Lotte Lehmann Foundation Newsletters

TWO LEHMANN BOOKS FORTHCOMING

Recent releases of Lehmann CDs and even a masterclass
video demonstrate the ongoing interest in Lehmann’s life and legacy. Now, two new books on Lehmann are in preparation.

The first, placing Lehmann in her social and political sphere, is being researched and written by Dr. Michael Kater, author of such recent books as The Twisted Muse and Composers of the Nazi Era: Eight Portraits. Dr. Kater, a social historian of the political culture of modern Germany, with an emphasis on the Weimar Republic and the Third Reich, explains his objectives: “…in the last 15 years I have become more interested in the relationship between music, society and politics… [regarding his interest in LL]…to get to the bottom of such a rare phenomenon as she represented. And I want to write about her ‘times’ as well.” A respected history professor at Toronto’s York University, Dr. Kater received a major grant from the Social Sciences and Humanities Research Council of Canada, which relieves him of teaching duties and allows him to concentrate on the Lehmann book.

He is most interested in the political and social aspects of Lehmann’s life. This is not limited to the Nazi period; she sang in both Hamburg and Vienna during World War I. After 1941 she sang as an “enemy alien” throughout the US during World War II. During this time she continued to sing German opera and Lieder and performed benefit recitals for a wide range of musical, social, and war-related causes, including the Red Cross, British War Relief and even for American G.I.’s.
If you have any information or contacts that might help Dr. Kater in his research, you may reach him at: mkater@yorku.ca

The second pending book is part of the series called Great Voices, developed by Baskerville Publishers. Previous books in the series memorialized such famous singers as Corelli, Ruffo, Schipa, Simionato and Tebaldi. The core of the Lehmann volume will be an expanded edition of Beaumont Glass’s Lehmann biography; new material by various writers will cover aspects of Lehmann, the woman, and Lehmann, the teacher and driving force at the Music Academy of the West in Santa Barbara, California. This worthwhile book will include extensive photos, an updated discography and, for the first time, a chronology of Lehmann’s opera and recital appearances. As with others in the Great Voices series, a CD of Lehmann singing will accompany the text, and possibly a CD-ROM showing her teaching and singing.

Lehmann Foundation President Gary Hickling was asked to edit the book, update the discography and compile the chronology. Any input you may have would be of great value: memories of Lehmann’s performances, anecdotes, and other historic and musical connections are of immense use and would receive credit in the book. Chronologies are almost impossible to “complete,” but your assistance in locating obscure opera, concert and recital programs will definitely help make the Lehmann Chronology as comprehensive as feasible. Send information and photocopies to the Lehmann Foundation at: 111 Hekili St., Suite 323, Kailua, HI 96734, USA.

ARNBOM BOOK ON VIENNESE FAMILIES

In the last Lehmann Newsletter we mentioned that Marie-Theres Arnbom was writing a book on five families of Austria. Lehmann’s husband Otto Krause had been previously married to a member of one of these families, the Gutmanns. “Friedmann, Gutmann, Lieben, Mandl und Strakosch: Fünf Familienporträts aus Wien vor 1938,” published by Böhlau, Vienna, is now available (in German only) from German Amazon.com. Though Otto’s marriage to Lehmann is covered, the book mainly focuses on the effect on Austrian history of these families who were important bankers, politicians, artists, scientists and inventors.

LEHMANN’S SINGING SCRUTINIZED BY SCIENCE

Kenneth Smith, a master of music student at King’s College in London, has written an essay on the style and development of Lehmann’s unique voice. He describes his motivation: “… I heard her sing ‘An die Musik’ and later when one of my colleagues tried to mimic Lehmann’s performance during a seminar I decided to listen to many more of her wonderful performances of Schubert songs. I tried to define exactly what makes her voice sound so special; how it was different from her contemporaries and how it changed through her career. My essay takes specific examples from Lehmann’s recorded oeuvre and analyzes, using standard computer software packages, many of the minute details which add up to create ‘the Lehmann style.’”

Mr. Smith’s analysis is available on the internet, as are graphs of Lehmann’s vibrato, portamento, etc., and the audio samples he refers to. Even those without technological expertise will find Smith’s work fascinating, as he provides unique and useful perspectives on the vocal components that make Lehmann’s singing so successful. His web page can be found at: www.hackneyken.fsnet.co.uk/schubert/index.htm

NEW LOOK FOR FOUNDATION HOME PAGE

Webmeister Ryan Hunt has redesigned the Lehmann Website home page to streamline access to the most visited areas of the site. Improvements include the addition of our Advisors list with links to their biographies and samples of their singing. Presentation of the latest Foundation news on the home page is a further enhancement.

We are proud to report on the many visitors who browse our site and send us questions, suggestions and tips. Because of our active, generous cyber audience, we have acquired Lehmann photos, articles from antique magazines, 78 rpm recordings and information about upcoming art song performances. Many thanks to all of you!

So far this year we have hosted over 32,000 visitors to the combined Song! and Lehmann sites. Improved traffic monitoring now provides us with the number of individuals visiting the site, a more valuable indication of activity than “hits”which we previously used.

COMMEMORATING CUÉNOD

In celebration of his 100th birthday, and to acknowledge his contributions to the world of song as performer and teacher, the Lotte Lehmann Foundation awarded the 2002 World of Song Award to legendary tenor Hugues Cuénod. You can view a copy of the award, designed by prominent New York calligrapher Denis Lund, on the Cuénod page of the Advisors section on the Lehmann Website home page. A Great Songs program on Cuénod that includes a telephone interview from his 99th year can be accessed in the same way.

In the August 2002 edition of Grammophone magazine, John Steane wrote a wonderful tribute to Cuénod: “He is, for a start, once-seen-never-forgotten, whether as singer, stage-presence or human being. Perhaps it is remarkable that, with all the great singers of the century in mind, he still finds a place en cette parade. He always protested that the reason he kept his voice for so long was that he had no voice to lose. This isn’t true: his voice was distinctive and could be beautiful, but it was certainly not a ‘great’ one.”

This past June, tenor and author Damien Top (another Foundation Advisor), was a guest at the centennial celebration in Cuénod’s home city of Vevey, Switzerland. He describes the event:
"A nice evening indeed...Lots of archival films were projected on a large screen. Two music critics told Hugues’ life and he added witty and funny anecdotes. Of course he was really far better than the others.

"There were two prerecorded messages on the screen: one by Hugues Gall, the other one by Barbara Hendricks: she spoke about the time Cuénod gave masterclasses on Debussy at Juilliard. She sang “Jet d’eau”. He asked her to sing again. Hugues says it’s because she was so perfect that he had to use up time and find something wrong to tell her, but actually he found nothing!

"After the show, there was a big reception and buffet on stage. Hugues was very happy, he spoke with everybody and had no time to eat or rest!! He even imparted to me “Please stay tomorrow and come to my house: we’ll do music.” Unfortunately I had to go back to Paris...but for sure I will go back again to Vevey ASAP.

"His hearing is ok, (only little difficulties from time to time). His memory is incredible (better than the journalists presenting the show, who were supposed to know their prepared speech by heart). He is not singing anymore, neither is he teaching. But he always enjoys receiving friends and speaking about music, having a good dinner and a nice glass of wine."

ART SONG CONTEST BOASTS NED ROREM SONG WORLD PREMIER

The Sixth Annual Art Song Contest winners recital took place in Hawaii in September 2002. The winners were chosen from contestant recordings from Hilo and Kona on the Big Island of Hawaii, as well as Maui and Honolulu. The Neighbor Island recordings were made possible by a grant from the Orvis Foundation, which has generously extended their help for next year, when we plan to also record the fine classical singers of Kauai.

