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Helena Forti
Helena Forti 1911
Helena Forti portrait
Born(1886-04-25)25 April 1886
Berlin, Germany, German Republic
Died11 May 1943(1943-05-11) (aged 57)
Vienna, Austria,
Education
Occupations
Organizations
  • Dessau Hofoper
  • Prag Deutsches Theater
  • Royal Court Opera Dresden
  • Gera Theater
  • Düsseldorf theater
Spouse
Walter Bruno Iltz
​
(m. 1918)​
Awards
  • Kgl. sächsische Kammersängerin
  • Fürstlich-reußische Kammersängerin

Helena Forti (November 17, 1884 in Berlin - May 11, 1942 in Vienna) was a dramatic soprano active 1906 – 1924, closely associated with the Dresden royal court opera, known for her beauty, voice and strong stage presence.[1] She sang all Wagner’s opera heroines, [2] in Dresden, Bayreuth and internationally. Other repertoire included the title role in Verdi’s Aida, Santuzza in Cavalleria and contemporary works like Marietta in Korngold’s Die tote Stadt. She created the role of Mytocle in Eugen d’Albert’s opera Die toten Augen.[3] Her Sieglinde in Die Walküre in Braunschweig was described by the Neue Zeitschrift für Musik[4] as “Equally endowed with youth, beauty and vocal means... (Forti) immerses herself so intensely in her role that one believes the transformation of the virgin-Goddess into a human form.” After retiring from singing she taught voice and acting in Gera, Düsseldorf and Vienna.[5] She died in Vienna, where she lived with her stage director and Intendant husband, Walter Bruno Iltz.

Family

[edit]

Helena Forti was born in Berlin, on the 25th of April, 1884.[6] Alternative birth dates are 25. April, 1884, or 1886. [7] Forti was “a true stage child”[8] to theater-parents. Her father Anton Fiedler, "so called Forti"[9], was a tenor[10] and “academic painter” who ran a shop renting out paintings and etchings[a][11] Anton Forti died in 1920[12] [b]

Helena Forti's mother was the Dresden-Residenztheater actressCite error: A <ref> tag is missing the closing </ref> (see the help page). Minna Forti-Hänsel (1864?-1925?). Minna Hänsel was "one of the best soubrettes ever", according to the Die deutsche Schaubühne, [13] and played in the 'second theater' in Dresden in 1869. After the loss of Gottfried Semper's 'first court opera' due to fire, her theater closed as well, and she moved to Berlin. Semper would go on to rebuild the theater to its current form, where Minna Hänsel's daughter Helena Forti would sing for many years. Hänsel sang the title role in Offenbach’s Helena at the Imperial German Court Theater (Kaiserlich-Deutsche Hoftheater) in St. Petersburg, in 1874,[14] becoming a well-known soubrette who sang in Chemnitz, Görlitz, Hannover, Stuttgart (summer theater in Berg), Stettin and in Dresden,[15] later a fine comic character-actress.[16]

The Forti family's apartment in Dresden was in Zeughausstrasse 2, adjacent to the Synagogue (also designed by Gottfried Semper, the court opera architect). The Jewish local community had its offices in this building as well.[17] Apart from participation in a 1916 concert in the synagogue,[18] it is not known if Forti was Jewish - later, she would be accused of being Jewish in 1933.[19]

Life

[edit]

Already at 5 years of age, Helena Forti appeared in children’s roles at the Residenztheater in Dresden. Her professional stage debut was as an actress, at the Dessau court theater, at age sixteen in Goethe's The Brother and Sister (Die Geschwister).[20][21] In Dessau she played the "Naive and Sentimental" 'Fach'.[22] She also worked at the theater in Colberg.[23]

