CHARLES KULLMAN NI 7938 NI 7938 1903-83 European Columbia Recordings 1931-38 BIBLIOGRAPHY 1 , Verdi – Holde Aida 4.35 The American Singer Oscar Thompson. The Dial Press Inc., New York 1937 Rec: November 1931 Matrix: WRX 17-1 Columbia Cat: DX 822 Metropolitan Annals W.H.Seltsam. H.W.Wilson Co., New York 1947-57 State Opera Orchestra, Erich Orthmann, conductor Opera Caravan Quaintance Eaton. John Calder, 1957 2 , Verdi – In dieser heil’gen Stunde 4.24 Two Centuries of Opera at Covent Garden H. Rosenthal. Putnam, London 1958 Rec: November 1931 Matrix: WRX 16-2 Columbia Cat: DX 822 Opera in Ronald L. Davis. Appleton-Century, New York 1966 with Walther Grossmann. Orchestra, Erich Orthmann, conductor 3 , Borodin – Tageslicht langsam erlischt (Cavatina) 4.27 Charles Kullman C.I. Morgan. The Record Collector, Ipswich 1972 Rec: 18 June 1935 Matrix: CAX 7552-1 Columbia Cat: LX 396 50 Years of the Opera Arthur Bloomfield. San Francisco Book Co., 1972 4 EUGEN ONEGIN, Tchaikovsky – Wohin seid irh entschwundern 4.29 Encyclopedia David Hamilton. Simon & Schuster, New York 1987 Rec: 18 June 1935 Matrix: CAX 7553-1 Columbia Cat: LX 396 Opera Eldred A. Thierstein. Deerstone Books, 5 , R. Strauss – Di rigori armato 3.06 Hillsdale Michigan 1995 Rec: September 1932 Matrix: WR 427-2 Columbia Cat: DW 3051 Saturday Afternoons at the Old Met Paul Jackson. Amadeus Press, Portland Oregon 1997 Berlin State Opera Orchestra, Fritz Zweig, conductor The American Opera Singer Peter G. Davis. Doubleday, New York 1997 6 , Puccini – O weine nicht, Liú 3.03 Rec: September 1932 Matrix: WR 479-2 Columbia Cat: DW 3068 From Johnson’s Kids to Lemonade Opera V.E.Villamil. Northeastern University Press 2004 Berlin State Opera Orchestra, Clemens Schmalstich, conductor Opera on Film K.Wlaschin. Yale University Press, New Haven 2004 7 TURANDOT, Puccini – Keiner schlafe 3.17 Rec: September 1932 Matrix: WR 480-2 Columbia Cat: DW 3068 Berlin State Opera Orchestra, Clemens Schmalstich, conductor 8 DIE MEISTERSINGER, Wagner – Morgenlich leuchtend 4.22 Rec: 20 June 1938 Matrix: CAX 8245-1 Columbia Cat: LX 729 Orchestra, Walter Goehr, conductor 9 , Wagner – In fernem Land 4.53 Rec: 20 June 1938 Matrix: CAX 8246-1 Columbia Cat: LX 729 Orchestra, Walter Goehr, conductor 0 Carissimi – Vittoria, vittoria 3.13 Rec: September 1932 Matrix: WR 562-2 Columbia Cat: DW 3051 Orchestra, Johannes Müller, conductor q LES CONTES D’HOFFMANN, Offenbach – This compilation ൿ 2006 Wyastone Estate Limited © 2006 Wyastone Estate Limited Die Liebe für’s Leben ist nur ein wahn 2.54 Transferred by Nimbus Records. Digital Recording from original 78rpm discs Rec: December 1931 Matrix: CWR 223 Columbia Cat: DW 3011 Series consultant Norman White. http://www.wyastone.co.uk Orchestra, Otto Dobrindt, conductor

