Archives West Finding Aid
Table of Contents
- Overview of the Collection
-
Biographical Note
- Content Description
- Use of the Collection
- Administrative Information
-
Detailed Description of the Collection
- Adler - Baronova
- Bjoerling - Cordon
- Crooks - Elwing
- Enters - Hukuko
- Humphrey - Keener
- Kiepura - La Meri
- Lehmann - Mata & Hari
- Maynor - Morgana
- Morini - Piatigorsky
- Pinza - Robinson
- Roma - Simkie
- Slavenska - Strawbridge
- Swarthout - Thomas
- Tibbett - Tourel
- Traubel - Zorina
- Trudi Schoop and Her Comic Ballet; Jooss Ballet; Basque Ballet
- Ballet Theatre
- Ballet Russe de Monte Carlo
- Unidentified
- Cecilia Schultz portraits and the Moore Theater
- Names and Subjects
Cecilia Augspurger Schultz photograph collection, approximately 1934-1949
Overview of the Collection
- Collector
- Schultz, Cecilia
- Title
- Cecilia Augspurger Schultz photograph collection
- Dates
- approximately 1934-1949 (inclusive)19291953
- Quantity
- 362 photographic prints (2 boxes)
- Collection Number
- PH0066
- Summary
- Photographs of musicians, dancers, singers and others who performed at the Moore Theater
- Repository
-
University of Washington Libraries, Special Collections
Special Collections
University of Washington Libraries
Box 352900
Seattle, WA
98195-2900
Telephone: 2065431929
Fax: 2065431931
speccoll@uw.edu - Access Restrictions
-
No restrictions on access.
- Languages
- English, Russian, and Spanish
Biographical NoteReturn to Top
Cecilia Augspurger Schultz (1878-1971) was born Anna Cecilia Augspurger in Trenton, Ohio, to a prominent family. Her parents were Jacob A. Augspurger (1847-1905) and Magdalena Kennell Augpurger (1849-1922). Cecilia began playing piano at the age of five. She graduated from Illinois Wesleyan College of Music in Bloomington, Illinois, at the age of 17. She was a music instructor at the Kansas State Agricultural College for several years, traveling and giving piano recitals during the summer.
Cecilia Augspurger moved to Seattle around 1908 were she continued to work as a piano instructor, performer, and lecturer. She also hosted many social functions. She became a member of the Seattle Musical Art Society around 1914 and was elected president of the organization in 1921 where she began her role of producing and promoting musical performances. Cecilia Augspurger married Gustav Henry Schultz, a Colorado businessman, in 1924. The couple moved to Denver, but by the next year Cecilia was back in Seattle. Both she and Gustav moved to Seattle permanently in 1926.
Once back in Seattle, Cecilia expanded the scope of musical performances she produced and promoted, focusing on bringing international artists to Seattle. Between 1926 and 1930, composers and performers came to Seattle from New York, England, France, Switzerland, and Italy. The Great Depression dampened Cecilia Schultz’s career temporarily but by 1934 she was promoting her largest performances to date and had gained the title of “impresario.”
Cecilia Schultz took over management of the Moore Theatre from 1934-1949, where she promoted a variety of performances including classical music, opera, ballet, comedy, lectures, and children’s theater. The performances promoted and presented by Cecilia Schultz at the Moore Theatre were advertised under the name “Cecilia Schultz Presents” or “Cecilia Schultz Attractions.” Productions were first advertised in the Seattle Times under the moniker “Cecilia Schultz Attractions” in 1935. Schultz had several series of productions during the year, including the “Greater Artist Series” beginning in 1936 and the “Deluxe Theatre Series” beginning in 1942.
Schultz was instrumental in forming or managing many Seattle musical organizations, including the Seattle Symphony Orchestra, the Seattle Community Concert Association, and the Northwest Grand Opera. Schultz formally retired from production and promotion work in 1959 but remained involved in arts world until near the end of her life in 1971.
Information from Cecilia Augspurger Schultz biography by John Caldbick on HistoryLink and Seattle Times (November 13, 1935).
Content DescriptionReturn to Top
The collection includes photographs (some autographed) of musicians, dancers, singers, etc. who performed at the Moore Theater under Schultz. Among the artists included are: Ballet Theater, Ballet Russe de Monte Carlo,The Ballet Caravan, Trudi Schoop and Her Comic Ballet, Humphrey-Weidman Dancers, and members of the Metropolitan Opera.
Use of the CollectionReturn to Top
Restrictions on Use
Restrictions may exist on reproduction, quotation, or publication. Contact Special Collections, University of Washington Libraries for details.
Administrative InformationReturn to Top
Detailed Description of the CollectionReturn to Top
Adler - BaronovaReturn to Top
| Container(s) | Description | Dates | |
|---|---|---|---|
| Box/Folder | item | ||
| 1/1 | 1-3 | Larry Adler Lawrence Adler (February 10, 1914 – August 6, 2001) was an
American harmonica player known for playing major works written for harmonica.
During his later career he collaborated with Sting, Elton John, and Kate Bush,
among others.
Written on item 1: To Mrs. Schultz Sincerely Larry Adler.Written on item 2: To Cecilia Schultz from Larry Adler
'1945.
|
Between 1940 and 1950? |
| 1/1 | 4 | Larry Adler and Paul Draper Copy of a drawing by Al Hirschfeld (Artist)
Lawrence Adler (February 10, 1914 – August 6, 2001) was an
American harmonica player known for playing major works written for harmonica.
During his later career he collaborated with Sting, Elton John, and Kate Bush,
among others.Paul Draper (October 25, 1909 – September 20, 1996) was a noted
American tap dancer and choreographer. From 1940-1949, Adler and the dancer
Paul Draper formed an act and toured nationally and internationally, performing
individually then together in each performance. The act disbanded when they
were blacklisted as Communist sympathizers.
Written on item 4: To Cecelia Schultz from Paul Draper and Larry
Adler.
|
Between 1940 and 1950? |
| 1/1 | 5-6 | Franz Allers Maurice Seymour (item 5)Detttirjian of Apeda N.Y. (item 6) (Photographer)
Franz Allers (August 6, 1905 - January 26, 1995) was a conductor
of a variety of dance and musical performances, especially Broadway orchestras.
From 1933 to 1945, he conducted for the Ballet Russe de Monte Carlo. In 1945,
he shifted his career to Broadway. In 1954, he earned a Grammy nomination for
musical direction of the stop-action animation Hansel and
Gretel.
|
Between 1933 and 1945? |
| 1/1 | 7 | Franz Allers and Mia Slavenska Detttirjian of Apeda N.Y (Photographer)
Franz Allers (August 6, 1905 - January 26, 1995) was a conductor
of a variety of dance and musical performances, especially Broadway orchestras.
From 1933 to 1945, he conducted for the Ballet Russe de Monte Carlo. In 1945,
he shifted his career to Broadway. In 1954, he earned a Grammy nomination for
musical direction of the stop-action animation Hansel and
Gretel.Born Mia Čorak in Austria-Hungary (now Croatia) in 1916, Mia
Slasvenska (February 20, 1916 – October 5, 2002) made her debut in Baranović's
ballet Licitarsko srce in 1924, at what is today the Croatian National Theatre.
She became the prima ballerina of the Zagreb Opera at the age of 17. At the
1936 Berlin Dance Olympics, coinciding with the Olympic Games, she won the
Choreography and Dance Award. She began dancing in Vienna. She moved to the
U.S. in the late 1930’s as the leading ballerina of the Ballet Russe de Monte
Carlo. Her own company, Ballet Variante, was formed in 1944 in Hollywood. Her
greatest roles she achieved with the Slavenska Franklin Ballet Company that she
founded with Frederic Franklin in 1950. One of her most highly regarded roles
was as Blanche DuBois in Valerie Bettis' modern choreography of
A Streetcar Named Desire, premiered in Her
Majesty's Theatre in Montreal in 1952. She became the prima ballerina of the
New York Metropolitan Opera in 1954 – 55. She opened a ballet studio in New
York in 1960, then taught at the University of California, Los Angeles from
1969 to 1983 and concurrently at California Institute of the Arts from
1970-1983.
|
Between 1933 and 1945? |
| 1/1 | 8 | Alwin[?] Written on item: Mrs. Cecilia Schultz in remembrance. Seattle,
17. IV. 39. [Illeg.] Alwin[?], D.
|
1939? |
| 1/1 | 9 | Carmen Amaya Carmen Amaya (November 1913? – November 19, 1963) was a Spanish
Romani flamenco dancer and singer. She has been called "the greatest Spanish
Romani dancer of her generation" and "the most extraordinary personality of all
time in flamenco dance." She was the first female flamenco dancer to master
footwork previously reserved for the best male dancers, due to its speed and
intensity. She sometimes danced in high-waisted trousers as a symbol of her
strong character. She performed in the United States from 1941 to 1947.
|
Between 1940 and 1945? |
| 1/1 | 10-15 | Marian Anderson Halsman, N.Y. (Photographs 9 and 11) (Photographer)
Marian Anderson (February 27, 1897 – April 8, 1993) was an
Aferican American singer of classical music and spirituals. She performed in
concert and recital in major music venues and with famous orchestras throughout
the United States and Europe between 1925 and 1965. Anderson was an important
figure in the struggle for black artists to overcome racial prejudice in the
United States during the mid-twentieth century. She was the first black person
to perform at the Metropolitan Opera on January 7, 1955. Anderson worked for
several years as a delegate to the United Nations Human Rights Committee and as
a "goodwill ambassadress" for the United States Department of State, giving
concerts all over the world. She participated in the civil rights movement in
the 1960s, singing at the March on Washington for Jobs and Freedom in 1963. The
recipient of numerous awards and honors, Anderson was awarded the Presidential
Medal of Freedom in 1963, the Congressional Gold Medal in 1977, the Kennedy
Center Honors in 1978, the National Medal of Arts in 1986, and a Grammy
Lifetime Achievement Award in 1991.
Written on photograph 12: To Cecelia Schultz with kindest
regards Maria V. Anderson.Written on photograph 14: To Mrs. Cecelia Scultz with very kind
regards from Marian Anderson.
|
Between 1940 and 1950? |
| 1/1 | 16 | Argentinita Encarnación López Júlvez, also known as La Argentinita, (March
3, 1898 – September 24, 1945) was a Spanish-Argentine flamenco dancer,
choreographer, and singer together with her sister Pilar López Júlvez. After
travelling throughout Spain as a child prodigy, she settled in Madrid. Her
success led her to tour in Barcelona, Portugal and Paris, and then on Latin
America. In the early 1920s she returned to Spain, where she began to work in
Madrid before deciding to retire momentarily in 1926. Her return to the show
business was accompanied by an artistic renewal that led her to the "Generation
of ‘27," in which she combined flamenco, tango, bulerías and boleros art. With
the beginning of the Second Spanish Republic she formed her own ballet company
called Bailes Españoles de la Argentinita together with her sister Pilar and
the poet Federico García Lorca. She toured through Spain and Paris and toured
the Americas after 1934. She was one of the biggest starts of international
dance and had great success in the United States, especially New York until her
death in 1945.
Written on photograph: A mi querida amiga Mrs. Cecilia Schultz
Argentinita.
|
Between 1935 and 1945? |
| 1/1 | 17 | Salvatore Baccaloni Salvatore Baccaloni (14 April 1900 – 31 December 1969) was an
Italian operatic bass, buffo artist, and actor. Baccaloni was born in Rome and
made his professional debut as Bartolo in The Barber of
Seville at Rome's Teatro Adriano in 1922. As a part of his international
career, he starred as Bartolo in The Marriage of
Figaro at the Metropolitan Opera on December 7, 1940. Baccaloni toured
with "The Stars of the Metropolitan Opera" South American tour. He was to
remain at the Met until 1962. He often sang in Philadelphia with a succession
of opera companies from 1951 through to 1966.
|
Between 1940 and 1950? |
| 1/1 | 18 | Irina Baronova Irina Mikhailovna Baronova (March 13, 1919 – June 28, 2008) was
a Russian ballerina and actress who became a “Baby Ballerina” at the Ballet
Russe de Monte Carlo at the age of 12. At age 19 she joined the Ballet Theatre
under the patronage of Sol Hurok. She retired at age 27 because Cecil Tennant
asked her to retire before they wed. She taught master classes and contributed
to books and documentaries about her life in ballet until her death in
2008.
Note accompanying photograph: Practised in the arts of
gymnastics and rhythmics, the ballerina must also make a study of that most
important element in the theatre -- make-up. In the ballet kingdom make-up is
different from that of the legitimate stage. It is heavier, more pronounced and
unrealistic. Many pounds of mascara are expended epr week; the eyelids are
literally dripping with it. Mouths are increased 20% in size as are the eyes
and nostrils and a coating of grease paint is exceptioally thick. The
ballerina's face is made to look like that of a painting rather than that of a
real human being, the purpose being to achieve an effect of a fantasy. Irina
spends one full hour in her dressing room making up her face before each
performance. Special make-up boxes weighing ten to thwelve pounds are assigned
to each dancer on tour. These are put in a crate and distributed upon arrival
at the theatre.
|
Between 1938 and 1946? |
Bjoerling - CordonReturn to Top
| Container(s) | Description | Dates | |
|---|---|---|---|
| Box/Folder | item | ||
| 1/2 | 19-22 | Jussi Bjoerling Bruno of Hollywood NYC (Photographer)
Johan Jonatan "Jussi" Björling (February 5, 1911 – September 9,
1960) was a Swedish tenor. One of the leading operatic singers of the 20th
century, Björling appeared for many years at the Metropolitan Opera in New York
and less frequently at the major European opera houses, including the Royal
Opera House in London and La Scala in Milan. In 1937, Björling made his recital
debut in London and his first American tour as an adult. During World War II,
Björling only performed in Europe. In 1945 Björling returned to the US and
appeared frequently at the Metropolitan Opera. He sang many major tenor roles
in operas in the French and Italian repertoire.
|
Between 1940 and 1950? |
| 1/2 | 23-24 | Richard Bonelli Morrall Rochester N.Y (Photographer)
Richard Bonelli (February 6, 1889 – June 7, 1980) was an
American operatic baritone. Born George Richard Bunn in Port Byron, New York,
he studied at Syracuse University and made his operatic debut on April 21, 1915
at the Brooklyn Academy of Music. He toured with the San Carlo Opera Company
between 1922 and 1924. After performing at various opera companies in Europe
and the United States, he debuted at the Metropolitan Opera on November 29,
1932 and remained on their roster till 1945. After retiring from singing,
Bonelli became a successful voice teacher at the Curtis Institute of Music in
Philadelphia, the Music Academy of the West in Santa Barbara, and in New
York.
|
Between 1935 and 1945? |
| 1/2 | 25 | Ivan Boutnikoff Ivan Bounikoff (December 13, 1893 – February 16, 1972) was a
Russian conductor and composer. In 1923, Ivan Bounikoff was appointed as chief
conductor of the orchestra of the Conservatory of Athens. He also was musical
conductor of the Ballet Russe de Monte Carlo, which performed in Seattle in
1948.