In 1903 she studied singing with the Dresden Baritone Karl Scheidemantel, [24] who would become Opera Director in Dresden in 1920, in her final years there; Further studies were with Teresa Emmerich in Berlin.[25] Forti's stage Debut as a soprano operatic singer came in 1906, as Valentine in Giacomo Meyerbeer’s Hugenots at the Hoftheater Dessau,[26] where she was a member of the soloist ensemble, staying till 1907.[27] Numerous national and international performances followed, at the Royal opera in Stuttgart in 1907,[28] 1908–09 at the Brno Theater,[29] and 1910–11 in Angelo Neumann's Deutschen Theater in Prague. There she learnt her first dramatic roles, and sang contemporary pieces such as Deltnar’s Carmelita,[30] and Felix Weingartner’s 'Orestea Trilogie'[31] She sang as a guest in the Court Opera in Berlin (Valentine in Meyerbeers Hugenots) in 1908,[32] in the theaters of Bremen and Braunschweig,[33] in Vienna (as Elisabeth in Tannhäuser) in 1910 and 1913, and at the Munich Wagner-Festival (in 1911). Her last performance in Prag was Leonora in Fidelio, Alexander von Zemlinsky conducted.[34]

Dresden 1911-1925

[edit]

The reigning Wagner prima-donnas of the court theater of Dresden were Therese Malten and her successor Marie Wittich.[35] Stars of Dresden and Bayreuth, they made way for a new, dramatically oriented singer like [[Annie Krull], Strauss's choice for Diemuth (in Feuersnot) and the title role of Elektra.[36] Yet Krull failed to achieve Wittich's star-status and left Dresden for Mannheim in 1911.[37] Helena Forti had first appeared in Dresden during the Esperanto Congress in 1908,[38]

Dresden Royal court opera

and in September 1911 sang Sieglinde in Die Walküre as a guest at the Royal court opera. She was then hired as Krull’s replacement in the soloist ensemble, and started her contract in Dresden on October 14th, 1911.[39] The music director, Ernst von Schuch, writing to Strauss, described Forti as “A Brunnhilde presence, with a big voice”. Yet this very "Brunnhilde look" was a problem for Strauss, who warned against casting Forti as Salome, her being too “giant”.[40] Forti's first role in Dresden was Elisabeth in Tannhäuser on October 25th, 1911, [41] With Elisabeth, Forti earned a "noticeable success which should be decisive for her being further cast in Wagner roles. She brings not only the vocal size, but also the necessary pathos of expression."[42] and she remained in Dresden till 1925, her last performance that of Adriano in Wagners Rienzi.

Forti sang the title roles of Aida,Fidelio[43] and Carmen,[44] Marina in Boris Godunov,[45] Santuzza in Cavalleria,[46] Antonia in Contes d'Hoffmann, Rachel in La Juive,[47] Leonore im Il Trovatore, Amelia in Ballo in Maschera and even Pamina in der Die Zauberflöte, but mainly she was the Wagner-singer of Dresden: Senta in The Flying Dutchman[48] Ortrud in Lohengrin,[49] Isolde in Tristan und Isolde,[50] Sieglinde in Die Walküre,[51] and all other Wagner heroins, Elsa, Eva, Brünnhilde, Fricka, etc. Forti sang more contemporary pieces as well, the title role of Richard Strauss Ariadne auf Naxos, Minneleide in Hans Pfitzner's Die Rose vom Liebesgarten; most notably she created the role of Myrtocle in Eugen d’Albert's Opera Die toten Augen in 1916.[52]

Plaschke und Forti, in Die toten Augen
Helena Forti as Myrtocle in Die toten Augen,[53]

Other role creations were Maria in Arthur Wulffius's opera Gabina (1914), Eroon in Karl v. Kaskel's Schmiedein von Kent,(1916)[54] Ilsebil in Naumanns opera Mantje timpe te, (1918), and Irene in Siegfried Wagner's Sonnenflammen, (1920). The opera was a success with the audience, due to Forti's excellent performance.[55][56] Forti also sang Dresden's first performances of Erich Wolfgang Korngold's Marietta in Die Tote Stadt and the title role in his Violanta,[57] as well as the role of Weibes (=a woman) in Paul Hindemith's opera, Mörder Hoffnung der Frauen[58][59]

During her Dresden period she sang in Amsterdam, Berlin, (Kaiser's world creation of Stella Maris),[60] Brussels, Bucharest, Cologne, Dessau (Isolde)[61] Munich, [62] Vienna, Zürich (Boris Godunov), and in Italy.[63]

In 1914 Forti appeared for her only season at the Bayreuther Festspiele as Sieglinde in Richard Wagner'sDie Walküre and Kundry im Parsifal. [64] Bühne und Welt[65] wrote: "It was an event. No stage should have two such powerful Kundry-interpreters at the same time. Forti drew from the depths of all femininity, and was - in her internalization, and lightly consuming ecstasy, of indescribable urgency. One experienced the mystery of compassion."

