Maria Deysha-Sionitzkaya by Wesenberg
Nikolai Figner and Medea Mei-Figner by Wesenberg (…
Nikolai Figner and Medea Mei-Figner by Wesenberg (…
Wilhelmina Raab and Ivan Melnikov by Wesenberg
Nikolai Figner and Medea Mei-Figner by Wesenberg (…
Ivan Melnikov by Wesenberg (1)
Ivan Melnikov by Wesenberg (2)
Leonid Yakovlev by Wesenberg
Maria Dolina by Wesenberg
Sofia Scalchi by Wesenberg
Lodovico Graziani by Wesenberg
Wilhelmina Raab by Wesenberg (2)
Fyodor Komissartschevsky by Bergamasco (3)
Gian Francesco Angelini by Bergamasco
Francesco Graziani by Bergamasco
Enrico Calzolari by Bergamasco
Caroline Salla by Bergamasco
Marie Sasse by Reutlinger (2)
Marie Sasse by Carjat
Joakim Tartakov by Wesenberg
Eugenia Mravina by Wesenberg
Sigrid Arnoldson by Wesenberg
Josef Paleček and Wilhelmina Raab by Wesenberg
Fyodor Stravinsky by Wesenberg (3)
Fyodor Stravinsky by Wesenberg (2)
Fyodor Stravinsky by Wesenberg (1)
Elias Nathan by Franck
Emilio Pancani by Lehmann
Emilio Pancani's autograph at the back
Gustave Roger by Portier
Gustave Roger's autograph at the back
Enrico Tamberlick by Unknown
Franz Betz by Unknown
Amalie Materna by Atelier Rembrandt
Therese Vogl by Müller
Bertha Ehnn by Mahlknecht (2)
Bertha Ehnn by Gertinger (2)
Bertha Ehnn by Gertinger (1)
Albert Niemann by Albert
Lodovico Graziani by Mahlknecht
Franz Nachbaur by Albert
Pauline Lucca by Graf (3) with autograph
Pauline Lucca and Albert Niemann by Lehmann
Ludwig Schnorr von Carolsfeld and Malvina Garrigue…
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Wilhelmina Raab by Wesenberg (1)
Wilhelmina Raab, born Wilhelmina Bilik (1848-1917); Czech soprano.
She studied singing at the Conservatory of St. Petersburg with Henriette Nissen-Saloman, as well as at the Conservatory of Vienna with Falconi. In 1871 she made her debut at the Imperial Opera in St. Petersburg as Mathilde in Rossini's "William Tell". Here she remained until 1884. During this period she sang at various important world premières of Russian operas. In 1874 she created Natalya in Tchaikovsky's "Oprichnik", in 1875 Tamara in Rubinstein's "The Demon" and in1876 Oksana in "Vakula the smith" also by Tchaikovsky. In 1877 she sang at the Russian première of Rubinstein's "The Maccabees" the role of Noëmi. In 1880 she created the role of Alyona Dmitriyevna in Rubinstein's "The merchant Kalashnikov" and in 1881 Agnès Sorel in Tchaikovsky's "The maid of Orleans". She had a virtually unlimited creative power, what enabled her to perform multiple roles in the same Opera: Gorislava and Lyudmila in Glinka's "Ruslan and Ludmilla", Kupava and the title character in "Snegourotchka/The Snow Maiden" by Rimsky-Korsakov, Queen Marguerite and the page Urbain in Meyerbeer's "Les Huguenots" and Donna Anna and Donna Elvira in Mozart's "Don Giovanni". Among her most memorable roles were Marguerite in "Faust", Gilda in "Rigoletto", Elsa in Lohengrin and Aida. After she retired from the stage she worked at the Conservatory of St. Petersburg as a vocal teacher.
She studied singing at the Conservatory of St. Petersburg with Henriette Nissen-Saloman, as well as at the Conservatory of Vienna with Falconi. In 1871 she made her debut at the Imperial Opera in St. Petersburg as Mathilde in Rossini's "William Tell". Here she remained until 1884. During this period she sang at various important world premières of Russian operas. In 1874 she created Natalya in Tchaikovsky's "Oprichnik", in 1875 Tamara in Rubinstein's "The Demon" and in1876 Oksana in "Vakula the smith" also by Tchaikovsky. In 1877 she sang at the Russian première of Rubinstein's "The Maccabees" the role of Noëmi. In 1880 she created the role of Alyona Dmitriyevna in Rubinstein's "The merchant Kalashnikov" and in 1881 Agnès Sorel in Tchaikovsky's "The maid of Orleans". She had a virtually unlimited creative power, what enabled her to perform multiple roles in the same Opera: Gorislava and Lyudmila in Glinka's "Ruslan and Ludmilla", Kupava and the title character in "Snegourotchka/The Snow Maiden" by Rimsky-Korsakov, Queen Marguerite and the page Urbain in Meyerbeer's "Les Huguenots" and Donna Anna and Donna Elvira in Mozart's "Don Giovanni". Among her most memorable roles were Marguerite in "Faust", Gilda in "Rigoletto", Elsa in Lohengrin and Aida. After she retired from the stage she worked at the Conservatory of St. Petersburg as a vocal teacher.
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