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Liza Lehmann Gemein- Sam Mit Ihren Eltern in Italien, Bevor Die Familie 1867 Nach London Zurückkehrte

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Liza Lehmann Gemein- Sam Mit Ihren Eltern in Italien, Bevor Die Familie 1867 Nach London Zurückkehrte Lehmann, Liza derations.“ „Dieses Album belegt den bemerkenswerten musikali- schen Geschmack und die Fähigkeiten der Komponistin. Sie ist bereits weithin als hervorragende Sängerin be- kannt, aber diese Lieder zeigen, dass ihr musikalisches Können noch weit über ihre interpretatorischen Fähigkei- ten, hinausgeht. Die Texte stammen aus unterschiedli- chen Quellen, und die musikalische Verarbeitung ist in al- len Fällen durch und durch künstlerisch und voller Ausd- ruck. Die Begleitungen sind gut geschrieben, und die Sammlung wird von jenen hoch gelobt, die in voller Brei- te den Wert von Liedern zu schätzen wissen, die für höhe- re Zwecke als kommerzielle geschrieben wurden.“ („The Musical Times“ am 1. August 1889 [S. 490] über Li- za Lehmanns erstes Kompositions-Album) Orte und Länder Die ersten fünf Lebensjahre lebte Liza Lehmann gemein- sam mit ihren Eltern in Italien, bevor die Familie 1867 nach London zurückkehrte. Später bereiste sie mit ihnen Italien, Deutschland und Südfrankreich und erhielt auf diesen Reisen für jeweils kürzere Zeit Kompositionsun- terricht in Rom und Wiesbaden. Liza Lehmann konzer- Liza Lehmann. Fotografie (London, D. & W. Downey, o. tierte vorwiegend in Großbritannien und einige wenige J.) Male in Deutschland. 1910 und 1911 unternahm sie zwei Tourneen durch die USA. Liza Lehmann Gemeinsam mit ihrem Mann lebte sie 1913 in der War- Ehename: Liza Elisabetha Bedfort wick Avenue im Londoner Stadtteil Paddington, 1918 wohnte das Ehepaar in Hatch End, einem nordwestli- * 11. Juli 1862 in London, England chen Stadtteil von London. † 19. September 1918 in Hatch End (London), Biografie Konzertsängerin (Sopranistin), Komponistin, Pianistin, Liza Lehmann wurde als Elisabetha Nina Mary Frederica Konzertveranstalterin Lehmann am 11. Juli 1862 in London in eine Musiker- und Künstlerfamilie geboren. Ihre Mutter, Amelia Leh- „This Album gives evidence of considerable musical taste mann (geb. Chambers, 1820-1904), war Sängerin und and ability on the part of the composer. She is already Musiklehrerin, die unter den Initialen „A. L.“ zahlreiche most favourably known as an accomplished vocalist, but Kompositionen veröffentlichte. Der Vater, (Wilhelm Au- these songs show that her musicianship reste upon a fir- gustus) Rudolf Lehmann (1819-1905), war ein aus Deut- mer foundation than the power to interpret melodious schland stammender Maler. Gemeinsam mit ihren El- thoughts in an intelligent fashion. The words are from va- tern verbrachte Liza Lehmann die ersten fünf Lebensjah- rious sources, and the musical treatment is in all cases re in Rom und Sorrento, bevor die Familie 1867 nach thoroughly artistic and full of expression. The accompani- London zurückkehrte. Liza Lehmann war die älteste von ments are well written, and the collection is one that is li- insgesamt vier Töchtern: nach ihr wurden Marianna, kely to be highly prized by those who appreciate to the Amelia und Alma Lehmann geboren (vgl. Lehmann 1919, fullest extent the value of songs written for higher purpo- S. 15f.). ses than those which are influenced by commercial consi- – 1 – Lehmann, Liza Als Kind erhielt Liza Lehmann Klavierunterricht und be- impression. The voice is not strong, but of sympathetic gann bereits zu dieser Zeit Lieder zu komponieren (Leh- quality, which further study will improve. [...] Miss Leh- mann 1919, S. 23). In den folgenden Jahren wurde sie pri- mann is an intelligent artist, who evidently knows where vat von verschiedenen Lehrerinnen und Lehrern in Ges- her strength and where her weakness lie. This was suffici- ang und Komposition ausgebildet (konkrete Jahreszah- ently shown by the choice of her songs, all of which de- len ihres Studiums fehlen bislang): Den ersten Gesangs- pended on simplicity and truth of expression rather than unterricht erhielt Liza Lehmann von ihrer Mutter und on power or brilliancy of voice.“ („Die Sängerin des Kon- kam anschließend als Privatschülerin in die Klasse von zertes war eine Debütantin, Miss Liza Lehmann, die ei- Jenny Lind, die eine Professur am Royal College of Mu- nen positiven Eindruck machte. Die Stimme ist nicht sic in London innehatte. In ihren Memoiren schrieb Liza kräftig, aber angenehm, was sich bei weiterem Studium Lehmann darüber: „Madame Goldschmidt [Jenny Lind] noch verbessern wird. [...] Miss Lehmann ist eine intelli- said that my mother had done so well with me that, whi- gente Künstlerin, die selbstverständlich weiß, wo ihre le she would not like to take me away from her, she Stärken und Schwächen liegen. Dies zeigte sich ausrei- would like to help me; and that I could always be present chend in der Wahl ihrer Lieder, die alle ihre Wirkung at her classes when I was in London. […] These classes eher durch Schlichtheit und Wahrheit im Ausdruck er- were, of course, of supreme interest to a student of sin- zielten als durch Kraft und Brillanz der Stimme.