Schröder-Devrient, Wilhelmine

Wilhelmine Schröder-Devrient was a renowned opera singer, who was also famous for her impressive acting skills. With this she helped to establish a new form of art, dramatised singing, becoming a role model and ideal in this area. The art of her dramatised singing inspired con- temporary composers, such as , to great extend.

Cities an countries

Wilhelmine Schröder-Devrient grew up in several cities. Due to the political unrest of the Napoleonic era, the fa- mily moved from Hamburg to Prague and subsequently to Vienna - Wilhelmine Schröder-Devrient began prepa- ring for her acting and singing career during this time. From 1823 onwards she had an engagement in Dresden, her main place of activity, for 24 years (see Emerson, p. 144). She started numerous tours from there, travelling through Germany several times, repeatedly visiting Leip- zig, Berlin and Hamburg in particular. Her most import- ant regular places of activity internationally were Lon- Wilhelmine Schröder-Devrient don and Paris, where she spent several opera seasons re- spectively. She also travelled much for private reasons, Wilhelmine Schröder-Devrient for example following her third husband temporarily to Birth name: Wilhelmine Schröder the Baltic and performing in Riga and Dorpat (today Tar- Merried name: Wilhelmine von Bock tu) towards the end of her career.

* 6 December 1804 in Hamburg, Biography

† 26 January 1860 in Coburg, The daughter of actress Sophie Schröder, nee Bürger (1781-1868), and her husband Friedrich Schröder († „Wilhelmine ist als eine der größten deutschen Sing- 1818), who also worked at the theatre, Wilhelmine Schrö- schauspielerinnen, als die deutsche Gesangstragödin der-Devrient was born on 6th December 1804 in Ham- schlechthin, in die Geschichte der theatralischen Künste burg. She was introduced to her parents’ work, who be- eingegangen. In ihrer wahrhaft gotterfüllten Leiden- longed to the Tillyan travelling group, very early in life. schaft schmelzen mehrere Zeitalter der Bühnenkunst zu- She began dancing and acting lessons at the age of four sammen, sie bildet die lebendige Brücke zwischen Weber and took on smaller children’s parts in various theatre und Wagner, sie ist das Medium zweier Genie-Epochen.“ productions. The family moved several times. In 1813 they left Ham- “Wilhelmine made theatre history as one of the greatest burg and moved first to Prague and then to Vienna, whe- German singer-actresses; the German singing tragic ac- re first the mother, then the father as well, secured an en- tress par excellence. Her truly god-filled passion merges gagement at the Burgtheater. Wilhelmine went to acting multiple eras of stage art, she builds living bridges betwe- school in both cities and together with her two sisters, en Weber and Wagner, she is the medium of two genius- Elisabeth and Auguste, belonged to the Horscheltian epochs.” children’s ballet, which was originally located in Prague and later moved to Vienna as well (Wolzogen 1863, p. (Hans Schnoor (Hg.). Dresden. Vierhundert Jahre deut- 14-15; Glümer 1885, p. 14-15). sche Musikkultur. Dresden: Dresdener Verlagsgesell- Wilhelmine Schröder-Devrient was initially active solely schaft, 1948, p. 161). as an actress and, from 1819 onwards, she played Aricia Profile in Schiller’s “Phaedra“, Luise in Schiller’s “Intrigue and Love“ (“Kabale und Liebe”), Beatrice in Schiller’s “Bride