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w soprano is tender in the extreme. Whether in opera or Kullman’s EINE NACHT IN VENEDIG, Strauss – Komm in die Gondel 3.25 Rec: August 1932 Matrix: WR 405-2 Columbia Cat: DW 3046 musicality and charm are always apparent making him one of the most satisfying of Orchestra, Ernst Hauke, conductor recording artists. e DER ZIGEUNERBARON, Strauss – Wer uns getraut 3.14 Note © 2006 Alan Bilgora Rec: September 1932 Matrix: WR 487-1 Columbia Cat: DW 3067 with Erna Berger. Berlin State Opera Orchestra, Clemens Schmalstich, conductor Note 1 r DER ZIGEUNERBARON, Strauss – Als flotter Geist 2.57 Orville Harold (b.1878); Paul Althouse (1889-1954), teacher of ; Charles Hackett (1889- Rec: September 1932 Matrix: WR 488-1 Columbia Cat: DW 3067 1942); Lambert Murphy (d.1954); Mario Chamlee born Archer Chalmondelay (1892-1966); Eyvind Berlin State Opera Orchestra, Clemens Schmalstich, conductor Laholm born Edwin Johnson (1894-1958); Sydney Rayner (1895-1981); Frederick Jagel (1897-1982); t DAS LIED DER LIEBE, J. Strauss-Korngold – Die eine Frau 2.41 Giuseppe Bentonelli born Joseph Benton (1898-1975); (1900-72); (1904- Rec: December 1931 Matrix: CWR 239 Columbia Cat: DW 3014 61); Eugene Conley (1908-81); Felix Knight (1908-98); Thomas Hayward born Thomas Albert Tibbet Orchestra, Otto Dobrindt, conductor (1920-95), was a cousin; Donald Dame (1917-52). y DAS LIED DER LIEBE, J. Strauss-Korngold – Du bist mein Traum 3.31 A number like Charles Marshall; George Hamlin; Forest Lamont; Michael Bartlett; William Rec: December 1931 Matrix: CWR 240 Columbia Cat: DW 3014 Martin; Robert Rounseville; Norbert Ardelli and were among those who Orchestra, Otto Dobrindt, conductor appeared in opera centres such as Boston, Chicago, Cincinatti, San Francisco, The San Carlo U.S.A. u DER TEUFELSREITER, Kálmán – So verliebt kann nur ein Ungar sein 3.05 the New York Hippodrome, and later The Opera. This line stretched into the 1940s Rec: March 1932 Matrix: WR 305-1 Columbia Cat: DW 3027 with born Jacob Pincus Perelmuth (1904-84) and Richard Tucker born Reuben Ticker (1913- i DIE ZIRKUSPRINZESSIN, Kálmán – Zwei Märchenaugen 3.22 75). Rec: March 1932 Matrix: WR 306-4 Columbia Cat: DW 3027 The second half of the 20th century until today has witnessed the international successes of o DIE LOCKENDE FLAMME, Künneke – Ich traume mit offenen Augen 3.13 David Poleri; James McCracken; Barry Morell; ; Jess Thomas; Rockwell Blake; Chris Rec: September 1932 Matrix: WR 560-1 Columbia Cat: DW 3077 Merrett; Bruce Ford; Jerry Hadley; Neil Shicoff; and Michael Sylvester. Orchestra , Berlin, Eduard Künneke, conductor One should also note the great Canadian tenors such as Paul Dufault; Edward Johnson, later the p DIE LOCKENDE FLAMME, Künneke – Was bist du ohne mich 3.16 manager of the Metropolitan Opera; and his son Andre; Leopold Simoneau; Jacques Rec: September 1932 Matrix: WR 561-1 Columbia Cat: DW 3077 with Ellice Illiard, Orchestra Theater des Westens, Berlin, Eduard Künneke, conductor Gerard; Andre Turp and his son Richard; Richard Verreau; Jon Vickers; Richard Margeson and Ben a DIE SONNE GEHT AUF (Film), Meisel – Die Sonne geht auf 3.22 Heppner. Rec: October 1932 Matrix: WR 534-2 Columbia Cat: DW 2190 Orchestra, Ludwig Rüth, conductor s DIE SONNE GEHT AUF (Film), Meisel – Schon ist jeder Tag 3.17 Rec: October 1932 Matrix: WR 535-2 Columbia Cat: DW 2190 Orchestra, Ludwig Rüth, conductor Total playing time 78.18 With thanks to Alan Bilgora for his generous assistance and the loan of original records.