Written on Item: to Cecilia Schultz with great admiration and
love Ivan Boutnikoff 1948.
|
1948? |
| 1/2 | 26-27 | John Carter John Carter was born in New York City and performed frequently
with the Metropolitan Opera in the years after he won the company's 1937-1938
"Auditions of the Air." He also gave solo recitals throughout the country in
the 1940's and 1950's. Mr. Carter succeeded Nelson Eddy on NBC Radio's ''Chase
and Sanborn Hour'' in the late 1930's, and later served as the host of a
classical-music radio show.
|
Between 1940 and 1950? |
| 1/2 | 28-30 | Robert Casadesus Robert Casadesus (April 7, 1899 – September 19, 1972) was a
renowned 20th-century French pianist and composer. Casadesus was born in Paris
and studied at the Conservatoire with Louis Diémer. He then entered the class
of Lucien Capet, who had exceptional influence. Casadesus found chamber music
through Capet. Beginning in 1922, Casadesus collaborated with the composer
Maurice Ravel on a project to create piano rolls of a number of his works and
performed with him as well. Casadesus toured widely as a piano soloist and
often performed with his wife, the pianist Gaby (L'Hôte) Casadesus, whom he
married in 1921. From 1935 Casadesus taught at the American Conservatory at
Fontainebleau. After the Battle of France Fall of France in 1940, Robert and
Gaby established the Fontainebleau School at Newport, Rhode Island. In 1942 the
Fontainebleau School was moved to Great Barrington, Massachusetts. After the
war, in 1946, Robert Casadesus, now Director of the American Conservatory
oversaw its return to Fontainebleau.
|
Between 1920 and 1930? |
| 1/2 | 31 | Anna Case Anna Case (October 29, 1887 – January 7, 1984) was an American
soprano. She debuted at the Metropolitan Opera at age 20 and was the first
American diva to have no formal training. Case also established herself as a
concert singer, making many recordings for the Edison company during its
"Diamond Disc" period and participating in the company’s “tone test” concert
series. She retired from the Metropolitan Opera in 1920 as a result of a
romance with communications executive Clarence MacKay. She continued to perform
for special events until her marriage to MacKay in 1930. After MacKay died in
1938, she established the "Anna Case MacKay Award" to provide support for the
careers of aspiring singers through the Santa Fe Opera, and at her death
bequeathed two sapphire necklaces to the Smithsonian Institution believed to
contain the largest such stones ever mined.
|
Between 1910 and 1920? |
| 1/2 | 32 | Walter Cassel Walter Cassel (May 15, 1910 – July 3, 2000) was an American
operatic baritone and actor. He began his career singing on the radio during
the mid-1930s and appeared some Hollywood musical films in the late 1930s. He
made his first stage appearances a few Broadway productions during the late
1930s and early 1940s. He began his opera career at the Metropolitan Opera in
1942 and had a long association with the Met Opera that lasted until his
retirement from the stage in 1974. In addition to working with the Metropolitan
Opera, Cassel was also a regular performer with the New York City Opera between
1948 and 1954 and worked frequently as a freelance artist with important opera
companies on the international stage as well as in the United States.
Written on verso: Germont in La Traviata.
|
Between 1940 and 1950? |
| 1/2 | 33-34 | Lew Christensen A.L. Aldrich, Portland (Photographer)
Lewellyn Farr Christensen (May 6, 1909 – October 9, 1984) was a
ballet dancer, choreographer and director for many companies. He started in
vaudeville and Broadway shows when he became a student at George Balanchine’s
School of American Ballet. In 1935, he joined the Metropolitan Opera's American
Ballet Ensemble. He also danced with Lincoln Kirstein’s Ballet Caravan between
1936 and 1941. At the onset of World War II, Lew Christensen was drafted into
the United States Army. On return to New York in 1946, he joined Balanchine's
and Kirstein's latest project, Ballet Society – later to be known as the New
York City Ballet – where he became a ballet master. In 1948, he joined his
brothers at the San Francisco Ballet. Christensen served as associate director
of the San Francisco Ballet in 1949, and was co-director in 1951 with his
brother Willam. Christensen transformed the San Francisco Ballet to an
internationally recognized neoclassical company. Although he joined the San
Francisco Ballet in 1949, Christensen continued to act as ballet master for the
New York City Ballet until 1950. In 1952, he became the director of the San
Francisco Ballet.The Ballet Caravan was founded and directed by Lincoln Kirstein
in 1936 to produce works by young American choreographers. The company toured
the United States in 1938, featuring an ensemble of dancers recruited from the
American Ballet (a company and associated school started by Kirstein, Edward
Warburg, and George Balanchine in 1934). Ballet Caravan performed at the Moore
Theatre in Seattle multiple times. Ballet Caravan opened Cecilia Schultz’s
“Dance Theater” series at the Moore Theatre on October 29, 1938. Ballet Caravan
performed again in Seattle on November 11, 1939; a performance also arranged by
Cecilia Schultz. Ballet Caravan merged with the American Ballet to form the
American Ballet Caravan, which toured South America in 1941. After the tour,
the combined company disbanded, but formed the basis for the New York City
Ballet, founded by Kirstein and Balanchine after World War II. Information from
Encyclopedia Britannica and Seattle Times (October 27, 1938 and November 10,
1939).
Written on Item 33: To Cecelia Schultz Sincerely Lew
Christensen.Written on Item 34: Cecilia Schultz Wishing you outstanding
success in your new artistic adventure with the Moor Theatre Sincerely Wm. H.
Christensen.
|
Between 1935 and 1945? |
| 1/2 | 35 | Marguerite Cobbey Marguerite Cobbey (born ? – September 25, 1980) was a soprano.
She was a protegee of Nellie Melba and sand Rosina in a production of Rossini's
The Barber of Seville presented by Boris Chaliapin
on a tour of the United States.
Written on Item: To my dear friend Cecilia Schultz in memory of
my first Seattle appearance Marguerite Cobbey 1929.
|
1929? |
| 1/2 | 36 | Norman Cordon Norman Cordon (January 20, 1904 – March 1, 1964) was an opera
singer and music educator. He studied music at the University of North
Carolina, the Nashville Conservatory of Music, and Salem College. In 1931, he
joined the Merrimen Vocal Quartet of the Paul Whiteman Orchestra as a
bass-baritone. That role led to a contract with the Chicago Opera Company and
various singing engagements with opera companies in the United States and
Canada. In 1936, the Metropolitan Opera offered him a contract and he was a top
billing there for ten years. Supplementing his appearances with the
Metropolitan in New York, he toured two continents with Metropolitan companies
and later made individual appearances in Buenos Aires and in many cities in the
United States. He also performed solo concerts for two years across the United
States performing opera, spirituals, and other songs. In 1948, he returned to
North Carolina to develop cultural interest and participation for music and
opera in the state.
Written on Item: To Cecilia Schultz with all the loud good
wishes of Norman Cordon 1941.
|
1941? |
Crooks - ElwingReturn to Top
| Container(s) | Description | Dates | |
|---|---|---|---|
| Box/Folder | item | ||
| 1/3 | 37-42 | Richard Crooks Richard Crooks (June 26, 1900 – September 29, 1972) was an
American tenor. He initially performed oratorio and recital songs until he made
his operatic debut in Hamburg as Cavaradossi in Puccini’s Tosca in 1927. In 1930, he debuted in the United States
in Philadelphia. He was a star for the Metropolitan Opera predominantly in
French and Italian works. From 1928 to 1945, Crooks was the host of "The Voice
of Firestone" radio broadcasts.
Written on Item 37: To Cecilia Sincerely Rich 1945.Written on Item 38: To Prof and Mrs. Carl Paide Wood Sincerely
Richard Crooks, 1941.Written on Item 39: To Prof and Mrs. John Jessup Sincerely
Richard Crooks 1941.Written on Item 40: To my friend Cecilia Schultz Sincerely
Richard Crooks 1943.Written on Item 41: To Cecilia Schultz Sincerely Richard Crooks
1939.Written on verso Item 41: as Pinkerton in "Madama
Butterfly".Written on Item 42: To Tom Herbert Sincerely Richard Crooks
1941.Written on verso Item 42: as des Grieux in "Manon".
|
Between 1940 and 1943? |
| 1/3 | 43 | Ellabelle Davis Ellabelle Davis (17 March 1907 — 15 November 1960) was an
American singer who began her musical career at The Town Hall in 1942. As an
opera singer, Davis was the first African American to play the lead role of
Aida during her 1946 performance at the Opera Nacional in Mexico. She resumed
her role as Aida at La Scala in 1949 and recorded for Decca in February 1950.
Posthumously, an opera based on Davis was performed in 2009 and she was
inducted into the New Rochelle Walk of Fame in 2011.
Written on Item: Thank you Mrs. Cecilia Schultz for presenting
me to such a wonderful public in Seattle, Sincerely, Ellabelle Davis.
|
Between 1950 and 1960? |
| 1/3 | 44 | Anton Dolin Alfredo Valente (Photographer)
Sir Anton Dolin (27 July 1904 – 25 November 1983) was an English
ballet dancer and choreographer. His birth name Sydney Francis Patrick
Chippendall Healey-Kay but was generally known as Patrick Kay. He joined Sergei
Diaghilev's Ballets Russes in 1921, was a principal there from 1924, and was a
principal with the Vic-Wells Ballet in the 1930s. He joined the Ballet Theatre
when it was formed in 1940 and remained there as a dancer and choreographer
until 1946. In 1949, he and Markova founded the Markova-Dolin Ballet and the
London Festival Ballet in 1950 where Dolin was the premier danseur and artistic
director till 1961. He then organized and toured with the troupe Stars of the
Ballet, worked as choreographer and director of the Rome Opera Ballet, and
served as artistic adviser to Les Grands Ballets Canadiens. He was knighted in
1981.
Written on Item: To Cecelia Schultz with friendship and
admiration from Anton Dolin [illeg.] 1946.
|
1946? |
| 1/3 | 45 | Don Cossack Choir The Don Cossack Choir Serge Jaroff was a men's chorus of exiled
Cossacks founded in 1921 by Serge Jaroff and conducted for almost sixty years
by him.
Written on Item in Russian: With best wishes to Mrs. Cecilia
Schultz The Don Cossack Choir Serge Jaroff[Illeg.] September [or April] 15,
1938.
|
1938? |
| 1/3 | 46-48 | Paul Draper Bruno of Hollywood NYC (Item 46) (Photographer)
Paul Draper (October 25, 1909 – September 20, 1996) was a noted
American tap dancer and choreographer. From 1940-1949, Adler and the dancer
Paul Draper formed an act and toured nationally and internationally, performing
individually then together in each performance. The act disbanded when they
were blacklisted as Communist sympathizers.
Attached to Item 47: Leaves stage for films: Paul Draper,
sensational dancer of the stage, has left Broadway for Hollywood and contract
to appear in Warner Bros. pictures. He is now working opposite Ruby Keeler in
his first film "Colleen." From: Warner Bros. Pictures, Inc. 321 W. 44th St.,
N.Y.C.Stamped on Item 47: Mar 17 1936.
|
Between 1930 and 1940? |
| 1/3 | 49 | Helene Druke DeBellis Studios, N.Y (Photographer)
Helene Druke (February 4, 1909 – May 14, 2001) was a duo-pianist
with her husband Walter Shaw. Helene was born in Salt Lake City on February 4,
1909, to Julius and Lena Druke. After receiving an elementary education diploma
from the University of Utah in 1931, Helene studied piano at the Juilliard
School of Music in New York City for eight years. It was there that she met her
husband, Walter H. Shaw. After Shaw’s initial pianist partner joined the United
States military, Druke joined his act. They performed throughout Europe and the
United States for more than 10 years with many symphony orchestras. Druke and
Shaw later returned to Salt Lake and taught music. Druke also owned and
operated Arthur Murray dance studios in Utah. Due to her philanthropy, she
received the Merit of Honor award from the University of Utah Alumni
Association's Emeritus Club in 1988.
|
Between 1940 and 1950? |
| 1/3 | 50 | Katherine Dunham Katherine Mary Dunham (June 22, 1909 – May 21, 2006) was an
African American dancer, choreographer, author, educator, anthropologist, and
social activist. Dunham early became interested in dance. While a student at
the University of Chicago, she formed a dance group that performed in concert
at the Chicago World’s Fair in 1934 and with the Chicago Civic Opera company in
1935–1936. On graduating with a bachelor’s degree in anthropology she undertook
field studies in the Caribbean and in Brazil. By the time she received an M.A.
from the University of Chicago, she had acquired a vast knowledge of the dances
and rituals of Afro-Caribbean culture. In 1938 she joined the Federal Theatre
Project in Chicago. Two years later she formed an all-Black company, which
began touring extensively by 1943. She choreographed for Broadway stage
productions and opera for the Metropolitan Opera. In addition, Dunham conducted
special projects for Black high school students in Chicago; she was also
artistic and technical director to the president of Senegal from 1966-1967. She
also worked in academia and artistic institutions as a professor,
artist-in-residence, and director. Dunham was active in human rights causes.
She received a Kennedy Center Honor in 1983 and the National Medal of Arts in
1989. [Information from Encyclopedia Britannica].
