# Help Needed: Do You Know Any Melchior Anecdotes?



## Seattleoperafan (Mar 24, 2013)

I am thinking of doing a speech on him for my Toastmasters club. I know a good one involving Traubel but I need more and some of you have memories like elephants for things like this. I'd appreciate your help.


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## Woodduck (Mar 17, 2014)

There's a story that he once fell asleep onstage during a performance of _Tristan_ and Flagstad had to kick him to wake him up. I find that unlikely, partly because I can't figure out where in the opera that could happen. I know he had a great sense of humor, and I recall Frida Leider relating some things in her auobiography, but I no longer have the book to consult.

It may not be generally known that Melchior had gay relationships all his life, as well as two marriages. One web site tells us:

_In 1920, he came to England where he sang in an experimental radio broadcast for the Marconi company, and where he met a man who was to become patron and lover for several years - author Hugh Walpole. After his relationship with Walpole cooled he apparently enjoyed the company of a merchant seaman he shared with his friend, the American poet, Hart Crane. _

I'm not sure what to make of "_a merchant seaman he shared with his friend, the American poet, Hart Crane." _I do know that Danes are said to be highly sociable, and that Melchior could be the life of the party.


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## Barbebleu (May 17, 2015)

I am reminded of a poem by the British comedian Dick Emery - 

I’ve been a sailor on the sea
And though you wouldn’t think it, 
I find the rum’s too strong for me,
But I like the men who drink it.

We have always had a strong tradition of camp comedians.


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## Shaughnessy (Dec 31, 2020)

Lauritz Melchior - Wagner Magazine


Lauritz Melchior (1890–1973) was the most famous Wagnerian Heldentenor (“heroic tenor”) of his day. From ...




wagner.edu





Professor Otto Raths likes to tell the tale that in his early years on the Wagner faculty, in the 1960s, then-President Arthur O. Davidson would often mention his friendship with the elderly Melchior. “He's going to leave something to Wagner in his will,” Raths remembers the president saying on more than one occasion.

Melchior died in 1973 — and, as promised, he remembered Wagner College in his will. He left the College his big-game trophy collection. (See Melchior Memories for more information about his connection to Wagner College.)

*Melchior was a lifelong, avid hunter. *He went on hunting expeditions all around the world; according to Emmons, *at the age of 77 he went on safari in Kenya and bagged a bushbuck “two-and-a-half inches bigger than the world record specimen*.” At home, he displayed mounted heads and other trophies, such as ashtrays made of bison hooves.

President Guarasci confirmed that Melchior did, indeed, leave his collection to Wagner College. A 1973 story in the _Wagnerian_ records that the collection comprised 41 trophies, including a reedbuck from Kenya "and a world-record (14-4/8") bushbuck from Mozambique."

It is unclear what happened to most of the collection, but the impressive heads of a North American caribou, a Cape buffalo, and a topi still adorn the walls of Megerle 405, one of the biology labs.











Is "bushback" an animal of some sort or a euphemism for "merchant seaman"?


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## Shaughnessy (Dec 31, 2020)

Anecdotage







anecdotage.com





When Lauritz Melchior Got A Gift From Above -

"When I was a struggling musical student," the famed heroic tenor Lauritz Melchior once recalled, "living in a small pension in Munich, I was sitting in the garden one day, learning the words of a new opera. As I sang the words, 'Come to me, my love, on the wings of light,' there was a flutter, a flash of white, and there sitting at my feet, was a beautiful little creature who had dropped right out of the blue. 

"It was Maria Hacker, a diminutive Bavarian actress. Stunting for a movie thriller, she had jumped from an aeroplane and landed, parachute and all, practically in my arms. And that was She. I thought that she came to me from heaven. I still think so..." 

They were married between 1925 and Hacker's death in 1963. 

This is a lengthy article which appeared in MacLean's in 1945 that is filled with a variety of personal details...









KING SIZE TENOR | Maclean's | November 15, 1945







archive.macleans.ca


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## ColdGenius (9 mo ago)

Shaughnessy said:


> Lauritz Melchior - Wagner Magazine
> 
> 
> Lauritz Melchior (1890–1973) was the most famous Wagnerian Heldentenor (“heroic tenor”) of his day. From ...
> ...


It's a species of an antilope - Tragelaphus scriptus.


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## ColdGenius (9 mo ago)

His life was one continuous anecdote. Women falling from the sky, bushbuck, singing Siegfried.