When the Lehmann Foundation commissioned Ned Rorem to write CyberSing’s required song, “I Never Knew,” Foundation Advisor Frederica von Stade found the song so attractive that she planned to sing its world premier on her Spring Tour 2002. Unfortunately, she became ill and had to cancel many of her recitals. This allowed Amber Naramore, one of this year’s Art Song Contest winners, the unique opportunity to sing the first public recital of “I Never Knew.” Her performance of the song may be heard, along with the singing of the other recital winners, on our Song! website: http://english.art-song.net/contest

This year’s local Art Song Contest winners recital was videotaped and recorded. Excerpts from the recording can be heard on the Great Songs program to be broadcast in Hawaii on Sunday, 29 December 2002, at 7:00 pm on KHPR, KKUA and KANO.

We are proud of the many Art Song Contest singers who continue to enjoy professional success after their winning performances. Amber Naramore is one of the thirteen CyberSing 2002 semifinalists. A winner of the local contest in 2000, bass baritone Quinn Kelsey recently sang in the rigorous 11-week Merola summer training program with the San Francisco Opera. Bass Jordan Shanahan, a winner from 2001, has just started a contract as resident artist with the Orlando Opera, Florida. He recently wrote us that “They do a concert series here and I can do as many recitals as I can learn music for (on top of the three major roles I've got to learn). I'll probably do a few, but linking people to the Lehmann Website always seems to get me a recital gig when I want one.”

CYBERSING CONTEST A SUCCESS

Achieving its global goals, CyberSing 2002 received entries from around the world; singers and their pianists sent recordings of their performances of art song from such disparate countries as New Zealand and Zimbabwe. Foundation Advisors chose the semifinalists, who can be heard on our Website throughout the month of October.

We invite you to join in the judging: there is a polling feature that allows web-browsers to vote for their favorite. Contestants are anonymous; there is a list of the composers and song titles. The “Audience Choice” will receive a cash prize. All you need to do is check off your favorite. You may find it useful to refer to the list that our Advisor judges employ:

•Music: vocal ability, basic sound, breath control, range, intonation, rhythm, dynamics, etc.

•Words: diction, language ability, relating to or identifying with the meaning of the words and using a tempo that relates to the words;

•Presentation: interpretation, story-telling ability, projection of personality and charisma, character, joy of singing and performing;

In December, CyberSing winners will be announced via the Lehmann Website; photos and short biographies will be posted along with their recordings. Prizes include: Best Overall Performance ($1,000); Lotte Lehmann Prize for a Lied Performance ($750); Best Mélodie Performance ($750);
Required Song ($500); The Jan de Gaetani Prize for the Best American Song Performance ($500); The Dalton Baldwin Prize for the Best Collaborative Pianist ($500); The Best Vocal/Piano Duo ($500).

SUPRA TITLES REPORT

Song recitalist and teacher Maria Nockin has written an article on the use of projected translations for song recitalists, which appears in the October issue of Classical Singer magazine. She consulted with the Marilyn Horne Foundation, which now uses “super titles” for all of their recitals. Ms. Nockin also contacted Celeste Montemarano of New York City Opera, who does titles for the Horne Foundation; she gave her expert information on how to get titles up and running. The Lehmann Foundation provided Ms. Nockin with information about our use of projections, now in the third season of implementation, including samples of enthusiastic audience feedback. Our unique, portable design, customized for the touring recitalist, includes a screen which rolls up, a lap-top computer and a small digital projector.

FOUNDATION SPONSORS SALTERS RECITAL

When renowned baritone Stephen Salters noticed a break in his August/September schedule, he contacted the Lehmann Foundation to determine if there was a chance for him to teach and sing in Hilo on the Big Island of Hawaii, where he had been so successful teaching in 2000 and 2001. Working with Gerdine Markus, who heads her own music school in Hilo, we sponsored Mr. Salters in a recital, which was followed by a masterclass, many private lessons and a student recital. A total of 21(!) singers, some in special coaching sessions, studied with him over the course of two weeks. His pianist, Juilliard-trained Wilson Southerland, not only accompanied Salters in performance, but worked with the students in the teaching sessions as well.

Mr. Salters has won first place prizes in the Queen Elisabeth, Naumburg, Leontine Price and Puccini-Licia Albanese competitions. He performs opera and recitals throughout the US and Europe and recently sang at Alice Tully Hall, Lincoln Center, to outstanding reviews.

A 1938 radio interview of Lehmann in Australia…historic Musical America and Etude magazine articles by and about her…memories of her performances…new Lehmann books…several stimulating months, brimming with Lehmania. A close friend of Mme. Lehmann, Dr. Herman Schornstein, recently reminisced that in their conversations she rarely spoke of death—but “once mentioned her concern that she would be forgotten.” Well, these past months alone, would have dissuaded her from such a foolish thought! I wish she could peer over my shoulder as I compile her chronology. She would be able to witness the excited, enthusiastic help I’ve received from researchers all over the world as they unearth obscure performances and email the results to me: a former singer in Chicago; a research librarian in Portland, Oregon; the granddaughter of one of Lehmann’s maids in Vienna; a Berlin fan, now living in Paris, digging up data in both those cities. From Sweden, England, and cities throughout the US, Europe and Australia, reports flow in of the astonishing number of Lehmann appearances - in Hamburg alone she sang over 600 performances! Mme. Lehmann, your legacy is secure and your joy in singing appreciated now, and always.—GH

Dear Friends,

When I was just beginning my singing career I had the opportunity of working with Lotte Lehmann at the Music Academy of the West. It was an important, life-changing encounter. Operatically she directed and coached me in my first Zerbinetta in the wonderful opera Ariadne auf Naxos by Richard Strauss. I was able to participate and audit her classes in Song Interpretation. Not only was her wonderful vocalism still apparent, but above all, the way she was able to impart the textual, feeling tone to the skill of interpretation. And we all became real musicians because of it! Her ability to sing it, impart the knowledge to us AND also to write about the subject has been the fabric of my long, varied performing and teaching career..

These teachings have also served me well throughout my classical recitals, operatic and Broadway career, and equally in the “dubbing” that I did for movie stars.

You see, art song, mélodie, Lieder deserve FAR broader recognition and appreciation. Where would the world be without SONG—of any kind? In my mind this music should be an integral part of music education today—which is indeed in danger of becoming an “Endangered Species.” The Lotte Lehmann Foundation strives to improve this circumstance with educational projects, local and international contests, radio programs, projected translations (supra titles) and a web-site called “Song!” which, among its many contents, provides access to actual art song performance by Foundation Advisors.

The Foundation also acts to preserve and disseminate Lehmann’s legacy. On the Website you can learn about latest Lehmann CDs, videos or books.

You know as well as I, that contest prize money, Webmeister fees, auditorium rentals etc. all involve funding, no matter how active the volunteer effort is. This worthwhile Foundation can continue enriching a widespread audience with its projects with our generous support.

We’ve all bemoaned the state of Music Education in our schools, etc. Now we can DO something about it by joining me in supporting the Lotte Lehmann Foundation’s fundraiser.

Thank you,

ACTIVE LEHMANN LEGACY

• The first volume of Lehmann’s master classes filmed for television in 1961 has been released on video by VAI and can be purchased through <orders@vaimusic.com>. Visually, the quality is probably as good as it originally looked on TV, and Lehmann’s spoken introductions and “demonstrations” are clear; although the sound of the young singers is a bit distorted, this video is still a valuable tool for singers, teachers and certainly, Lehmann fans. Hilde Randolph, who saw Lehmann in Vienna, comments: “How extraordinary to have preserved Lehmann’s interpretation of the ‘Marschallin Monologue’ - it was so vivid I felt I was in the Vienna opera seeing her sitting in front of the mirror...”

• A two-CD set of most of Lehmann’s Columbia recordings is now available on Romophone: 81032-2. There are songs here that were never released on 78 rpm discs and one that was not even published on Lp (Schubert’s Liebesbotschaft). These CDs have been beautifully remastered, and if Lehmann’s vocal flexibility isn’t all that it should be for Die schöne Müllerin, her interpretation is gripping. If this CD isn’t available at your local store, enquire through <norpete@aol.com>.