Written on Item: To Cecelia Schultz Sincerely Katherine
Dunham.
|
Between 1940 and 1950? |
| 1/3 | 51 | Todd Duncan Vandamm Studio 130 West 57th St. New York, N.Y (Photographer)
Robert Todd Duncan (February 12, 1903 – February 28, 1998) was
an African American baritone opera singer and actor and one of the first
African Americans to sing with a major opera company. In 1934, Duncan debuted
in Pietro Mascagni's Cavalleria Rusticana at the
Mecca Temple in New York with the Aeolian Opera, a Black opera company. Duncan
was George Gershwin's personal choice as the first performer of the role of
Porgy in Porgy and Bess in 1935 and played the role more than 1,800 times. His
organizing led to the first integrated performance at the National Theatre in
Washington, D.C. In 1938, Duncan appeared on the London stage at the Theatre
Royal, Drury Lane in C. B. Cochran's musical production The Sun Never Sets. After the London run closed, Duncan
and Adelaide Hall from the original cast toured Britain with the production.
Duncan taught voice at Howard University in Washington, D.C. from 1930 until
1945. While teaching at Howard, he continued touring as a soloist with pianists
William Duncan Allen and George Malloy. He had a very successful career as a
concert singer with over 2,000 performances in 56 countries and two film roles.
In 1945, he became the first Black person to sing with a major opera company
and to sing in an opera with an otherwise white cast when he performed the role
of Tonio in Leoncavallo's Pagliacci with the New
York City Opera. He retired from Howard and opened his own voice studio
teaching privately and giving periodic recitals. Duncan was awarded the George
Peabody Medal of Music from the Peabody Conservatory of Music of Johns Hopkins
University in 1984. Other awards he received include a Medal of Honor from
Haiti, an NAACP Award, the Donaldson Award, the New York Drama Critics' Award
for Lost in the Stars, and honorary doctorates
from Valparaiso University and Butler University.
Written on Item: To Cecilia Schultz- In deepest appreciation of
her magnificent audiences. Todd Duncan
"Porgy".
|
Between 1930 and 1940? |
| 1/3 | 52 | Nelson Eddy Nelson Ackerman Eddy (June 29, 1901 – March 6, 1967) was an
American singer, baritone and actor with who appeared in 19 musical films
during the 1930s and 1940s, as well as in opera and on the concert stage,
radio, television, and in nightclubs. He was famous for his mass appeal as a
“crossover” star. In 1924, Eddy won the top prize in a competition that
included a chance to appear with the Philadelphia Opera Society. By the late
1920s, Eddy was appearing with the Philadelphia Civic Opera Company and had a
repertoire of 28 operas. Eddy performed in Gilbert and Sullivan operas with the
Savoy Company. Eddy was "discovered" by Hollywood when he substituted at the
last minute for the singer Lotte Lehmann at a sold-out concert in Los Angeles
on February 28, 1933. Eddy continued in occasional opera roles until they
conflicted with his filming schedule. Among his final opera performances were
with the San Francisco Opera in 1934. Eddy signed with Metro-Goldwyn-Mayer
(MGM), where he made the first 15 of his 19 feature films. Eddy signed with
Universal in 1943 for a two-picture deal. Eddy made more than 290 recordings
between 1935 and 1964, singing songs from his films, plus opera, folk songs,
popular songs, Gilbert and Sullivan, and traditional arias from his concert
repertoire. Eddy had more than 600 radio appearances in the 1920’s. He was also
a frequent guest on talk shows. In the early 1950’s Eddy formed a successful
nightclub act with his singing partner Gale Sherwood and accompanist Ted
Paxson. The act continued for 15 years.
|
Between 1930 and 1940? |
| 1/3 | 53-55 | Byrd Elliot J. Abresch N.Y (Photographer)
Eldridge Byrd Elliot (February 5, 1907-September 16, 1989) was a
violinist active during the 1920’s to 1940’s. She was a young prodigy and
gained national acclaim.
Written on Item 54: To Mrs. Schultz a wonderful friend with love
- Byrd Elliot.Written on Item 55: To Mrs. Schultz with affectionate regards
Byrd Elliot.
|
Between 1930 and 1940? |
| 1/3 | 56 | Henri Elwing |
Between 1940 and 1950? |
Enters - HukukoReturn to Top
| Container(s) | Description | Dates | |
|---|---|---|---|
| Box/Folder | item | ||
| 1/4 | 57-58 | Angna Enters Anita "Angna" Enters (April 18, 1907–February 25, 1989) was an
American dancer, mime, painter, writer, novelist, and playwright. Enters moved
to New York to study at the Art Students League of New York in 1929 and began
to study dance with Michio Itō the following year, eventually performing as
Michio's partner in 1933. That year she created her first piece, an evocation
of a statue of a Gothic Virgin, entitled Ecclesiastique. The piece later became
Moyen Age. In 1934, she borrowed $25 with which to
present her first solo program at the Greenwich Village Theater. Her solo
program, The Theatre of Angna Enters, toured the
United States and Europe until 1939 and was performed, though less often, until
1960. Enters created a large body of visual art, wrote an autobiography with
three volumes, plays, screenplays, and a book about her mime work. She taught
at the Stella Adler Studio from 1957-1960. She was artist-in-residence at the
Dallas Theatre Center in 1961–1962, and taught mime and Baylor University
during that year. She spent the following school year at Wesleyan University.
From 1970–1971, she was artist-in-residence at Pennsylvania State University,
during which time she gave her last known public performance.
Written on Item 57: To Mrs. Schultz Sincerely Angna Enters
1936.Written on Item 58: To Cecelia with love Angna Enters 10
November 1939.
|
Between 1936 and 1939? |
| 1/4 | 59 | Dorothy Eustis National Concert and Artists Corporation 711 Fifth Avenue New York 22, N. Y. (Photographer)
Dorothy Helen Eustis (October 10, 1916-May 20, 2001) was a child
prodigy pianist from Seattle. At 13 years old, she made her debut as a soloist
with the Seattle Symphony Orchestra in the Orpheum Theatre. Eustis attended
college classes at the University of Washington, at the Cornish School, and at
Oakland, California’s Mills College. She played hundreds of recitals as a
soloist and in duos throughout Seattle. She also participated in The Artiste
Trio throughout Washington State. She visited New York City in 1943 and
performed at Town Hall and moved there to teach piano at the Manhattan School
of Music. During 1944, Eustis played across the country for military audiences.
In 1946, John Charles Thomas the concert singer discovered her in Los Angeles
and invited her on his West Coast tour. This led to her signing with the
management company New York’s National Concert and Artists Corporation, leading
to her performances in Hollywood films. In 1947, she married Philip Farnsworth
Cannon, an industrial engineer from New York. From the 1960’s onward, the
details of Eustis’ life are relatively unknown. She eventually moved to London
then to Italy alone, with rumors about a supposed accident and her marriage
unanswered. She died after a lengthy hospital stay and time in a convent
nursing home in Florence, Italy.
Written on Item: To Cecelia Schultz in loving appreciation for
bringing me back to my beloved Seattle in concert- Dorothy Eustis.
|
Between 1946 to 1950? |
| 1/4 | 60-65 | Mary Garden Mary Garden (February 20, 1874 – January 3, 1967) was a Scottish
operatic soprano with a substantial career in France and America in the first
third of the 20th century. She was also known as a diva who garnered
significant media speculation and professional drama. Garden first arose to
success in Paris during the 1900’s. She became the leading soprano at the
Opéra-Comique, notably portraying roles in several world premieres. In 1907,
Oscar Hammerstein convinced Garden to join the Manhattan Opera House in New
York where she became an immediate success. By 1910 she was a household name in
America and Garden appeared in operas in several major American cities. During
the late 1910’s, she starred in two silent films from Samuel Goldwyn:
Thais (1917) and The
Splendid Sinner (1918). Neither film was successful. In 1922 Garden
became the director of the newly formed Chicago Civic Opera where she also
performed roles until 1931. Garden retired from opera in 1934.
Written on verso of Item 60: Mary Garden as Carmen.Written on verso of Item 61: Mary Garden "Aphrodite".Written on verso of Item 62: Mary Garden in "Resurrection" movie
version.Written on verso of Item 63: Mary Garden as Sapho [sic].
|
Between 1910 and 1920? |
| 1/4 | 66 | Carroll Glenn Carroll Glenn (October 28, 1918 – April 25, 1983) was an
American violinist and music educator. She earned many awards at a young age
for her violin performance, such as the Town Hall Young Artist Award in 1939,
the National Federation of Music Clubs Award, and the Schubert Memorial Award.
She debuted with the New York Philharmonic on December 14, 1941, performing the
Sibelius Violin Concerto, with critical success. During the 1942–1943 season,
Glenn was featured in 21 orchestral concerts throughout North America. She
married pianist Eugene List in 1943. They both appeared in concert together in
1946, 1948, and 1949. By 1961, Glenn had made over 90 appearances as soloist
with major symphony orchestras. In 1963, Glenn became Artist in Residence at
the University of North Texas College of Music, and taught at Temple
University, the Interlochen Center for the Arts, and the Eastman School of
Music. From 1975 until her death, she divided her teaching between the
Manhattan School of Music and Queens College. In 1974, she and List founded the
Southern Vermont Music Festival in Manchester. In 1981, her last concert tour
was to the People's Republic of China, where she performed and gave master
classes at the Peking and Shanghai conservatories.
Written on Item: For Cecilia Schultz - Whose name
means music in the North West. Remembering the
pleasure of our first meeting and looking forward to many more- Carroll
Glenn.
|
Between 1940 and 1950? |
| 1/4 | 67 | Igor Gorin DeBellis Studio N.Y (Photographer)
Igor Gorin (October 26, 1904 – March 24, 1982) was an Austrian
baritone and music teacher. Gorin studied at the Vienna Music Academy from 1926
to 1929, studying piano, music theory and formal voice training. Gorin became
head cantor at the Leopoldstrasse Synagogue in Vienna and his fame as a cantor
became widespread. One of the rabbis who heard him arranged for Gorin to make
his operatic debut as Ping in a Swiss performance of
Turandot. He subsequently joined a Czech opera touring company and the
Vienna Volksoper in 1930. Gorin emigrated to the United States in 1933 to
escape Nazi persecution of German and Austrian Jews. Gorin began his career in
the U.S. at the Radio City Music Hall in New York City. After that he was
engaged for a 10-week stint on NBC's The Standard
Hour. It was during these programs that Gorin met the composer Albert
Hay Malotte. As a result, Gorin was the first to perform Malotte's famous
setting of "The Lord's Prayer". It was to become Gorin's most popular number on
radio, on television and in concerts. His 1940 recording of the song became his
most popular recorded selection. He also appeared on a variety of radio
programs. In 1936, he signed his first recording contract with RCA Victor and
made his first recordings in 1937. Gorin went on to become primarily a concert
singer who appeared on programs such as The Voice of
Firestone and The Bell Telephone Hour
regularly. He also appeared in opera performances at a variety of companies
around the country.
|
Between 1930 and 1940? |
| 1/4 | 68 | Arthur Hackett Apeda N.Y (Photographer)
Arthur Hackett was an American lyric tenor. He was accomplished
in oratorio, concert music, and as an orchestral soloist. He appeared with
numerous principal symphony orchestras and in recitals across the country from
the 1910’s to the 1920’s.
Written on Item: To Cecilia Schultz In memory of a happy
afternoon before a lovely audience Sincerely yours Arthur Hackett.
|
Between 1910 and 1930? |
| 1/4 | 69-73 | Jascha Heifetz Karsh, Ottawa (Item 66)Associated Press Photo (Item 71) (Photographer)
Jascha Heifetz (February 2, 1901 – December 10, 1987) was a
Russian-American violinist. He was a prodigy and made his debut at seven years
old performing the Violin Concerto in E Minor by Mendelssohn in Kovno,
Lithuania. In 1910 he entered the Saint Petersburg Conservatory. While in his
teens, he performed around Europe. In 1914, he performed with the Berlin
Philharmonic. On October 27, 1917, Heifetz played for the first time in the
United States, at Carnegie Hall in New York, and became an immediate sensation.
He became an American citizen in 1925. He played prolifically until 1955, and
rarely by 1967. He also starred in some films and television performances and
master classes from the 1930’s and 1970’s. He made recordings from 1917 through
1972, mostly through RCA Victor. After an only partially successful operation
on his right shoulder in 1972, Heifetz ceased giving concerts and making
records although he played privately. Heifetz taught the violin extensively,
holding master classes first at UCLA, then at the University of Southern
California. In 1989, Heifetz received a posthumous Grammy Lifetime Achievement
Award.
Written on verso of Item 71: Heifetz with Emmanuel Bey,
accompianist.Written on Item 73: To Cecilia Schultz with kind greeting and
all good wishes - Jascha Heifetz Seattle Jan. 14, 1929.
|
Between 1929 and 1950? |
| 1/4 | 74 | Tom Herbert Written on Item: Dear Cecilia Shultz- Looks like I'm booked for
still another season - in The South Pacific! 2
years now! love Tom Herbert.
|
Between 1940 and 1945? |
| 1/4 | 75 | Elias Burton Holmes Elias Burton Holmes (1870–1958) was an American traveler, Itemer
and filmmaker, who coined the term "travelogue." Holmes started as a travel
lecturer, supplementing his lectures first with glass slides then film. His
extensive travels were later made into distributed films by Paramount and
Metro-Goldwyn-Mayer.
Written on Item: To Mrs. Schultz Signing up with M.G.M. Burton
Holmes.Written on verso: Cecilia Schultz study room of Burton
Holmes.
|
Between Between 1940 and 1950? |
| 1/4 | 76 | Sayo Hukuko Sayo Fukuko (Hukuko) (March 5, 1909-December 29, 1989) was a
Japanese performer in the Takarazuka Revue, an all-women performance group
started in 1914. Sayo debuted with the Takarazuka Revue in 1922 in
The Flow of Spring / Dancing Princess Kasuga / Cyrano de
Bergerac / Genghis Khan / Wine Cup Dialogues. Sayo was primarily an
otokoyaku performer, a type of Takarazuka performer who primarily plays men’s
roles. She was one of the first otokoyaku to cut her hair short to perform, as
most otokoyaku before kept their long hair hidden on stage. She was the leader
of the Moon Troupe in 1938 but retired to marry director Tougo Shizuo. She
returned to acting in 1943 on stage and in film until her death.