Bayreuther Bühnen-Festspiele, 1914 - Alfred Pieperhoff

Forti received the title of Kammersängerin in 1917.[66] At the time of her death, Forti had two such titles, the one granted by the King in Dresden in 1917 ("Kgl. sächsische Kammersängerin"), it is unknown when and where she was granted the other title, "fürstlich-reußische Kammersängerin". [c].

Marriage to W.B. Iltz

[edit]

in 1917, she married Dresden's "most famous and excellent"[67] actor (and later stage director and Intendant ='General manager') Walter Bruno Iltz,[68] who was “always seen sitting in the artist’s box when Forti sang, utterly immersed at her stage presence.“[69]

Forti-Iltz

The wedding took place in Tegernsee, Bavaria,[70] where they purchased a house from Forti's tenor colleague Leo Slezak.[71] In Dresden the couple lived in Forti’s parent’s apartment in Zeughausstr.2 The Dresden artist Georg Gelbke designed the couple's wedding announcement, as well as stationary for Helena Forti, based on a motif from Walküre. [72][73] The Forti-Iltz couple were an important part of the Dresden artistic society,[74] and were friends of Siegfried and Winifred Wagner, Paul Adolph (administrative director of the Dresden Theater), Oskar Walzel, [d][75]Karl Mai,[76] Max Mohr,[77] and others. The artist Rudolf Scheffler included them in his book of caricatures of the most famous members of the royal court theater in Dresden.[78]

Retirement from the stage

[edit]

Forti left the Dresden Opera in 1925, [79] her performances in Dresden and elsewhere dwindled. Online and other references to a "career breakthrough" in Germany after her "excellent"[80] Marina in Boris Godunov in 1923 cannot be sourced and are in error; Forti definitely retired from singing by 1925. Years of singing the dramatic repertoire and a possible addiction to morphium may have taken their toll.[81] Siegfried Wagner wrote her a flattering letter, expressing regret at her early retirement from the stage. [82]

after Dresden

[edit]

Forti's mother Minna died about 1925. Forti and her husband left the apartment in Zeughausstrasse 2 (it was taken over by the Dresden Kappelmeister Kurt Striegler). She followed her husband to Gera where he was Intendant and where she worked with the actors of his company.[83] According to Theo Anna Sprüngli, Forti now "saw her own success in the success of her husband, her highest ambition was to see him achieving his plans."[84] In Gera, Iltz's production of the 1925 play Katalaunische Schlacht by Arnolt Bronnen - a sexualized war drama [85] offended public sensibilities, and Iltz, as well as his wife, Helena Forti, received an anonymous letter with threat of being shot.[86]

in 1929 Forti followed Iltz to Düsseldforf, where he was named general director, and where she also continued to coach actors,[87] and teach singing to (female) opera singers.[88][89]

Walter Bruno Iltz 1938

The couple moved to Vienna, when Iltz became director of the Volksoper there. Forti died in Vienna, on the 11th of May, 1942, 58 years old, "after a long, severe nervous disorder triggered by her husband's clashes with the Nazi press and the Nazi party in Düsseldorf, which for many years had been "incomprehensible and agonizing" to her and her husband's existence[90] She was buried in Tegernsee [91]

Critical appreciation

[edit]