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## Seattleoperafan (Mar 24, 2013)

Shaughnessy said:


> Lauritz Melchior - Wagner Magazine
> 
> 
> Lauritz Melchior (1890–1973) was the most famous Wagnerian Heldentenor (“heroic tenor”) of his day. From ...
> ...


I CAN USE THIS


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## Seattleoperafan (Mar 24, 2013)

Shaughnessy said:


> Anecdotage
> 
> 
> 
> ...


Will be used!!!!!!!!!!!!!!!!!!!!!!!


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## Seattleoperafan (Mar 24, 2013)

Unlike EVERY other singer from that period there is lots of stuff of him on video. I am struggling to figure out what I play for them. He was huge but not fat. Just built like a towering tank. There is a 17 year old student who works in the building who is 6'6" and is built just like him but I don't know if he wants to be compared to a gay opera singer. I should ask him if he sings LOL Likely he raps.


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## Woodduck (Mar 17, 2014)

On critic wrote that an embrace by Melchior and Helen Traubel onstage looked like the collision of two buses. That critic should have been around to see Ben Heppner and Jane Eaglen.


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## Seattleoperafan (Mar 24, 2013)

Woodduck said:


> On critic wrote that an embrace by Melchior and Helen Traubel onstage looked like the collision of two buses. That critic should have been around to see Ben Heppner and Jane Eaglen.


Melchoir and Traubel weren't overly fat... they just had monumental builds with barrel chests. Built like tanks. Heppner and Eaglen loved their Mc Donalds LOL. And their Ding Dongs


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## Shaughnessy (Dec 31, 2020)

Another interesting blog article on Lauritz Melchior - as always, caveat lector...






Lauritz Melchior: Defining Heldentenor


It is by now a commonplace to refer to Lauritz Melchior as opera's greatest heldentenor. The term simply means "heroic tenor," but one thi...




greatoperasingers.blogspot.com





"When looked at from all possible angles, "heldentenor," at least as the term is used today, comes down to some particular quality of the voice, and that quality in turn basically derives from the sound of Lauritz Melchior's voice. That is why he is always considered the quintessential heldentenor; because the very definition of the term squarely defines his voice, and vice versa.

He trained as a baritone, and began singing the commercial repertoire of the time; Pagliacci, Traviata, Trovatore, and so on. It soon became apparent, especially to others, that he was probably a tenor. In 1917 he took time off and retrained as a tenor, and in 1918 made his debut as Tanhäuser. 

I remember hearing him once say that he learned a very crucial lesson from Jean de Reske, and that was to save the voice. He used the old axiom about considering the voice as capital in the bank--the smart person lives off the interest, not the principal. A shop-worn old saw, but illustrative and to the point. What Melchior did in fact was to sing as the bel canto singers did, strange as that may sound. 

People think of his voice as being giant, because the roles are heoic, and the orchestration is thick and can be very loud (often excessively so.) He could be heard through this thick orchestration, and he was a very big man. All those things taken together seem to fulfill the expectation of a huge voice. But it was not; it was a finely focused voice, and that made all the difference. His voice cut in the same way that the voices of tiny little creatures like Galli-Curci and Lily Pons did. 

So Melchior realized, in the most direct way, how important the media were. This is crucial, because his particular voice, finely focused and steely to an almost biting degree, recorded very well. It sounded enormous, even though the super size was an illusion. The intensity of the vocal focus was so great that Melchior's voice is immediately recognizable by any opera enthusiast who hears it. There are very few opera singers of whom this can be said.

One need only consider for a moment those other singers to whom he might be compared. The list, to judge from fansites, would likely include Jacques Urlus, Heinrich Knote, Siegfried Jerusalem, Max Lorenz, Set Svanholm, Jess Thomas, Franz Völker, Ludwig Suthaus, Ramon Vinay, Jon Vickers, Hans Hopf, Ludwig Suthaus, Wolfgang Windgassen, Walter Widdop, Rudolf Laubenthal, and perhaps a few others. 

Melchior sang his last performance at the Met in 1950, when he would have been 60 years old. He was getting on in years, and Rudolph Bing was about to usher in a new Italian age at the Met which effectively squeezed out the Wagnerian wing. He also disliked Melchior, as many people did. Melchior could be annoyingly diffident, in the same way Lawrence Tibbett could, and was also somewhat prone to silly behavior and publicity stunts, including appearing in grade B movies (_Two Sisters From Boston,_ etc.) and on early television. Like Russia's Ivan Kozlovsky, he was a bit of a clown, and that did not go down well with some of the more earnest Wagner enthusiasts."