Illegible script written on Item.Printed on verso: Sayo Hukuko -- Takarazuka Ballet Premiere
Danseuse. Takarazuka Grand Cherry Show. Printed in Japan.
|
Between 1921 and 1926? |
Humphrey - KeenerReturn to Top
| Container(s) | Description | Dates | |
|---|---|---|---|
| Box/Folder | item | ||
| 1/5 | 77a-j | Humphrey-Weidman Dancers The Humphrey-Weidman dance company and school were formed in
partnership by Doris Humphrey and Charles Weidman. The two were dancers at the
Denishawn dance school and company in Los Angeles. They formed the
Humphrey-Weidman Dancers in New York City in 1928. Humphrey developed a new
theory and dance technique, in collaboration with Weidman, known as fall and
recovery. This technique was featured in the performances of the
Humphrey-Weidman Dancers. This dance ensemble was active until 1944. The
Humphrey-Weidman Dancers performed in Seattle at the Moore Theatre on March 5,
1938, in a performance arranged and promoted by Cecilia Schultz. Information
from Encyclopedia Britannica and Seattle Times (February 27, 1938).
|
Between 1930 and 1940? |
| 1/5 | 78-79 | Jose Iturbi José Iturbi Báguena (November 28, 1895 – June 28, 1980) was a
Spanish conductor, pianist, and harpsichordist. He started his musical training
at 11 years old at the Valencia Conservatory. Iturbi also studied music with
Victor Staub at the Paris Conservatory at age 15. He began touring
internationally around 1912 and made his American debut in New York City in
1929. Iturbi made his first appearance as a conductor in Mexico City in 1933.
From 1936 to 1944, he was conductor of the Rochester Philharmonic Orchestra in
Rochester, New York. He also conducted the Valencia Symphony Orchestra in
Valencia, Spain. Iturbi made several short instructional films for the
harpsicord and appeared as an actor-performer in several filmed musicals during
the 1940’s. His fame in Hollywood led to a reputation of being contentious and
not a serious musician because he played contemporary and different music
styles, despite his classical repertoire and excellent musicality. He performed
into his 80’s and died during a medically-mandated sabbatical at 84 years old.
Two music competitions were established in Iturbi’s name: The José Iturbi
International Piano Competition in Valencia, Spain was created in 1981 and the
José Iturbi International Music Competition at the University of California Los
Angeles was created in 2007.
Written on Item 78: To Mrs. Cecilia Schultz remembrance from
love Iturbi 1960.Written on Item 79: To Mrs Cecilia Shultz with warm greetings
love Iturbi Jan 1966.
|
Between 1960 and 1966? |
| 1/5 | 80 | Marie Jeanne Marie-Jeanne Pelus (August 12, 1920 – December 28, 2007) was an
American ballet dancer and coach. Pelus joined Lincoln Kirstein’s Ballet
Caravan after only 4 years of ballet training and toured with the group from
1937 to 1940 as the star along with Lew Christensen. In 1940, she became the
first American ballerina to join the Ballet Russe de Monte Carlo at George
Balanchine’s request and was engaged for only two performances. She joined
Balanchine’s American Ballet Caravan’s tour of Latin America in 1941. Her
dancing style became known as core elements of the Balanchine style and created
ballerina roles in Balanchine’s Concerto Barocco
and Ballet Imperial. She also danced with the New
York City Ballet, Ballet Russe, Grand Ballet du Marquis de Cuevas, and Ballet
International. She retired in 1954 and went on to teach ballet.
Written on Item: To Cecilia Schultz with my best wishes Marie
Jeanne.Written on verso: Marie Jeanne, premiere ballerina of The Ballet
Caravan.
|
Between 1937 to 1940 |
| 1/5 | 81 | Birgit Herlund? Written on Item: To Cecelia Schultz with much love, from your
Birgit [Illeg.].
|
March 18, 1948? |
| 1/5 | 82 | Maryla Jonas Maryla Jonas (May 31, 1911 – July 3, 1959) was a Polish-born
classical pianist. Jonas debuted with the Warsaw Philharmonic in 1920 at the
age of 9. In 1926, she started touring throughout Europe. In 1933, Jonas won
the Beethoven Prize of Vienna which established her European career. Due to the
1939 German invasion of Poland, she experienced hardship due to her refusal to
comply with commands from the German Gestapo. With help from the Brazilian
Embassy, she escaped Europe and settled in Rio de Janeiro, Brazil. Unfortunate
news from Europe damaged her mental health and stopped her career for a period.
She resumed her career in 1946 in New York City at Carnegie Hall and performed
until her death in 1950 at the age of 46.
Written on Item: To Mrs. Cecilia Schultz with all my best wishes
Maryla Jonas 1941.
|
1941? |
| 1/5 | 83 | William Kapell William Kapell (September 20, 1922 – October 29, 1953) was an
American pianist and recording artist. He won his first competition at age 10
and in 1941 won the Philadelphia Orchestra’s Youth Competition in addition to
the Naumburg Award. In 1942, he debuted in New York which earned him the Town
Hall Award for the year’s outstanding concert by a musician under 30. He then
signed an exclusive recording contract with RCA Victor. His signature piece was
Aram Khachaturian's Piano Concerto in D-flat. Throughout the 1940’s he toured
internationally earning acclaim as a young pianist. In 1953 on a return flight
from his Australian tour, the plane crashed on the decent into San Francisco.
Shortly after Kapell’s death, Isaac Stern created the William Kapell Memorial
Fund to bring notable musicians to the United States in Kapell’s honor. The
University of Maryland changed the name of their piano competition to the
William Kapell International Piano Competition in 1986.
Attached to Item: William Kapell "A great pianist.... He has the
grand manner of Rubinstein and the fingers of Horowitz." -Claudia Cassidy,
Chicago Tribune.
|
Between 1940 and 1950? |
| 1/5 | 84 | Suzanne Keener Suzanne Keener was an actress and performer who performed in the
film Love at First Sight in 1930.
Written on Item: To- Mrs. Cecelia Augspurger Schultz,- "The
Lovable Impresario,"- From one who knows and loves he, Suzanne Keener.
|
Between 1920 and 1930? |
Kiepura - La MeriReturn to Top
| Container(s) | Description | Dates | |
|---|---|---|---|
| Box/Folder | item | ||
| 1/6 | 85-91 | Jan Kiepura Delar N.Y. (Items 89-90) (Photographer)
Jan Wiktor Kiepura (May 16, 1902 – August 15, 1966) was a Polish
tenor and actor. Although he studied law at the University of Warsaw, he
performed his first singing concert in 1923 in Sosnowiec, Poland. In 1924, he
was admitted by Emil Młynarski to the local choir and performed in the opera
Halka and Gounod’s Faust. 1926, Jan Kiepura left Poland for an
international career in Germany, Hungary, France, and England. When he returned
to Poland, with the money he had earned from his performances, he built the
well-known hotel Patria in the Polish border town of Krynica-Zdrój. Kiepura
played in twelve Polish musicals from 1926 to 1934. By 1937 Kiepura had married
Martha Eggerth, a singer and actress, with whom he appeared in many movies as
well as in a production of The Merry Widow on
Broadway. He continued to perform internationally and starred in films both in
Berlin’s UFA and Hollywood. He performed actively until he died of a heart
attack in 1966.
|
Between 1940 and 1950? |
| 1/6 | 92 | Lincoln Kirstein Lincoln Edward Kirstein (May 4, 1907 – January 5, 1996) was an
American writer, impresario, cultural figure, and co-founder of the New York
City Ballet. His interest in ballet and Balanchine started when he saw
Balanchine's Apollo performed by the Ballets
Russes. Kirstein became determined to bring Balanchine to the United States. In
October 1933, together with Edward Warburg, a classmate from Harvard, and
Vladimir Dimitriew, Balanchine's manager, they started the School of American
Ballet in Hartford, Connecticut. Just months later, Kirstein and Warburg
founded, together with Balanchine and Dimitriew, the American Ballet, which
later became the resident company of the Metropolitan Opera. Kirstein's
theatrical career was interrupted by the United States' entry into World War
II. He enlisted in 1943, and before going overseas, he started working on a
project gathering and documenting soldier art. He eventually developed this as
the exhibit and book Artists Under Fire. In the
spring of 1944, Kirstein traveled to London for the U.S. Arts and Monuments
Commission, and after a month, he was transferred to the unit in France that
came to be known as the Monuments, Fine Arts, and Archives (MFAA). The section
was devoted to rescuing and preserving European art. In 1946, Balanchine and
Kirstein founded the Ballet Society, which was renamed the New York City Ballet
in 1948. Kirstein served as the company's general director from 1946 until
1989. His work spanned all facets of artistic life, including writing,
sculpture, studio art, dance, and music.
Written on verso: Lincoln Kirstein, director of The Ballet
Caravan.The Ballet Caravan was founded and directed by Lincoln Kirstein
in 1936 to produce works by young American choreographers. The company toured
the United States in 1938, featuring an ensemble of dancers recruited from the
American Ballet (a company and associated school started by Kirstein, Edward
Warburg, and George Balanchine in 1934). Ballet Caravan performed at the Moore
Theatre in Seattle multiple times. Ballet Caravan opened Cecilia Schultz’s
“Dance Theater” series at the Moore Theatre on October 29, 1938. Ballet Caravan
performed again in Seattle on November 11, 1939; a performance also arranged by
Cecilia Schultz. Ballet Caravan merged with the American Ballet to form the
American Ballet Caravan, which toured South America in 1941. After the tour,
the combined company disbanded, but formed the basis for the New York City
Ballet, founded by Kirstein and Balanchine after World War II. Information from
Encyclopedia Britannica and Seattle Times (October 27, 1938 and November 10,
1939).
|
Between 1936 and 1938? |
| 1/6 | 93-97 | Miliza Korjus J. Abresch N.Y. (Items 86-89) (Photographer)
Miliza Elizabeth Korjus (August 18, 1909 – August 26, 1980) was
a Polish-born ethnically Estonian coloratura soprano opera singer and film
actress. Born in Warsaw during the Russian Empire, Korjus moved from Moscow
then to Kiev to begin her musical training. As a teenager, Korjus toured the
Soviet Union with the Dumka Choir. She then began touring the Baltic countries
and Germany. Korjus continued her concert career as a soprano in Germany and
was eventually engaged by the Berlin State Opera in 1933. Her operatic
appearances and recordings quickly propelled her to the forefront of European
singers and earned her the nickname "The Berlin Nightingale" and "Gorgeous
Korjus". Irving Thalberg, head of production at Metro-Goldwyn-Mayer, heard her
recordings and signed her to a ten-year film contract, sight unseen. She
arrived with her husband and daughter in the United States in March 1936. Her
sole film for MGM was The Great Waltz in 1938. She
was nominated for the Academy Award for Best Supporting Actress for the role.
Korjus was scheduled to star in a film version of the novel Sandor Rozsa in
1940, but the film was cancelled due to Korjus sustaining injuries from an
automobile accident. By 1941, she began a tour of South America. During WWII,
Korjus resided in Mexico and made the Spanish-language film
Caballería del Imperio. In 1944, Korjus returned
to the United States, where she performed at Carnegie Hall. She toured the
country for several more years, eventually settling in Los Angeles, California.
She later founded Venus Records to release many of her earlier recordings.
Written on Item 97: To Cicilia[sic] Schultz with my love Miliza
Korjus.
|
Between 1945 and 1950? |
| 1/6 | 98- 100 | Andre Kostelanetz Andre Kostelanetz (December 22, 1901 – January 13, 1980) was a
Russian-born American orchestral music conductor and arranger. He studied music
despite difficulties due to the Russian Revolution. In 1922, Kostelanetz
escaped Russia and arrived in the United States. He began conducting concerts
for radio during the 1920’s. He became a United States citizen in 1928. In the
1930s, he began his own weekly show on the Columbia Broadcasting System,
Andre Kostelanetz Presents. Kostelanetz was known
for arranging and recording light classical music pieces for mass audiences, as
well as orchestral versions of songs and Broadway show tunes. For many years,
he conducted the New York Philharmonic in pops concerts and recordings, in
which they were billed as Andre Kostelanetz and His Orchestra. He was married
to soprano Lily Pons from 1938 to 1958, which was his second marriage.
Kostelanetz’s last concert was with the San Francisco Symphony Orchestra at the
War Memorial Opera House on December 31, 1979. He then left for a vacation in
Haiti, where he contracted pneumonia and died.
Written on Item 98: To Mrs. Schultz with friendly greetings and
every best wish cordially Andre Kostelanetz.
|
Between 1930 and 1940? |
| 1/6 | 101-105 | La Meri La Meri (May 13, 1898 – January 7, 1988) was born Russell
Meriwether Hughes in Louisville, Kentucky was an American dancer,
choreographer, teacher, poet, anthropologist, and scholar. She studied dance in
Texas, Hawaii, and New York learning regional dance styles as well as ballet.
She attempted careers as a writer and in the theater before she began working
as a dancer. She met impresario Guido Carreras who book her engagements in
Mexico City, Mexico. It was there her stage name La Meri was created. In 1928
La Meri began her professional career. Until 1940, she toured and studied in
areas such as Central and South America, Europe, North Africa, Australia, New
Zealand, Tasmania, India, Burma, Indonesia, the Philippines, China, Japan,
Ceylon, and Hawaii. As she traveled, La Meri learned the native dances of the
different areas she visited, studying with local dance masters. She went on to
create her own dance works based on the steps and movement vocabularies she
learned. She researched the dance styles of Latin America, Spain, Africa, and
Asia extensively. In 1940, La Meri and Ruth St. Denis founded the School of
Natya in New York City. Through the school, La Meri formed The Five Natyas, her
first performing company. In 1945 she absorbed the school of Natya into
Ethnologic Dance Center and the Ethnologic Dance Theater, which operated from
1942-1956. La Meri taught regularly at Jacob’s Pillow, gave
lecture-demonstrations, and published a number of magazine articles and books
about diverse styles of dance.