– 1 – Schröder-Devrient, Wilhelmine of Messina“ and Ophelia in Shakespeare’s “Hamlet“ (Wol- Since her debut at Dresden Theatre in 1823 Wilhelmine zogen 1863, 33; see Repertoire) amongst others. During Schröder-Devrient had a part in multiple world premie- this time she began to take singing lessons, and was first res and debut performances that were to some extend tutored by Joseph Mozatti. Later on she was tutored by conducted personally by the composers or received great the famous singing instructor Johann Aloys Miksch attention from the composers (see Repertoire/”Opernrol- (1765-1845) in Dresden (Wolzogen 1863, p. 97). len”). Probably the most important performance for her Wilhelmine Schröder-Devrient’s career as a singer began career was “Euryanthe” by , which on 20th January 1821 when she starred at Vienna’s premiered on 31st March 1824 in Dresden. The Dresden Court Opera (Hofoperntheater) at Kärntnertor as Parmi- premiere of the final version of Beethoven’s “Fidelio”, na in Mozart’s “Magic Flute” (“Zauberflöte”) and imme- conducted by Carl Maria von Weber, on 29th April 1823 diately attracted much attention (Wolzogen 1863, p. 37). (Hochmuth, p. 112) also impressed the audience and the She had her breakthrough as an opera singer on 3rd No- composer alike (see Recognition). vember 1821 in Vienna as Agathe in Weber’s “Frei- schütz“. From this point onwards and during the fol- Wilhelmine Schröder-Devrient undertook several inter- lowing, very successful, concert tour to Kassel Wilhelmi- national tours, mainly to France and England. Her first ne Schröder-Devrient was continually celebrated as a tour in 1830 led her to Paris. She was particularly celebra- “dramatic singer” (Wolzogen 1863, p. 52). Her reputati- ted there for the roles of Agathe (Carl Maria von Weber’s on was cemented when she interpreted Leonore in Beet- “Freischütz“) and Leonore (Ludwig van Beethoven’s “Fi- hoven’s “Fidelio” in Vienna on 9th November 1822 (Wol- delio“). Her second international tour in 1831 also took zogen 1863, p. 52-60). Several guest performances in her to Paris. The Grand Opéra was unsuccessful in secu- Dresden and Leipzig followed. Wilhelmine Schröder-Dev- ring an engagement with the singer (Wolzogen, p. 183), rient’s first performance in Dresden took place 22nd July but she agreed a contract with the Théâtre Italien in Pa- 1822; she sang Emmeline in Joseph Weigl’s “Schweizerfa- ris where she sang for the winter season of 1831/32 (Wol- milie.“ Soon afterwards the singer had her first perma- zogen, p. 185). The dramatic singer had to face competiti- nent engagement at the Royal State Theatre (Königliches on there from Giuditta Pasta, Maria Malibran, Maria Ca- Hoftheater) in Dresden. The contract with this opera hou- radori-Allan and Eugenia Tadolini. In spring 1832 Wil- se was extended with smaller breaks up to 1847 and re- helmine Schröder-Devrient said goodbye to the Théâtre peatedly renewed. Italien with Bellini’s “Il Pirata“. She did not return direct- ly to Dresden but travelled to her first English guest per- In 1823 Wilhelmine married actor Carl Devrient formance in London, after which she signed a contract (1797-1872). The marriage ended in divorce five years la- with the German-French-Italian opera society there, led ter. The couple had four children, two boys and two girl; by Thomas Monck-Mason. She opened and finished her the youngest daughter Louise died very young. After the London season as Fidelio (debut performance 18th May divorce the father kept custody of the children. 1832, last performance 20th July 1832) and made Ger- In August 1847 Wilhelmine Schröder-Devrient married man opera a new success in England with her performan- Officer von Döring; not much is known about him but he ce. Audience and media were excited; the latter named is rumoured to have been a known fraudster (Wolzogen, her the “queen of tears”. In addition to her contractually p. 316). The relationship temporarily caused financial specified engagement she also sang in various charity ruin for the singer, as von Döring had had a contract concerts, musical soirees and other concerts (see Reper- drawn up when the couple got married that transferred toire). She received a second contract for the following ownership of all the singer’s assets and half of her Dres- summer season 1833, and in 1837 she accepted a third den pension to him (Wolzogen, p. 317). When the couple engagement at Drury Lane Theatre in London. This time divorced in February 1848, von Döring successfully sued she replaced singer Maria Malibran who had unexpected- for the contractually warranted assets. ly died on 23rd September 1836 (Wolzogen, p. 259). Wil- Two years passed before Wilhelmine Schröder-Devrient helmine Schröder-Devrient also gave guest performan- married for the third and last time in March 1850. The ces in Pest, Brno, Vienna, Breslau and Prague in marriage with Livonian Baron von Bock lasted for the 1835/36. In the 1840s she also thrilled the cities of Zu- rest of her life. rich, Danzig, Königsberg, Riga, Stettin, Posen, Copenha- gen and Saint Petersburg (Wolzogen, p. 314-317).