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## Shaughnessy (Dec 31, 2020)

Another one with an interesting angle -

*When Lauritz Met Leo: High-Brow High Jinks on MGM’s Luxury Liner*

Such was Melchior’s standing in the opera world that he was considered, per _The Rough Guide to Opera_, “a law unto himself.” Yet here he is, cavorting like a spring lamb on board the ocean liner of the movie’s title, his towering presence lending luster to this Technicolor piece of cotton candy. 

Rest assured, however, that Melchior himself had no pretensions about his own greatness. Although a famed Wagnerian interpreter on such stages as Bayreuth and the Metropolitan Opera, Melchior could also “play the clown without inhibitions,” writes Emmons—qualities that made him “a fine comedian in movies and radio, and, co-incidentally, [able] to sway the American public of the 1940s and 1950s from its ingrained belief that opera singers were highly dignified, exalted, and unfriendly creatures who sang pretentious music that the ordinary person could never understand.” In spite of his legendary status, Melchior had no problem being perceived by audiences as a “regular guy.” He wasn’t just a significant artist, but a “genuine celebrity,” says Emmons, and “an idol of popular culture.” In the 1940s this translated into popularity in radio and films, the mainstream entertainment media of that time. And it was through an astute combination of publicity, radio shows, movie appearances, concerts, and even commercials, that Melchior became “not merely a singer, but a famous singer”—almost equal in popularity to that other 1940s singing icon, Frank Sinatra.

The Sinatra analogy is not just metaphorical hype. Both singers, Emmons writes, had several career parallels, one being that they were the idols of bobby-soxers, a fact exploited in Melchior’s publicity. Melchior would even humorously imitate Sinatra’s crooning style on his radio appearances (with such airwave personalities as Fred Allen, Bing Crosby, Dinah Shore, and Eddie Cantor). When reporters asked Sinatra to reply in kind by imitating Melchior—crooning a bar or two of Tristan, perhaps—Sinatra demurred, calling a press conference to say that he hoped to sing a “heavenly duet” with Melchior some day, but not just yet. The Sinatra link also comes up in _Luxury Liner_, when Polly, the film’s young heroine (Jane Powell), gazes up in adoration at Melchior and gushes “You’re my Sinatra.” Whether any bobby-soxer ever gushed that Sinatra was her Melchior, we can’t say, but you get the idea.

This link below contains other clips from the movie -



https://www.youtube.com/playlist?list=PLoYx9GejZJp8dkYqm1RY7Duh6szOFkMPh


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## Francasacchi (7 mo ago)

Shaughnessy said:


> Another one with an interesting angle -
> 
> *When Lauritz Met Leo: High-Brow High Jinks on MGM’s Luxury Liner*
> 
> ...


Luxury Liner was on Turner Classic Movies a while ago. What a piece of fluff, an example of the mediocre escapist fantasy Louis B. Mayer liked churning out at that time. Frances Gifford as Laura Dene looks like my late aunt.


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## Francasacchi (7 mo ago)

Woodduck said:


> There's a story that he once fell asleep onstage during a performance of _Tristan_ and Flagstad had to kick him to wake him up. I find that unlikely, partly because I can't figure out where in the opera that could happen. I know he had a great sense of humor, and I recall Frida Leider relating some things in her auobiography, but I no longer have the book to consult.
> 
> It may not be generally known that Melchior had gay relationships all his life, as well as two marriages. One web site tells us:
> 
> ...


He would be very popular these days in the bear scene.


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## Seattleoperafan (Mar 24, 2013)

Francasacchi said:


> Luxury Liner was on Turner Classic Movies a while ago. What a piece of fluff, an example of the mediocre escapist fantasy Louis B. Mayer liked churning out at that time. Frances Gifford as Laura Dene looks like my late aunt.


Fluff, yes: but I am grateful that such high quality video with good sound was preserved of such a great artist. Traubel was filmed on movies too, but not in classical repertoire. We only have Flagstad in B/W doing Hojotoho and nothing else. We are really blessed with Melchoir, plus his prime lasted until the TV era.


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## Francasacchi (7 mo ago)

Seattleoperafan said:


> Fluff, yes: but I am grateful that such high quality video with good sound was preserved of such a great artist. Traubel was filmed on movies too, but not in classical repertoire. We only have Flagstad in B/W doing Hojotoho and nothing else. We are really blessed with Melchoir, plus his prime lasted until the TV era.