Written on verso of Item 102: Mexico.Written on verso of Item 103: Java.Written on verso of Item 104: Spain.Attached on verso of Item 105: Khatak Nautch The Khatak is the
best known of the dance-forms of the North India, the center being Lucknow. In
this, as in other North Indian Dances, the influence of foreign invasions is
clearly to be seen. In fact so Mohamedan is the spirit and character that of
Hinduism there remains only the favorite abhinaya of Krishna, the Gopies, the
Peacock, etc.
|
Between 1930 and 1940? |
Lehmann - Mata & HariReturn to Top
| Container(s) | Description | Dates | |
|---|---|---|---|
| Box/Folder | item | ||
| 1/7 | 106-107 | Lotte Lehmann DeBellis N.Y. (Item 99) (Photographer)
Charlotte "Lotte" Lehmann (February 27, 1888 – August 26, 1976)
was a German soprano. Lehmann debuted at the Hamburg Opera in 1910 as a page in
Wagner’s Lohengrin. In 1914, she gave her debut as
Eva in Die Meistersinger von Nürnberg at the
Vienna Court Opera which she joined in 1916. She created roles in the world
premieres of several operas by Richard Strauss. In her 21 years with the
company, Lehmann sang more than fifty different roles at the Vienna State
Opera. From 1924 to 1935 she performed regularly at the Royal Opera House,
Covent Garden performing her Wagner roles along with other works. She appeared
regularly at the Salzburg Festival from 1926 to 1937. In 1930, Lehmann made her
American debut in Chicago as Sieglinde in Wagner's Die
Walküre. She returned to the United States every season and performed
several times in South America. Before Germany annexed Austria in 1938, Lehmann
emigrated to the United States. There, she continued to sing at the San
Francisco Opera and the Metropolitan Opera until 1945. In addition to her
operatic work, Lehmann was a renowned singer of lieder, a German style of music
where poetry is set to classical music. In 1947 she helped found the Music
Academy of the West in Santa Barbara, California. Lehmann started in the film
Big City in 1948. After her retirement in 1951, she taught master classes at
the Music Academy of the West and other large cities around the world. In
addition to singing, she also was a prolific author and painter.
Written on Item 106 To Cecilia Shultz sincerely Lotte
Lehmann.Written on Item 107: To Cecilia Schultz affectionately Lotte
Lehmann 1946.
|
1946? |
| 1/7 | 108 | Zora Leporsky Bruno of Hollywood N.Y.C (Photographer)
Written on Item: To Mrs. Schultz Very Sincerely Zoya
Leporsky.
|
Between 1940 and 1950 |
| 1/7 | 109 | Oscar Levant Oscar Levant (December 27, 1906 – August 14, 1972) was an
American concert pianist, composer, music conductor, author, radio game show
panelist, television talk show host, comedian and actor. He initially moved to
New York to begin his piano career but moved to 1928 where he established his
career. From 1929 to 1948 he composed the music for more than twenty movies and
many popular songs. In 1938, Levant became a conductor on Broadway. He was also
a regular panelist on the radio quiz show Information Please during the 1930’s
and 1940’s, where he was known for his quick wit. From the 1930s through the
mid-1950s, Levant appeared in many feature films, often playing a pianist or
composer. From 1947 to 1949, Levant regularly appeared on NBC radio's
Kraft Music Hall with Al Jolson. Between 1958 and
1960, Levant hosted a television talk show on KCOP-TV in Los Angeles, The Oscar
Levant Show. His struggles with mental health led him to withdraw from public
life. He died of a heart attack in 1972 at age 65.
Written on Item: For Mrs. Cecelia Schultz Best wishes, Oscar
Levant.
|
Between 1930 and 1940? |
| 1/7 | 110 | Eugene List Eugene List (July 6, 1918 – March 1, 1985) was an American
concert pianist and teacher. List began his musical studies as a young age and
was quickly named a prodigy. In 1929, he performed with the Los Angeles
Philharmonic at 12 years old. He studied at the Philadelphia Conservatory until
he was old enough to transfer to Juilliard in New York. His success as a young
musician lasted throughout his 50-year career. He performed with almost every
American major orchestras and conductors, and was well-known in Europe, South
America, and Asia. He enlisted in the Army during WWII serving primarily in the
Special Services. List played for President Truman and his staff at the Potsdam
Conference in June 1945. After WWII, he starred in the movie
The Bachelor’s Daughter. Together with his wife
Carroll Glenn, he joined the faculty of the Eastman School of Music in
Rochester, New York. Later he taught at New York University and Carnegie
Mellon. He continued to perform until his sudden death from a fall in 1985.
Written on Item: For Cecilia Schultz With many thanks and many
pleasant memories! Eugene List '48.
|
1948? |
| 1/7 | 111-112 | Luboschutz & Nemenoff Howard Staples & Associates 711 Madison St. Seattle 4 Washington Seneca 5145 (Item 112) (Photographer)
Pierre Luboshutz (June 17, 1891 - April 17, 1971) was a Russian
concert pianist. He studied piano at the Moscow Conservatory and graduated in
1912. He performed with his two sisters in the successful Luboshutz Trio. The
group ended when Lea Luboshutz left the country due to the Russian Revolution.
Luboshutz became a popular accompanist for performers such as dancer Isadora
Duncan and cellist Gregor Piatigorsky. Luboshutz left the Soviet Union
permanently in 1925, joining his sister Lea Luboshutz in Paris often serving as
her accompanist. He also taught at the Paris Conservatory where he met his
future wife, pianist Genia Nemenoff. The two eventually married in the United
States in 1931 and they decided to settle in New York City. On January 18,
1937, they debuted a two‐piano concert tour under the name Luboshutz-Nemenoff,
with their first performance taking place at The Town Hall in New York City.
They performed and toured extensively through the United States, Europe, and
South Africa. The duo accepting teaching positions at the New England
Conservatory of Music and in the piano department of Michigan State University,
which they headed from 1962 to 1968. The couple then returned to New York City,
and lived between there and Rockport, Maine. In 1971, Luboshutz died in
Rockport, at the age of 76.
Genia Nemenoff (October 23, 1905 – September 16, 1989) was born
in France and began her performing career as an accompanist to singers. In 1931
she married pianist Pierre Luboshutz and in 1937 the debuted as a duo piano
act. In 1989, Genia Nemenoff died of heart failure at her home in
Manhattan.
|
Between 1937 and 1942? |
| 1/7 | 113 | Josephine Lucchese Alfred's Studio L.A (Photographer)
Josephine Lucchese (July 24, 1893 – September 10, 1974) was an
American operatic soprano. At the age of 18, Lucchese traveled with Colombati
to New York City to pursue music studies. She made her professional singing
debut at Aeolian Hall in Manhattan on November 26, 1919 giving a recital of art
songs and arias. A year later, on September 22, 1920, she made her professional
opera debut as Olympia in Jacques Offenbach's The Tales
of Hoffmann with Fortune Gallo's touring San Carlo Opera Company at the
Manhattan Opera House. She toured with the San Carlo Opera Company for the next
five years. In 1926 she made her debut with the Philadelphia Grand Opera
Company (PGOC) as Gilda to Millo Picco's Rigoletto. She later became a resident artist with the
PGOC from 1929 until the company's bankruptcy in 1932. In 1933, she appeared in
concert performances of Rigoletto and
La Traviata with the Philadelphia Orchestra before
once again becoming a member of the San Carlo Opera Company. In 1939 she was a
principal artist with Vito Parisi's Imperial Grand Opera Company. Lucchese also
performed throughout Europe both on tour with opera companies and as a resident
artist; she became known as “The American Nightingale” in Europe. From 1956 to
1971, Lucchese taught singing at the University of Texas.
Written on Item: To Cecilia Augspurger Schultz with deep
appreciation and very best wishes Josephine Lucchese Seattle, 1927.
|
1927? |
| 1/7 | 114 | Barbara Lull Barbara Lull Rahm (January 1905 - 1978) was an American violin
prodigy. In 1919, Lull had her first public recital at the Twentieth Century
Club House in Berkeley at the age of 14. At 25, she moved to New York to
continue her violin training with Leopold Auer and Alexander Block. After a New
York debut in 1925, she went to London and was offered an engagement in Albert
Hall. She played tours throughout Europe and North America as well as
performing with numerous American orchestras. In 1929, she married Louis Rahm
and moved to Princeton; he discouraged her career, however she still taught and
played chamber music until she divorced Rahm in 1947. She became concertmaster
and assistant conductor of the University of California Symphony, was principal
second violin of the Oakland Symphony, and continued to teach at UC Berkeley
and privately.
Written on Item: To Mrs. Schultz, in rememberance of our Pro
Musica concert and with the appreciation of Barbara Lull Feb. 20, 1929.
|
February 20, 1929? |
| 1/7 | 115-120 | Christopher Lynch Egleston Bros. Limerick (Item 115) (Photographer)
Christopher Lynch (1921-April 15, 1994) was an Irish tenor
singer, born in Rathkeele, Co. Limerick, Ireland. A protégé of the great Irish
tenor John McCormack, he moved to the United States in 1946 when he was chosen
by Harvey Firestone to succeed Richard Crooks as the lead tenor on "Voice of
Firestone," first on radio and later on television. He stayed with the show
until 1954. Mr. Lynch often toured the United States, appearing with orchestras
including the Philadelphia Orchestra under Eugene Ormandy. He also sang the
songs for the film "The Hills of Ireland" and recorded for RCA and
Columbia.
Christopher Lynch's signature is written on Item 115.Written on Item 116: To Mrs. Cecilia Schultz all good wishes
Christopher Lynch.Item 116 1948, Item 119 1947 Press Photo
|
Between 1946 and 1950? |
| 1/7 | 121 | Claude Madden Claude Madden was a Seattle-based composer, violinist, and
chorister. was heavily involved in Seattle music as he was the Musical Director
of the Amphion Society, President of the Seattle Clef Club and the Seattle
Composer’s Society, and was conductor for the Arion Society, the Ladies’
Philharmonic Orchestra, and the Orpheus Society of Tacoma. He was active during
the 1910’s and possibly longer.
Written on verso: Claude Madden Has brother (Mont) in San
Dernando, Calif. 10434-Foothill Blvd.Stamped on verso: Sundsten Music Studio 907 Pine St. Main 2738
Seattle 1, Wash.
|
Between 1910 and 1920? |
| 1/7 | 122 | Leonide Massine Maurice Seymour Chicago (Photographer)
Leonid Fyodorovich Myasin (August 9, 1896 – March 15, 1979) was
a Russian choreographer and ballet danger known in the West by the French
transliteration Léonide Massine. In 1904, Massine successfully auditioned for
the Moscow Imperial Theater School. At 8 years old, he began his formal dance
training. His first role was as Chernomor in the ballet Rusian and Ludmilla. Massine was selected for three more
professional roles at the Bolshoi and Maly Theaters through the 1908-1909
season. In August 1913, Massine graduated from the Moscow Imperial Theater
School and almost immediately joined the Bolshoi Ballet. In December 1913,
Massine was invited to audition for Sergei Diaghilev’s Ballets Russes. Massine
was their principal choreographer from 1915 to 1921. In 1933, Massine replaced
Balanchine in Col. De Basil’s Ballet Russes de Monte-Carlo. In 1933, Massine
created the world's first symphonic ballet, Les
Présages, using Tchaikovsky's Symphony No. 5 and continued to do so for
Choreartium, set to Brahms' Fourth Symphony in
1933 and Hector Berlioz's 1830 Symphonie
Fantastique in 1936. In 1937, Massine and René Blum started a new ballet
company also called the Ballet Russe de Monte-Carlo. They sued de Basil for the
name and rights to Massine’s ballets, winning the name and Massine’s ballets
from before 1932. The new company debuted in 1938 and Massine left in 1942.
Later he appeared with the Ballet Theatre and the Royal Ballet. In 1966, he
joined the newly formed Ballet de Monte Carlo as choreographer and artistic
director. He also choreographed and danced for film.
Stamped on verso: S. Hurok presents THE GREATEST IN RUSSIAN
BALLET by the BALLET THEATRE.
|
Between 1945 and 1955? |
| 1/7 | 123-126 | Mata & Hari Bruno of Hollywood N.Y.C. 154 W. 57th St., New York City, N.Y. Hotel Lenox, Boston, Mass. (Item 125-126) (Photographer)
Ruth Mata (Meta Krahn) and her husband and partner Eugene Hari
(Otto Ulbricht) were international dance satirists. Originating as dancing
comedians with Trudi Schoop’s European dance troupe headquartered in
Switzerland, where both were born and raised around Zurich. After four
transcontinental tours, the pair remained in the USA when the troupe returned
to Europe in 1939. They appeared at La Martinique, the Beachcomber, the Hole
Pierre and Billy Rose's Diamond Horseshoe in New York, the Chez Paree in
Chicago, and Ciro's in Hollywood. They debuted on Broadway in
The Straw Hat Revue and followed this with a long
run in the Olson and Johnson stage musical Laffing Room
Only for extended engagements in New York, Chicago, Boston, Philadelphia
and Detroit. Mata and Hari also entertained on stage at New York's Radio City
Music Hall and the Roxy Theatre. In addition to many performances at the
National Theatre and in Carnegie Hall where they performed a famous sketch
parodying the audience, the musicians and the conductor, they also presented
programs before the International Monetary conference at Bretton Woods and
before President Harry S Truman and his guests at a command performance in the
East Room of the White House. [Information from Louis Rugani on IMDb].
Written on verso of Item 123: Carnegie Hall.Written on verso of Item 125: Pas de Deux.
|
Between 1945 and 1955? |
Maynor - MorganaReturn to Top
| Container(s) | Description | Dates | |
|---|---|---|---|
| Box/Folder | item | ||
| 1/8 | 127-139 | Dorothy Maynor De Bellis Studio, 1619 Broadway, N.Y.C. (Items 127-129, 131-136)Meteor Picture Service 1700 Broadway - New York, N.Y. (Items 137-138)Larry Gordon Photo (Item 139) (Photographer)
Dorothy Maynor (September 3, 1910 – February 19, 1996) was an
African American soprano, concert singer, and the founder of the Harlem School
of the Arts. Dorothy attended the Hampton Institute where she studied under R.
Nathaniel Dett. After her graduation from the Institute in 1933 she received a
four-year scholarship to the Westminster Choir School in Princeton, New Jersey.