“; „The ging” („Madame Goldschmidt [Jenny Lind] sagte, meine Times“ vom 25. November 1885, S. 17) Als anlässlich des Mutter habe mich so gut ausgebildet, dass sie mich nicht Besuches von Franz Liszt in London im April 1886 meh- von ihr wegbringen, aber mir helfen wolle; und dass ich rere Konzerte mit seinen Werken gegeben wurden, trat jederzeit bei ihrem Unterricht dabei sein könne, wenn auch Liza Lehmann auf. Sie sang sowohl in einem Kon- ich in London sei. [...] Diese Unterrichtsstunden waren zert in der St. James’s Hall unter der Leitung von Alberto natürlich für eine Gesangsstudentin von allerhöchstem Randegger als auch beim Liszt-Konzert am 10. April Interesse“; Lehmann 1919, S. 32). Während eines weite- 1886 im Crystal Palace unter der Leitung von August ren Aufenthaltes der Familie in Rom wurde Liza Leh- Manns die Ballade „Die Lorelei“ sowie die Lieder „Es mann von dem dänischen Komponisten Niels Ravnkilde muss ein Wunderbares sein“ und „Angiolin dal bione in Komposition unterrichtet, im darauffolgenden Jahr er- crin“ (vgl. „The Musical Times“ vom 1. Mai 1886, S. hielt sie auch Kompositionsunterricht von Wilhelm Freu- 257f.; vgl. auch „The Times“ vom 12. April 1886, S. 8). denberg in Wiesbaden (vgl. Lehmann 1919, S. 40). Zu- Ebenfalls im April 1886, sang Liza Lehmann wiederum rück in London, setzte Liza Lehmann ihr Gesangsstudi- in den Monday Popular Concerts ein italienisches und um bei Alberto Randegger fort, um bei ihm die Grundla- französisches Volkslied. An dem Konzert nahmen außer- gen des italienischen Belcanto zu erlernen. Sowohl ihre dem der Geiger Joseph Joachim, die Pianistinnen Clara Mutter als auch Alberto Randegger blieben während der Schumann und Agnes Zimmermann, der Pianist Max gesamten folgenden Zeit als Sängerin ihre Lehrer und Pauer und der Violoncellist Alfredo Piatti teil (vgl. „The Mentoren. London Times“ vom 20. April 1886, S. 10). Auch bei ei- nem ihrer nächsten Auftritte im November 1886 trat sie Am 23. November 1885, mit 23 Jahren, debütierte Liza gemeinsam mit der Geigerin Wilma Neruda, Alfredo Piat- Lehmann in den „Monday Popular Concerts“ in London ti und der Pianistin Fanny Davies auf. Obwohl sie ledigli- und konnte sich innerhalb kürzester Zeit als Konzert- ch zwei Lieder vortrug, wurde ihr Beitrag in der Konzert- und Oratoriensängerin im britischen Musikleben etablie- rezension eigens gewürdigt: „From the remainder of the ren. Ihre klare und schlanke Sopranstimme löste von Be- programme it must suffice to single out Mozart’s piano- ginn an Begeisterung aus, zumal sie sich zunächst auf forte trio in G major [...], and the dainty and intelligent Volkslieder und ältere englische Songs konzentrierte. Be- rendering of two French songs by Miss Liza Lehmann.“ reits in ihrem ersten öffentlichen Konzert trat sie gemein- („Vom Rest des Programms muss es genügen das Klavier- sam mit Wilma Neruda, Franz Neruda und Max Pauer trio G-Dur von Mozart [...] und die anmutige und kluge auf. Sie sang dabei zwei deutsche und französische Lie- Wiedergabe zweier französischer Lieder durch Miss Liza der und wurde von der Pianistin und Komponistin Mary Lehmann hervorzuheben.“; „The Times“ vom 29. Novem- Wurm am Klavier begleitet. Die „Times London“ schrieb ber 1886, S. 10) über das Konzert: „The vocalist of the concert was a débu- tante, Miss Liza Lehmann, who produced a favourable In den folgenden Jahren konzertierte Liza Lehmann als – 2 – Lehmann, Liza herausragende Konzert- und Oratoriensängerin in Großb- schwierigen Position gewachsen, in die sie durch eine sol- ritannien und teilweise auch in Deutschland. Das Zen- che Begleiterin gestellt wurde. Ihre Art zu singen verbin- trum ihres Repertoires blieben englische, deutsche und det die Feinheit der Kunst mit der Einfachheit des natür- französische Volkslieder in zeitgenössischen Bearbeitun- lichen Fühlens, und es ist schwierig zu sagen, welche der gen und ältere britische Songs, die sie teilweise selbst im beiden Eigenschaften für eine perfekte Interpretation British Museum ausfindig machte; zudem standen selbst von Schumanns gefühlvoller musikalischer Lyrik hilfrei- komponierte Lieder und Liedbearbeitungen auf ihren cher ist.“; „The Times“ vom 17. März 1888, S. 4) Spätes- Programmen. Im Oktober 1887 sang Liza Lehmann auf tens im Frühjahr 1888 war Liza Lehmann fest in den dem Norwich Musical Festival die Sopranpartie in Camil- Kreis der Monday Popular Concerts um Joseph Joachim, le Saint-Saëns Vertonung des 19. Psalms und begeisterte Clara Schumann u. a. eingebunden. Dies zeigt auch eine das Publikum : „[...] the vocal honours of the performan- Rezension des letzten Konzerts der Saison: „As usual, the ce fell to Miss Liza Lehmann, who in the lovely soprano
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