There are no films or Video documents of Forti's artistry. She earned her place in the history of modern opera following the footsteps of singing actresses like Annie Krull.[92] Bühnen und Welt of 1909 describes the young Forti in the Prag Maifestspiele as a “youthful singer with great sensuous charm and excellent vocal, acting and intellectual qualities."Cite error: A <ref> tag is missing the closing </ref> (see the help page). The author Oskar Walzel [93] describes her Slavonic features, yet "on stage one could not imagine a more convincing personification of a Wagner heroine. Tall and slim, with reddish hair, she commanded gesture masterfully. Upon entering the stage as a Walkyrie, one says to one’s self, this, and in no other way, should a Brünnhilde look like… [94] Yet Walzel and others[95] also comments that Forti's vocal material and craftsmanship did not match her visual qualities, Forti was "no replacement for Marie Wittich". ibid , [96] As early as 1911, Die Musik, while praising[97] her Senta in Der fliegende Holländer, notes a certain difficulty in the top range of her voice. Her Isolde "looked better than it was sung", [98] By the end, Der Merker, merely labels her last performance (Adriano in Rienzi) as "disappointing".[99]

Theo A Sprüngli, the critic and activist wrote:

"An almost mystical magic, the magic of glowing life, emanated from her when she was on stage. She was always on fire inside, she always had to burn herself out; the fire of her enthusiasm, kindled by the primal-power of her heart, was never extinguished. Forti's innermost being was a rushing melody, her art a return of the heart to its divine origin: divine love."[100]

[edit]

Recordings

[edit]
  • Brahms, song: Vergebliches Ständchen, 1920, Odeon
  • Gounod, Faust, aria: Jewel song, Zonophone[101]
  • Rotoli, song: La Serenata, Zonophone[102]
  • Wagner, Rinezi, aria: „in seiner Blüte“, 1920 odeon</ref>[[2]]</ref>
  • Wagner, Parsifal, “Grausamer! Fühlst Du im Herzen</ref>[[3]]</ref>
  • Leoncavallo, song: Mattinata, 1920, Odeon</ref>[[4]]</ref>

Repertoire

[edit]

Sources:

  • Hochmuth: Chronicles of the Dresden opera (in German)[103]
  • German Bühnenjahrbuch, (yearbook of theater activity) from 1943 (with an article about Forti listing her roles).[104]
  • Other sources noted specifically

Composer - Role - Opera title - note (if any)

  • d’Albert, Marion Liebesketten
  • d’Albert, Marta, Tiefland
  • d’Albert, Myrtocle‚Die toten Augen, Role creation, Dresden
  • Aubert, Muette, Muette de Portici
  • Beethoven, Leonore, Fidelio
  • Bizet, Michaela, Carmen
  • Deltnar, Carmelita, Carmelita, Role creation, Prague,[105]
  • Goetz, Katharina Wiederspenstigen Zähmung
  • Halevy, Rachel, La Juive
  • Hindemith, Frau, Mörder Hoffnung der Frauen
  • Kaiser, Marga, Stella Maris[106]
  • Kaskel, Eroon, Schmiedin von Kent, Role creation, Dresden
  • Korngold, Marietta‚ die tote Stadt
  • Mascagni, Santuzza, Cavalleria
  • Meyerbeer, Valentine, Die Hugenotten
  • Meyerbeer, Selika, Die Afrikanerin
  • Mozart, Pamina, Die Zauberflöte
  • Mussorgsky, Marina, Boris Godunow
  • Naumann, Ilsebill‚ Mantje Timpe Te, Role creation, Dresden
  • Offenbach, Antonia, Tales of Hoffmann
  • Pfitzner, Minneleide, Die Rose vom Liebesgarten
  • Strauss, Ariadne, Ariadne auf Naxos
  • Verdi ,Aida‚ Aida
  • Verdi, Amelia, Un Ballo in Maschera
  • Verdi, Leonora, Il Trovatore
  • Wagner, Siegfrid, Irene, Sonnenflammen, Role creation, Dresden
  • Wagner, Elisabeth, Tannhäuser
  • Wagner, Elsa, Lohengrin
  • Wagner, Senta, Der Fliegende Holländer
  • Wagner, Brünnhilde, Die Walküre
  • Wagner, Brünnhilde, Götterdämmerung
  • Wagner, Kundry, Parsifal
  • Wagner, Adriano Rienzi
  • Wagner, Sieglinde, Die Walküre
  • Wagner, Isolde, Tristan und Isolde
  • Wagner, Venus, Tannhäuser
  • Wagner, Eva, Meistersinger
  • Wagner, Fricke, Das Rheingold
  • Wagner, Ortrud, Lohengrin
  • Waltershausen, Rosine, Oberst Chabert
  • Weingertner, Kassandra, Orestes Trilogie Role creation, Prague[107]