In 1939, she performed at the Berkshire Festival where she was noticed by
Sergei Koussevitzky, conductor of the Boston Symphony Orchestra. Koussevitzky
arranged her debut at The Town Hall in New York City on December 9, 1939. She
received the Town Hall Endowment Series Award for 1940 because of this
performance. Maynor toured extensively throughout the USA, Europe, and Latin
America, performing in concert halls and frequently on the radio despite
restrictions to her performance venues due to her race. She is noted as the
first African American to sing at a presidential inauguration, performing at
President Harry S. Truman's inaugural gala in 1949 and at President Dwight D.
Eisenhower's 1953 presidential inauguration at Constitution Hall. In 1964, she
founded the Harlem School of the Arts which was designed to give music
education at a reduced rate to the children of Harlem. She received honorary
degrees from several universities including Westminster Choir College, Oberlin
College, The Hartt School of Music (University of Hartford), and two degrees
from Howard University. In 1975, she became the first African American on the
Board of Directors of the Metropolitan Opera. She died on February 19, 1996 in
West Chester, Pennsylvania.
Written on Item 127: To my good friend Cecilia Schultz in deep
appreciation for her great work in building Seattle as a great musical center
gratefully Dorothy Maynor.Written on Item 134: To Cecilia Schultz in deep appreciation []
fully yours Dorothy MaynorAttached to Item 137: Dorothy Maynor, sensational young Negro
soprano, is an expert packer. She has to be to pack the twenty yards of
material that goes into each one of her long-trained concert dresses. Not only
is she a champion wielder of the tissue paper, but she managers very deftly to
freshen up travel clothes with her little iron, which she unpacks first of
everything on arrival at a new concert town. Miss Maynor will be heard here at
Fri Eve on April 17.Attached to Item 138: Most of Dorothy Maynor's friends know that
the sensational young Negro soprano, who will be heard here at ..... on ....,
is as good a cook as she is a singer. Brownies a la Maynor and southern style
spoon bread are only two of her many specialties. Have some??
|
Between 1940 and 1950? |
| 1/8 | 140-141 | Kathryn Meisle Carlo Edwards (Photographer)
Kathryn Meisle (October 14, 1899—January 17, 1970) was an
American operatic contralto. Meisle was born in Philadelphia and began her
music studies when she was five years old; she began performing concerts when
she was nine. When she was 15 years old, she played as a pianist in a silent
movie cinema in Philadelphia. In 1912 she became a soloist at the Christian
Episcopal Church in Philadelphia and sang then also in a vocal quartet. In 1915
she won the National Federation of Music Clubs' National Singing Competition,
after which she began studying music in Philadelphia. She made her professional
debut as a soloist with the Minneapolis Symphony Orchestra conducted by Emil
Oberhoffer in 1920. She made her operatic debut as Erda in the Wagner opera
Siegfried on November 18, 1923 at the Chicago
Civic Opera. She also performed opera in San Francisco and Los Angeles before
beginning a European concert tour in 1930. In 1933, she performed at President
Franklin Roosevelt’s inauguration. Meisle made her Metropolitan Opera debut as
Amneris in Aida on February 28, 1935. Her Met
career was brief, with a total of eleven performances from 1935-1938. In
addition to her opera performances, she also gave recitals and performed with
orchestras across the country. After performing, she taught voice.
Written on Item 140: To Mrs. Cecilia A Schultz With cordial
greetings of Kathryn Meisle 2/2/24.Written on Item 141: To Cecilia Schultz With affectionate
greetings and best wishes for continued success Kathryn Meisle 10/21/35.
|
Between 1920 and 1935? |
| 1/8 | 142 | Lauritz Melchior Lauritz Melchior (March 20, 1890 – March 18, 1973) was a
Danish-American opera singer who was well-known for his Wagner tenor
performances from the 1920’s to the 1940’s. Melchior studied operatic voice at
the Royal Opera School in Copenhagen in 1908. In 1913, Melchior made his debut
in the baritone role of Silvio in Ruggero Leoncavallo's Pagliacci at the Royal Theatre in Copenhagen. He
primarily sang secondary baritone and bass roles for the Royal Danish Opera and
provincial Scandinavian opera companies for the next few years. Due to others
hearing potential in his voice, from 1917-1918 he took additional voice
training and was recast as a low tenor with a strong high extension. His second
debut was on October 8, 1918 in the title role of Tannhäuser, also at the Royal
Opera in Copenhagen. On May 14, 1924 Lauritz Melchior made his debut as
Siegmund at the Royal Opera House at Covent Garden in London. On February 17,
1926 he gave his first performance at the Metropolitan Opera in New York City.
Although he was not an immediate success at the Met, he gained prominence after
a 1929 performance in Tristan und Isolde and went
on to sing 519 performances at the Met from 1926 to 1950. Melchior appeared at
Covent Garden from 1924 to 1939. Other important stations of his career were in
the Buenos Aires (Teatro Colón) (1931–1943), San Francisco Opera (1934–1945)
and Chicago Opera (1934–1945). Between 1944 and 1952, Melchior performed in
five Hollywood musical films for Metro-Goldwyn-Mayer and Paramount Pictures and
made numerous US radio and television appearances. In 1947, his hand and foot
prints were placed at Grauman's Chinese Theatre in Hollywood; he also became an
American citizen the same year. From 1946 to 1949 Melchior went on a world tour
with his personal conductor Ezra Rachlin. Following unofficial retirement
around 1955, Melchior made sporadic singing appearances. In the late 1960s, he
established a fund through the Juilliard School for the training of potential
heldentenors called "The Lauritz Melchior Heldentenor Foundation." Melchior
died in Santa Monica, California in 1973, two days before his 83rd
birthday.
|
From 1945 to 1950? |
| 1/8 | 143-144 | James Melton Bruno of Hollywood N.Y.C. 154 W. 57th St., New York City, N.Y. (Item 138)Maurice Seymour (Item 139) (Photographer)
James Melton (January 2, 1904 – April 21, 1961) was an American
popular and operatic singer in the 1920s and 1930s. He received vocal
instruction from Gaetano de Luca in Nashville from 1923 to 1927 before moving
to New York where he studied with Enrico Rosati. The following year, he began
singing on New York radio for no pay. He joined the caberet group "Roxy's Gang”
led by Samuel Roxy Rothafel. He made records for Victor Records, singing as one
of the tenors with The Revelers and for Columbia Records with the same group
under the pseudonym of The Singing Sophomores. He frequently sang with popular
singer Jane Froman and appeared with her in film as well. Melton recorded his
first songs under his own name for Columbia in 1927. He quickly became a
popular singer and made numerous vocal recordings as well as singing vocal
choruses for dance records. As tenor voices fell out of style in popular music,
Melton pivoted his career towards classical music. He began to classically
train his voice and gave his first concert performance at Town Hall on April
22, 1932 in New York. He then embarked on an American and Canadian concert tour
along with songwriter George Gershwin in 1934. In 1938, he appeared with the
Cincinnati Zoo Opera Company as Pinkerton in Puccini's Madama Butterfly and with the St. Louis Opera Company as
Alfredo in Verdi's La Traviata. He worked with the
Chicago Civic Opera from 1940 to 1942. On December 7, 1942, Melton debuted at
the Metropolitan Opera as Tamino in Mozart's The Magic
Flute. He continued to perform at the Met through 1950. Melton continued
to perform on the radio extensively. He also appeared in movie musicals from
1935-1937 and 1946. Melton spent the 1950s making records, singing in
nightclubs, appearing on television, including Ford Festival (1951–1952) also
known as The James Melton Show, and collecting rare automobiles.
Written on verso of Item 143: James Melton Leading Tenor
Metropolitan Opera Assn. Lawrence Evans Artist Management, Inc. Division of
Columbia Concerts, Inc. 113 West 57th St New York.Written on verso of Item 144: James Melton as Lt. Pinkerton in
"Madama Butterfly".
|
Between 1935 and 1938? |
| 1/8 | 145 | Yuhudi Menuhin De Bellis Studios 1619 Broadway, N.Y.C (Photographer)
Yuhudi Menuhin (April 22, 1916 – March 12, 1999) was an American
violinist and conductor who performed predominantly in Britain. He is
considered to be one of the greatest violinists of the 20th century. Yehudi
Menuhin was born in New York City to a family of Lithuanian Jews. Menuhin
displayed exceptional musical talent at an early age. His first public
appearance, when he was seven years old, was as solo violinist with the San
Francisco Symphony Orchestra in 1923. As a teenager he toured widely, winning
admiration both for his technical proficiency and for his musical
interpretation. In 1929, the Menuhins moved to Basel, Switzerland and Yehudi
studied with Adolf Busch. They then moved to Paris where he continued his
studies. He began recording in 1931. He continued performing regularly until
WWII. During World War II Menuhin performed around 500 concerts for Allied
troops, and in 1945 he and composer Benjamin Britten went to Germany to perform
a series of concerts for recently liberated inmates of the Bergen-Belsen
concentration camp. In 1957, he founded the Menuhin Festival Gstaad in Gstaad,
Switzerland. In 1963, he established the Yehudi Menuhin School in Stoke
d'Abernon, Surrey. Menuhin widened his musical scope and began conducting,
going on to conduct most of the major world orchestras. Menuhin began
conducting and conducted most of the major world orchestras. In addition, he
presided over the annual music festivals at Gstaad, Switzerland (from 1957);
and Bath (1959–68) and Windsor (1969–72), England. In 1965, he received an
honorary knighthood from the British monarchy, receiving the full title in 1985
when he became a British citizen. Menuhin also had a long association with Ravi
Shankar, beginning in 1966 with their joint performance at the Bath Festival
and the recording of their Grammy Award-winning album West Meets East (1967).
He received the Order of Merit in 1987 and was made a life peer in 1993. By the
1990s Menuhin had retired from playing violin and was conducting exclusively.
In 1999, he died in the Martin Luther Hospital in Berlin.
Written on Item: To Cecilia Schultz- in memory of a happy
evening Yehudi Menuhin Seattle Nov. 1, 1939.
|
November 1, 1939? |
| 1/8 | 146 | Marie Montana Maria Montana (January 23, 1893 – March 16, 1971) was a
coloratura soprano born Ruth Kellogg Waite in Wallace, Idaho. She grew up in
Montana. At age 13, she debuted as a soloist in The
Mikado in 1906. She performed around Montana until she entered the
Toronto Conservatory of Music in 1914 performing throughout her education.
After visiting her brother in East Asia, she moved to New York around 1920. She
then moved to France to attend the American Conservancy of Music in
Fontainbleau in 1921. She toured around Italy under the stage name Marie
Montana around this time as well as performed opera when she was not at the
conservatory. She returned to the United States in 1925 and toured around the
country. In June, Montana won an audition as soprano for the New York
Philharmonic Orchestra for an August concert managed by the National Music
League; she was soon advertised under their management. She also performed on
the National Concert Orchestra radio broadcasts and toured the United States
throughout the 1920’s and 1930’s. Around 1930, she was managed by Grace Rankin
and L.E. Behymer. She sang in Seattle in July of 1928 and January 1935. During
the 1940’s, Montana settled in Minnesota with her uncle Edward, performing
locally. She was also active with the Bahá'í religious community from the
1940’s through the 1960’s, advocating for the faith and singing at their events
until her death in 1971.
Written on Item: To Mrs. Cecelia A. Schultz with most cordial
wishes Marie Montana.
|
Between 1925 and 1930? |
| 1/8 | 147 | Nina Morgana Renato Toppo New York (Photographer)
Nina Morgana (November 15, 1891 – July 8, 1986) was an Italian
American coloratura soprano. She began singing early and caught the attention
of Enrico Caruso who sent her to soprano and vocal instructor Teresa Arkel in
Milan, Italy to study voice from 1909 to 1913. Morgana premiered at La Scala in
1911. From 1917 to 1919, Morgana was an assisting artist with Enrico Caruso
during his North American concert tours. She was with the Chicago Opera in the
1919-1920 season. She sang with the Metropolitan Opera from 1920 to 1935. She
also gave live concerts and radio performances. She no longer accepted singing
engagements after 1935.
Written on Item: To dear Cecilia Schultz with my happy memories
Nina Morgana. 1948.
|
1948? |
Morini - PiatigorskyReturn to Top
| Container(s) | Description | Dates | |
|---|---|---|---|
| Box/Folder | item | ||
| 1/9 | 148 | Erica Morini Erika Morini Siracusano (January 5, 1904 – October 31 or
November 1, 1995) was a Jewish Austrian violinist. Morini was a child prodigy
in the violin and began her musical training at the Vienna Conservatory when
she was 8 years old. She debuted in 1916 giving her first orchestral concert.
She debuted in New York’s Carnegie Hall in 1921 before she embarked on a
sixty-concert tour of North and South America. Due to her acclaim after her New
York debut, she received the Guadagnini violin of the late violinist Maud
Powell. In 1932, she married manager and art dealer Felice Siracusano. They
settled in New York in 1938. She continued a celebrated international career
until 1976. Throughout her life she won many awards, received honorary
doctorates from Smith College, Massachusetts, in 1955 and from the New England
Conservatory of Music, Boston, in 1963, and the City of New York honored her
lifetime achievement with a gold medal in 1976. [Information from the Jewish
Women’s Archive].
|
Between 1920 and 1925? |
| 1/9 | 149 | Mariko Mukai (Ando) Mariko Mukai Ando (April 29, 1919 – March 10, 2017) was a
Seattle-born Japanese American coloratura soprano. She began performing at 10
years old and studied music at the University of Washington beginning in 1937.
In 1938, Mariko became the first and only Nisei (second-generation Japanese
American) to sing in a grand opera in Seattle as Abigail in The Queen of Sheba.
At University of Washington she performed as Susanna in Mozart’s Marriage of
Figaro and Rosina in Rossini’s Barber of Seville (1940). In 1941, she was
awarded a four-year scholarship to the Juilliard School of Music in New York.
