{"id":5756,"date":"2026-03-18T09:00:00","date_gmt":"2026-03-18T08:00:00","guid":{"rendered":"https:\/\/voicedetective.com\/?p=5756"},"modified":"2026-03-18T15:15:09","modified_gmt":"2026-03-18T14:15:09","slug":"lg-lauritz-melchior-tenor-march-20-1890","status":"publish","type":"post","link":"https:\/\/voicedetective.com\/de\/2026\/03\/lg-lauritz-melchior-tenor-march-20-1890\/","title":{"rendered":"Lauritz Melchior, Tenor, March 20, 1890"},"content":{"rendered":"\t\t
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LAURITZ MELCHIOR<\/h1>\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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TENOR<\/h1>\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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march 20, 1890<\/h1>\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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In Die Walk\u00fcre<\/i> Astrid Varnay wondered at the vocal prowess of Lauritz Melchior holding the \u2018W\u00e4lse\u2019 cries for a full twelve seconds. Varnay asked rhetorically, \u2018\u2026what tenor ever matched that? Maybe Melchior himself – he has been timed at eighteen!\u2019<\/span>[1]<\/span><\/sup><\/a><\/p>\n

 <\/span><\/p>\n

Such is the testimony of a great vocal colleague to a giant of a man and arguably the greatest of all Wagnerian tenors.<\/span>[2]<\/span><\/sup><\/a> But Lauritz Melchior was not always destined to be a tenor. He had started his professional career in his native Denmark at the Royal Opera in Copenhagen. Around 1916 Madame Charles Cahier, who had become by this stage a highly regarded vocal teacher, urged young Lauritz to consider switching to tenor. Madame Cahier heard something in the voice of the young baritone that indicated really a great tenor in the making. In 9 October 1918 he therefore commenced his career as a tenor with the role of Tannh\u00e4user.<\/i><\/span>[3]<\/span><\/sup><\/a> Incidentally, Cahier herself had been a pupil of Jean de Reszke and in turn greatly influenced the career of Marian Anderson.<\/span>[4]<\/span><\/sup><\/a> We should also mention that the then well-known English novelist Hugh Walpole, supported Melchior throughout this period, arranging singing lessons with Victor Beigel in Vienna in 1922 with the purpose of \u2018making him the greatest Wagner tenor in the world\u2019, and opened the doors of society enabling him to sing before Queen Alexandra at Marlborough House. In 1924 he was engaged at Bayreuth in the Ring Cycle<\/i> and proved an unforgettable Siegfried<\/i> that members of the audience wept openly. Walpole had the satisfaction  by 1925 of having his protege acclaimed \u2018the greatest Heldentenor<\/i> in the world.\u2019<\/span>[5]<\/span><\/sup><\/a><\/p>\n

 <\/span><\/p>\n

Allowing for this early adulation, Melchior remained a modest and generous colleague. Varnay later recalled her debut at New York\u2019s Metropolitan Opera in 1942. She was the novice, thrown in at the deep end with the a who\u2019s who list of Wagnerian greats, to sing Sieglinde, as Lotte Lehmann had a cold. Melchior\u2019s presence, supportive attitude, and reassurance, \u2018\u201cVerlass dich auf mich\u201d<\/i>. What a beautiful thing to tell a newcomer. This great artist and gracious gentleman was telling the new kid on the block to leave things to him, and he would take care of me.\u2019<\/span>[6]<\/span><\/sup><\/a> The experience of another Wagnerian great, Kirsten Flagstad, tallies as in her memoirs she wrote, \u2018I met Mr. Melchior for the first time while was rehearsing Siegfried. I had attended the rehearsal, and we were presented to one another by the manager. He was very helpful and encouraging<\/i>, and as usual in excellent humour.\u2019 <\/span>[7]<\/span><\/sup><\/a><\/p>\n

 <\/span><\/p>\n

Melchior\u2019s career centred on all the demanding Heldentenor<\/i> roles and his activity throughout the 1920s and 30s are a testament to his capacity, reliability and sheer artistry. He appeared in each role over 100 times and Tristan<\/i> over 200 times.<\/span>[8]<\/span><\/sup><\/a> Such was Melchior\u2019s fame, he appeared in five Hollywood musicals from 1945 to 1953 which has somewhat impacted his reputation among purists.<\/span>[9]<\/span><\/sup><\/a> But listen to his recordings and be blown away by the power and beauty. Add to this the fact that throughout his heyday no Wagner opera at a major house could do without Melchior, and you have a rare testament to a unique talent and artist.<\/span><\/p>\n

