{"id":6500,"date":"2025-08-18T09:12:00","date_gmt":"2025-08-18T07:12:00","guid":{"rendered":"https:\/\/voicedetective.com\/?p=6500"},"modified":"2025-08-18T10:24:18","modified_gmt":"2025-08-18T08:24:18","slug":"leo-slezak-tenor-august-18-1873","status":"publish","type":"post","link":"https:\/\/voicedetective.com\/de\/2025\/08\/leo-slezak-tenor-august-18-1873\/","title":{"rendered":"LEO SLEZAK, TENOR, AUGUST 18, 1873"},"content":{"rendered":"\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t

LEO SLEZAK
tenor
AUGUST 18, 1873<\/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
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\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
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"LEO\t\t\t\t\t\t\t\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
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\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
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t
\n
\n

Slezak, a guest, first-rate. A typical tenor in appearance, but [nevertheless] sympathetic. The voice big and well-schooled. In the last act he could be heard clearly above the chorus and orchestra (Prize Song)<\/i>[1]<\/sup><\/a>, one of the most exacting tests imaginable for a singer.<\/i>[2]<\/sup><\/a>
<\/p>\n

\n<\/p>

The diary observation of the young Alma Mahler-Werfel, then unacquainted with her future husband, but studying musical composition with Alexander von Zemlinsky, is perhaps fairer to Slezak the tenor, rather than the legend of the merry prankster. Slezak was without doubt a great singer and even without the anecdotes of his pranks, sayings and shenanigans, he would be assured of an honourable place in the history of singing.<\/p>\n

\n<\/p>

Born in relative poverty on the 18 August 1873 in M\u00e4hrisch-Sch\u00f6<\/span>nberg in the Austro-Hungarian Empire, (now \u0160umperk), Slovakia[3]<\/sup><\/a>, he left school at age 14 and tried careers as gardener, insurance salesman and blacksmith. He later joked that  the last of these, \u2019at least came in handy\u2019 when he came to play the young Siegfried.[4]<\/sup><\/a> At age 19, although he could not read music, he successfully auditioned for the chorus in Brno. His singing career was interrupted by military service, but his commanding officer recognising the conscript\u2019s talent, \u2018the gentleness of his character and the richness of his voice, [and] ensured that he was free to sing for three nights a week. It was while learning to be a soldier that he also mastered Lohengrin.\u2019[5]<\/sup><\/a> Upon his return from military service he debuted as a soloist in the same role in Brno on the 17 March 1896 at the age of 23,[6]<\/sup><\/a> and then in 1898 was offered a contract at the Hofoper in Berlin.[7]<\/sup><\/a> From this point forward his career was international and in 1901 Gustav Mahler called him to the Vienna State Opera which became his base into the 1920s where he always remained a firm favourite with the public, with a final performance in 1933[8]<\/sup><\/a>. It was with Mahler, that \u2018Slezak refined both his singing and his acting, performing the Wagnerian heroic roles of Lohengrin, Erik, Stolzing and Tannh\u00e4user, as well as Verdi\u2019<\/span>s Otello, Ernani, Manrico and Radam\u00e8<\/span>s,\u2019[9]<\/sup><\/a><\/p>\n

\n<\/p>

Despite his reputation as a joker, Slezak was always learning and seeking to improve himself as an artist and a singer. In 1907, well after he was established as a singer with an international reputation, he sought out Jean de Reszke in Paris. De Reszke taught him to spin out the high mezza voce tones which became Slezak\u2019s own signature as a singer.[10]<\/sup><\/a> His career continued to move forward and he became an accomplished screen actor starting in 1932 and finishing in 1943 he appeared in 25 films in all. His son Walter and grand-daughter Erika, continued the family tradition of acting.[11]<\/sup><\/a><\/p>\n

\n<\/p>

So, what about the jokes? Kirsten Flagstad was one for whom the jokes went \u2018too far\u2019, but in her memoirs she could still write, \u2018Leo Slezak came to Oslo as a guest for that Otello<\/i>. That was an experience in itself. He came to the dress rehearsal. He didn\u2019t sing. He did nothing but joke. He overflowed with fun. His Othello was something unbelievable. It was beautiful and grand and frightening. He was terribly tall and terribly bulky. I was so very frail and shrinking beside him.\u2019 [12]<\/sup><\/a>After a very public walk-out by Flagstad due to his behaviour during one rehearsal, it was Mrs. Slezak who came to apologise and make amends.[13]<\/sup><\/a> [14]<\/sup><\/a><\/p>\n