After she moved to New York, she faced discrimination and racism after the
bombing of Pearl Harbor. After her father was arrested under accusation of
being a Japanese loyalist, her family relocated to Moses Lake and farmed to
avoid incarceration. From New York, Mariko advocated for her father’s release
from a detention center by letter and telegram. She supported herself through
performance, receiving acclaim for her concerts in Town Hall and Little
Carnegie Hall. She first performed on radio in 1946. In 1947, she married
Tomomi Ando, a Japanese American military officer from Texas. He was soon
stationed in Japan where Mariko followed and gave birth to their first three
children. In 1954, the Ando family moved to Colorado and Mariko resumed her
singing career, performing in Denver’s Tabor Grand Opera House as Gilda in
Verdi’s Rigoletto. In 1955, Mariko sang for President Dwight D. Eisenhower and
First Lady Mamie Doud Eisenhower. The Ando family moved several times after
following Tomomi’s deployments, where Mariko continued her career through
directing and performing solos in choirs locally. [Information from Mariko
Mukai Ando’s Obituary at Donald V. Borgwardt Funeral Home].
Written on Item: To Mrs. Cecilia Schultz With deep appreciation
Mariko Mukai.
|
Between 1940 and 1945? |
| 1/9 | 150-151 | Patrice Munsel Patrice Munsel (May 14, 1925 – August 4, 2016) was an American
coloratura soprano. Born in Spokane, Washington Munsel went to New York at 15
years old to study voice. Munsel first sang at the Metropolitan at age 17 in
March 1943. She made her official Metropolitan debut on December 4, 1943, aged
18, singing Philine in Mignon. She was the
youngest singer ever to star at the Metropolitan Opera. She performed at the
Metropolitan Opera in 225 performances. She performed frequently on television
including the eponymous Patrice Munsel Show which
ran from 1957-1958 and produced by her husband Robert C. Schuler. She also
starred in the title role of the 1953 film Melba. Munsel made frequent
television appearances on The Bell Telephone Hour,
and was the central singer in the Camp Fire Girls' famous TV commercial and
song "Sing Around the Campfire (Join the Camp Fire Girls)", aired in the
mid-1960s. Munsel made her final performance for the Metropolitan Opera on
January 28, 1958, in the title role in La Périchole. She appeared on stage as a
guest during the 1966 Gala Farewell to the old opera house at Broadway and 39th
Street. Munsel ended her career as an opera singer in 1981, and began to
perform in musical comedies. She retired from performing in 2008.The Metropolitan Opera in New York City is the leading American
opera company. The company was started in 1883. Since then it is famous for the
outstanding singers it has attracted. Cecilia Schultz presented many singers
from the Metropolitan Opera to Seattle audiences during her impresario career.
[Information from Encyclopedia Britannica].
Written on Item 151: To Mrs. Cecilia Schultz It's always a
pleasure singing for yall. Patrice Munsel.
|
Between 1945 and 1950? |
| 1/9 | 152 | Richard Norris Yang Color Photography 1305 Third Avenue Seattle 1, Wash (Photographer)
Richard Norris was a San Francisco pianist. Cecilia Schultz and
the Allied Arts of Seattle sponsored his performance at the Cirque Playhouse on
March 12, 1961.
Written on Item: To my dear friend Cecilia Schultz with love-
Richard Norris.
|
Between 1955 and 1960? |
| 1/9 | 153-154 | Jarmila Novotná Jarmila Novotná (September 23, 1907 – February 9, 1994) was a
Czech soprano, actress, and star of the Metropolitan Opera. She made her debut
in 1926, singing Rosina in The Barber of Seville
and Violetta in La Traviata at a provincial
theatre, and the following year sang Marenka in The
Bartered Bride at the Prague Opera. After further study in Milan, in
1928 she appeared at the Verona Arena as Gilda in Rigoletto. Engaged at the Berlin State Opera in 1929,
she made her debut as Concepcion in L'Heure
Espagnole at the Kroll Theatre. After four years in Berlin, in 1933 she
joined the Vienna State Opera, where she sang several "trouser roles:"
Cherubino, Oktavian and Orlovsky in Die Fledermaus
and Lehar's Giuditta. Appearing from 1935 at
Salzburg, she sang Euridice and Frasquita in Hugo Wolf's Der Corregidor, Countess Almaviva and, in 1947, Pamina
in performances of Die Zauberflote conducted by
Toscanini. The same year she sang Alice Ford in Falstaff at La Scala, Milan, before leaving Europe in
1938. Novotna made her US debut in 1939 at San Francisco, singing the titular
role in Madama Butterfly and Violetta in
La Traviata. Her Metropolitan debut took place on
January 5, 1940 as Mimi in La Boheme. After the
Second World War she returned to Prague and Salzburg. In 1957, she went back to
Vienna for a new production of Leo Fall's Madame
Pompadour at the Volksoper. [Information from Jarmila Novotna’s Obituary
in the Independent].
Written on Item 153: To Cecilia Schultz with love Jarmila
Novotná Mar 24, 1941.Written on Item 154: Jarmila Novotna Met. Soprano.Written on verso of Item 154: Jarmila Novotna sporano as
Violetta in Traviata.
|
Between 1940 and 1945? |
| 1/9 | 155 | Nicolas Oeconomacos Nicholas Oeconomacos (1863-1945) was a Greek clarinetist who
performed with the Seattle Symphony. He studied music in Athens before
attending the Conservatoire National de Paris in France. In 1903, he came to
America with the French Grand Opera Company. He then did two world tours with
John Phillip Sousa. In 1904, Oeconomacos settled in Seattle teaching at the
Columbia College of Music and Dramatic Art and performing as principal
clarinetist for the Seattle Symphony Orchestra from 1910 until 1933. During the
Great Depression, he busked in the streets for money to pay his mortgage.
Oeconomacos also taught music in Bothell for many years. His second home in
Seattle, called the House of the Terrestrial Globe, was well known for its
distinct architecture.
|
Between 1920 and 1930? |
| 1/9 | 156 | Adrina Otero Paul Koruna Paris (Photographer)
Adrina Otero was a Spanish dancer during the 1930’s.
Written on Item: para la simpatiquisima Leñora Schultz - un
peqeño recuerdo Adrina Otero Paris 24/6/37 "Café de la Paix".
|
June 24, 1937? |
| 1/9 | 157-163 | Jan Peerce J. Abresch N.Y. (Item 159, 162)Gladys Gilbert (Item 160) (Photographer)
Jan Peerce (June 3, 1904 – December 15, 1984) was an American
operatic tenor. Born Jacob Pincus Perelmuth in New York City, he studied
singing and was hired as a tenor soloist with Radio City Music Hall in 1932.
The impresario Samuel “Roxy” Rothafel changed his name to Jan Peerce. Through
radio performances, he earned a national following. Arturo Toscanini invited
him to sing with the NBC Symphony Orchestra. Peerce also was a principal for
the Philadelphia La Scala Opera Company from 1938 to 1941. He debuted with the
Metropolitan Opera on November 29, 1941 singing Alfredo in Verdi’s
La Traviata. He performed with the Metropolitan
Opera until 1967. During the 1950s Peerce performed regularly as a featured
soloist under the conductor Alfredo Antonini at the Lewisohn Stadium in New
York City. In 1952, Jan Peerce toured South America with a company called
"Stars of the Metropolitan Opera.” In 1956, Peerce traveled to Moscow as a
musical "cultural exchange" ambassador, being the first American to sing with
the famed Bolshoi Opera. In 1971, he made his Broadway debut as Tevye in
Fiddler on the Roof. He continued to make
occasional appearances until his retirement in 1982. Peerce also made extensive
recordings under RCA Victor as a “Red Seal” artist from the late 1930’s to the
early 1960’s. His signature song “Bluebird of Happiness” was recorded under the
label three times.
Written on Item 157: To Cecilia Schultz: with all my best wishes
and thanks for a grand booking Sincerecly Jan Peerce 1942.Printed on Item 162: RCA Jan Peerce, Tenor... Exclusive Red Seal
Recording Artist.Written on verso of Item 162: In Traviata.Printed on Item 163: RCA Jan Peerce, as Rudolpho in "La
Boheme"... Exlusive Red Seal Recording Artist.
|
Between 1935 and 1942? |
| 1/9 | 164-165 | Egon Petri James J Kriegsmann N.Y. (Phtograph 164)
Egon Petri (March 23, 1881 – May 27, 1962) was a Dutch pianist
who was born in Germany. Although he initially played and performed with the
violin, Petri concentrated on the piano. He studied composition and theory at
the Dresden Conservatory and was a pupil of Ferruccio Busoni. Petri debuted as
a pianist in 1902 and subsequently toured Europe extensively. He was professor
of music at the Manchester Royal College of Music from 1905 to 1911. In 1915,
he joined his mentor Busoni is Switzerland to edit Bach’s keyboard works. After
this, Petri taught at the Hochschule für Musik from 1921 to 1926. For many
years Petri also taught masterclasses at the Basle Conservatory. In 1921, he
joined F. Busoni in a concert of two-piano music at London, and in 1923 became
the first foreign-born solo artist to perform in the Soviet Union, so
successfully that he played 31 concerts in 40 days. In 1927, Petri moved to
Zakopane, Poland, where he lived until 1939. On January 11, 1932 he made his
American debut in New York, then performed in both Europe and the United States
until the outbreak of World War II. He also taught at Boston's Malkin
Conservatory in 1934-1935. Petri moved permanently to the United States during
WWII and was pianist-in-residence at Cornell University from 1940 to 1946 then
at Mills College from 1947 to 1957. He also taught at the San Francisco
Conservatory of Music from 1952 to 1962. After World War II, he began touring
extensively. He made his farewell concert appearance in a recital in 1960.
Written on Item 164: To Mrs. Cecilia Schultz with best wishes
cordially Egon Petri Feb. 22 1949.
|
1949? |
| 1/9 | 166 | The Philadelphia Orchestra The Phildadelphia Orchestra is a “Big Five” American symphony
orchestra based in Philadelphia, Pennsylvania. The orchestra was founded in
1900 by Fritz School, who was also the first conductor. Leopold Stokowski
became music director in 1912 and brought the orchestra to national prominence.
In 1925, it was the first symphony orchestra to make electrical recordings. In
1929, It was the first orchestra to make a commercially sponsored radio
broadcast, which aired on NBC and in 1948 they were the first to appear on a
television broadcast, which aired on CBS. Under his guidance, the orchestra
gained a reputation for virtuosity, and developed what is known as the
"Philadelphia Sound." Stokowski left the orchestra in 1941.
|
Between 1920 and 1930? |
| 1/9 | 167-169 | Gregor Piatigorsky Max Raymer (Item 167)Ruth Orkin (Item 168)Copy of a painting by Wayman Adams NA (Item 169) (Photographer)
Gregor Piatigorsky (April 17, 1903 – August 6, 1976) was a
Russian-born American cellist. He first played the cello at 7 years old and
began to support his family playing in cafes, brothels, and for silent movies.
He studied at the Moscow Conservatory of Music and was the principal cellist of
the Bolshoi Opera Orchestra and a member of the Beethoven String Quartet by age
15. In 1921, Piatigorsky left Russia for Poland. He briefly served as principal
cellist of the Warsaw Symphony and then made his way to Leipzig to join the
class of cellist Julius Klengel. Following his studies in Leipzig, Piatigorsky
moved to Berlin. He was then appointed principal cellist of the Berlin
Philharmonic. During this time, he also performed as a soloist, recitalist, and
chamber musician alongside other well-known musicians. After leaving the Berlin
Philharmonic, Piatigorsky began a solo career, where people began seeing the
cello as a solo instrument for the first time. In 1937, he married Jacqueline
de Rothschild in Ann Arbor, Michigan and returned to France. After World War II
began, the family moved to Elizabethtown, New York. When Piatigorsky was
appointed to the faculty of the Curtis Institute of Music, the family moved to
Philadelphia. In 1949, he relocated once again to Los Angeles, first teaching
at UCLA and later in 1962 joining violinist Jascha Heifetz on the faculty of
the University of Southern California where he spent much of his time teaching
and performing chamber music. [Information from The Piatigorsky
Foundation].
Written on Item 169: To Cecillia Schultz in sincere friendship
Gregor Piatigorsky Jan. 1947.
|
Between 1945 and 1947? |
Pinza - RobinsonReturn to Top
| Container(s) | Description | Dates | |
|---|---|---|---|
| Box/Folder | item | ||
| 1/10 | 170-176 | Ezio Pinza Yvonne IFR (Items 170-173)G Maillard Kesslere N.Y. (Item 174)Delar N.Y. (Item 175) (Photographer)
Ezio Pinza (May 18, 1892 – May 9, 1957) was an Italian opera
singer. He spent 22 seasons at New York's Metropolitan Opera, appearing in more
than 750 performances of 50 operas from 1926 to 1948. Pinza also sang at the
San Francisco Opera and at the Royal Opera House, Covent Garden, London. After
retiring from the Metropolitan Opera in 1948, Pinza enjoyed a fresh career on
Broadway in musical theatre, most notably in South Pacific, in which he created
the role of Emile de Becque. He also appeared in several Hollywood films.
Written on verso of Item 174: Italian Basso Auspices Ladies
Musical Club Metropolitan - Tuesday Eve Oct. 25Attached to verso of Item 174: Ezio Pinza bass-baritone who will
appear in concert at the Metropolitan Tuesday night.Written on Item 176: To Mrs. Schultz Cordially Enzio Pinza.Written on verso on Item 176: as Don Giovanni.
|
Between 1926 and 1936? |
| 1/10 | 177 | Rosa Ponselle Lusha Nelson New York City (Photographer)
Rosa Ponselle (January 22, 1897 – May 25, 1981) was an American
operatic soprano. Rosa performed piano as a silent-movie accompanist and also
in a vaudeville double act “The Ponzillo Sisters” with her sister Carmela
before she joined the Metropolitan Opera in 1918. She sang with the
Metropolitan Opera until she inconspicuously retired in 1937. She settled in
Baltimore and advised the Baltimore Civic Opera Company.