• Several television programs were recently broadcast in Germany in honor of the 25th anniversary of Lehmann’s death (26 August 1976). One of them included a filmed Lehmann interview from 1969, in which she is lively, candid and charming. We will be placing excerpts from this interview on the Lehmann Website.

• In November 2001 the Lehmann Archives at the University of California Santa Barbara presented an exhibit of photos of Lehmann as well as some of her own artwork from the collection. The Santa Barbara Independent reported the exhibit demonstrated “...her grand life, in photographs that show some greatness gone from our contemporary air.”

• Research by Michele Smith of the New York Philharmonic Archives revealed that Lehmann performed with the Philharmonic six times from 1933 to 1937; some performances were in Carnegie Hall and with such famous conductors as Bruno Walter, Artur Rodzinski, and Otto Klemperer. The performances of 30 December 1934 and
8 December 1935 were broadcast, but so far no recording has been discovered. Copies of the printed programs are available on this Website.

LEHMANN “FACTS” CLARIFIED

Alan Jefferson’s biography of Lotte Lehmann contains many errors, some of which have recently been brought to our attention.

• You may know that Lehmann’s husband, Otto Krause, was married when Lehmann was presented (by his wife) as a surprise birthday guest. Krause was already a great fan, but after this they fell in love and eventually married. Writer/researcher Marie-Theres Arnbom informed us that Jefferson inaccurately wrote that Krause’s wife was a Baroness and widow with four children when Krause married her. In fact, she wasn’t a Baroness and Krause fathered the children. We recently spoke with the youngest, Peter, who related how he and his siblings benefitted from Lehmann’s help when they escaped Vienna after the Anschluss. Now in his 80s, Peter recalled his youthful ambition to be a conductor and how he enjoyed his visits to the Vienna Opera and Salzburg to hear his famous stepmother sing.

• Bernhard von Barsewisch, who had many lengthy talks with Lehmann, wrote us the following: “When Lotte was singing at the opera house in Hamburg, her earliest triumph was ‘Elsa.’ My grandfather Baron Konrad zu Putlitz had sponsored lessons with Mme. Mallinger which enabled Lotte to start her splendid career. My grandfather, travelling through Hamburg, saw Lotte on the stage and fell intensely in love with her. Lotte desperately tried to convince him that he was infatuated with ‘Elsa’ and not with the human being Lotte Lehmann, but all in vain. When they sat down to dine he gave her a piece of paper with a poem he had written for her and asked her to read it to him. She was so excited that she had to lean her arms against the table to hide how much she was shivering. For her it was as if a god-like figure had descended from heaven and acted like a very mortal elderly gentleman. The only words she could think were ‘The Baron and his Protégé’…and Mr. Jefferson made this the title of the poem! No, Lotte found it terrifying that the situation resembled the typical cliché of a wealthy man supporting a young girl. Lotte remained firm, my grandfather returned extremely thoughtful to his home in Groß Pankow, not without sending some love letters to Hamburg. These and the poem had to be burned by demand of my austere grandmother. So the poem is lost, the title remains a mystery forever, but certainly it was nothing so clumsy as Mr. Jefferson had misunderstood.”

• A fascinating anecdote was provided by Marie-Theres Arnbom, currently writing a book on four famous Viennese families, one of which is Krause’s first wife’s family, the Gutmanns. Ms. Arnbom, who had a hunch about a Lehmann connection with a beautiful resort town not far from Salzburg, did some research and provided us with the following story: “On August 9, 1936 there was a peasant wedding in St. Gilgen (Austria), presided over by Chancelor Schuschnigg, naturally for propaganda reasons, to demonstrate his connection to the ‘folk.’ There was a giant program with folk ensembles from all over Austria, a party and a huge ceremonial mass...and during this mass LL sang!” Ms. Arnbom sent newspaper clippings, (including a photo of LL with Toscanini at the celebration) and a charming photo of Lehmann with her dog Mausi, which she dedicated to the couple. These photos are may be seen on this Website.

WEBSITE POPULARITY AND CONTENT GROWING

The Lehmann Website continues to draw enormous numbers of visitors. From April to November 2001 over 400,000 pages were successfully downloaded. In their review of music websites, the French magazine Répertoire awarded our website the highest rating for design and ease of use.

Many new photos of Lehmann have been posted. The “Song!” portion of the site now features CyberSing vocal competition information in several languages. Great Songs radio program archives on the “Song!” site are extensive, allowing visitors to hear a wide sampling of programs and interviews with people active in the song world.

SIXTH ANNUAL SONG CONTEST TRAVELLING TO THE NEIGHBOR ISLANDS

With the support of a grant from the Orvis Foundation, this spring we will be able to record classical song contestants on every major Hawaiian island. This grant allows a producer, a recording engineer, and where necessary, a pianist, to fly to each venue from Honolulu. We already have dates and sites on the Big Island for Kona and Hilo; Hilo singers are proud of (and motivated by!) the success of “their” tenor, Kaweo Kanoho, who was one of the four winners in 2001. A fine recording studio with a grand piano has been located on Maui and singers are being contacted there. We will continue to offer free use of the recording facilities at Hawaii Public Radio’s Atherton Performing Arts Studio on Oahu. We look forward to hearing entries from ALL talented singers of Hawaii.

WORLD OF SONG AWARD

The Lotte Lehmann Foundation presented its first “World of Song Award” to Dalton Baldwin, in honor of his 70th Birthday, 19 December 2001. The inscription reads: “For your selfless and generous support of the Lotte Lehmann Foundation as Advisor and Friend, and for your lifetime of distinguished performance as a collaborative pianist, and for the education of generations of singers and pianists.” The elaborate document was designed by New York calligrapher Denis Lund, and may be viewed on the Lehmann Website.

SUPRA TITLES: A VIDEO DEMONSTRATION

Past newsletters have described our work to develop and demonstrate digitally-projected translations for the song recitalist. The popularity of supra titles is growing - the Marilyn Horne Foundation used projected translations in “The Song Continues” recital performances at Alice Tully Hall in January 2002, and the Vancouver Recital Society is investigating projected titles for their visiting singers.

We are happy to announce that we have produced a video demonstrating this simple technique, which shows the logistics of the screen, projector and laptop displaying titles for former Art Song Contest Winner, soprano Phyllis Haines. The 5 minute video can be ordered by contacting us at the email or regular mail address at the bottom of the newsletter’s front page. You can also view the video on the Song! Website.

FOUNDATION ADVISOR NEWS

We welcome two new Lehmann Foundation Advisors. Internationally acclaimed mezzo soprano Frederica von Stade has a special interest in digitally-projected supra titles. Soprano Phyllis Bryn-Julson, contemporary song specialist and a member of the voice faculty at the Peabody Conservatory of Music, is enthusiastic about CyberSing and will help us promote it in Asia.

Many thanks to Advisor Benita Valente for writing our Winter newsletter’s fundraising appeal, and to Grace Bumbry for writing our last fundraising letter. Ms. Bumbry continues to sing a series of recitals in homage to Lotte Lehmann. Here’s a review of such a recital from the Munich Abendzeitung: “...At the end of her career, beyond its radiant zenith, Grace Bumbry paid tribute to her mentor and teacher, Lotte Lehmann. Honoring her memory, she immersed herself in the subtle and sensitive world of German romantic song. Nobody in the hall expected that Grace Bumbry was capable of revealing the ultimate secrets in Schubert’s ‘Liebesbotschaft’ or ‘Der Taubenpost,’ or singing with such an emotional incandescence in ‘Von ewiger Liebe’ (Brahms) or bringing the delicate vibration to Schumann’s ‘Nussbaum,’ then finding the exact center of the frenzied luxurious sound of ‘Cäcilie of Richard Strauss...” --Rüdiger Schwarz.