 <\/span><\/p>\n

However, as fashions change with time, in 1950 the new director of the Metropolitan Opera, Rudolf Bing moved the repertoire away from Wagner. Lauritz Melchior, who had done so much was not included in the change of direction and he could not come to terms with the new manager. To add insult to injury, the greatest Wagnerian tenor of the age was later accused by Bing of being \u2018a sloppy performer with a casual attitude toward rehearsals and a penchant for practical jokes\u2026\u2019 Setting the record straight, Astrid Varnay wrote, \u201cI never once witnessed the kind of conduct that Bing and Mayer claimed was so deplorable. On the contrary, no soprano could have asked for a more professional and caring tenor by her side on the stage.\u2019<\/span>[10]<\/span><\/sup><\/a> To underscore his concern for young singers and professionalism, he set up the Lauritz Melchior Heldentenor Foundation to provide scholarships for gifted singers.<\/span>[11]<\/span><\/sup><\/a><\/p>\n

 <\/span><\/p>\n

Born on the 20 March 1890 in Copenhagen, Lauritz Melchior passed away on the 18 March 1973 in Santa Monica, California. There are many recording of his singing, including some from 1913 prior to his switch from baritone to tenor. <\/span>[12]<\/span><\/sup><\/a> His final performance was with the Danish Radio Orchestra in 1960 in celebration of his 70th birthday.<\/span>[13]<\/span><\/sup><\/a><\/p>\n<\/div>\n<\/div>\n

 <\/span><\/div>\n
\n

 <\/span><\/p>\n<\/div>\n

\n
\n


<\/p>\n

\n
\n

[1]<\/span><\/sup><\/a> VARNAY, ASTRID. WITH ARTHUR, DONALD., 55 YEARS IN FIVE ACTS – MY LIFE IN OPERA, NORTHEASTERN UNIVERSITY PRESS (2000) (ENGLISH TRANSLATION OF \u2018HAB MIR\u2019S GELOBT,\u2019 BERLIN (1997)). P.95<\/span><\/p>\n<\/div>\n

\n

[2]<\/span><\/sup><\/a> IBID. P95-96 \u2018A critic once described Lauritz Melchior as the second-finest tenor of the twentieth century, reserving the top honours for the immortal Enrico Caruso. Frankly, I think this is an Americanism, comparing apples and oranges in quest of a superfluous first. Let\u2019s just say Melchior was the greatest tenor ever to sing Wagner, and Caruso was the greatest Italian tenor.\u2019<\/span><\/p>\n<\/div>\n

\n

[3]<\/span><\/sup><\/a> STEANE., J.B., SINGERS OF THE CENTURY., LONDON, GERALD DUCKWORTH & CO. LTD. (2000). PP-69-70<\/span><\/p>\n<\/div>\n

\n

[4]<\/span><\/sup><\/a> IBID, P.70<\/span><\/p>\n<\/div>\n

\n

[5]<\/span><\/sup><\/a> IBID., P.71<\/span><\/p>\n<\/div>\n

\n

[6]<\/span><\/sup><\/a> IBID., PP.6-7<\/span><\/p>\n<\/div>\n

\n

[7]<\/span><\/sup><\/a> FLAGSTAD., KIRSTEN., (EDITOR BIANCOLLI., LOUIS) THE FLAGSTAD MANUSCRIPT, LONDON, WILLIAM HEINEMANN LTD., (1953). PP.55-56 (My italics)<\/span><\/p>\n<\/div>\n

\n

[8]<\/span><\/sup><\/a> SHAWE-TAYLOR, DESMOND., LAURITZ MELCHIOR IN THE GROVE BOOK OF OPERA SINGERS.OXFORD UNIVERSITY PRESS (2008). P.315<\/span><\/p>\n<\/div>\n

\n

[9]<\/span><\/sup><\/a> IBID. P.68<\/span><\/p>\n<\/div>\n

\n

[10]<\/span><\/sup><\/a> IBID. P.148<\/span><\/p>\n<\/div>\n

\n

[11]<\/span><\/sup><\/a> IBID. P.315<\/span><\/p>\n<\/div>\n

\n

[12]<\/span><\/sup><\/a> IBID. P.315<\/span><\/p>\n<\/div>\n

\n

[13]<\/span><\/sup><\/a> IBID. P.315<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

In Die Walk\u00fcre Astrid Varnay wondered at the vocal prowess of Lauritz Melchior holding the \u2018W\u00e4lse\u2019 cries for a full twelve seconds. Varnay asked rhetorically, \u2018\u2026what tenor ever matched that? Maybe Melchior himself – he has been timed at eighteen!\u2019 <\/p>\n

