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{{short description|Swedish soprano}}
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'''Göta Ljungberg''' (October 4, 1898 - June 28, 1955) was a major Swedish Wagnerian soprano of the 1920s who sang throughout American and Europe and left an important recorded legacy.
{{Infobox person
| name = Göta Ljungberg
| image = Gota Ljungberg.jpg
| imagesize =
| caption =Göta Ljungberg
| birth_name = Göta Ljungberg
| birth_date = {{birth date|1893|10|04|df=y}}
| birth_place = Sundsvall, [[Sweden]]
| death_date = {{death date and age|1955|06|28|1893|10|04|df=y}}
| death_place =
| othername =
| homepage =
| spouse =
}}
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'''Göta Ljungberg''' (4 October 1893 – 28 June 1955) was a major [[Sweden|Swedish]] [[Wagnerian]] [[dramatic soprano]] of the 1920s who sang throughout American and Europe and left an important recorded legacy.


==Biography==
==Biography==
Born in Sundsvall, she studied at the Stockholm Opera School <ref>The Times, Jul 4, 1955, p11</ref> with the physician and vocal coach Gillis Bratt. <ref>http://www.cantabile-subito.de/Sopranos/Ljungberg__Gota/hauptteil_ljungberg__gota.html</ref> She undertook further studies with Mme Charles Cahier in Stockholm and also in Milan and Berlin.
Born in Sundsvall, she studied at the Stockholm Opera School<ref name="auto">The Times, Jul 4, 1955, p11</ref> with the physician and vocal coach Gillis Bratt.<ref name="auto1">{{Cite web|url=http://www.cantabile-subito.de/Sopranos/Ljungberg__Gota/hauptteil_ljungberg__gota.html|title=Ljungberg, Göta|website=www.cantabile-subito.de}}</ref> She undertook further studies with [[Sara Cahier|Mme Charles Cahier]] in [[Stockholm]] and also in [[Milan]] and [[Berlin]]. She also studied with [[Estelle Liebling]], the teacher of [[Beverly Sills]], in New York City during her time at the Met.<ref name="Dean Fowler">{{cite thesis|title=Estelle Liebling: An exploration of her pedagogical principles as an extension and elaboration of the Marchesi method, including a survey of her music and editing for coloratura soprano and other voices|first=Alandra|last=Dean Fowler|year=1994|type=PhD|publisher=[[University of Arizona]]}}</ref>


She debuted as Gutrune in Wagner’s [[Götterdämmerung]] with the Stockholm Opera in 1917. She remained one of the leading singers there until 1926 when began her international career <ref>The Times, Jul 4, 1955, p11</ref>.
She debuted as Gutrune in Wagner's ''[[Götterdämmerung]]'' with the [[Royal Swedish Opera]] in 1917. She remained one of the leading singers there until 1926 when began her international career.<ref name="auto"/>


She went on to sing at most of the principal opera houses in Europe and America and "was acclaimed not only for her singing, but also for her acting and dramatic intensity" <ref>The Times, Jul 4, 1955, p11</ref>
She went on to sing at most of the principal opera houses in Europe and America and "was acclaimed not only for her singing, but also for her acting and dramatic intensity" <ref name="auto"/>


At the Berlin State Opera she often appeared in Wagner but also as [[Tosca]], Santuzza ([[Cavalleria Rusticana]]) and [[Elektra]], as well as in musicals.
At the Berlin State Opera, she often appeared in Wagner but also as [[Tosca]], Santuzza (''[[Cavalleria rusticana]]'') and [[Elektra (opera)|Elektra]], as well as in musicals.


Her [[Royal Opera House]] London debut was in 1924 as Sieglinde ([[Der Ring des Nibelungen]]) under [[Bruno Walter]]. She later appeared there as [[Salome]], Kundry ([[Parsifal]]), Tosca and Elisabeth ([[Tannhäuser (opera)]]).
Her [[Royal Opera House]] London debut was in 1924 as Sieglinde (''[[Der Ring des Nibelungen]]'') under [[Bruno Walter]]. She later appeared there as [[Salome (opera)|Salome]], Kundry (''[[Parsifal]]''), Tosca and Elisabeth (''[[Tannhäuser (opera)|Tannhäuser]]'').


She sang at the [[Metropolitan Opera]] from 1932 to1935 as Isolde ([[Tristan und Isolde]]) and Brünnhilde as well as Salome.
She sang at the [[Metropolitan Opera]] from 1932 to 1935 as Isolde (''[[Tristan und Isolde]]'') and Brünnhilde as well as Salome.