WEALTH OF GREAT SONGS ON WEBSITE

The 2001 season of Hawaii Public Radio’s Great Songs was rich with interviews. Host Gary Hickling taped programs with Lehmann Foundation Advisors including Hugues Cuénod, tenor, (in his 99th year), composers Ned Rorem and Dan Welcher, and soprano Judith Kellock. Dana Hanchard, soprano, best known as baroque specialist, brought recordings of her own songs, as well as Duke Ellington songs and South American songs with guitar from her recent CD "Once Canciones" by Diego Lazuriaga. All guests infused the programs with their unique experiences in the world of classical song.

Further 2001 program highlights include excerpts from the Art Song Contest Winners Recital, “Lehmann Lite,” “Battle of the Baritones” (Fischer-Dieskau and Prey) and “April Fools Fun.” All of these programs, and others of special interest, may be downloaded from the “Song!” portion of the Foundation Website or ordered from us on CD for a $10 fee.

CyberSing: FROM AUSTRALIA TO ZIMBABWE

The Lotte Lehmann Foundation officially announced CyberSing 2002, our global, internet-based art song competition, in October 2001 by sending press releases and announcements to thousands of newspapers, magazines, schools, teachers, and agents. The unusual nature of the contest has piqued the interest of media editors: magazines such as England’s Singer and Germany's Das OpernGlas recently printed articles on CyberSing, and many classical music websites around the world are displaying CyberSing announcements. Awareness of the contest has been further enhanced by features on the BBC World Service and New York City’s major public radio station, WNYC.

Instructions are now available in English, French, German and Japanese, and Foundation board member Marina Smous-Bradford is translating a Russian version as well. True to the goals of its international design, interested singers from Scandinavia, Poland, Australia, New Zealand, Germany, Kazakstan, Indonesia, China and Russia have either contacted us or downloaded information from the Website; by the deadline, 31 July 2002, we expect many fine entries from around the world.

Ned Rorem wrote the competition’s “required” song to poetry of Lotte Lehmann, translated into English by Judy Sutcliffe. Lehmann Foundation Advisor Frederica von Stade calls the Rorem song “wonderful” and plans to sing its world premiere. The song, “I Never Knew,” is available (only) from the Boosey & Hawkes website: www.boosey.com.

CyberSing winners’ prize money is being graciously provided by various Foundation Advisors: Marni Nixon and Paul Sperry are funding the “American Song Prize” (named for Jan de Gaetani); Dalton Baldwin is sponsoring the “Best Pianist” prize; Natalie Limonick and board member Nancy Bannick will donate for “Best Combination of Singer and Pianist;” and board member Dennis Moore will underwrite the award for best performance of the Rorem song.

CyberSing provides the opportunity for singers in remote areas, with little money or artistic outlet, to be heard. This was illustrated recently by the following message we received from Zimbabwe teacher/singer Lorna Begbie: “I heard about CyberSing through the BBC and then quickly logged on to the given website. I am so excited about it! I teach singing (as well as being a performer) and have interested four of my pupils who are going to try to enter. Our problem in this country is the foreign exchange - there is none!! We are in Pauper Status (you may have read of our troubles here under a now ruthless dictator who will hurt anything and anyone that stands in his way of maintaining power.) So what we need to do is SING!! I have been a lieder singer all my singing life - it’s my first love of all the aspects of singing and am so thrilled to hear about the Lotte Lehmann Foundation. How I would LOVE to be involved in some way with an organization like this - but alas I am on the other end of the globe! So the best way to be involved is to interest as many people as possible - which is what I am working on!”

From the desk of Benita Valente:

You may know that I studied for several years with Lotte Lehmann at the Music Academy of the West. It was invaluable to my development as an artist. Mme. Lehmann’s love of Lieder, and her great ability to communicate this beautiful world of poetry and music, were inspirational to those of us who had the privilege to work with her.

It is my wish that the Lied repertoire could gain the recognition and support that opera and symphonic music enjoy. The Lotte Lehmann Foundation is doing much to promote this goal. Its internet art song contest, CyberSing, has captured the imagination of singers around the world. It is developing forums where experts in classical song can share their ideas and resources and be more effective in building the art song audience. It is creating classical song programs for a nation-wide public radio audience, and is integrating poetry used in Lieder, mélodie and art song into high school and college language courses.

These initiatives will help to provide art song with much needed visibility. Yet they require support from those of us who know how important and enriching this art form is.

I hope you will take a moment to join me in making a tax-deductible gift to the Lotte Lehmann Foundation. You can be sure that the Foundation will work diligently -- as it has for so many years -- toward fulfilling its special mission.

GRANT SUPPORT

It is with great pride that we report grant support from the Ann and Gordon Getty Foundation. Such national recognition helps support our ongoing projects as well as attract grants for growth. Locally, a prestigious grant from the Cades Foundation is much appreciated.

You can find the list of Lehmann Foundation supporters for 2001 on this Website.

Lotte Lehmann Foundation Newsletter: Summer 2001

LEHMANN TREASURES

• Luba Tcheresky, one of Lehmann’s students, has sent us many important letters, photos, and drawings, and is the subject of two Lehmann drawings now on our Website. When the Richard Wagner Society of New York celebrated the Lehmann centennial in 1988, Ms. Tcheresky was one of the panelists. She has provided tape copies of the centennial radio interviews and panel discussion.

• Shirley Sproule, another of Lehmann’s students, continues to supply the Foundation with a flood of memories and photos of her beloved teacher.

• Dr. Herman Schornstein sent us copies of several of LL’s art works. A felt collage and some of his own candid shots of LL from her last years have been posted to the Website.

• Carl Zytowski worked with Lehmann at the Music Academy of the West, where he handled some of the stage action for her. On our recent visit to Santa Barbara Prof. Zytowski allowed us to copy a painting/caricature of him by Lehmann, as well as photos of her at the ceremony at UCSB when the concert hall was named in her honor. We will soon be showing these treasures on the Website.

• Lehmann’s Birthplace Receives Gift. At the recent death of Lehmann’s sister-in-law, Theresia Lehmann, Eric Hvolbøll, whose law firm represented LL, was able to purchase a large amount of memorabilia. He has donated all of the family things to the museum in LL’s birthplace, Perleberg, Germany. The gift includes photos and oil paintings of brother Fritz and the Lehmann parents, plaster bas-relief, and Lehmann oil paintings of an alpine scene, the crucifixion and an unknown opera singer with a jug on her shoulder. Mr. Hvolbøll writes: “… it is where the family lived, so most of the things I had… should go there…They also don’t have much, so it would be more appreciated…The museum director invited me to ‘Lotte Lehmann Woche’ in August for the presentation of the objects to the community, and I’d love to go, still considering it.”

Perleberg hosts an annual “Lehmann Week” during which student singers participate in master classes and lieder recitals. This year one of the instructors is Maria Zablten-Hall, a veteran of three years of LL master classes in Santa Barbara. The dates are August 17-25. For more information contact: Stadt Perleberg, Sachbereich Schule und Kultur, Karl-Liebknecht-Strasse 33, 19348 Perleberg, Germany.

•Charles Haddix, Sound Archivist for the Marr Recording Sound Archives at the University of Missouri, Kansas City, has provided the Foundation with recordings of rare 10-inch test pressings and other archival sound documents of Lehmann’s legacy. Among these items is a heretofore unknown recording of Lehmann and Elisabeth Schumann in a Metropolitan Opera Intermission interview. This will be added to the Discography area on the Lehmann Website. Mr. Haddix will also be providing us with copies of the Marr Archive’s 12-inch Lehmann discs, so that the Foundation can have reference recordings of all of the Lehmann discs there.

• Damian Griego is researching the effects of Hitler’s annexing of Austria on Lehmann’s affairs. He has finished reading the letters at the Kriegsarchiv (War Archive), but there is still much more to investigate, including the auction/sale of Lehmann’s belongings from both her apartment in Vienna and the Villa in Hinterbrühl near Mödling. There is a small chance that we may be able to locate some of these things. Mr. Griego is also probing the legal tangle regarding Lehmann’s pension and citizenship. We will report on these stories on the Lehmann Website as they develop. Michael Gray, Washington, D.C. librarian and researcher and Sony networker, has been compiling discographies for years. Mr. Gray has provided the Lehmann Foundation with copies of the Columbia Records studio bookings in which Lehmann sang (from March 1941 until June 1942). These important documents include her contracted salary and extensions, the detailed “take” information and the exact dates and locations of the recordings. The documents also include the Columbia radio transcriptions of 1941, which were recorded only for broadcast, not retail distribution. All of this information will vastly improve our Lehmann discography.