I like Melchior’s singing of course in the movie. It is just not exactly high brow entertainment despite the advertisement. Jane Powell had a pretty soubrette type voice. I can imagine how excited she must have been to work with a great singer like Melchior.


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## Seattleoperafan (Mar 24, 2013)

Francasacchi said:


> I like Melchior’s singing of course in the movie. It is just not exactly high brow entertainment despite the advertisement. Jane Powell had a pretty soubrette type voice. I can imagine how excited she must have been to work with a great singer like Melchior.


I LOVE her. Her voice was so beautiful in Seven Brides and she is so pretty. THAT was a good movie. This wasn't but the clips of Melchoir are great. Also the fact that movies would feature a great opera star, which would NEVER happen now.


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## Francasacchi (7 mo ago)

Shaughnessy said:


> Another one with an interesting angle -
> 
> *When Lauritz Met Leo: High-Brow High Jinks on MGM’s Luxury Liner*
> 
> ...


Marina Koshetz was the daughter of the great singer Nina Koshetz.


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## Shaughnessy (Dec 31, 2020)

I don't know how accurate this vintage recording scene is but it is definitely worth watching - The dog steals the scene at the end...

Another page of YouTube scenes from the movie "Two Sisters from Boston"



https://www.youtube.com/playlist?list=PL7UuNnvYPeGQeLrgnLDI4X70_dj0qFAxV



Another worth watching is the Marie Antoinette scene with Melchior and Kathryn Grayson.


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## ewilkros (8 mo ago)

Seattleoperafan said:


> I am thinking of doing a speech on him for my Toastmasters club. I know a good one involving Traubel but I need more and some of you have memories like elephants for things like this. I'd appreciate your help.


I'm sure you know the 1940 Walküre with the long, long Wälse's in the first act--I think it's the 2/17/1940 broadcast. If you check the Met Archive site for the 2/8/1940 Walküre (part of the yearly uncut-Ring cycle) you'll find a review -- Metropolitan Opera Association -- that tells about the same thing happening. Unusually for the site, the author and publication source are not given. Anyhow, the critic suggests that those long-held notes (there are, after all, fermatas on both notes in the score) were Melchior getting one over on conductor Leinsdorf.

"The reader will recall that a truce had been patched up between the Wagnerian conductor and the Heldentenor, in honor of which the two had shaken hands during curtain-call time at a recent performance of "Die Walküre." How then is one to account for Mr. Melchior's strange behavior in the first act of the same opera yesterday when, as Siegmund, he prolonged the reiterated "Wälse" for so long a period that the hardened Wagner lovers in the audience gasped at the sacrilege? Mr. Melchior had never before shown such fondness for this work and note, and the thought might have taken shape in sophisticated minds that he was trying to disconcert Mr. Leinsdorf in the pit, whose stick stood frozen in the air until the tenor chose to let the show go on. Of course it is possible that the long-held notes represented collusion between Mr. Leinsdorf and Mr. Melchior, but considering what it did to Wagner, such an assumption can be dismissed as far-fetched. At any rate, the thing did happen, and the reader is left to draw his own conclusions as to its origin and motivation."

The notice in the New York Times, by Olin Downs, is even better ("He prolonged his tones inexorably, while the orchestra kept furiously vibrating the chord, and the world waited to see how much breath the tenor had at his disposal and whether his throat or the muscles of the violinists playing their tremolo would tire the sooner!") --



https://timesmachine.nytimes.com/timesmachine/1940/02/09/94794087.html?pageNumber=21



(paywall if you're not a NYT subscriber)

--he suggests that Leinsdorf and Melchior had fallen out when Melchior found Leinsdorf's tempi too brisk; and he reviews the whole performance (very enthusiadtic about Marjorie Lawrence's first Met Sieglinde.)