References

[edit]
  1. ^ Walzel, Oskar (1956). Wachstum und Wandel [Growth and change] (in German). Berlin: Erich Schmidt Verlag.
  2. ^ Neue Zeitschrift für Musik, 1924 Jg91, p. 658
  3. ^ Neue Zeitschrift für Musik 1924 Jg91, s. 658
  4. ^ 1915 Jg. 82
  5. ^ Neue Zeitschrift für Musik 1924 Jg91, s. 658
  6. ^ Hochmuth, Michael (1988). Chronik der Dresdner Oper - Zahlen, Namen, Ereignisse [Chronicles of the Dresden Opera, Numbers, Names and Events] (in German). Hamburg: Verlag Dr. Kovač. ISBN 978-3-86064-826-1.
  7. ^ Bühnenjahrbuch 1943
  8. ^ Neue Zeitschrift für Musik, 1924 Jg91 p.658
  9. ^ Adreßbuch für Dresden und Vororte Bandzählung1887|according to the Dresden Address book of 1887
  10. ^ Deutsches bühnen-jahrbuch ; theatergeschichtliches jahr- und adressenbuch .v.22 1911, p.233|Minna Hänsel, married with the "former tenor and currently painter Anton Forti".
  11. ^ [Adreßbuch für Dresden und Vororte, 1915]
  12. ^ Adreßbuch für Dresden und Vororte Bandzählung1920
  13. ^ Die deutsche Schaubühne, Organ für theater und literatur. Jahrg.10 (1869)
  14. ^ [Hänsel in Helena]
  15. ^ Neue Zeitschrift für Musik1911 Jg. 78 p.635|Forti and her mother's career
  16. ^ Dresdner neueste Nachrichten , 23.04.1903, p.2| positive review of Minna Hänsel's comic talent.
  17. ^ Dresden historic address books, 1900-1925)
  18. ^ Neue Zeitschrift für Musik, 83. jg, 1916, p.55
  19. ^ Manker, Paulus (2014). Enttarnung eines Helden: Das unbekannte Leben des Walter Bruno Iltz [Uncovering a hero: the unknown life of Walter Bruno Iltz] (in German). Berlin: Alexander Verlag. ISBN 3895813400.| p. 49
  20. ^ Forti as actress in Dessau Deutsches bühnen-jahrbuch v.13 1902.Listing: 'Dessau'
  21. ^ Hochmuth, Michael (1988). Chronik der Dresdner Oper - Zahlen, Namen, Ereignisse [Chronicles of the Dresden Opera, Numbers, Names and Events] (in German). Hamburg: Verlag Dr. Kovač. ISBN 978-3-86064-826-1.
  22. ^ Deutsche Bühnen Jahrbuch, 1943
  23. ^ Deutsches bühnen-jahrbuch v.14 1903.Listing: 'Colberg'
  24. ^ Vrbka Tomáš, Státni opera Praha: opera 1888-2003 : historie divadla v obrazech a datech, 2004, 597 pages. p.111
  25. ^ Musical courier,a weekly journal devoted to music and the music trades, 1908| Forti as student of Teresa Emmerich in Berlin (advertisement of Emmerich) p. 14
  26. ^ Hall, Charles (1989). A twentieth-century musical chronicle : events 1900-1988. Greenwood. {{cite book}}: Text "isbn: 0313265771" ignored (help) Debut 1906 in Dessau
  27. ^ Deutsches bühnen-jahrbuch,v.18 1907|HF listed under 'Dessau'
  28. ^ Chronik der kgl. Haupt- und Residenzstadt Stuttgart. Stuttgart: Verlag Gemeinderat. 1907. {{cite book}}: Unknown parameter |Translation title= ignored (help)
  29. ^ Deutsches Bühnen Jahrbuch, v.19, 1908
  30. ^ which was cancelled after the first performance. The papers were full of general director Neumann, the composer, and the 'Temperamentvolle Diva' (='Diva full of personality') Helena Forti.