• Alfred Kaine, a retired executive of Deutsche Grammophon, has initiated Lehmann research at the archives of the Hamburg Opera where LL began her career. He is trying to locate programs, playbills and other memorabilia which we will post to the Website. He describes some of her early roles: “Lotte Lehmann’s debut in the company was on 2 September 1910 as one of the ‘3 Genien’ in Die Zauberflöte. On6 September 1910, LL was a page in Tannhäuser, on the 7th one of the Lehrbuben in Die Meistersinger and similarly small roles in Der Freischütz (9 October) and Meyerbeer’s Der Prophet (30 October). The first minor role was on 6 December 1910 in Die Lustige Weiber von Windsor and on 11 December, 1910 she replaced Elisabeth Schumann as the Sandmännchen in Hänsel & Gretel. Schumann now sang Gretel.” We look forward to more details on Lehmann’s first engagement.

LEHMANN WEBSITE: NEW LOOK, MANY VISITORS

We unveiled a completely revised Lehmann Website in April 2001. From the home page one can choose to explore either “Lehmann” or “Song.” The “Song” site includes our Three American Art Songs video and several Great Songs radio programs. We recently completed an analysis of 80 days of use of the whole Website. Nearly 19,000 pages were successfully served to 3, 245 distinct computers. We averaged around 230 pages per day. The use of our sound documents and photos was similarly impressive. Don’t underestimate the interest in a dead soprano named Lotte Lehmann!

CyberSing: 2002

The Lotte Lehmann Foundation will soon be hosting an international, web-based contest for classical song performers. Being web-based makes it unique among vocal competitions in allowing singers from remote locations to participate. Further, there are few contests in the world which concentrate on classical song. In most vocal competitions, singers must fly to a major city to compete; the finalists are then heard in a recital in that city. Often no one hears their voices again and only those who were at the winner’s recital heard it in the first place! CyberSing: 2002 is designed to dramatically broaden public exposure for the chosen singers: downloadable audio files of a selection of the semifinalists’ entries will be available on the Lehmann Website; finalists will have all four of their entry songs available on the Website for months, along with their photos and biographies. They will also receive cash prizes.

To participate, singers (of any age) will submit a tape of their performance of four songs: a lied, a mélodie, a song of their choice and a required song. The Lehmann Foundation is commissioning the required song from the American composer Ned Rorem; keeping in the spirit of our web-based contest structure, lyrics and music will be available for singers to download from the Boosey & Hawkes website.

Pending completion of the Rorem song, we expect to formally announce the contest in October 2001.

The major objectives of this contest are to broaden the attention paid to classical song, give singers deadlines and motivation to learn and record their songs and to demonstrate to the world the great talent of these singers.

Many thanks to those of you who have already sent donations to help with the commission or the prize money. If YOU want to help make CyberSing: 2002 a success, just make a check payable to: The Lotte Lehmann Foundation and mail it to: 161 B. North Kalaheo Ave., Kailua, HI 96734. As usual, your donation is tax-deductible to the extent allowed by IRS law. You will receive a letter to this effect and your name will be listed with the other supporters in the next Newsletter and on the Lehmann Website.

FIFTH ANNUAL SONG CONTEST ATTRACTS DIVERSITY, REACHES OUT

We have just completed the Fifth Annual Art Song Contest in Hawaii, cosponsored by Hawaii Public Radio and the Lotte Lehmann Foundation. Told that after one or two years all the good singers of Hawaii would have been heard, we’re happy to report that there are many fine singers again this year.

Among this year’s 62 contestants are a larger-than-usual contingent of young men and women: the eight teenagers include a 14 year old who says he’s been singing since he was born, two 15 year olds who sang Italian Baroque songs, a 17 year old who sang a Hawaiian song from the Monarchy era and an 18 year old who entered the contest with an Elizabethan lute song by Dowland.

Accomplished singer/contestants included two voice teachers, a middle-aged grandmother and several members of the Mae Z. Orvis Opera Studio of Hawaii Opera Theatre.

The highlight of this year’s Contest was our first neighbor island outreach effort. The Lotte Lehmann Foundation sent a team to record the talented classical singers of the Big Island: professional recording engineer Bob Dickerson, who brought his necessary equipment; pianist Jennifer Perry, who had been sent the music by the contestants, so needed only a quick rehearsal with each singer before recording; and Gary Hickling, who produced the recordings. Amy Yamasaki, the choral instructor at the University of Hawaii, Hilo, arranged for us to record at the University, but a strike prevented that. Her church, the First United Protestant Church of Hilo, allowed us to use the sanctuary and Bob set up the recording equipment in the vestry. The church has no glass windows so we had to stop recording when the rains pounded down or the Mynah birds fought. Nonetheless, we captured acceptable recordings of eleven Big Island singers.

As usual, we offered Honolulu singers the chance to record at Hawaii Public Radio’s Atherton Performing Arts Studio, which boasts first-class recording equipment. A steady stream of singers recorded their Contest entries on two Saturday afternoons in May.

In June, eight judges chose fourteen semifinalists from among the contestants. The semifinalists have been announced on the Lehmann Website and will be heard on the 29 July 2001 broadcast of Great Songs on Hawaii Public Radio at 7:00 p.m.

From these fourteen, another set of judges has selected the winners, who will share a recital in September 2001. They are sopranos Shelly Breneman and Heather Roberts from O’ahu, tenor Kaweo Kanoho from the Big Island and soprano Debra Lynn from Maui. Recorded excerpts from the shared recital will be available for listening on the Lehmann Website, where you can already hear winners from the past two years’ contests.

SUPRA TITLES: BORROWING FROM OPERA’S SUCCESS

The renewed public interest in opera is often credited to supra titles. With no opera story to provide context and aid audience comprehension, the song recitalist must rely solely on projecting the song’s meaning with the voice and minimal gestures. When the poetry is in a language foreign to the audience, there is even more of a performance challenge, as translations in the program force the audience to look down, taking attention away from the singer. Brightly lit halls can detract from establishing an intimate mood. Song supra titles help surmount these hurdles.

itles for the itinerant song recitalist. In February 2001 we demonstrated our ideas to an invited test audience, some completely unfamiliar with song recitals. We used their feedback to refine the technique, and in April 2001 we provided supra titles for a full graduate recital sung by Mary Chesnut with pianist Beebe Freitas at the University of Hawaii’s Orvis Auditorium.

The projected translations included all the repetitions in the song. At Ms. Chesnut’s request, we only projected the name of the song and its composer for songs in English; some of the audience later commented that even with her excellent diction, it still might have been helpful to project the English words. When there was an interlude and she was silent, we projected nothing. We rehearsed twice with her to learn the timing, so that no words would be projected before she began to sing them.

Ms. Chesnut was enthusiastic about the titles, feeling that there was better communication with the audience because she knew they understood the meaning of the texts. She also appreciated the darkened hall. A few audience members found the supra titles distracted from their concentration, but others were able to quickly read the translation and return their attention to her.

There were several objectives in the design of these supra titles. The equipment and screens used by opera houses are cumbersome; we designed our components with portability in mind, so that the itinerant recitalist can carry the screen, projector and laptop computer with the rest of his or her luggage. Running the titles is simple enough for presenters to handle. Technical details can be found on the Lehmann Website.

We will display supra titles for interested Art Song Contest winners during their shared recital on 14 September. Marilyn Horne, Frederica von Stade, Judith Kellock and Klaus and Helen Donath have all expressed interest in supra titles for the song recitalist.