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At the beginning of May 1849 Wilhelmine Schröder-Dev- In Dresden between 1833 and 1835, Wilhelmine Schrö- rient witnessed the political unrests and riots in Dresden der-Devrient played a character that should gain great (Wolzogen, p. 324). The singer left the city to escape furt- personal significance for her; Romeo from Bellini’s “I her unrest. When she returned to the city in 1851 with Montecchi e i Capuleti“. The dramatic singer considered her husband von Bock she was arrested. She was accused this her best role and wrote the following about it: “Die of having participated in the May unrests, however, the größte Schwierigkeit für die Darstellung dieser Rolle city of Dresden refrained from further legal steps and the liegt darin, daß sie für eine Frau geschrieben wurde; die lawsuit against the singer was dropped. No significant re- Künstlerin hat daher die ungeheuere Aufgabe, ihr Ge- search results are available about these events to date. schlecht vergessen zu machen und in Haltung, Bewe- Wilhelmine Schröder-Devrient performed in operas and gung, Stellung einen feurigen, von der ersten Liebesglut concerts up to the 1850s before retiring from stage for durchdrungenen Jüngling darzustellen. Nichts darf ihr good. She sang one more time on 6th March 1859 - pro- Geschlecht verrathen, soll die ganze Situation nicht lä- bably her last performance - in a Leipzig concert. A mon- cherlich werden. Sie muß gehen, stehen, hinknien wie th later she collapsed in Dresden. Five months before her ein Mann; sie muß den Degen ziehen und sich zum death Wilhelmine Schröder-Devrient moved to Coburg, Kampf anstellen wie ein guter Fechter, und vor allen Din- where she was cared for by her sister Auguste Schlön- gen muß alles Weibische aus ihrem Costüm verbannt bach. She died 26th January 1860 and was initially bu- sein. Keine zierlichen Locken, kein eingezwängter Fuß, ried in Coburg; her husband later had her body re-inter- keine schöne Taille! Das Hutaufsetzen und Abnehmen, red in Dresden - this was Wilhelmine Schröder-Devri- das Handschuh-Aus- und Anziehen ist nicht minder ent’s written will. She is buried there in the Trinitatis ce- wichtig.“ (“The greatest difficulty of this role is that it is metery. written for a woman; the artist’s tremendous challenge is Appreciation to make the audience forget her sex and in posture, move- ment, bearing represent a fiery youth, infused with his fir- Wilhelmine Schröder-Devrient was the first and most in- st love’s passions. Nothing must betray her sex lest the si- fluential dramatic singer of the 19th century. She was fa- tuation becomes ridiculous. She has to walk, stand, knee mous for her convincing acting performances and was re- like a man; she has to draw a rapier and mimic a good ferred to as a singing tragic actress. Her performances fencer in battle, and above all anything feminine must be impressed remarkable intimacy. The art of musical ac- banned from her costume. No delicate locks, no constrai- ting made famous by her opened a new direction for dra- ned foot, no beautiful waist! Putting on and taking off matic music theatre and built the genre. “Wilhelmine ist one’s hat and glove are no less important.” Glümer p. als eine der größten deutschen Singschauspielerinnen, 89-90, Wolzogen p. 227) als die deutsche Gesangstragödin schlechthin, in die Ge- schichte der theatralischen Künste eingegangen. In ihrer wahrhaft gotterfüllten Leidenschaft schmelzen mehrere The world premieres of Richard Wagner’s “Tannhäuser“, Zeitalter der Bühnenkunst zusammen, sie bildet die le- “Der fliegende Holländer” (“The Flying Dutchman”) and bendige Brücke zwischen Weber und Wagner, sie ist das “Rienzi“ at Dresden Hofoper (court opera) in the 1840s Medium zweier Genie-Epochen“. (“Wilhelmine made were central events in opera history (see Recognition); theatre history as one of the greatest German singer-ac- Wilhelmine Schröder-Devrient sang the operas’ leading tresses; the German singing tragic actress par excellence. roles respectively. Her truly god-filled passion merges multiple eras of sta- In addition to her continued performances at Dresden’s ge art, she builds living bridges between Weber and Wag- opera Wilhelmine Schröder-Devrient sang the soprano ner, she is the medium of two genius-epochs.” Schnoor, part in Felix Mendelssohn Bartholdy’s oratorio “Paulus“ Dresden. Vierhundert Jahre deutsche Musikkultur, p. on 16th March 1843 at personal request of the composer 161). (see Recognition). In 1844 she increasingly sang songs Wilhelmine Schröder-Devrient was highly regarded by by Robert and Clara Schumann; the former dedicated numerous contemporary musicians and composers. the song cycle “The Poet’s Love” (Dichterliebe) op. 48 to Carl Maria von Weber was deeply impressed by her sin- her. ging. After the “Der Freischütz“ performance on 7th May 1822 in Dresden he said about the dramatic singer she

