s by Puccini, Strauss, + Janacek. Jeritza also loved, lived, and retired, to her home in Newark NJ.
The New York Times noted in their obituary she was a star of Opera’s Golden Age in the 20th century.
She was an Opera Diva, who lived, retired, and died In Newark in 1982 at 94. She attended and supported opera at The Mosque Theatre and Symphony Hall in Newark, NJ. Her appearances would generate instant applause at each performance with her blond hair and blue tinted glasses.
Homage to Maria Jeritza, who resided In Newark made opera history in Brno, Newark, The Met, Vienna as she inspired and worked with Giacomo Puccini, Leos Janacek, and Richard Strauss during her career.
MARIA JERITZA, STAR OF OPERA’S ‘GOLDEN AGE,’ DIES AT 94 …
www.nytimes.com/1982/.../maria-jeritza-star-of-opera-s-golden-age-dies-at-94 .- Maria Jeritza, the internationally renowned soprano who has beencalled … Miss Jeritza was one of the great artists of opera’s’’golden age,’’ (1887–1982) longtime resident of Newark,NJ who sang for Richard Strauss, Leos Janacek, and GiacomoPuccini :Premiere’s at the Met, Vienna, Brno, LaScala in her illustrious career in Europe and the United States.
Richard Strauss wrote 4 Last Songs (and one last song for Maria(Jeritza ) who retired to Newark after her international opera careerfrom Vienna to The Met.
Puccini loved Jeritza as his favorite TOSCA. Maria started thetradition of Tosca laying prone on the floor to sing “Vissi d’arte.”Jeritza premiered Janacek’s JENUFA among other highlights from Brno,Vienna and Milan. Her legendary musical soirees occurred at her homein North Newark. It should be an Historic Site and turned into a OperaMuseum while it still stands though now in private hands. Her postretirement appearances at The Met and Symphony Hall (formerly theMosque Theatre) garnered a rash of applause from the opera audience.
I also did some reading on one of my favorite opera singers, Kathleen Battle. I was aware that she had largely vanished from the opera stage, but had not realized she had been banished, from The Met. Officially, it appears she was fired for being temperamental and difficult. I suspect she was probably punished for rebelling against the microaggressions, jealousies and career sabotage gifted Black American artists have endured from their peers in predominantly white environments. Someone thought she was too big for her britches.
Reading about Maria Jeritza made me think while white divas might get a pass, I suspect she was made an example. She was expected to be grateful, even though her talents propelled her to the top. After she was wounded in this way in 1994, that might have been the end. Fortunately, Battle got in touch with her survivor spirit, and found other avenues in which to share her talents. In so doing, she won five Grammys and much acclaim along the way. Five years ago, The Met welcomed her back for a concert of spirituals after 22 years. I myself would never have performed at The Met again, but that's just me. I await her autobiography. Readers must await mine. I still wonder if writing a book matters in a post-pandemic world conditioned by digital imagery.
Battle was fired by Volpe from the Met, a rare event. Her bet-noir was when she called her agent to tell the driver to turn down the AC, Nothing about race, she became a tyranical egomaniac. .
I wish I enjoyed the luxury of living in a race-neutral world where I could "keep it to the singing". I refuse to run away from the issue of racism in opera so that others can feel comfortable. I will write what I feel and refuse to be silenced. Feel free to exclude my posts.
My bad! I wasn’t at all referring to race with my comment. Folks have talked incessantly over the years about Battle being a diva or being difficult which had always bothered me. My comment was that I was not interested in prolonging that rumor or idea. I love her singing and when I said stick to the singing that is what I meant.
I understand Kathleen Battle lives in Switzerland now. I wonder how my life might have changed, had I chosen the path of the expatriate. I once stood at that fork in the road. Thank you for your graceful reply. Sometimes, I have to express my "inner diva" or, in my case, "my inner city diva". No harm, no foul, but I stand by my remarks.
"A tyrannical egomaniac" for no reason? Really? Let's overlook the variables of race and gender and find a race-neutral reason why Kathleen Battle needed to feel the weight of Volpe and the institution on her career? You are entitled to your opinion as an insider; I have mine, too, as a perennial outsider. I will never feel that "the punishment" of Kathleen Battle was proportional to "the crime". I have seen this scenario before.
When the playing field is even in opera for education, training, opportunities and advancement for people of all races and backgrounds; when the opera endeavor shakes off typecasting conventions and cultivates inclusion in all areas (think Lin-Manuel Miranda's "Hamilton"; when a black artist as talented and beautiful as Kathleen Battle is not subjected to public humiliation; and when the opera infrastructure allows as much respect for artists as it does for its patronage, business, and opera news establishments, I'll consider ruling out race as a variable as I consider how Ms. Battle was treated. I may not have been in the room, but don't expect me to ignore the obvious racial politics at play, including pulling Harolyn Blackwell into the spotlight.
Having now listened to various performances of the Final Trio (Act III: Marie Theres'! Hab' mir's gelobt, Ihn lieb zu haben) from Richard Strauss's "Der Rosenkavalier", I still prefer Kathleen Battle, Frederica von Stade and Renée Fleming in concert (Claudio Abbado, conductor, The Berliner Philharmoniker, https://www.youtube.com/watch?v=EXi8U1twwrc).