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## Woodduck (Mar 17, 2014)

ewilkros said:


> I'm sure you know the 1940 Walküre with the long, long Wälse's in the first act--I think it's the 2/17/1940 broadcast. If you check the Met Archive site for the 2/8/1940 Walküre (part of the yearly uncut-Ring cycle) you'll find a review -- Metropolitan Opera Association -- that tells about the same thing happening. Unusually for the site, the author and publication source are not given. Anyhow, the critic suggests that those long-held notes (there are, after all, fermatas on both notes in the score) were Melchior getting one over on conductor Leinsdorf.
> 
> "The reader will recall that a truce had been patched up between the Wagnerian conductor and the Heldentenor, in honor of which the two had shaken hands during curtain-call time at a recent performance of "Die Walküre." How then is one to account for Mr. Melchior's strange behavior in the first act of the same opera yesterday when, as Siegmund, he prolonged the reiterated "Wälse" for so long a period that the hardened Wagner lovers in the audience gasped at the sacrilege? Mr. Melchior had never before shown such fondness for this work and note, and the thought might have taken shape in sophisticated minds that he was trying to disconcert Mr. Leinsdorf in the pit, whose stick stood frozen in the air until the tenor chose to let the show go on. Of course it is possible that the long-held notes represented collusion between Mr. Leinsdorf and Mr. Melchior, but considering what it did to Wagner, such an assumption can be dismissed as far-fetched. At any rate, the thing did happen, and the reader is left to draw his own conclusions as to its origin and motivation."
> 
> ...


Melchior can hold "Walse" as long as he likes, but he set an unfortunate precedent. 






Yeah, it's been posted more than once before, but it's truly archetypal.


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## Seattleoperafan (Mar 24, 2013)

ewilkros said:


> I'm sure you know the 1940 Walküre with the long, long Wälse's in the first act--I think it's the 2/17/1940 broadcast. If you check the Met Archive site for the 2/8/1940 Walküre (part of the yearly uncut-Ring cycle) you'll find a review -- Metropolitan Opera Association -- that tells about the same thing happening. Unusually for the site, the author and publication source are not given. Anyhow, the critic suggests that those long-held notes (there are, after all, fermatas on both notes in the score) were Melchior getting one over on conductor Leinsdorf.
> 
> "The reader will recall that a truce had been patched up between the Wagnerian conductor and the Heldentenor, in honor of which the two had shaken hands during curtain-call time at a recent performance of "Die Walküre." How then is one to account for Mr. Melchior's strange behavior in the first act of the same opera yesterday when, as Siegmund, he prolonged the reiterated "Wälse" for so long a period that the hardened Wagner lovers in the audience gasped at the sacrilege? Mr. Melchior had never before shown such fondness for this work and note, and the thought might have taken shape in sophisticated minds that he was trying to disconcert Mr. Leinsdorf in the pit, whose stick stood frozen in the air until the tenor chose to let the show go on. Of course it is possible that the long-held notes represented collusion between Mr. Leinsdorf and Mr. Melchior, but considering what it did to Wagner, such an assumption can be dismissed as far-fetched. At any rate, the thing did happen, and the reader is left to draw his own conclusions as to its origin and motivation."
> 
> ...


I listened to it just yesterday. I am low class enough to have loved it. 
The thing that is amazing is most of the video we have of Melchoir was filmed when he was in his 60's. I don't discern any difference in the tonal quality and speed of vibrato from his performances recorded 20 years earlier and that was after singing the most demanding roles in all of opera for decades!!! He was a true marvel. He and Traubel fell out of favor with Bing: her for singing popular music and him for his clownish personality. Bing would have banned me for life had I been one of his singers🤣


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## ColdGenius (9 mo ago)

Woodduck said:


> There's a story that he once fell asleep onstage during a performance of _Tristan_ and Flagstad had to kick him to wake him up. I find that unlikely, partly because I can't figure out where in the opera that could happen.


I thought when during the opera could that happen. Maybe during orgasm music in second act, when the duet has ended and Marke hasn't come yet. Or during Marke's monologue. In third it could occur after Isolde's arrival. By the time of Mild und leise Tristan is dead, but Flagstad could fear if he could snore. Finally, he could just disguise falling asleep, for example, in a duet in second act.


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## ewilkros (8 mo ago)

Seattleoperafan said:


> ...
> The thing that is amazing is most of the video we have of Melchoir was filmed when he was in his 60's. I don't discern any difference in the tonal quality and speed of vibrato from his performances recorded 20 years earlier and that was after singing the most demanding roles in all of opera for decades!!! He was a true marvel.


That goes even for the Walküre Act I he did on his 70th birthday in 1960 --






-- though he keeps getting off the beat (I understand that was because he was pretty deaf by that time)


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## Seattleoperafan (Mar 24, 2013)

ewilkros said:


> That goes even for the Walküre Act I he did on his 70th birthday in 1960 --
> 
> 
> 
> ...