– 3 – Schröder-Devrient, Wilhelmine was the world’s first Agathe and had surpassed everyt- Frauenzimmer“/“the most amusing, most amazing da- hing that he thought he had written into this role (Wolzo- me” after one of these meetings (Hensel, Die Familie gen 1863, p. 43). The Dresden premiere of his opera “Eu- Mendelssohn, Band 2, p. 283). ryanthe” on 31st March 1824 also became a great success Wilhelmine Schröder-Devrient most important influence because of the singer, Weber noted this enthusiastically on the development of German opera probably happen- in his diary (printed in Schnoor, p. 166). ed through her work with Richard Wagner. He was signi- Ludwig van Beethoven experienced Wilhelmine Schrö- ficantly inspired by dramatic singing and composed the der-Devrient during a performance of “Fidelio“ on 9th leading roles in “Rienzi“ (WP, Dresden, 20th October November 1822 (Wolzogen 1863, p. 52-60). Beethoven 1842), “Der fliegende Holländer“ (WP, Dresden, 2nd Ja- was so impressed with her performance that he suppo- nuary 1843), and “Tannhäuser“ (WP, Dresden, 19th Octo- sedly promised to write an opera for her - a project never ber 1845) for her. She was the one who according to Wag- realised (Glümer 1885, p. 28; Wolzogen 1863, p. 60). ner “meinem künstlerischen Gefühle plötzlich eine neue Johann Wolfgang von Goethe had opportunity to listen und für das ganze Leben entscheidende Richtung gab“ / to the singer in 1830 when she travelled through Wei- “gave my artistic feelings a new and life altering directi- mar. She sang ’s “Erlkönig“ for him. High- on.” (Richard Wagner, Mein Leben, 1963, p. 48f.). Wag- ly satisfied with the performance, the poet thanked the ner’s autobiography notes that he saw Wilhelmine Schrö- singer by writing a poem into her album and appreciati- der-Devrient in Beethoven’s “Fidelio“. He described this ve words of thanks (Wolzogen, p. 146). initiation experience as follows: “Wenn ich auf mein gan- Robert and Clara Schumann also admired the singer. zes Leben zurückblicke, finde ich kaum ein Ereignis, wel- They knew each other personally. Robert Schumann’s ches ich diesem einen in betreff seiner Einwirkung auf diary notes testify to the friendly relationship between mich an die Seite stellen könnte. Wer sich der wunderba- the musicians (Robert Schumann, Tagebücher, Band III, ren Frau aus dieser Periode ihres Lebens erinnert, muß 1 und 2). In addition to this Robert Schumann dedicated in irgendeiner Weise die fast dämonische Wärme bezeu- the song cycle “The Poet’s Love” (Dichterliebe) op. 48 to gen können, welche die so menschlich-ekstatische Leis- the singer (Schumann-Forschungen 4, p. 34). tung dieser unvergleichlichen Künstlerin notwendig über Felix Mendelssohn Bartholdy was also very taken with ihn ausströmte.“ (“When I look back upon my entire life the dramatic singer. In a letter dated 2nd March 1843 he I hardly find an event that compares with this one with personally requested her to sing his “Paulus“: „Es liegt regards to its influence on me. Whoever remembers this mir so viel daran, es thäte mir so leid, wenn Sie gerade wonderful woman at this period of her life has to, one dann abwesend wären und nicht mitwirkten, daß ich way or another, attest to the almost demonic warmth nicht unterlassen kann, Ihnen diese meine dringende Bit- that the so humanly-ecstatic achievement of this unique te auszusprechen […]“ (“It is very important to me, I artist wrapped around him.” Wagner, Mein Leben, p. would be so sorry if you happened to be absent then and 49). were unable to take part, that I could not refrain from voi- In his documentary biography, Wagner’s biographer cing my urgent request to you […]“ Glümer, p. 141f., Wol- Egon Voss raises the question if Wagner’s initiation expe- zogen, p. 277f. – dated incorrectly as 1845). rience was indeed based on a “Fidelio” performance: “Al- Wilhelmine Schröder-Devrient granted his request. In le erhaltenen Zeugnisse sprechen vielmehr dafür, daß je- another letter to Ferdinand David from Berlin dated 1st nes Schlüsselerlebnis die Aufführung von Bellinis Romeo- February 1844 Mendelssohn expresses his admiration und-Julia-Oper ,I Capuleti e i Montecchi‘ im März 1834 for the singer as follows: “Die Devrient hat vorgestern in mit Wilhelmine Schröder-Devrient in der Rolle des Ro- Romeo wieder furore gemacht.“ (“Devrient caused a sen- meo war […].“ (“All the remaining sources indicate that sation yet again in Romeo the day before yesterday.” Rot- this key event was actually a performance of Bellini’s Ro- he / Szeskus, Felix Mendelssohn Bartholdy Briefe, p. meo-and-Juliet-opera ,I Capuleti e i Montecchi’ in March 194). 1834 with Wilhelmine Schröder-Devrient as Romeo […]“ Sebastian Hensel’s publication “Die Familie Mendels- Voss, Wagner Dokumentarbiografie, p. 8). sohn“ (“The Mendelssohn Family”) attests to the fact Regardless of whether Wagner first saw the singer in “Fi- that Wilhelmine Schröder-Devrient was a frequent guest delio” or “I Capuleti e i Montecchi“ - Wilhelmine Schrö- of the Mendelssohn family. Fanny [Mendelssohn] Hen- der-Devrient’s performance was in any case of the grea- sel reportedly called the singer “das amüsanteste, tollste test importance to the composer’s future career. Richard