The Strauss music, of course, was the best part. My favorite melody was a signature Strauss waltz in Act II, when the comically oblivious and obtuse country Baron grabbed Sophie from behind (after she had turned her back on him), and attempted to dance. Anyone who has ever had to fend off an unwanted suitor can surely relate.
Strauss's vision of Habsburg royalty was mocking, modern and moralistic simultaneously. The Baron as unsuspecting cuckold provided comic relief. The Marschallin, who cheated on her husband away at war with Octavian, her young lover, literally pushed him away in an attempt to hide the affair. That he would be lusted after by the Baron while in disguise, and then drafted to deliver the silver rose to Sophie, whom the Baron sought as his bride, set the stage for him to meet and fall in love with the latter. That the Marschallin released him is a form of absolution for her self-indulgent adultery. She knew the day was coming when he would abandon her. When that time came, she released him. Nothing like a repentant sinner woman for artistic virtue-signaling, right?
The presentation of the rose finds its echoes in the contemporary (and absurd) TV series, "The Bachelor" and "The Bachelorette", so popular in the USA. "Der Rosenkavalier", which surely influenced the show's concept, should be recommended viewing for all contestants.
I agree - there is something pretty magical about that New Year's Eve concert with Battle, von Stade and Fleming.
You are so right - hard to not think of the Bachelor when you hear Presentation of the Rose 😂 Your comment made me think of Anne Sophie von Otter (as Octavian) and Barbara Bonney (as Sophie) singing that scene....von Stade and Anne Sophie von Otter are darn good at that role (Octavian)
Maria Jeritza sang the premiere of ROSENKAVALIER and was honored at The Met with a display of her costume jewelry on the Grand Tier in 2017.
Opera and Concert Series could be dedicated to Maria Jeritza for NJPAC in 2021/22. Jeritza was a superstar at the Metropolitan, Vienna, Czech, + LaScala Opera Companies. Jeritza also premiered Opera’s by Puccini, Strauss, + Janacek. Jeritza also loved, lived, and retired, to her home in Newark NJ.
The New York Times noted in their obituary she was a star of Opera’s Golden Age in the 20th century.
She was an Opera Diva, who lived, retired, and died In Newark in 1982 at 94. She attended and supported opera at The Mosque Theatre and Symphony Hall in Newark, NJ. Her appearances would generate instant applause at each performance with her blond hair and blue tinted glasses.
Homage to Maria Jeritza, who resided In Newark made opera history in Brno, Newark, The Met, Vienna as she inspired and worked with Giacomo Puccini, Leos Janacek, and Richard Strauss during her career.
MARIA JERITZA, STAR OF OPERA’S ‘GOLDEN AGE,’ DIES AT 94 …
www.nytimes.com/1982/.../maria-jeritza-star-of-opera-s-golden-age-dies-at-94 .- Maria Jeritza, the internationally renowned soprano who has beencalled … Miss Jeritza was one of the great artists of opera’s’’golden age,’’ (1887–1982) longtime resident of Newark,NJ who sang for Richard Strauss, Leos Janacek, and GiacomoPuccini :Premiere’s at the Met, Vienna, Brno, LaScala in her illustrious career in Europe and the United States.
Richard Strauss wrote 4 Last Songs (and one last song for Maria(Jeritza ) who retired to Newark after her international opera careerfrom Vienna to The Met.
Puccini loved Jeritza as his favorite TOSCA. Maria started thetradition of Tosca laying prone on the floor to sing “Vissi d’arte.”Jeritza premiered Janacek’s JENUFA among other highlights from Brno,Vienna and Milan. Her legendary musical soirees occurred at her homein North Newark. It should be an Historic Site and turned into a OperaMuseum while it still stands though now in private hands. Her postretirement appearances at The Met and Symphony Hall (formerly theMosque Theatre) garnered a rash of applause from the opera audience.
ArtsPRunlimited, Inc is part of Fractured Atlas< https://www.fracturedatlas.org/site/fiscal/profile?id=11419 >
This was so interesting, Mr. Quinn. You offer such interesting insights on the artists and composers in this genre. You sent me in pursuit of more information on Maria Jeritza and I found this: https://sfopera.com/blog/maria-jeritza-prima-donna-of-the-century-and-san-francisco-operas-first-salome/. I was totally intrigued by the statement: "Jeritza became the box office successor to Caruso in the 1920s."
I also did some reading on one of my favorite opera singers, Kathleen Battle. I was aware that she had largely vanished from the opera stage, but had not realized she had been banished, from The Met. Officially, it appears she was fired for being temperamental and difficult. I suspect she was probably punished for rebelling against the microaggressions, jealousies and career sabotage gifted Black American artists have endured from their peers in predominantly white environments. Someone thought she was too big for her britches.