Voice problems eventually caused retirement <ref>http://www.cantabile-subito.de/Sopranos/Ljungberg__Gota/hauptteil_ljungberg__gota.html</ref> but as late as 1938 she gave a set of songs with orchestra in concert in Copenhagen <ref>Musical Times, July 1938, p541</ref>
Voice problems eventually caused retirement <ref name="auto1"/> but as late as 1938 she gave a set of songs with orchestra in concert in Copenhagen <ref>Musical Times, July 1938, p541</ref>


⚫
==Recorded legacy with critiques==


1924: [[Richard Strauss]]: ''[[Salome (opera)|Salome]]'', cond. Coates. She has a "large range of vocal colour... this long lament, so beautifully sung here by Mme. Ljungberg."<ref>Gramophone, Oct 1924, p65</ref>
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==Recorded Legacy with critiques==


1924: [[Richard Strauss]]: [[Salome]], cond. Coates. She has a "large range of vocal colour... this long lament, so beautifully sung here by Mme. Ljungberg." <ref>Gramophone, Oct 1924, p65</ref>
late 1920s: [[Richard Wagner]]: ''Ring'' excerpts, conducted by [[Albert Coates (musician)|Albert Coates]] and [[Leo Blech]]. "The sexy, passionate Ljungberg" <ref>notes, Der Ring des Nibelungen, Pearl Records</ref>


⚫
1926: Wagner: ''[[Die Walküre]]''. "The best of the vocal records [of that month] appears to be that of the Love Duet.. sung by Gota Ljungberg and Walter Widdop, at whose hands the amorous frenzy of the climax is given full value" <ref>Musical Times, dec 1, 1926, p 1111</ref>
late 1920's: [[Richard Wagner]]: Ring excerpts, conducted by [[Albert Coates]] and [[Leo Blech]]. "The sexy, passionate Ljungberg" <ref>notes, Der Ring des Nibelungen, Pearl Records</ref>


⚫
1929: Richard Strauss: ''Salome'' (Finale). Cond. Blech. "The performance is all that we should expect from such performers" <ref>Musical Times, nov 1, 1929, p996</ref>
⚫
1926: Wagner: [[Die Walküre]]. "The best of the vocal records [of that month] appears to be that of the Love Duet.. sung by Gota Ljungberg and Walter Widdop, at whose hands the amorous frenzy of the climax is given full value" <ref>Musical Times, dec 1, 1926, p 1111</ref>


⚫
1931: Wagner: ''Tristan und Isolde'' act III, with Walter Widdop, cond. Blech: One critic claimed that "[her] voice is a fine one but [she] sings here not quite so well as in some of her other recorded roles".<ref>Music Supervisors' Journal, vol 18, no 1, Oct 1931, p78</ref> Hermann Klein for the Gramophone is more enthusiastic: "neither in the important matter of style nor for beauty of voice or purity and breadth of declamation could [her colleagues in the recording] be compared with an IsoIde like Göta Ljungberg" <ref>Gramophone, May 1928, p21</ref>
⚫
1929: [[Richard Strauss]]: [[Salome]] (Finale). Cond. Blech. "The performance is all that we should expect from such performers" <ref>Musical Times, nov 1, 1929, p996</ref>


⚫
1933: [[Giacomo Puccini]]: ''Tosca'' arias with Joseph Schmidt. "Neither singer seems to have reached an adequate understanding of the dramatic significance of the duet" <ref>Music and Letters, Oct 1933, p 404</ref>
⚫
1931: Wagner: [[Tristan und Isolde]] act III, with Walter Widdop, cond. Blech: One critic claimed that "[her] voice is a fine one but [she] sings here not quite so well as in some of her other recorded roles". <ref>Music Supervisors' Journal, vol 18, no 1, Oct 1931, p78</ref> Hermann Klein for the Gramophone is more enthusiastic: "neither in the important matter of style nor for beauty of voice or purity and breadth of declamation could [her colleagues in the recording] be compared with an IsoIde like Göta Ljungberg" <ref>Gramophone, May 1928, p21</ref>

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1933: [[Giacomo Puccini]]: [[Tosca]] arias with Josef Schmidt. "Neither singer seems to have reached an adequate understanding of the dramatic significance of the duet" <ref>Music and Letters, Oct 1933, p 404</ref>