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Wagner’s admiration for the singer shows in his letters Reception and documents as well as pictures of her, which can be found at Villa Wahnfried. Wilhelmine Schröder-Devrient was recognised as one of In a letter to Ferdinand Heine dated 18th March 1841, the most important dramatic singers during her own life- prior to finishing his opera “Rienzi”, Wagner writes: time. She caused a sensation everywhere she performed. “Daß Mad: Devrient sich für meine Oper interessirt, ist je- She was a pioneer of dramatic singing and was known as denfalls von der unermeßlichsten Wichtigkeit, denn in the singing tragic actress. Numerous reviews and magazi- diesem Umstande allein beruht die glücklichste Chance ne articles were published during Wilhelmine Schröder- für das Reüssiren meines Vorhabens. Fährt sie fort und Devrient’s lifetime. Only part of the documents have so überläßt sich mit Theilnahme meinen schwachen Inspira- far been reviewed to portray her life. Several of her con- tionen, so werde ich der großen Frau mein Alles zu ver- temporaries were greatly inspired by Wilhelmine Schrö- danken haben. […]“ (“That the dame Devrient is interes- der-Devrient. Richard Wagner as well as Clara and Ro- ted in my opera is of unmeasurable importance, because bert Schumann are probably the most well known this fact alone is the luckiest chance for the success of my amongst them (see Recognition). Many artists portrayed enterprise. If she continues and takes part in my weak in- the singer during her lifetime, among them Wilhelm Hen- spirations I will owe my everything to this great woman. sel. One of the pencil drawings of the singer bears the de- […]“ Richard Wagner, Sämtliche Briefe, Band 1, p. 457). dication: “Die Musik ist das einzige Talent, welches für si- After the world premiere of “Rienzi” Wagner wrote a let- ch besteht. – alle anderen verlangen Zeugen. Berlin d 31. ter to Eduard and Cäcilie Avenarius, dated 21st October März 1844.“ / “Music is the only talent that can stand on 1842: “Es wäre mir lieber, ihr erführet es von einem An- its own. - all others require witnesses. Berlin 31st March deren, - denn ich muß Euch sagen, - daß noch nie, wie 1844.” (Hensel, Preußische Bildnisse, p. 101). According mir Alle versichern, in Dresden zum ersten Male eine to Eduard Devrient’s memories Carl Joseph Begas also Oper mit solchem Enthusiasmus aufgenommen worden portrayed the singer: “Begas’ Porträt von der Schröder- ist, als mein Rienzi. Es war eine Aufregung, eine Revoluti- Devrient ist ein Meisterwerk. Wie hat er die ganze Ge- on durch die ganze Stadt; […] die Devrient – Alles – Al- schichte des Weibes in der schönsten Weise auf dies Ge- les in einer Vollendung, wie man es hier noch nie erlebt. sicht geprägt“ / “Begas’ portrait of Schröder-Devrient is Triumph! Triumph!“ (“I would prefer you heard this a master piece. How he managed to impress the dame’s from somebody else - because I have to tell you - that as entire history in such beautiful manner onto this face” all assure me, never has an opera premiere in Dresden (Eduard Devrient, Erinnerungen, Band 1, p. 444). There met with such enthusiasm as my Rienzi. There was excite- also were composers and authors in the 20th century ment, a revolution, through the entire city; […] the Devri- who commemorated the singer in their work: Ludwig ent - all - all in a perfection never seen before. Triumph! Hartmann composed “Schwanenlied” (“Swan Song”) in Triumph!“ Richard Wagner, Sämtliche Briefe, Band 2, p. 1910 after a hand-written poem by the singer. Her excit- 167-8). ing life inspired numerous writers to create novels about Richard Wagner also dedicated his pamphlet “Über it, among them Hermann Richter (1927), Therese Rie-An- Schauspieler und Sänger“ („About Actors and Singers“) dro (1928) and the Duchess von Baudissin (1937): to Wilhelmine Schröder-Devrient (Richard Wagner, Dich- tungen und Schriften, Band 9, p. 183-263). Baudissin, Gräfin von. Wilhelmine Schröder-Devrient. Furthermore his memoirs “Mein Leben” (“My Life”) (Wa- Der Schicksalsweg einer großen Künstlerin. Roman. Ber- gner, Mein Leben, 1963) report on his artistic relati- lin: Drei Masken 1937. onship with the singer. Moreover, Wagner had the singer embodied in the sgraf- Hartmann, Ludwig. „Schwanenlied“, Opus 4 Nr. 2. Nach fito above the entrance to Haus Wahnfried in a picture of einer Handschrift von Wilhelmine Schröder-Devrient the antique tragedy (Egon Voss, Richard Wagner. Doku- componiert für eine Singstimme mit Begleitung des Pia- mentarbiografie, Abbildungen 216 und 217, Text S. 453; noforte. Zweite, verbesserte u. revidirte Ausgabe mit see also Habel, Festspielhaus, p. 517, 584, 586, 589). A dem Facsimile des Gedichtes. Ausgabe für mittlere Stim- white marble burst of Wilhelmine Schröder-Devrient is me. Dresden: Adolph Brauer, um 1910. Kassel: Bärenrei- located in the great hall of Villa Wahnfried (Habel, Fest- ter Verlag, 1994. spielhaus, p. 537, 600).