THAT is something I can use!!! I am debating filming my speech for Youtube but I doubt enough people who still remember him are still around for anyone to want to watch it


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## Francasacchi (7 mo ago)

He was very kind to the debutante Astrid Varnay who had to made a sudden debut as Sieglinde. The story is in the autobio of Varnay..


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## Chi_townPhilly (Apr 21, 2007)

A treasure-trove of anecdotes may be found in the book _Lauritz Melchior- The Golden Age of Bayreuth, _written by his son, Ib Melchior. In that tome, possibly my favorite can be found on pps 115-116:

Scena- Performance of _Die Wälkure- _soprano (and reputed "tenor-misanthrope") Maria Jeritza as Sieglinde. Melchior as Siegmund. Melchior comprehensively applauded in Act I... Jeritza, not-so-much. Per the anecdote, Jeritiza hatches plan to fall in the opposite direction of that which was planned in the 'faint/swoon' portion of Act II- hoping to go-to-ground and elicit sympathy- so it was purported. Here, Lauritz himself takes up the narrative...

" [She] swooned to the opposite side from that which we had rehearsed-- probably trying to make it appear that I made a mistake... (b)ut her lovely body never did fall to the floor, as my left hand got a hold of her right arm-- and kept hold. It probably wasn't comfortable for the lady who was supposed to be in a faint, for I had to use a mighty, forceful squeeze to hold her up... [a]t the curtain call she didn't join us at first, but all of a sudden she showed up, crying. However, the audience didn't react to her or her tears, so the entire number only had unpleasant consequences for Madame Jeritza in the form of five back-and-blue marks on her arm for a long time thereafter." 

"


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## sworley (6 mo ago)

Woodduck said:


> There's a story that he once fell asleep onstage during a performance of _Tristan_ and Flagstad had to kick him to wake him up. I find that unlikely, partly because I can't figure out where in the opera that could happen. I know he had a great sense of humor, and I recall Frida Leider relating some things in her auobiography, but I no longer have the book to consult.
> 
> It may not be generally known that Melchior had gay relationships all his life, as well as two marriages. One web site tells us:
> 
> ...


Crane killed himself in 32; it's close but I suppose the chronology is possible.


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## sworley (6 mo ago)

Seattleoperafan said:


> I listened to it just yesterday. I am low class enough to have loved it.
> The thing that is amazing is most of the video we have of Melchoir was filmed when he was in his 60's. I don't discern any difference in the tonal quality and speed of vibrato from his performances recorded 20 years earlier and that was after singing the most demanding roles in all of opera for decades!!! He was a true marvel. He and Traubel fell out of favor with Bing: her for singing popular music and him for his clownish personality. Bing would have banned me for life had I been one of his singers🤣


I know he followed Garland when her Palace performances ended. On the live recording she introduces him in the audience and has him stand to accept applause.


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## Seattleoperafan (Mar 24, 2013)

sworley said:


> I know he followed Garland when her Palace performances ended. On the live recording she introduces him in the audience and has him stand to accept applause.


Gay 😜 I love Judy and have a video talk I did on her on Youtube. Gay😜


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## Shaughnessy (Dec 31, 2020)

These are radio recordings and not videos but still may be of interest -



Spoiler: LAURITZ MELCHIOR & JUDY GARLAND & DANNY KAYE - modern travel opera spoof













Spoiler: LAURITZ MELCHIOR SINGS-VESTI LA GUIBBA 1944 with JUDY GARLAND - (who talks but doesn't sing...)











Delayed flight... Might as well make myself useful...


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## Seattleoperafan (Mar 24, 2013)

Shaughnessy said:


> These are radio recordings and not videos but still may be of interest -
> 
> 
> 
> ...


Garland actually sings up to a G5 here if I remember correctly !!!!!!!!!!!


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## Shaughnessy (Dec 31, 2020)

Seattleoperafan said:


> Garland actually sings up to a G5 here if I remember correctly !!!!!!!!!!!


In the first one, right? - The second has dialogue with Kaye and Garland but only Melchior actually sings.

sigh... I literally could have driven from Toronto to Chicago in the time that I have spent here trying to get a flight back...


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## Francasacchi (7 mo ago)

Shaughnessy said:


> In the first one, right? - The second has dialogue with Kaye and Garland but only Melchior actually sings.
> 
> sigh... I literally could have driven from Toronto to Chicago in the time that I have spent here trying to get a flight back...


Yes she does. Her highest recorded note.


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