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Charles Kullman 1903-1983 The annual ‘Met’ tours, (which are covered in detail by Quaintance Easton’s book ‘Opera Caravan’) also took Kullman to Bloomington, where on his retirement from the theatre “Lotte Lehmann sang opposite the Cavaradossi of the young American he accepted a post as resident tenor of the School of Music at University. He Charles Kullmann, fresh from his European successes. In those days his voice–which remained there until 1971, eventually returning to New Haven where he died on th had real sex appeal–was full of bloom……” February 8 1983. Arthur Bloomfield, 50 years of the . A number of the arias recorded here are mementos of roles in which he had success; That ‘untiring chronicler of American singers’, Oscar Thompson, in his book The notable among them is Vladimir’s soulful aria from Prince Igor. The ‘Prizelied’ from Die American singer, a Hundred years of Success, made the following interesting observation. Meistersingers is sung lyrically but with heroic intent. Likewise his duet with Walter He listed the many native-born sopranos, contraltos, and basses who had Grossmann from La Forza del Destino retains a moving dramatic undertone in spite of the returned to the US (following study and stage experience in Europe) and established German language. themselves at the Metropolitan Opera during the second half of the 19th century. In contrast he noted the absence of American born tenors who had to wait until the very Arias from which he did not sing on stage nonetheless possess vocal authority; end of the century for acceptance and a share of the major roles. First among them, in his ‘Celeste Aida’ (sung here in German) was once reviewed, by an experienced collector 1895, was Lloyd D’Aubignè (Thomas Lloyd Dabney), followed in 1907 by Riccardo and commentator, as being technically one of the very best on record. His Turandot arias Martin (Hugh Whitfield Martin 1874-1952), after which the ‘flood gates’ opened.1 One in particular are notable for their ringing high A naturals, culminating in a beautifully such tenor was Charles Kullmann, who emerged in the 1930s, and was born on 13th sustained and thrilling top B natural. In Offenbach’s Hoffmann’s Erzählungen he is ideally January 1903 to German parents in New Haven Connecticut. romantic. Like so many other fine tenors of the period, (including Tauber, Wittricsh, Bollman, Björling and Roswaenge), Kullman was expected to record items that Kullmann might have become a doctor, but while studying medicine at Yale University displayed his vocal prowess in music of a lighter vein - without necessarily having he won a prestigious inter-collegiate vocal competition, and with limited funds already performed the roles. Thus we have songs from such as Kálmán’s Die making it difficult to continue his medical studies, he decided on a musical career. Zirkusprincessin and Kunneke’s Die Lockende Flamme both of which were surprisingly Kullmann initially sang as a until lessons with Maestro Marcosano in New under-recorded in the days of 78 rpm discs. Together with a couple of other lesser- Haven revealed his lyric tenor voice. He went to the of Music on a known Viennese operetta excerpts, they show Kullman’s fine legato and exciting top scholarship in 1924 where he continued his vocal studies with Anna Eugénie Schön- notes to great advantage. The Kunneke finishes on a top B natural that is quite stunning. Stevens, whose pupils included mezzo-soprano Risè Stevens and Paul Robeson. After From Strauss’s Zigeunerbaron, Barinkay’s ‘Als flotter geist’ (an amusing catalogue of jobs three years Kullmann won another scholarship taking him to and to the he had undertaken in his life), allows Kullman to demonstrate easy control over the high American Conservatory at Fontainbleu where he studied under the eminent tenor tessitura finishing on a startling top C. Likewise, from the same operetta, his singing of Thomas Salignac (1867-1945). the lovely duet ‘Wer uns getraut’ with the fresh and soon to be famous