== References ==
== References ==
{{Reflist}}
{{Reflist|2}}

{{Authority control}}


{{DEFAULTSORT:Ljungberg, Gota}}
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[[Category:Swedish sopranos]]
[[Category:1893 births]]
[[Category:1955 deaths]]
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[[Category:Swedish operatic sopranos]]
[[Category:People from Sundsvall]]
[[Category:20th-century Swedish women opera singers]]

Latest revision as of 16:16, 8 February 2024

Göta Ljungberg
Göta Ljungberg
Born
Göta Ljungberg

(1893-10-04)4 October 1893
Sundsvall, Sweden
Died28 June 1955(1955-06-28) (aged 61)

Göta Ljungberg (4 October 1893 – 28 June 1955) was a major Swedish Wagnerian dramatic soprano of the 1920s who sang throughout American and Europe and left an important recorded legacy.

Biography

[edit]

Born in Sundsvall, she studied at the Stockholm Opera School[1] with the physician and vocal coach Gillis Bratt.[2] She undertook further studies with Mme Charles Cahier in Stockholm and also in Milan and Berlin. She also studied with Estelle Liebling, the teacher of Beverly Sills, in New York City during her time at the Met.[3]

She debuted as Gutrune in Wagner's Götterdämmerung with the Royal Swedish Opera in 1917. She remained one of the leading singers there until 1926 when began her international career.[1]

She went on to sing at most of the principal opera houses in Europe and America and "was acclaimed not only for her singing, but also for her acting and dramatic intensity" [1]

At the Berlin State Opera, she often appeared in Wagner but also as Tosca, Santuzza (Cavalleria rusticana) and Elektra, as well as in musicals.

Her Royal Opera House London debut was in 1924 as Sieglinde (Der Ring des Nibelungen) under Bruno Walter. She later appeared there as Salome, Kundry (Parsifal), Tosca and Elisabeth (Tannhäuser).

She sang at the Metropolitan Opera from 1932 to 1935 as Isolde (Tristan und Isolde) and Brünnhilde as well as Salome.

Voice problems eventually caused retirement [2] but as late as 1938 she gave a set of songs with orchestra in concert in Copenhagen [4]

Recorded legacy with critiques

[edit]

1924: Richard Strauss: Salome, cond. Coates. She has a "large range of vocal colour... this long lament, so beautifully sung here by Mme. Ljungberg."[5]

late 1920s: Richard Wagner: Ring excerpts, conducted by Albert Coates and Leo Blech. "The sexy, passionate Ljungberg" [6]

1926: Wagner: Die Walküre. "The best of the vocal records [of that month] appears to be that of the Love Duet.. sung by Gota Ljungberg and Walter Widdop, at whose hands the amorous frenzy of the climax is given full value" [7]

1929: Richard Strauss: Salome (Finale). Cond. Blech. "The performance is all that we should expect from such performers" [8]

1931: Wagner: Tristan und Isolde act III, with Walter Widdop, cond. Blech: One critic claimed that "[her] voice is a fine one but [she] sings here not quite so well as in some of her other recorded roles".[9] Hermann Klein for the Gramophone is more enthusiastic: "neither in the important matter of style nor for beauty of voice or purity and breadth of declamation could [her colleagues in the recording] be compared with an IsoIde like Göta Ljungberg" [10]

1933: Giacomo Puccini: Tosca arias with Joseph Schmidt. "Neither singer seems to have reached an adequate understanding of the dramatic significance of the duet" [11]

References

[edit]
  1. ^ a b c The Times, Jul 4, 1955, p11
  2. ^ a b "Ljungberg, Göta". www.cantabile-subito.de.
  3. ^ Dean Fowler, Alandra (1994). Estelle Liebling: An exploration of her pedagogical principles as an extension and elaboration of the Marchesi method, including a survey of her music and editing for coloratura soprano and other voices (PhD). University of Arizona.
  4. ^ Musical Times, July 1938, p541
  5. ^ Gramophone, Oct 1924, p65
  6. ^ notes, Der Ring des Nibelungen, Pearl Records
  7. ^ Musical Times, dec 1, 1926, p 1111
  8. ^ Musical Times, nov 1, 1929, p996
  9. ^ Music Supervisors' Journal, vol 18, no 1, Oct 1931, p78
  10. ^ Gramophone, May 1928, p21
  11. ^ Music and Letters, Oct 1933, p 404
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