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Richter, Hermann. Das wilde Herz. Ein Lebensroman Hamburg, Universität, Zentrum für Theaterforschung der Wilhelmine Schröder-Devrient. Leipzig: Koehler & (Hamburg, University of Hamburg, Zentrum für Theater- Umelang GmbH, 1927. forschung) Hannover, Bibliothek der Hochschule für Musik und Rie-Andro, Therese. Vox Humana. Das Leben einer Sän- Theater (Hannover, Library of the University of Music, gerin. Ebenhausen bei München: Langewiesche Brandt, Drama and Media) 1928. Hannover, Stadtarchiv (Hannover, Stadtarchiv) Heidelberg, Universitätsbibliothek (Heidelberg, Universi- Schumann, Robert und Clara. Liederalbum für Wilhelmi- ty Library) ne Schröder-Devrient. Faksimile der Handschrift, 40 Kiel, Christian-Albrechts-Universität, Literaturwissen- Ms. Mus. 282 aus der Handschriftenabteilung der Lan- schaftliches Institut (Kiel, Christian-Albrechts-Universi- desbibliothek und Murhardschen Bibliothek der Stadt ty, Literaturwissenschaftliches Institut) Kassel (Gesamthochschulbibliothek) herausgegeben für Köln, Historisches Archiv (Cologne, Historical Archive) die Kasseler Musiktage von Angelika Horstmann. Köln, Universität, Institut für Theater-, Film- und Fern- sehwissenschaft / Theatersammlung (Cologne, Universi- Research ty of Cologne, Institute for Theatre-, Film- and Televisi- There are multiple sources and documents (letters and on Studies / Theatre Collection) manuscripts) about Wilhelmine Schröder-Devrient that Leipzig, Stadtgeschichtliches Museum (Leipzig, Stadtge- have not been extensively researched to date and are scat- schichtliches Museum) tered in various German libraries: München, Bayerische Staatsbibliothek (Munich, Bayeri- Berlin, Freie Universität, Institut für Theaterwissen- sche Staatsbibliothek) schaft (Berlin, Freie Universität, Institute for Theater Stu- New York, The Pierpont Morgan Library (New York, The dies) Pierpont Morgan Library) Berlin, Staatliches Institut für Musikforschung Preußi- Nürnberg, Germanisches Nationalmuseum (Nuremberg, scher Kulturbesitz (Berlin, Staatliches Institut für Musik- Nürnberg, Germanisches Nationalmuseum) forschung Preußischer Kulturbesitz) Weimar, Goethe-Schiller-Archiv (Wilhelmines Stamm- Berlin, Staatsbibliothek, Handschriftenabteilung (Berlin, buch) (Weimar, Goethe and Schiller Archive (Wilhelmi- State Library, Manuscript Section) nes Stammbuch)) Bielefeld, Stadtarchiv und Landesgeschichtliche Biblio- Wolfenbüttel, Herzog-August-Bibliothek (Wolfenbuttel, thek (Bielefeld, Stadtarchiv und Landesgeschichtliche Bi- Herzog-August-Library) bliothek) Bonn, Universitäts- und Landesbibliothek (Bonn, Univer- There are also