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He undertook a major film role as Dr. Klin, a physician in the Russian navy. In this Kullman returned to the United States in 1928 (having lost his final ‘n’ on the journey highly fanciful ‘bio-pic’ of the young Rimsky-Korsakoff, Kullman sings the ‘Song of home) and briefly taught singing at Smith College. He made various solo appearances India’ from Sadko, a vocal transcription of the ‘Fandango’ from Caprice Espagnol, a and sang in the American première of Monteverdi’s Orfeo. He resigning from the ‘Gypsy song’ and the incredibly high-lying ‘Hymn to the Sun’ from the Golden Cockerel. College the following year and joined the American Opera Company (which specialised in productions sung in English) under the direction of the dynamic ex-patriot Russian The next two seasons were again very busy with repeats of his many popular roles, plus tenor . Young Charles made his debut with the company as Pinkerton the house première of Musourgsky’s Khovanshchina on February 16th 1950 when he sang in . Prince Vassili Golovin. That year became manager of the Met and introduced an English version of Johann Strauss’s which was In 1930 Kullman returned to Europe, this time to Berlin, where he auditioned successfully repeated over several season and in which Kullman alternated as Eisenstein successfully for , then in charge of the Kroll Oper. He made his German and Alfred. stage debut there on 24th February 1931 singing Pinkerton. The Kroll Opera was considered to be the junior house of the Berlin State Opera and Kullmann was quickly His appearances now began to thin out, but on February 6th 1952 he appeared in the promoted to the larger theatre, where, on October 2nd 1932 he sang Walther in Die difficult role of Herod in ’s . The next few years saw him as Eric, Meistersingers with an all-star cast in a Heinz Tietjen production. He subsequently sang Turridu, , Walther and in his final seasons he was heard in supporting roles such under such eminent musical directors as Blech, Kleiber, and Furtwängler, mainly in the as Goro in Butterfly, Valzacchi in Die Rosenkavalier, the Emperor of Austria in the Gypsy lyric Italian repertory. He also made a guest appearance in and was put under Baron and one final performance of Parsifal. His last role, indeed his final appearance at contract there from 1934-36. the Metropolitan on December 3rd 1961, was as Shuisky in . A firm believer that there was no such thing as a small role, only a small-minded singer, he lent his full At Salzburg in 1934 he made a good impression as the ‘Italian tenor’ in Richard Strauss’s support to his colleagues to the very last. Der Rosenkavalier under Joseph Krips and as Da-Ud in Die Aegyptische Helena conducted by . He also sang the demanding role of Huon in Weber’s Oberon At the end of each New York season many of the Metropolitan’s principal artists went conducted by . The following season he repeated Der Rosenkavalier and on the Company’s national tours; Kullman did so from 1935 until 1956. From 1936 to appeared as Ferrando in Cosi fan tutte under and as Belmonte in Die 1954 he also sang many of his roles in San Francisco. In 1939 and 1940 he was contracted Entführung aus dem Serail under Bruno Walter. In the 1936 season he repeated Ferrando to the Chicago Opera where, as always, a member of the finest casts, he was heard in and was heard as Walther in Die Meistersinger. Kullman gained a reputation for excellent Louise, La Bohéme, L’Amore de tre Re and . In 1941 he appeared in the huge Teatro musicianship and acting, and was noted for his supportive performances with a very Colon in . From 1943-54 and also in 1956 he was with the Cincinnati Opera distinguished list of European artists: Lotte Lehmann; Elizabeth Schumann; Lotte appearing in his most popular roles. By this time Kullman was an experienced Schöne; Jarmilla Novotna; ; Margherita Perras; ; Margit performer in the Italian, French, German, Baroque and concert repertory in all of which Bokor; Kirsten Thorborg; Karl Hammes; Franz Völker; Hans-Hermann Nissen; Alfred his contemporaries recognised his fine musicianship and artistic truth. Jerger and Richard Mayr. 8 5 NI 7938 NI 7938