CREATIVE CREW ADVISES FOUNDATION

We welcome the following Lehmann Foundation Advisors: retired Dutch soprano Elly Ameling; German baritone Olaf Bär; mezzo soprano Grace Bumbry, one of Lehmann’s most famous students; tenor Hugues Cuénod, who, at the age of 99 continues to amaze; soprano Christine Goerke, who just won the Richard Tucker award; American baritone Nathan Gunn; Austrian baritone Wolfgang Holzmair; English pianist/scholar Graham Johnson; American soprano Judith Kellock; mezzo soprano Jennifer Larmore; retired soprano Birgit Nilsson; tenor Christoph Prégardien; and Canadian soprano Edith Wiens, who lives and teaches in Germany. Many thanks to these and all our other advisors for the direction and help they provide the Lehmann Foundation.

FUEL FOR THOUGHT...

Last year, I called one of my Great Songs radio programs “Art Songs for Kids.” My co-host was a twelve year old girl who helped choose the songs, did a fair amount of the announcing and reacted to the songs on the air. About a month later I received a piece of notebook paper on which a nine year old had rated each of the songs we broadcast and given a short, pithy opinion: “boring,” “silly,” “I liked this one because it was about horses.” Unsolicited, this girl had given the page to her music teacher who then mailed it to me. When I showed it to others, they uniformly said something like, “Doesn’t that give you hope?” And certainly it does.

In a society saturated with violence and consumption and schools that choose to abandon the arts, everyone must advocate for the fine arts — wherever and whatever one’s connections, abilities, inclination and financial position.

People ask why they should support cultural organizations when there’s things such as AIDS, homelessness, hunger and environmental disasters which need help.

There is no denying the competing “causes” which deserve support. But meaningful causes also include the cultivation of educated audiences for fine arts. Many civilizations define themselves by their arts, which they experience as essential to their lives.

Are youngsters who hear Mozart brighter? Do culturally rich cities have less crime? I don’t know. But I do know the beauty of one’s culture deserves support. I know human-created beauty can enrich lives of people young and old. I invite you to make a difference — cause someone to take out their “notebook paper.” — GH

Letter From Gary Hickling

Bringing supra titles to life for recitalists… developing a web-based song contest… producing the fifth annual song contest in Hawaii… taping interviews for Great Songs… visiting California’s “SongFest” — these past months have been productive, enjoyable ones for me.

One of our advisors, tenor Hugues Cuénod (in his 99th year), consented to a telephone interview from his home in Switzerland. I used this for a Great Songs program along with samples of his recordings. The interview can be heard on our Website. I also interviewed Ned Rorem, who was so impressed by our song projects that he agreed to write a song for CyberSing:2002. Soprano Judy Kellock, visiting Hawaii, agreed to an interview in which she outlined her recent ideas on program building using poems with related ideas/stories. Klaus and Helen Donath taught master classes, performed a song recital and also provided Great Songs with an interview. Such a pleasure to meet and interview such dedicated artists!

The highlight of my California trip in June/July was visiting “SongFest,” a singer/pianist training program in Orange County. I observed pianists Martin Katz and Graham Johnson teaching inspiring master classes to talented, committed students of all ages. Katz focused on songs of Latin America and Johnson taught mélodie, beginning with songs inspired by Verlaine poetry, followed by mélodie of Poulenc and Fauré.

Miracles do occur — I met Rodney Punt, who has taken early retirement from heading the administration of the City of Los Angeles Cultural Affairs Department to dedicate his talents to arts consulting, a large part of which will be promoting the art of song. Rod has many good ideas for developing new audiences. His knowledge of and enthusiastic appreciation for song developed from his college years at UCSB where he sang with the “Schubertians.” It was also at UCSB that Rod met his wife Ruth in a voice class, where they sang together in the University’s choruses.

Rod and I visited the Lehmann Archives at UCSB which are undergoing a thorough cataloging of photos, translation of letters and preservation of LL’s art works and rare test recordings. While in Santa Barbara we heard some wonderful Lehmann stories from Rod’s mentor Carl Zytowski during his 80th birthday celebration. We also drove by Lehmann’s home “Orplid” to see what changes have occurred. The house is being rebuilt, but the gardens remain the same.

Our last stop in Santa Barbara was with Marilyn Horne, to talk about supra titles and how to develop new song recital audiences. Ms. Horne now holds the same vocal program position at the Music Academy of the West that Lehmann held when Horne was her student. She had just returned from judging the Cardiff “Singer of the World” competition, so could offer good advice for the web-based song contest.

A few days later I met with Natalie Limonick, who encouraged me to think more radically about the web-based forum: “You have a completely new idea, don’t use old contest models.” Instead of first, second and third prizes, for example, Ms. Limonick suggested a prize for the best interpretation, another for the best diction and a third for the best all-around performance. Her work with Lehmann still fires her enthusiasm for intense, committed song performance.

And finally, while in Los Angeles I saw the excellent, sold out LA Opera production of Tosca starring Catherine Malfitano and Richard Leech I was greatly impressed by the enthusiasm of the mostly young people around me in the balcony. LA Opera is indeed alive.

May the months ahead be as fulfilling for you as they have been for me! Many thanks for your interest and support,

Lotte Lehmann Foundation Newsletter: Fall 2000

The Lehmann Website’s most frequently asked question concerns the availability of her televised master classes. It is thus with great pleasure that we announce that Lehmann’s master classes will soon be commercially available from VAI. Owner of VAI, Ernie Gilbert, writes: “We will probably have the Lehmann Master Classes out by the first of the year. Initially they will be available on cassette but...later on DVD when there is a greater population of DVD players out there. The seven classes will probably be available on four cassettes. List price probably $24.95 per cassette.” This is good news for Lehmann fans and those wishing to observe her at work; even in her late 70s she was compelling.

A treasure arrives: One of Lehmann’s students, Shirley Sproule, sent us a huge amount of Lehmann-related photos, remembrances, paintings, and more, which will soon be loaded onto the Lehmann Website.

Family contact: Lehmann’s step-grandson recently emailed as follows: “My name is Karl Hans Krause. I am the son of Otto Hans Krause and the grandson of Otto Krause, the husband of Lotte Lehmann. My Father died in 1990...I stumbled upon your excellent web site today. Although I have some heirlooms of the family brought over from Vienna...and have enjoyed hearing tales of ‘the old country’ all my life...sadly, I have no pictures of my Grandfather. I would be very interested in discussing our family history with you...and the possibility of getting copies of some of the prints you have displayed...”

Rarity: We recently purchased Verse in Prosa, the book of poetry that Lehmann wrote in 1924, which contains a handwritten dedication to her pianist at the time, Ernø Balogh. The complete description of it, as well as one of the poems with an English translation, can be found on our website.

NEW YORK, NEW FRIENDS

Gary Hickling, President and founder of the Lotte Lehmann Foundation, recently spent a month in Boston and New York. Meeting with experts in the field of song, Hickling was overwhelmed by the outpouring of encouragement and ideas. A description of some of these discussions follows. More detailed information on these organizations can be found on their websites, through links on the Lehmann Website.

• Marilyn Horne Foundation. Hickling met with MHF managing director, Barbara Hocher, and established a wonderful relationship. The MHF has much the same mission, with respect to song, as the Lehmann Foundation.
In addition to plans for national radio broadcasts of classical song, the MHF is also working on an educational song video. The MHF supports talented young singers who perform recitals throughout the US, including outreach to the local schools. The video will prepare the students for the singers’ presentations. We will be working with the MHF’s film director to share the feedback from our demo video, “Three American Art Songs.” Hocher was so pleased with our video that she may use it in addition to theirs.

Steven Blier discussed aspects of his highly successful (SOLD OUT!) classical vocal recitals. The combination of several (usually four) voices in a focused, concept-based recital with his commentary, detailed program notes and complete translations, yields a lively, compelling artistic event. Hickling attended one highlighting American song called “Harry, Hoagy and Harold.” One of the singers in this tribute to composers from the past was baritone Kurt Olmann, an advisor to the Lehmann Foundation.