  31. ^ Bühne und Welt: 1909, v. 11, P.830
  32. ^ 'Guide musical; Revue internationale de la musique et de theâtres lyriques, Vol. 60|Review of Valentine in Huegenottes (with Siems, Vogelstrom, Staegemann
  33. ^ Bühne und Welt, v. 2;v. 11, 1909
  34. ^ Deutsche Arbeit, v. 11,Ausgaben 1-6, 1911| comments on Forti's positive development as a singer, and regrets her departure.
  35. ^ Cowgill & Poriss, editors., Calico, Joy (2012). The arts of the primadonna in the long ninetreenth century. Oxford: Oxford university press. p. 68. ISBN 0195365887. {{cite book}}: |last= has generic name (help)CS1 maint: multiple names: authors list (link)Calico, Joy, Staging Scandal with Salome and Elektra,
  36. ^ Timpano, Nathan (2017). Constructing the Viennese Modern Body: Art, Hysteria, and the Puppet'. Taylor and Francis limited. ISBN 1138220183.
  37. ^ Stahl, Ernst Leopold (1929). Das Mannheimer Nationaltheater, ein Jahrhundert deutscher Theaterkultur im Reich [The national theater in Mannheim, a century of theater culture in the German empire] (in German). J. Bensheimer. p. 287.
  38. ^ La Bela mondo. 1908-1909, Dresden. p.12-14 in Esperanto, no publisher given
  39. ^ Hanke Krauss, Gabriella (1999). Richard Strauss Ernst von Schuch, ein Briefwechsel [Richard Strauss Ernst von Schuch, letters] (in German). Henschelverlag. letter of October 13, 1911.
  40. ^ Hanke Krauss, Gabriella (1999). Richard Strauss Ernst von Schuch, ein Briefwechsel [Richard Strauss Ernst von Schuch, letters] (in German). Henschelverlag. ISBN 978-3894873295.
  41. ^ Neue Zeitschrift für Musik, 1911 v. 78, p.635
  42. ^ Die Musik, vl. 12, XLVI, 1912-1913 p.299
  43. ^ Die Musik 11Jg, 1Q, v.41, 1911-1912, p.441
  44. ^ Bühne und Welt, p. 137 vol 16 part 2, 1914
  45. ^ Neue Zeitschrift fuer Musik, 1923 Jg90
  46. ^ Die Musik 11Jg, 2Q, V.42, 1911-1912, p.425
  47. ^ Neue Zeitschrift für Musik, 1917,p.84
  48. ^ Die Musik, 11Jg, 1Q, Bd.41, 1911-1912 |Senta in Dresden p.354
  49. ^ Die Musik, 14Jg, 1Q, Bd.53, 1914-1915 s.254 |Ortrud in Dresden
  50. ^ Watt, Charles E., 1861-1933 Music news
  51. ^ Neue Zeitschrift für Musik, 1911 Jg. 78p.635
  52. ^ Kugel, Wilfried (1992). Der Unverantwortliche : das Leben des Hanns Heiz Ewers [The irresponsible: the life of Hanns Heiz Ewer] (in German). Grupello. ISBN 978-3928234047. {{cite book}}: Cite has empty unknown parameter: |1= (help)
  53. ^ Berliner illustrierte Zeitung. v.25(1916). p. 151
  54. ^ Neue Musik Zeitung, 37 Jg 1916 pp. 61, 153.
  55. ^ Menschen. "Monatsschrift für neue Kunst." volumes 3-5 1920-22. p.55.
  56. ^ Hochmuth, Michael (1988). Chronik der Dresdner Oper - Zahlen, Namen, Ereignisse [Chronicles of the Dresden Opera, Numbers, Names and Events] (in German). Hamburg: Verlag Dr. Kovač. ISBN 978-3-86064-826-1.
  57. ^ Neue Zeitschrift für Musik, 1916 Jg. 83
  58. ^ Neue Zeitschrift fuer Musik, 1923 Jg90
  59. ^ Neue Musik Zeitung 43 Jg 1922
  60. ^ Die Musik, 12Jg, 2Q, Bd.46, 1912-1913 feb 1913