\n<\/p>

Astrid Varnay, a future Wagnerian soprano, also fondly recalled as a child, (her father was director of the Oslo Comique), \u2018I adored Leo Slezak and always looked forward to his visits. It was such fun for me, as a tiny kid, to be bounced up and down on the tenor\u2019<\/span>s mammoth knee while he sang silly songs that left me giggling uncontrollably. He really was one of a kind,\u2026\u2019[15]<\/sup><\/a><\/p>\n

\n<\/p>

So what about a prank? What about the swan fable? A favourite Slezak story is the one from 1898 when at the very outset of his career, fresh from his first performances in Brno, he was invited to Bayreuth. Frau Wagner in attendance at the audition, Slezak was asked what he would sing. He chose Vesti la giubba<\/i>. \u2018Everyone froze. Frau Wagner coldly suggested Slezak might better sing something by The Master; that is, if he knew anything besides Pagliacci<\/i>.,\u2026 He did not get the job.\u2019[16]<\/sup><\/a> For a young 23 year old singer yet to make a name, such bravado is amazing. Yet we know he was without doubt, one of the very greatest of Wagner tenors.<\/p>\n

\n<\/p>

\n<\/p><\/div>\n<\/div>\n

 <\/div>\n
\n

\n<\/p><\/div>\n

\n


<\/p>\n

\n
\n

[1]<\/span><\/sup><\/a> Prize-Song refers to the Preislied from Wagner\u2019s Meisters<\/i>\u00e4<\/span><\/i>nger<\/i><\/p>\n<\/div>\n

\n

[2]<\/span><\/sup><\/a> MAHLER-WERFEL, ALMA. DIARIES 1898-1902 SELECTED AND TRANSLATED BY ANTONY BEAUMONT. CORNELL UNIVERSITY PRESS (1997). P.378 [Wednesday 27 February 1901]<\/p>\n<\/div>\n

\n

[3]<\/span><\/sup><\/a> SHAWE-TAYLOR, DESMOND. SLEZAK, LEO IN THE GROVE BOOK OF OPERA SINGERS, EDITED BY MACY, LAURA,, OXFORD UNIVERSITY PRESS, (2008) PP.457-458<\/p>\n<\/div>\n

\n

[4]<\/span><\/sup><\/a> POTTER, JOHN., TENOR HISTORY OF A VOICE, YALE UNIVERSITY PRESS, NEW HAVEN & LONDON (2009). P.154<\/p>\n<\/div>\n

\n

[5]<\/span><\/sup><\/a> IBID. P.154<\/p>\n<\/div>\n

\n

[6]<\/span><\/sup><\/a> IBID. PP. 457-458<\/p>\n<\/div>\n

\n

[7]<\/span><\/sup><\/a> IBID. P.154<\/p>\n<\/div>\n

\n

[8]<\/span><\/sup><\/a> IBID. PP.457-458<\/p>\n<\/div>\n

\n

[9]<\/span><\/sup><\/a> IBID. P.154<\/p>\n<\/div>\n

\n

[10]<\/span><\/sup><\/a> IBID. P.155<\/p>\n<\/div>\n

\n

[11]<\/span><\/sup><\/a> IBID. P.155<\/span><\/p>\n<\/div>\n

\n

[12]<\/span><\/sup><\/a> BIANCOLLI, LOUIS., THE FLAGSTAD MANUSCRIPT, WILLIAM HEINEMANN LTD., (1953). P.26<\/p>\n<\/div>\n

\n

[13]<\/span><\/sup><\/a> IBID. P.26<\/p>\n<\/div>\n

\n

[14]<\/span><\/sup><\/a> VARNAY, ASTRID (WITH ARTHUR, DONALD) 55 YEARS IN FIVE ACTS – MY LIFE IN OPERA. NORTHEASTERN UNIVERSITY PRESS (2000). P.41 provides more detail about the apology<\/p>\n<\/div>\n

\n

[15]<\/span><\/sup><\/a> IBID. P.41<\/p>\n<\/div>\n

\n

[16]<\/span><\/sup><\/a> MORDDEN, ETHAN., OPERA ANECDOTES, OXFORD UNIVERSITY PRESS (1985). P.165<\/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":"

“Slezak, a guest, first-rate. A typical tenor in appearance, but [nevertheless] sympathetic. The voice big and well-schooled. In the last act he could be heard clearly above the chorus and orchestra (Prize Song) , one of the most exacting tests imaginable for a singer.” <\/p>\n