numerous concert reviews and critiques in sity Library) magazine that would have to be reviewed for a history of Coburg, Kunstsammlungen der Veste Coburg (Coburg, the singer’s reception (see section “Quellen”). Art Collection at castle Veste Coburg) Need for Research Darmstadt, Universitäts- und Landesbibliothek (Darms- tadt, Darmstadt, Universitäts- und Landesbibliothek) It is necessary to conduct a current, extensive and scienti- Dortmund, Stadt- und Landesbibliothek (Dortmund, fic study about Wilhelmine Schröder-Devrient. Her role Stadt- und Landesbibliothek) as a dramatic opera singer has not yet been comprehensi- Dresden, Sächsische Landesbibliothek, Staats – und Uni- vely researched. There is also a need to research her ver- versitätsbibliothek, Handschriftensammlung (Dresden, satile concert activities. A scientific study regarding her Saxon County Library, State and University Library, Ma- reception history and her influence on the European ope- nuscript section) ra scene is also outstanding. The singer’s political tenden- Düsseldorf, Heinrich-Heine-Institut (Dusseldorf, Hein- cies and activities mentioned in Wolzogen and Glümer rich-Heine-Institut, department of manuscripts of the have not been researched yet either. Particularly informa- former Dusseldorf Library) tive and desirable would be a collection and critical editi- Frankfurt am Main, Universitätsbibliothek Johann Chris- on of her correspondence as an important primary sour- tian Senckenberg (Frankfurt upon Main, University Li- ce compilation for opera-, singing- and gender studies; brary Johann Christian Senckenberg) Claire Glümer names various influential correspondents

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such as Carl Gustav Carus, Helmine von Chézy, Lucile Grahn, Theodor Hell, Ferdinand Hiller, Carl von Holtei, Heinrich Laube, Franz Liszt, Felix Mendelssohn Barthol- dy, , Theodor Mosevius, Elise Polko, Gioacchino Rossini, Clara and Robert Schumann, Gaspa- re Spontini, Daniel Stern (pseudonym of countess Marie d’Agoult), Caroline Ungher-Sabatier and many more.

Authority control

Virtual International Authority File (VIAF): http://viaf.org/viaf/71397570 Deutsche Nationalbibliothek (GND): http://d-nb.info/gnd/119056569 Library of Congress (LCCN): http://lccn.loc.gov/n85342496

Author(s)

Juliette Appold, 25. September 2008

Editing status

Editorial staff: Regina Back First edit 07/10/2008 Last edit 25/04/2018

mugi.hfmt-hamburg.de Forschungsprojekt an der Hochschule für Musik und Theater Hamburg Projektleitung: Prof. Dr. Beatrix Borchard Harvestehuder Weg 12 D – 20148 Hamburg

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