  61. ^ Neue Zeitschrift für Musik, 88. Jg 1921, p.368
  62. ^ Signale für die musikalische Welt v.69 1911 no.3-5,18,20-21,23-38,40-48.|Münchener Festspiele
  63. ^ Die Stimme: Centralblatt für Stimm- und Tonbildung, Gesangunterricht und Stimmhygiene, Bände 13-14, p.247
  64. ^ Die Musik 14Jg, 1Q, Bd.53, 1914-1915, s. 333
  65. ^ Bühne und Welt, vol 16 part 2, 1914 p.137
  66. ^ Neue Musik Zeitung, 38 Jg 1917, p.295
  67. ^ Mühsam, Paul, Ich bin ein Mensch gewesen,Lebenserinnerungen, Bleicher Verlag, Gerlingen, 1989, s. 175
  68. ^ Neue Musik Zeitung 38 Jg 1917, p. 375
  69. ^ Walzel, Oskar (1956). Wachstum und Wandel [Growth and change] (in German). Berlin: Erich Schmidt Verlag. pp.128-129
  70. ^ Deutsches Bühnen-Jahrbuch Spielzeit 1966/67. Genossenschaft Deutscher Bühnen-Angehörigen, Deutscher Bühnenverein, F. A. Günther & Sohn, Hamburg 1967
  71. ^ Adolph, Paul (1932). 'Vom Hof zum Staatstheater' [From court theater to State theater] (in German). Dresden: C.Heinrich Verlag. p.355
  72. ^ http://www.exlibris-archiv.de/EXL-KUENSTLER/exl-kue-Gelb/Bieger.pdf
  73. ^ Mitteilungen des Exlibrisvereins zu Berlin. jahrg.7-11 (1913-17). p. 13
  74. ^ Die Woche V.20, 1918, Teil 1 ( Jan März), p. 170
  75. ^ Walzel, Oskar (1956). Wachstum und Wandel [Growth and change] (in German). Berlin: Erich Schmidt Verlag.
  76. ^ https://www.karl-may-gesellschaft.de/kmg/seklit/JbKMG/1970/149.htm
  77. ^ Steger, Florian (2020). Max Mohr: Arzt und rastloser Literat (in German). Friedrich Pustet Verlag. ISBN 3791730754.
  78. ^ Scheffler, Rudolf (1918). HUKA ALBUM, Humoristischer Künstlerabend von Mitgliedern der Königl. Hoftheater Dresden [HUKA album, a humorous artist's evening of members of the royal court theater in Dresden] (in German). Dresden: Alfred Waldheim und Co.
  79. ^ Hochmuth, Michael (1988). Chronik der Dresdner Oper - Zahlen, Namen, Ereignisse [Chronicles of the Dresden Opera, Numbers, Names and Events] (in German). Hamburg: Verlag Dr. Kovač. ISBN 978-3-86064-826-1.
  80. ^ Musical Courier: A Weekly Journal Devoted to Music and the Music Trades, Band 87, 1923, p.23
  81. ^ W.B. Iltz's colleague the choreographer Yvonne Georgi, quoted inManker, Paulus (2014). Enttarnung eines Helden: Das unbekannte Leben des Walter Bruno Iltz [Uncovering a hero: the unknown life of Walter Bruno Iltz] (in German). Berlin: Alexander Verlag. ISBN 3895813400.|p. 88
  82. ^ Ibid
  83. ^ Neue Musik Zeitung, 45 Jg 1924, p.23
  84. ^ Manker, Paulus (2014). Enttarnung eines Helden: Das unbekannte Leben des Walter Bruno Iltz [Uncovering a hero: the unknown life of Walter Bruno Iltz] (in German). Berlin: Alexander Verlag. ISBN : 3895813400. {{cite book}}: Check |isbn= value: invalid character (help)
  85. ^ Manker, Paulus (2014). Enttarnung eines Helden: Das unbekannte Leben des Walter Bruno Iltz [Uncovering a hero: the unknown life of Walter Bruno Iltz] (in German). Berlin: Alexander Verlag. ISBN 3895813400.| p. 88
