Leonie Rysanek
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Painting by Heinz Anger 1962
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| Born | Leopoldine Rysanek (1926-11-14)14 November 1926
Vienna, Austria
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| Died | 7 March 1998(1998-03-07) (aged 71) |
| Occupation | Classical soprano |
| Spouse(s) | Rudolf Großmann, Hans Haussmann (conductor) |
Leopoldine Rysanek (14 November 1926 – 7 March 1998) was an Austrian dramatic soprano.
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Rysanek was born in Vienna as one of six children of a Czech father and an Austrian mother. She entered the Vienna Academy at 16, where she studied with Alfred Jerger. Rysanek made her operatic debut in 1949 in Innsbruck.[1]
In 1951, the Bayreuth Festival reopened and the new leader Wieland Wagner asked her to sing Sieglinde in Die Walküre, conducted by Herbert von Karajan. He was convinced that her unique, young and beautiful voice, combined with her rare acting abilities, would create a sensation. She became a star overnight, and the role of Sieglinde followed her for the rest of her career. Her final performance was at the Salzburg Festival in August 1996, as Klytämnestra in Elektra by Richard Strauss.
She made her American debut at the San Francisco Opera on 18 September 1956 in Der fliegende Holländer, the first of her nineteen roles in San Francisco. Other operas were Ariadne auf Naxos, Macbeth, Turandot, Un ballo in maschera, La forza del destino, Tannhäuser, Aida, Salome (Salome and Herodias), Tosca, Der Rosenkavalier, Die Frau ohne Schatten, Die Walküre, Lohengrin (Elsa and Ortrud), Jenůfa (Kostelnička), and The Queen of Spades (the Countess). Her last San Francisco performance was on 12 December 1993.
Her Metropolitan Opera debut came in 1959 as Lady Macbeth in Verdi's Macbeth, replacing Maria Callas who had been "fired" from the production. Over her lengthy career, she sang 299 performances in 24 roles there. She starred in productions of Verdi's Nabucco, in the title role of Ariadne auf Naxos by Richard Strauss, the Empress in Die Frau ohne Schatten, also by Strauss, and Janáček's Káťa Kabanová. She made her farewell there as the Countess in Tchaikovsky's The Queen of Spades in January 1996.
She was appointed curator of the Vienna Festival a few months after her retirement, a post she held until her death in Vienna at age 71 (she had been diagnosed with bone cancer during her last Met performances). Two days later, a Metropolitan Opera production of Wagner's Lohengrin with Ben Heppner in the title role was dedicated to her memory. In that opera, she had sung the role of Ortrud in the 1985–86 production.
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Rysanek was known for singing the music of Richard Strauss. She was especially praised as the Empress (Kaiserin) in Die Frau ohne Schatten, the title role in Salome, the Marschallin in Der Rosenkavalier and ChrysothemisinElektra. She occasionally sang Ariadne/Prima Donna in Ariadne auf Naxos and female leads in Strauss operas rarely staged (Die ägyptische Helena and Die Liebe der Danae). However, cautious of playing out of her league, she did not tackle Salome until 1972 when she was age 46, although she kept the role of Sieglinde in her active repertoire from her early 20s until age 62.
She avoided offers to sing Isolde in Wagner's Tristan und Isolde despite speculation that the role would be perfect for her. She sang Brünnhilde in Die Walküre in 1950 in Innsbruck but did not return to this role. One of her performances in Die Walküre took place in the same week as her appearance as Gilda in Rigoletto.
Rysanek sang the title role of Tosca often, and Turandot a few times. She also sang Leonore in Beethoven's Fidelio. In Wagner, she sang Elisabeth in Tannhäuser often, also Elsa and Ortrud in Lohengrin. The role in which she was most revered, in addition to Strauss's Kaiserin and Chrysothemis, was Sieglinde in Die Walküre.
Due to Rysanek's vocal technique and strong vocal endurance, she was able to sing many Verdi leads, notably Desdemona in Otello, Lady Macbeth, Amelia in Un ballo in maschera, Elisabetta in Don Carlo, Leonora in La forza del destino, and the title role of Aida. She also sang Abigaille in the Metropolitan Opera's first staging of Nabucco in 1960. Rysanek also took an interest in Czech opera (Smetana, Janáček), even though she didn't grow up speaking Czech at home.
Rysanek sang Turandot and was praised in her role of KundryinParsifal at the Met, Vienna, and the Bayreuth Festival. She started her career when Kirsten Flagstad was still alive and Birgit Nilsson and Astrid Varnay at the peak of their vocal abilities. In 1981, Karl Böhm persuaded her to sing Elektra for a Unitel film (with the soundtrack recorded in the studio), not a live production in an opera house. In her later years, Rysanek reverted to dramatic mezzo-soprano roles like HerodiasinSalome, KlytemnestrainElektra and Kostelnička in Janáček's Jenůfa.
Soprano Lotte Rysanek was Leopoldine Rysanek's sister.
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