Reading about Maria Jeritza made me think while white divas might get a pass, I suspect she was made an example. She was expected to be grateful, even though her talents propelled her to the top. After she was wounded in this way in 1994, that might have been the end. Fortunately, Battle got in touch with her survivor spirit, and found other avenues in which to share her talents. In so doing, she won five Grammys and much acclaim along the way. Five years ago, The Met welcomed her back for a concert of spirituals after 22 years. I myself would never have performed at The Met again, but that's just me. I await her autobiography. Readers must await mine. I still wonder if writing a book matters in a post-pandemic world conditioned by digital imagery.
https://www.britannica.com/biography/Kathleen-Battle
https://en.wikipedia.org/wiki/Kathleen_Battle
Battle was fired by Volpe from the Met, a rare event. Her bet-noir was when she called her agent to tell the driver to turn down the AC, Nothing about race, she became a tyranical egomaniac. .
These stories were known and talked about incessantly - I remember them well and anyone can Google! Let's try to keep it to the singing!
I wish I enjoyed the luxury of living in a race-neutral world where I could "keep it to the singing". I refuse to run away from the issue of racism in opera so that others can feel comfortable. I will write what I feel and refuse to be silenced. Feel free to exclude my posts.
My bad! I wasn’t at all referring to race with my comment. Folks have talked incessantly over the years about Battle being a diva or being difficult which had always bothered me. My comment was that I was not interested in prolonging that rumor or idea. I love her singing and when I said stick to the singing that is what I meant.
I understand Kathleen Battle lives in Switzerland now. I wonder how my life might have changed, had I chosen the path of the expatriate. I once stood at that fork in the road. Thank you for your graceful reply. Sometimes, I have to express my "inner diva" or, in my case, "my inner city diva". No harm, no foul, but I stand by my remarks.
"A tyrannical egomaniac" for no reason? Really? Let's overlook the variables of race and gender and find a race-neutral reason why Kathleen Battle needed to feel the weight of Volpe and the institution on her career? You are entitled to your opinion as an insider; I have mine, too, as a perennial outsider. I will never feel that "the punishment" of Kathleen Battle was proportional to "the crime". I have seen this scenario before.
When the playing field is even in opera for education, training, opportunities and advancement for people of all races and backgrounds; when the opera endeavor shakes off typecasting conventions and cultivates inclusion in all areas (think Lin-Manuel Miranda's "Hamilton"; when a black artist as talented and beautiful as Kathleen Battle is not subjected to public humiliation; and when the opera infrastructure allows as much respect for artists as it does for its patronage, business, and opera news establishments, I'll consider ruling out race as a variable as I consider how Ms. Battle was treated. I may not have been in the room, but don't expect me to ignore the obvious racial politics at play, including pulling Harolyn Blackwell into the spotlight.
Beautiful
Thanks Ayten.
Having now listened to various performances of the Final Trio (Act III: Marie Theres'! Hab' mir's gelobt, Ihn lieb zu haben) from Richard Strauss's "Der Rosenkavalier", I still prefer Kathleen Battle, Frederica von Stade and Renée Fleming in concert (Claudio Abbado, conductor, The Berliner Philharmoniker, https://www.youtube.com/watch?v=EXi8U1twwrc).
Those three divine voices, the Opera Daily synopsis, and the tongue-in-cheek "'Der Rosenkavalier' In Three Minutes" (https://www.youtube.com/watch?v=JoNl3kWntK4) were my incentives to watch the 1962 film with the Vienna Philharmonic Orchestra and Elisabeth Schwarzkopf (https://www.youtube.com/watch?v=HAw4iDDWby8).
The Strauss music, of course, was the best part. My favorite melody was a signature Strauss waltz in Act II, when the comically oblivious and obtuse country Baron grabbed Sophie from behind (after she had turned her back on him), and attempted to dance. Anyone who has ever had to fend off an unwanted suitor can surely relate.
Strauss's vision of Habsburg royalty was mocking, modern and moralistic simultaneously. The Baron as unsuspecting cuckold provided comic relief. The Marschallin, who cheated on her husband away at war with Octavian, her young lover, literally pushed him away in an attempt to hide the affair. That he would be lusted after by the Baron while in disguise, and then drafted to deliver the silver rose to Sophie, whom the Baron sought as his bride, set the stage for him to meet and fall in love with the latter. That the Marschallin released him is a form of absolution for her self-indulgent adultery. She knew the day was coming when he would abandon her. When that time came, she released him. Nothing like a repentant sinner woman for artistic virtue-signaling, right?
The presentation of the rose finds its echoes in the contemporary (and absurd) TV series, "The Bachelor" and "The Bachelorette", so popular in the USA. "Der Rosenkavalier", which surely influenced the show's concept, should be recommended viewing for all contestants.
I agree - there is something pretty magical about that New Year's Eve concert with Battle, von Stade and Fleming.
You are so right - hard to not think of the Bachelor when you hear Presentation of the Rose 😂 Your comment made me think of Anne Sophie von Otter (as Octavian) and Barbara Bonney (as Sophie) singing that scene....von Stade and Anne Sophie von Otter are darn good at that role (Octavian)
https://www.youtube.com/watch?v=AuS337uc-4Y