• Mannes College of Music. Fred Fehleisen, assistant dean and a Lehmann Foundation advisor, arranged for Hickling to attend a Mannes vocal faculty meeting. After presenting the Foundation’s Education Project to this group of receptive teachers, Hickling learned that the faculty has been growing hesitant to accept students with less than operatic voices because they fear so few career opportunities exist for them. Proof again that the Foundation’s education mission is of the highest importance. (For more on the Education Project, see below.) Later Hickling heard a German Lied class taught by one of the faculty, Antonia Lavanne. One student sang Mahler’s “Ich bin der Welt abhanden gekommen” beautifully.

• Joy in Singing. An important classical song competition that also includes master class instruction, this yearly contest has developed many talented singers. Its director, Paul Sperry, also a Lehmann Foundation advisor, teaches American Song at Juilliard and Manhattan School of Music. In addition to meeting privately with Sperry, Hickling was able both to hear him sing Schubert’s Winterreise and to observe his Juilliard classes. The student performances in these classes were of exceptionally high quality. News Flash: In the next board meeting of “Joy in Singing” they will discuss the Lehmann Foundation’s Education Project.

• Sing! (an outreach organization combining the recital and master class). This is a collaboration of soprano Carol Kaimowitz and pianist Frank Daykin. Hickling met with Daykin and discussed the challenges of song presentation in schools. Daykin believes that songs are best received if there are language and ethnic connections with the students. Furthermore, the chosen song should tell a story; after hearing it the students can participate in the story line by imagining what occurs after the song ends. Kaimowitz feels her own repertoire has been expanded by Daykin’s French language expertise. Acknowledging that the classical song is definitely a “hard sell,” she encourages live performance in schools in order to bring it to life.

• InterSchool Orchestra. This organization brings together talented NYC student instrumentalists to regularly rehearse/perform in groups appropriate to their age and abilities. ISO’s director, Ann McKinney, provided Hickling with contacts to music education resource people such as program administrators and curriculum developers, as well as contacts to the music education organizations “Education through Music” and “Young Audiences/New York.”

With McKinney’s help Hickling was able to speak to Polly Kahn, Vice President of Education for the American Symphony Orchestra League. Kahn advised us to research schools’ existing music programs and needs. The standards for the various levels are often promulgated at the city or state levels. Kahn also suggested connecting with opera companies to learn about their successful education programs. She believes that MENC and choral and vocal organizations would be good places to find resources to further the Lehmann Foundation’s mission.

• ICM Artists, Ltd. Hickling met with Caroline Woodfield, Vice President and manager of such well-known singers as Anne Sofie von Otter, Ian Bostridge and Sir Thomas Allen. Though despairing of the lack of opportunities for classical singers in the US, Woodfield provided many examples of thriving song organizations, such as the “Art Song Festival” at the Cleveland Institute of Music, “Songs Unlimited” in Arkansas, “Art of the Song,” a successful vocal series in Washington, DC with an active outreach complement, and he Steans Institute (part of the Ravinia Festival) which provides performance opportunities and coaching for vocal recitalists.

• The College Music Society, a consortium of college, conservatory, university and independent musicians and scholars interested in all disciplines of music. CMS’s mission is to promote music teaching and learning, musical creativity and expression, research and dialogue, and diversity and interdisciplinary interaction. This last part of their mission is especially appropriate for classical song. Anthony Rauche, director, spoke about the Society’s upcoming conference in Toronto. Rauche offered to share Lehmann Foundation informational material and the demo video, and to make contacts for us.

Hickling also met with many encouraging individuals who provided classical song education ideas. Lehmann Foundation advisor, counter tenor Derek Lee Ragin, suggested using a spiritual to help connect with African-American students. Tenor Robert White, a new Foundation advisor, would like to see a blurring of the distinction between “classical” and “pop” songs - good music, in his estimation, is enough to catch the interest of students.

Another new advisor, soprano Marni Nixon, echoed these views, using the example of the “American Traditions Competition for Singers” at the Savannah Onstage International Arts Festival. Musical theater, blues, gospel and classical song are all areas in which young singers may enter. Warren Jones, pianist, and another new Foundation advisor, suggested contacting the young singers that perform in outreach situations, such as those sent by organizations like the Marilyn Horne Foundation, to ask for their advice on how to reach young people.

Alexander Farkas, pianist, vocal coach and Alexander Method teacher at the Hart School of Music, confirms that many students arrive at the college level underprepared and unexposed to classical song.

Hickling also met with Ned Rorem, one of America’s leading composers and a Foundation advisor. They discussed the term “art song,” which Rorem dislikes and finds “defensive” and pompous. He suggested that we use “concert song.” We are now trying “classical song,” also used by the Marilyn Horne Foundation. When the Rorem meeting was over, Hickling asked him if there were other areas that he would suggest exploring, to which Rorem replied, “You seem to be doing just the right things.” (Encouragement!)

LEHMANN FOUNDATION FLOURISHES

We are expanding our board of directors. We welcomeDavid Lerps, a great opera fan, who brings his wisdom and experience in matters financial; Marina Smous-Bradford, an enthusiastic volunteer for the Honolulu Symphony, a lover of vocal music and a financial planner for American Express Financial Services; Richard Lachman of the Law Offices of Richard Lachman, on the Honolulu Symphony Board as well as the Honolulu Chamber Music Series; Guy Merola and Mark Wong, CEO’s of Commercial Data Systems; Nancy Bannick, active on many classical music boards including the Honolulu Symphony, and Janet Cooke.

In addition to our present advisors, five more were recently added: sopranos Marni Nixon and Barbara Bonney, pianists Steven Blier and Warren Jones and tenor Robert White. Thanks to all our advisors for their invaluable help. Advisor biographies can be found on the Lehmann Website.

We are beginning a campaign for corporate and individual financial support, in order to obtain funding to accomplish our goals, some of which include:

• Art Song Contest Outreach. Now in its fifth year, the contest celebrates the excellence of local singers. Winners share a recital that is broadcast throughout the islands and sampled on the Lehmann Website for your listening pleasure. But although the Art Song Contest has been successful, few neighbor islanders have participated. We hope to correct this by flying a pianist, a sound engineer and the necessary equipment to Kauai, Maui and the Big Island to record contestants who don’t have the advantage of recording at Hawaii Public Radio’s Atherton Studio.

• Classical Song Videos. We continue to develop ideas for producing stimulating educational song videos. Swiss soprano Juliane Banse has agreed to film lieder in locations appropriate to the song lyrics. Script writers have sent some wonderful ideas. However, since producing our own educational song video is so expensive, we are considering offering a substantial cash prize in a contest for graduate students of film to produce such a video. Film students using cutting edge technology could produce a compelling educational tool. UCLA and NYU teachers have expressed interest in the idea.

• Great Songs. Broadcast weekly on Hawaii Public Radio since 1988, this program of song is now heard in prime time on Sundays at 7:00 pm on KHPR, KKUA & KANO. Since the Marilyn Horne Foundation is initiating their own public radio broadcasts of classical song, we have abandoned our efforts to put Great Songs on the national airwaves. We plan to offer these programs on the Lehmann Website.

SONGS IN SCHOOLS

Classical song is basking in renewed appreciation, the result of many new CD releases of today’s talented singers in recordings of current and historic composers. Song festivals now occur worldwide, and not just in major cities, demonstrating this renewal. But in the music appreciation classes that are still taught, students seldom learn anything about classical song. This neglect denies students of all ages and nationalities the opportunity to enjoy their rich and varied musical/poetic heritage as well as the creative expression of contemporary poets and composers.

The Lehmann Foundation believes that the introduction of song into the schools can reignite the whole neglected field of school music and provide material for other disciplines as well. For example, Fauré’s mélodie “Mandoline” presents the art teacher the opportunity to discuss the Watteau paintings that may have inspired the song’s poet Verlaine; offers the French language teacher an example of the language in action; provides the history teacher with a way to demonstrate elements of 19th Century Romanticism; and gives the music teacher a lively, descriptive song with a good tune.