We are fortunate that at this very important moment in his career Kullman made his first Following seasons were primarily taken up with his usual repertoire, but on 7th February visits to the recording studios in Berlin. The voice we hear on these discs is not large, but 1941 he sang the role of Avito in Montemezzi’s opera L’Amore di tre Re. The performance the sweet fresh quality and in particular the projection and brilliance of his ringing was conducted by the composer, and the cast included as Archibaldo, upper register is captured to best advantage. Also recorded on 24th May 1936 in Vienna as Manfredo and Grace Moore who had an enormous success as Fiora. was a now famous concert performance of Mahler’s with the Paul Jackson in his knowledgeable, detailed and apposite commentaries on the recorded Swedish contralto Kirstin Thorborg and conducted by Bruno Walter. Met broadcasts, put his criticism of this opera in a fashion that could stand as a touchstone to all of Kullman’s work, …”the American tenor is at the top of his form, his Kullman made his Covent Garden debut on May 11th 1934 as Babinsky in the English vocal colour gains in appeal as the opera progresses, and his musical instincts are première of Weinberger’s Schwanda the Bagpiper. The critics reported that he ‘displayed compelling enough to outweigh any limitations. Few tenors shape a phrase for a warmth and charm that won all hearts’. He was next heard in London as Vladimir in maximum impact as well as Kullman does….” On 28th February 1941 he sang Hans a German language version of Borodin’s Prince Igor with a stellar cast that included (Jenik) in an English language production of Smetana’s Bartered Bride with the Czech , Elizabeth Rethberg, and Herbert Janssen conducted soprano Jarmilla Novotna as Marie and Pinza as the wily match-maker Kezal. The music by Sir . critic Irving Kolodin who was not one of Kullman’s most ardent fans thought however that Hans was “one of his finest accomplishments”. He sang Don Ottavio in Don Kullman’s debut at the New York Metropolitan Opera was on December 19th 1935 in the Giovanni for the first time at the Metropolitan and also and experimental English title role of Gounod’s with Edith Mason, Richard Bonelli and Ezio Pinza, translation of , where “…his skilful Tamino was deemed worth the beginning a career there which would last for over 25 years. At first he sang the popular experiment”. In 1941/2 season he added to his repertoire Des Grieux in Massenet’s (and a few esoteric) principal roles in the house’s repertory - Rodolfo, Alfredo, Don José, with the delightful Brazilian soprano Bidu Sayao as the eponymous heroine. In The Duke of Mantua, Walther and Pinkerton. In 1936/7 he sang Eric in Der Fliegende 1943 he sang Almaviva in Il Barbiere di Siviglia, Turridu in and in a Hollander with an outstanding Wagnerian cast that included Flagstad, Thorborg, Schorr, New York performance of the Verdi conducted by Toscanini. His busy 1944/5 Branzell and List. The 1937/8 season included Walther, Fenton in and Julien in season included a performance of Gounod’s Romeo et Juliette with Patrice Munsel, who Charpentier’s Louise. On March 14th, at one of the Met’s famous Sunday night concerts, the year before, aged 18, had been the youngest soprano ever to sign a contract with the he surprised the audience by singing Celeste Aida, - although Radames was not a role he Metropolitan Opera. During the 1946/7 season the Metropolitan produced Abduction ever performed. During the 1938/9 season he added Rinuccio in Gianni Schicchi, and from the Serail (in English), with Kullman singing Belmonte: the critic Bagar in the New Dimitri in Boris Godunov to Ezio Pinza’s Tsar, of which the critic Pitts Sanborn York World Telegram stated that “Kullmann gave the role the benefit of much thought commented “Kullman, strikingly dressed, supplied an uncommonly dramatic Dimitri”. and, in the working out, much style”. In 1947/8 he undertook several familiar roles and He also went to for a featured part in the popular and spectacular film The due to the unavailability of the usual heldentenors - , Torsten Ralf or Set 1938 Goldwyn Follies. Svanholm - Kullman was called upon to deputise in Parsifal.

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