The diary observation of the young Alma Mahler-Werfel, then unacquainted with her future husband, but studying musical composition with Alexander von Zemlinsky, is perhaps fairer to Slezak the tenor, rather than the legend of the merry prankster. Slezak was without doubt a great singer and even without the anecdotes of his pranks, sayings and shenanigans, he would be assured of an honourable place in the history of singing.<\/p>\n

Born in relative poverty on the 18 August 1873 in M\u00e4hrisch-Sch\u00f6nberg in the Austro-Hungarian Empire, (now \u0160umperk), Slovakia , he left school at age 14 and tried careers as gardener, insurance salesman and blacksmith. He later joked that the last of these, \u2019at least came in handy\u2019 when he came to play the young Siegfried. At age 19, although he could not read music, he successfully auditioned for the chorus in Brno. His singing career was interrupted by military service, but his commanding officer recognising the conscript\u2019s talent, \u2018the gentleness of his character and the richness of his voice, [and] ensured that he was free to sing for three nights a week. It was while learning to be a soldier that he also mastered Lohengrin.\u2019 Upon his return from military service he debuted as a soloist in the same role in Brno on the 17 March 1896 at the age of 23, and then in 1898 was offered a contract at the Hofoper in Berlin. From this point forward his career was international and in 1901 Gustav Mahler called him to the Vienna State Opera which became his base into the 1920s where he always remained a firm favourite with the public, with a final performance in 1933 . It was with Mahler, that \u2018Slezak refined both his singing and his acting, performing the Wagnerian heroic roles of Lohengrin, Erik, Stolzing and Tannh\u00e4user, as well as Verdi\u2019s Otello, Ernani, Manrico and Radam\u00e8s,\u2019 <\/p>\n

Despite his reputation as a joker, Slezak was always learning and seeking to improve himself as an artist and a singer. In 1907, well after he was established as a singer with an international reputation, he sought out Jean de Reszke in Paris. De Reszke taught him to spin out the high mezza voce tones which became Slezak\u2019s own signature as a singer. His career continued to move forward and he became an accomplished screen actor starting in 1932 and finishing in 1943 he appeared in 25 films in all. His son Walter and grand-daughter Erika, continued the family tradition of acting. <\/p>\n

So, what about the jokes? Kirsten Flagstad was one for whom the jokes went \u2018too far\u2019, but in her memoirs she could still write, \u2018Leo Slezak came to Oslo as a guest for that Otello. That was an experience in itself. He came to the dress rehearsal. He didn\u2019t sing. He did nothing but joke. He overflowed with fun. His Othello was something unbelievable. It was beautiful and grand and frightening. He was terribly tall and terribly bulky. I was so very frail and shrinking beside him.\u2019 After a very public walk-out by Flagstad due to his behaviour during one rehearsal, it was Mrs. Slezak who came to apologise and make amends. <\/p>\n

Astrid Varnay, a future Wagnerian soprano, also fondly recalled as a child, (her father was director of the Oslo Comique), \u2018I adored Leo Slezak and always looked forward to his visits. It was such fun for me, as a tiny kid, to be bounced up and down on the tenor\u2019s mammoth knee while he sang silly songs that left me giggling uncontrollably. He really was one of a kind,\u2026\u2019 <\/p>\n

So what about a prank? What about the swan fable? A favourite Slezak story is the one from 1898 when at the very outset of his career, fresh from his first performances in Brno, he was invited to Bayreuth. Frau Wagner in attendance at the audition, Slezak was asked what he would sing. He chose Vesti la giubba. \u2018Everyone froze. Frau Wagner coldly suggested Slezak might better sing something by The Master; that is, if he knew anything besides Pagliacci.,\u2026 He did not get the job.\u2019 For a young 23 year old singer yet to make a name, such bravado is amazing. Yet we know he was without doubt, one of the very greatest of Wagner tenors.<\/p>\n","protected":false},"author":2,"featured_media":6495,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"give_campaign_id":0,"footnotes":""},"categories":[66],"tags":[65],"class_list":["post-6500","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","tag-front-news"],"_links":{"self":[{"href":"https:\/\/voicedetective.com\/de\/wp-json\/wp\/v2\/posts\/6500","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=6500"}],"version-history":[{"count":0,"href":"https:\/\/voicedetective.com\/de\/wp-json\/wp\/v2\/posts\/6500\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/voicedetective.com\/de\/wp-json\/wp\/v2\/media\/6495"}],"wp:attachment":[{"href":"https:\/\/voicedetective.com\/de\/wp-json\/wp\/v2\/media?parent=6500"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/voicedetective.com\/de\/wp-json\/wp\/v2\/categories?post=6500"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/voicedetective.com\/de\/wp-json\/wp\/v2\/tags?post=6500"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}