Education Project Components

• Research. We will hire an education researcher to determine to what degree music appreciation is taught, and if classical song is included at all. We need to learn what teachers seek in a song curriculum, and to identify what teaching materials and training are needed.

• Curriculum. An education writer will use the data from our research to develop a song curriculum. Alison Kenny-Gardhouse of “ConnexionArts,” Toronto, is interested in the project.

• Materials. Teaching materials will be needed to support the curriculum. Our educational demo video is already being tested and used in schools in the US, Canada and Australia. (If you wish to see the demo video, please let us know and we can mail you a copy.) The curriculum and other sound or visual materials will be made available on the Lehmann Website, thus available to anyone wishing to use them.

• Public Relations. Opera companies and symphony orchestras are ongoing institutions that not only promote their own products, but help cultivate appreciation of “opera” and “symphonic music” in general. No such ongoing support exists for classical song. We will remedy this by advertising the Lotte Lehmann Website, making song information available on the Website, developing classical song publicity and establishing communication among the institutions with a stake in classical song. Besides the foundations mentioned in this newsletter, the record companies, artist agencies, composers, poets and the singers and pianists themselves have an interest in ensuring that more people are exposed to classical song.

A LETTER FROM GARY HICKLING

Dear Friends,

The spark that Lehmann lit in me in 1962 still burns brightly. This year we’ve expanded the Lehmann Website to include audio clips of her singing, produced our first educational song video, held the fourth art song contest, and prepared ten grant applications (no money yet). “We” means Suchi Psarakos, my administrative assistant, and I. She’s wonderful: computer literate, a good writer and proofreader and knows little about the field of my obsession, song. That way, if I’ve made too many assumptions, she catches them.

Lehmann’s great fan in Vienna, Hertha Schuch, sent us photos to add to the Website. Many thanks also to the Music Academy of the West for numerous unique photos and newspaper articles. Beaumont Glass, author of Lotte Lehmann, a Life in Opera and Song, sent photos and a condensed bio. And recently, at the death of Teresa Lehmann, Mme. Lehmann’s sister-in-law, we were able to obtain copies of rarities bought by attorney and Lehmann advisor, Eric Hvolbøll.

For those of you interested in the Lehmann Archives at UCSB, you’ll be happy to learn that curator David Seubert has begun the process of integrating the original portion of the collection with the materials that arrived after Frances Holden’s death. They’ve organized the photos and are moving on to the letters.

When I thought that Great Songs was going to be heard nationally, I became very self-conscious about my radio voice/personality. So I took a workshop in radio announcing in Boston and learned a lot about techniques I can use to better reach listeners. It will take some time to put into practice the dynamics of pitch, volume, tempo and rhythm, but there should be some change for the better. For those outside Hawaii, the programs will be available on the Website.

You may know that each Great Songs program has a theme or concept. In June I had fun broadcasting “Art Songs for Kids” with 10 year old Heather Shohet as my co-host. Afterward - unsolicited - I received a letter from a 9 year old listener detailing her reaction to each song! This makes the program really feel worthwhile.

During my NY trip I heard recitals that included the mature José Van Dam and the young baritones Randall Scarlata, Gerald Finley, Christopher Maltman and the soprano Jennifer Aylmer. Aylmer, able to sing/communicate in five languages, was presented by Marilyn Horne’s “On Wings of Song.”

Soprano Marvis Martin, a former “Young Concert Artist” joined Scarlata in seldom-heard duets of Brahms. His vocal flexibility, color and range were impressive.

Canadian Finley knew how to use humor to lighten an otherwise serious program. Julius Drake provided the sonorous, supportive and aptly illustrative piano accompaniment.

Maltman used one of the best known collaborative pianists of the UK, Malcolm Martineau, who knew the songs so well that he barely glanced at the music. Maltman obviously enjoyed this security, though he had a few embarrassing memory lapses. How are singers able to remember so many poems in a variety of languages?

Marilyn Horne and Robert White shared a recital of Irving Berlin songs and, though they admitted that the complicated lyrics were tricky, were able to bring them off with great aplomb.

One day I was privileged to attend the dress rehearsal of soprano Ellie Valkenburg and pianist Joyce Rosenzweig as they were preparing an all Yiddish song program.

I also heard Renée Fleming, Dmitri Hvorostovsky, Ozawa and the Boston Symphony in Beethoven’s Missa Solemnis, plays, operas and symphonic and chamber music. A great month of music!

I hope you enjoy reading our newsletter - I look forward to hearing your feedback.

Aloha,

Gary Hickling

Lotte Lehmann Foundation Newsletter: Fall 2000

• New York Festival of Song. Festival directors Michael Barrett and Steven Blier shared details of their NYC public school outreach and talked about their successful series of vocal recitals. “Artist teachers” take music to the schools (even where no music class exists) and focus on one field of music each visit. For example, students learn about Latin music by discussing the differences between the rhythms of tangos, habaneras and merenges. At the end of the school year the students write and perform their own songs. Although not classical song, the worthwhile results are songs which the students themselves develop, from writing the words, through composing the music, and finally to performing their own songs.

Steven Blier discussed aspects of his highly successful (SOLD OUT!) classical vocal recitals. The combination of several (usually four) voices in a focused, concept-based recital with his commentary, detailed program notes and complete translations, yields a lively, compelling artistic event. Hickling attended one highlighting American song called “Harry, Hoagy and Harold.” One of the singers in this tribute to composers from the past was baritone Kurt Olmann, an advisor to the Lehmann Foundation.

Alexander Farkas, pianist, vocal coach and Alexander Method teacher at the Hart School of Music, confirms that many students arrive at the college level underprepared and unexposed to classical song.

We are beginning a campaign for corporate and individual financial support, in order to obtain funding to accomplish our goals, some of which include:

• Curriculum. An education writer will use the data from our research to develop a song curriculum. Alison Kenny-Gardhouse of “ConnexionArts,” Toronto, is interested in the project.

Dear Friends,

Soprano Marvis Martin, a former “Young Concert Artist” joined Scarlata in seldom-heard duets of Brahms. His vocal flexibility, color and range were impressive.

Canadian Finley knew how to use humor to lighten an otherwise serious program. Julius Drake provided the sonorous, supportive and aptly illustrative piano accompaniment.

Marilyn Horne and Robert White shared a recital of Irving Berlin songs and, though they admitted that the complicated lyrics were tricky, were able to bring them off with great aplomb.

One day I was privileged to attend the dress rehearsal of soprano Ellie Valkenburg and pianist Joyce Rosenzweig as they were preparing an all Yiddish song program.

I also heard Renée Fleming, Dmitri Hvorostovsky, Ozawa and the Boston Symphony in Beethoven’s Missa Solemnis, plays, operas and symphonic and chamber music. A great month of music!

I hope you enjoy reading our newsletter - I look forward to hearing your feedback.

Aloha,

Gary Hickling

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Lehmann Foundation Newsletters

For those able to open PDF files, here's our latest Newsletter: Winter 2005

You may request a free copy of the printed version of our Newsletters. Just email: info@lottelehmann.org

Fall 2004

Spring 2004

Fall 2003

Previous Newsletters appear below

Fall 2000, Summer 2001, Winter 2002

FALL 2002

ACTIVE LEHMANN LEGACY

LEHMANN “FACTS” CLARIFIED

WEBSITE POPULARITY AND CONTENT GROWING

SIXTH ANNUAL SONG CONTEST TRAVELLING TO THE NEIGHBOR ISLANDS

WORLD OF SONG AWARD

SUPRA TITLES: A VIDEO DEMONSTRATION

FOUNDATION ADVISOR NEWS

WEALTH OF GREAT SONGS ON WEBSITE

CyberSing: FROM AUSTRALIA TO ZIMBABWE

From the desk of Benita Valente:

GRANT SUPPORT