Such is the testimony of a great vocal colleague to a giant of a man and arguably the greatest of all Wagnerian tenors. But Lauritz Melchior was not always destined to be a tenor. He had started his professional career in his native Denmark at the Royal Opera in Copenhagen. Around 1916 Madame Charles Cahier, who had become by this stage a highly regarded vocal teacher, urged young Lauritz to consider switching to tenor. Madame Cahier heard something in the voice of the young baritone that indicated really a great tenor in the making. In 9 October 1918 he therefore commenced his career as a tenor with the role of Tannh\u00e4user. Incidentally, Cahier herself had been a pupil of Jean de Reszke and in turn greatly influenced the career of Marian Anderson. We should also mention that the then well-known English novelist Hugh Walpole, supported Melchior throughout this period, arranging singing lessons with Victor Beigel in Vienna in 1922 with the purpose of \u2018making him the greatest Wagner tenor in the world\u2019, and opened the doors of society enabling him to sing before Queen Alexandra at Marlborough House. In 1924 he was engaged at Bayreuth in the Ring Cycle and proved an unforgettable Siegfried that members of the audience wept openly. Walpole had the satisfaction by 1925 of having his protege acclaimed \u2018the greatest Heldentenor in the world.\u2019 <\/p>\n

Allowing for this early adulation, Melchior remained a modest and generous colleague. Varnay later recalled her debut at New York\u2019s Metropolitan Opera in 1942. She was the novice, thrown in at the deep end with the a who\u2019s who list of Wagnerian greats, to sing Sieglinde, as Lotte Lehmann had a cold. Melchior\u2019s presence, supportive attitude, and reassurance, \u2018\u201cVerlass dich auf mich\u201d. What a beautiful thing to tell a newcomer. This great artist and gracious gentleman was telling the new kid on the block to leave things to him, and he would take care of me.\u2019 The experience of another Wagnerian great, Kirsten Flagstad, tallies as in her memoirs she wrote, \u2018I met Mr. Melchior for the first time while was rehearsing Siegfried. I had attended the rehearsal, and we were presented to one another by the manager. He was very helpful and encouraging, and as usual in excellent humour.\u2019 <\/p>\n

Melchior\u2019s career centred on all the demanding Heldentenor roles and his activity throughout the 1920s and 30s are a testament to his capacity, reliability and sheer artistry. He appeared in each role over 100 times and Tristan over 200 times. Such was Melchior\u2019s fame, he appeared in five Hollywood musicals from 1945 to 1953 which has somewhat impacted his reputation among purists. But listen to his recordings and be blown away by the power and beauty. Add to this the fact that throughout his heyday no Wagner opera at a major house could do without Melchior, and you have a rare testament to a unique talent and artist.<\/p>\n

However, as fashions change with time, in 1950 the new director of the Metropolitan Opera, Rudolf Bing moved the repertoire away from Wagner. Lauritz Melchior, who had done so much was not included in the change of direction and he could not come to terms with the new manager. To add insult to injury, the greatest Wagnerian tenor of the age was later accused by Bing of being \u2018a sloppy performer with a casual attitude toward rehearsals and a penchant for practical jokes\u2026\u2019 Setting the record straight, Astrid Varnay wrote, \u201cI never once witnessed the kind of conduct that Bing and Mayer claimed was so deplorable. On the contrary, no soprano could have asked for a more professional and caring tenor by her side on the stage.\u2019 To underscore his concern for young singers and professionalism, he set up the Lauritz Melchior Heldentenor Foundation to provide scholarships for gifted singers. <\/p>\n

Born on the 20 March 1890 in Copenhagen, Lauritz Melchior passed away on the 18 March 1973 in Santa Monica, California. There are many recording of his singing, including some from 1913 prior to his switch from baritone to tenor. His final performance was with the Danish Radio Orchestra in 1960 in celebration of his 70th birthday. <\/p>","protected":false},"author":2,"featured_media":5758,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"give_campaign_id":0,"footnotes":""},"categories":[73],"tags":[74],"class_list":["post-5756","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-legendary-singers","tag-legendary-singers"],"_links":{"self":[{"href":"https:\/\/voicedetective.com\/de\/wp-json\/wp\/v2\/posts\/5756","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/voicedetective.com\/de\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/voicedetective.com\/de\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/voicedetective.com\/de\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/voicedetective.com\/de\/wp-json\/wp\/v2\/comments?post=5756"}],"version-history":[{"count":0,"href":"https:\/\/voicedetective.com\/de\/wp-json\/wp\/v2\/posts\/5756\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/voicedetective.com\/de\/wp-json\/wp\/v2\/media\/5758"}],"wp:attachment":[{"href":"https:\/\/voicedetective.com\/de\/wp-json\/wp\/v2\/media?parent=5756"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/voicedetective.com\/de\/wp-json\/wp\/v2\/categories?post=5756"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/voicedetective.com\/de\/wp-json\/wp\/v2\/tags?post=5756"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}