  86. ^ [[1]]
  87. ^ Walzel, Oskar (1956). Wachstum und Wandel [Growth and change] (in German). Berlin: Erich Schmidt Verlag.
  88. ^ Neue Zeitschrift für Musik, 1924, Jg91, p.729|Well-known teacher of female voices
  89. ^ Harold Rosenthal, OPERA ANNUAL 1954-1955, 1954, JOHN CALDER LTD
  90. ^ Manker, Paulus (2014). Enttarnung eines Helden: Das unbekannte Leben des Walter Bruno Iltz [Uncovering a hero: the unknown life of Walter Bruno Iltz] (in German). Berlin: Alexander Verlag. ISBN 3895813400.
  91. ^ Hochmuth, Michael (1988). Chronik der Dresdner Oper -Zahlen, Namen, Ereignisse [Chronicles of the Dresden Opera, Numbers, Names and Events] (in German). Hamburg: Verlag Dr. Kovač. ISBN 978-3-86064-826-1.
  92. ^ Cowgill & Poriss, editors., Calico, Joy (2012). The arts of the primadonna in the long ninetreenth century. Oxford: Oxford university press. p. 68. ISBN 0195365887. {{cite book}}: |last= has generic name (help)CS1 maint: multiple names: authors list (link)Calico, Joy, Staging Scandal with Salome and Elektra
  93. ^ Oskar Franz Walzel, 1864-1944, Austrian-German writer and literary scholar, a professor in Dresden (during Forti's years there)
  94. ^ Walzel, Oskar (1956). Wachstum und Wandel [Growth and change] (in German). Berlin: Erich Schmidt Verlag.
  95. ^ Die Musik: Verzeichnis der Kunstbeilagen, Band 12,Ausgabe 3
  96. ^ Die Musik: Verzeichnis der Kunstbeilagen, Band 12,Ausgabe 3
  97. ^ Die Musik 11Jg, 1Q, Bd.41, 1911-1912 p.354
  98. ^ Die Musik, 14jg 3q Bd. 551914 1915 ( 1) p.85
  99. ^ Der Merker, Band 4;Band 10
  100. ^ Manker, Paulus (2014). Enttarnung eines Helden: Das unbekannte Leben des Walter Bruno Iltz [Uncovering a hero: the unknown life of Walter Bruno Iltz] (in German). Berlin: Alexander Verlag. ISBN 3895813400.
  101. ^ EMI Music archive His Master's Voice: The German Catalogue : a Complete Numerical Catalogue of German Gramophone Recordings Made from 1898 to 1929 in Germany, Austria, and Elsewhere by the Gramophone Company Ltd.
  102. ^ EMI Music archive His Master's Voice: The German Catalogue : a Complete Numerical Catalogue of German Gramophone Recordings Made from 1898 to 1929 in Germany, Austria, and Elsewhere by the Gramophone Company Ltd.
  103. ^ Hochmuth, Michael (1988). Chronik der Dresdner Oper - Zahlen, Namen, Ereignisse [Chronicles of the Dresden Opera, Numbers, Names and Events] (in German). Hamburg: Verlag Dr. Kovač. ISBN 978-3-86064-826-1.
  104. ^ Deutsche Bühnen Jahrbuch, 1943
  105. ^ Neue Musik Zeitung, 31 Jg, 1910, p.108
  106. ^ https://www.worldcat.org/title/helena-forti-rollenbild-huftbild-in-alfred-kaiser-stella-maris/oclc/614946740
  107. ^ Bühne und Welt: 1909, v. 11, P.830

Category:1943 deaths Category:German operatic sopranos Category:Singers from Dresden Category:People from the Province of Saxony Category:20th-century German opera singers Category:20th-century women opera singers
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