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1903-ERIK SCHMEDES-DANICH-AUSTRO- SINGER OPERATIC-TENOR-AUTOGRAPH. W/H PHOTO-2

$ 52.8

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  • Industry: Music
  • Country/Region of Manufacture: Austria
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    Erik Schmedes
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    Erik Schmedes as Lohengrin, 1902.
    Erik Anton Julius Schmedes
    (27 August 1868, in Gentofte,
    Denmark
    – 21 March 1931, in
    Vienna
    ) was an
    operatic
    tenor
    , particularly known for his roles in operas by
    Richard Wagner
    . He was the brother-in-law of
    Vaslav Nijinsky
    's wife.
    Schmedes was born into a family of musicians, the most prominent of which was his brother Hakon, a noted violinist and composer. After studying in Paris, Berlin, and Vienna, he made his debut as a
    baritone
    (following encouragement from
    Pauline Viardot
    ) in
    Wiesbaden
    , in 1891, as the Herald in
    Lohengrin
    . He continued to sing as a baritone until 1897. However, after further study with August Iffert in Vienna, his
    Heldentenor
    emerged. He made his debut as a tenor in 1898, singing the title role in
    Siegfried
    at the
    Vienna State Opera
    . His career remained largely based at that opera house, where he was a
    Kammersänger
    and one of the most prominent tenors during the years of
    Gustav Mahler
    's direction of the company.
    Schmedes sang frequently at
    Bayreuth
    from 1899 through 1906. He also appeared at the
    Metropolitan Opera
    in the 1908–09 season, singing in
    Die Walküre
    (with
    Johanna Gadski
    ,
    Olive Fremstad
    , and
    Louise Homer
    ),
    Tiefland
    (the United States premiere, opposite
    Emmy Destinn
    ),
    Parsifal
    ,
    Götterdämmerung
    (conducted by
    Arturo Toscanini
    ), and
    Tristan und Isolde
    (conducted by Mahler).
    Although he primarily sang roles from the Wagnerian repertoire, Schmedes was also an admired interpreter of Florestan in
    Beethoven
    's
    Fidelio
    and the title role of
    Hans Pfitzner
    's
    Palestrina
    .
    [1]
    During his career, he sang 1,130 performances of forty-two roles and recorded for several companies, including
    Gramophone
    and
    Pathé
    , from 1902 to 1912.
    [2]