Written on Item: To Cecelia Schultz- In happy remembrances of my
first concert under my most delightful auspices- Hoping to see you real soon
again. Many thanks for every [chance?] Cordially Rosa 2 1938.
|
February 1938? |
| 1/10 | 178 | Lily Pons De Bellis N.Y (Photographer)
Alice Joséphine Pons (April 12, 1898 – February 13, 1976), known
professionally as Lily Pons, was a French-American operatic soprano and
actress. As an opera singer she specialized in the coloratura soprano
repertoire and was particularly associated with the title roles in Lakmé and
Lucia di Lammermoor. In addition to appearing as a guest artist with many opera
houses internationally, Pons enjoyed a long association with the Metropolitan
Opera in New York City, where she performed nearly 300 times between 1931 and
1960. She also had a successful and lucrative career as a concert singer which
continued until her retirement from performance in 1973. She was also well
known for marketing herself well, serving as the face for many brands,
contributing advice to women’s magazines, and other media pursuits.
Written on Item: To Cecilia Schultz My best wishes Lily Pons
1943.
|
1943? |
| 1/10 | 179 | Josephine Premice Alfredo Valente (Photographer)
Josephine Mary Premice (July 21, 1926 – April 13, 2001) was a
Haitian American actress and singer. Premice was born in Brooklyn, New York and
her parents were exiled Haitian aristocrats. Josephine Premice was one of the
premier stage actresses of the 1940s and 1950s. She appeared in numerous
Broadway plays including Blue Holiday,
Jamaica, A Hand is on the
Gate, and Bubbling Brown Sugar, earning two
Tony award nominations for her performances. She was also known for her calypso
music which she often performed at night clubs between acting stints. Though
she left the acting business for about six years in the 1960s, she returned in
the 1970s, performing on stage and in television in roles on popular programs
such as The Jeffersons and A
Different World. [Information from Encyclopedia.com].
Written on verso: Josh White & Josephine Premice.
|
Between 1940 and 1950? |
| 1/10 | 180-181 | William Primrose Borriello 1961 (Item 180) (Photographer)
William Primrose (August 23, 1904 – May 1, 1982) was a Scottish
violist and teacher. His father was a violin teacher and Scottish Orchestra
member, and Primrose began practicing violin from an early age. He performed
his first concert at age 12. His family moved to London in 1919 and Primrose
studied violin at the Guildhall School of Music and graduated with the highest
honor in 1924. He moved to Belgium to study under Eugène Ysaÿe, who recommend
that Primrose transition to the viola. In 1930, he played viola for the London
String Quartet. The group toured North and South America in the from 1930 till
they disbanded in 1935. In 1937, Primrose became a violist for Arturo
Toscanini’s NBC symphony orchestra. In 1939, NBC suggested that Primrose form
his own group and he formed the Primrose Quartet. In 1941, Primrose began
touring with Richard Crooks, going on five tours in four years. He was made a
Commander of the Order of the British Empire (CBE) by Queen Elizabeth II in
1953 in recognition of his musical contributions. Primrose was also a teacher
during his violist career. He taught in many countries across the world,
including the Curtis Institute of Music in Philadelphia. He taught at the
University of Southern California from 1961 to 1965 with Jascha Heifetz. After
teaching at USC, he moved to the Indiana University Jacobs School of Music
where he remained from 1965 to 1972. In 1971, Primrose went to the Tokyo
University of the Arts and the Toho Gakuen School of Music. He occasionally
taught at Juilliard School, Eastman School of Music and the Sydney
Conservatory, In Australia, Richard Tognetti was one of his students. Primrose
was a guest lecturer at Brigham Young University from 1979 to 1982. Primrose
wrote and contributed to several books on viola playing: Art and Practice of Scale Playing (1954),
Technique is Memory (1960), Violin and Viola with Yehudi Menuhin and Denis Stevens
(1976), and Playing the Viola (1988). The Primrose
International Viola Competition, created in 1979 in honor of William Primrose,
was the first international music competition for viola players.
Written on Item 180: To Mrs. Schultz with all my good wishes
William Primrose.Written on Item 181: For my friend Cecilia Schultz, with all
good wishes + in warm gratitude. William Primrose.
|
1961? |
| 1/10 | 182 | Maurice Ravel Joseph Maurice Ravel (March 7, 1875 – December 28, 1937) was a
French composer, pianist, and conductor. In 1889, he entered the Paris
Conservatoire at age 14, where he remained until 1905. During this period, he
composed some of his best-known works, including the Pavane for a Dead Princess, the
Sonatine for Piano, and the String Quartet.
In 1928 Ravel embarked on a four months’ tour of Canada and the United States
and in the same year visited England to receive an honorary degree of Doctor of
Music from Oxford. He was reclusive for most of his life in his French
countryside home. He continued composing until the last five years of his life
as he suffered from aphasia.
|
Between 1925 and 1928? |
| 1/10 | 183-185 | Paul Robeson Paul Leroy Robeson (April 9, 1898 – January 23, 1976) was an
American bass baritone concert artist, stage and film actor, and political
activist. He was the third African American student to attend Rutgers
University with a scholarship and received top honors. From 1920 to 1923 he
attended Columbia University Law School. After briefly working in law, he
started acting after experiencing racism in his law firm. Robeson performed as
the lead in the controversial 1924 production of All
God's Chillun Got Wings in New York City, and the following year, he
starred in the London staging of The Emperor
Jones—both by playwright Eugene O'Neill. Robeson's first film was
African American director Oscar Micheaux's 1925 work Body
and Soul. Through his involvement with the 1928 London production of
Show Boat, he found his signature song "Ol’ Man
River." In the late 1920s, Robeson and his family relocated to Europe, where he
continued to establish himself as an international star through big-screen
features such as Borderline (1930). A beloved
international figure with a huge following in Europe, Robeson regularly spoke
out against racial injustice and was involved in world politics. He supported
Pan-Africanism, sang for Loyalist soldiers during Spain's civil war, took part
in anti-Nazi demonstrations, and performed for Allied forces during World War
II. Due to Robeson’s favorable relationship with the U.S.S.R., he was
ultimately barred by the State Department from renewing his passport in 1950 to
travel abroad for engagements. Despite his immense popularity, he was
blacklisted from domestic concert venues, recording labels and film studios,
and suffered financially. Robeson published his autobiography
Here I Stand in 1958, the same year that he won
the right to have his passport reinstated. He again traveled internationally
and received several accolades for his work. Robeson and his family returned to
the United States in 1963. [Information from Biography.com]
Written on Item 183: To Mrs. Schultz all best to you + Thanks
Paul Robeson.Written on Item 184: To Cecilia Schultz Every good wish + thanks
for the encouragement to me and many others. Paul Robeson April '43.Written on Item 185: To Miss Cecilia Schultz With such pleasant
memories in Seattle. Thanks. Paul Robeson Feb. '46.
|
Between 1940 and 1945? |
| 1/10 | 186-187 | Bill "Bojangles" Robinson Bill Robinson (May 25, 1878 – November 25, 1949) was an African
American dancer on Broadway and in Hollywood who was also known as Bojangles.
He began dancing as a child for money, which led to a career in vaudeville.
Robinson went on to become a star of black musical comedies, later a top
vaudeville star, and finally a star of motion pictures, appearing in 14 films,
notably The Little Colonel (1935), In Old Kentucky (1935), The Littlest Rebel
(1935), Rebecca of Sunnybrook Farm (1938), and Just Around the Corner (1938).
He also appeared in the wartime all-black musical film Stormy Weather (1943).
His best-known films were those where he danced alongside Shirley Temple.
Robinson was best known for his tap-dance routines. He pioneered a new form of
tap, shifting from a flat-footed style to a light, swinging style that focused
on elegant footwork.
|
Between 1930 and 1940? |
Roma - SimkieReturn to Top
| Container(s) | Description | Dates | |
|---|---|---|---|
| Box/Folder | item | ||
| 2/1 | 188 | Lisa Roma Lisa Roma (February 29, 1892–February 17, 1965) was an American
soprano. Although she began a professional career as an accountant, she became
a soloist for the Philadelphia Choral Society which led to her studying music.
In 1920, she made her feature debut as a substitute in Naughty Marietta when the main singer became ill. This
sparked her career in voice. When singing in Washington, D.C. with Beniamino
Gigli, she was invited to sing in the White House. Traveling to Germany, she
was engaged at the Berlin State Opera, where, once again, the scheduled star
was sick, and Roma was asked to sing in her place in the role of Mimi in
Puccini's La Boheme. She was engaged as a guest
artist for the 1925 season. In 1930, she made a tour of Europe "as interpreter
for the famous French composer, Maurice Ravel." She was granted a master’s
degree in music in 1930 by the University of Southern California, and in the
fall, she was appointed to the new chair of grand opera in the USC Department
of Music. From 1958 to 1961, she was the owner and publisher of the
Musical Courier magazine and was the author of
three books about singing.
Written on Item: To Cecelia A. Schultz In memory of Maurice
Ravel and Seattle Lisa Roma 1928.
|
1928? |
| 2/1 | 189-191 | Rosario & Antonio Bruno of Hollywood NYC (Item 189)Maurice Seymour (Item 178) (Photographer)
Antonio Ruiz Soler (November 4, 1921 – February 6, 1996) was a
Spanish flamenco dancer, choreographer, and dance director. His partnership
with Florencia Perez Padilla was billed as Rosario y Antonio and lasted from
1928 to 1952. The act earned international acclaim. From 1937 to 1949, they
performed throughout North and South America both on stage and in films. A
disagreement led to the end of the act in 1952. In 1953 he formed his own
Spanish ballet company, Antonio y los Ballets de Madrid. In 1980, he became
artistic director of the Spanish National Ballet but was dismissed in 1983 for
"indiscipline" by a new overall director appointed by the incoming Socialist
government. The Supreme Court annulled the dismissal in 1989 and said he could
stay on until his contract ran out three months later.
Florencia Perez Padilla (1918 – January 24, 2000) was a Spanish
dancer. She was known by her stage name Rosario in the act Rosario y Antonio
with Antonio Ruiz Soler. After their initial partnership at the dance academy
“Realito,” the act performed throughout Seville until their debut at the
International Dog Show in Liège, Belgium in 1928. After the act’s end in 1952,
Rosario began performing solo. In 1962, she briefly reunited with Antonio as a
guest artist with his dance company for three years. Starting in the 1970s, she
opened a dance academy and performed in public sparingly.
Written on Item 189: To Cecilia Schultz Con grandes simpatía
Rosario & Antonio.Printed on verso of Item 189-191: Rosario & Antonio "Los
Chavalillos".
|
Between 1939 and 1949? |
| 2/1 | 192 | Manuel Rosenthal Richards Commercial Photo Service 734 Pacific Ave. MA 9111 Tacoma 2, Wash (Photographer)
Manuel Rosenthal (June 18, 1904 – June 5, 2003) was a French
composer and conductor who held leading positions with musical organizations in
France and America. He began his conducting career in 1934 as percussionist and
assistant conductor of the Orchestre National de France. As his career was
taking off, he became a corporal in the 300th infantry regiment during World
War II. After being held in a POW camp, he returned to Paris to serve in the
Resistance. Upon the Liberation of Paris in 1944, he returned to the Orchestre
National de France to become their principal conductor, a post he held until
1947. In early 1946, Rosenthal's first conductorship in the USA was with the
St. Louis Symphony Orchestra. Having accepted the post of composer-in-residence
at the College of Puget Sound, he was invited to become music director of the
Seattle Symphony, which he conducted from 1948–1951. After various
international conducting positions, Rosenthal made his debut at the
Metropolitan Opera in New York in February 1981. He returned to Seattle in 1986
to conduct Richard Wagner's Ring cycle at the Seattle Opera.
To Mrs. Cecilia Schultz with my best regards Manuel
Rosenthal.
|
Between 1945 and 1950? |
| 2/1 | 193 | David Rubinoff Davis Rubinoff (September 3, 1897 – October 6, 1986) was a
Russian violinist. He was studying music at the Royal Conservatory of Warsaw in
1911 when he met the late composer Victor Herbert, who brought the entire
Rubinoff family to Pittsburgh. He attended Forbes School in Pittsburgh and
became the leader of its orchestra. He worked part-time in a cafe where he
played his violin and also sold newspapers on the streets. Rubinoff eventually
became a soloist with the Pittsburgh Symphony and went on to guest conduct
orchestras in the U.S. and abroad. His big break came when he got a job as a
regular conductor and soloist at the Paramount in New York City. After Rudy
Vallee saw him, Rubinoff signed a contract with the Cantor Show. He performed at the White House for
presidents Herbert Hoover, Franklin D. Roosevelt, Dwight D. Eisenhower and John
F. Kennedy. He was well-known for playing a 1731 Romanoff Stradivarius
violin.
Written on Item: To Cecilia Schultz With sincere admiration
Sincerely Rubinoff and his Violin. [four bars of music] 1939.
|
1939? |
| 2/1 | 194-196 | Reah Sadowsky James Abresch N.Y. (Items 194-195) (Photographer)
Reah Sadowsky (1915 – 2012) was a Russian American pianist. She
started playing and performing as a child, giving her debut recital at the
Scottish Rite Auditorium in 1929 at age 14. She was accepted into the Curtis
Institute to study piano. Sadowsky and her mother moved to New York to continue
her education with Alberto Jonás. She then studied at the Julliard School. She
traveled to London and won a contract for six programs with the BBC and a
recital at Wigmore Hall. During the 1940’s in New York, she gave recitals at
Town Hall and Carnegie Hall. She was a soloist with the Boston Symphony and
Denver Symphony. When she married Spanish professor Rand Morton, she moved
frequently and served extended residencies at various universities. She also
toured with the U.S. State Department Cultural Exchange Program. After Sadowsky
and her husband moved to Berkeley in 1980, following his retirement, she
focused her teaching activity on selected pianists who came to her for
guidance. She gave performances in occasional recitals and periodically, on the
bimonthly recitals of the Berkeley Piano Club of which she was a member for 31
years, and its president in 1990-1991.
Written on Item 194: to my dear Mrs Schultz, souvenir of a very
happy debut under your auspices, with most cordial remembrance, Reah Sadowsky
Seattle Nov. 14th 1947.
|
Between 1940 and 1947? |
| 2/1 | 197 | Bidu Sayão Balduína "Bidú" de Oliveira Sayão (May 11, 1902 – March 12,
1999) was a Brazilian opera soprano. In 1925, Sayao made her opera debut at the
Teatro Municipal in Rio de Janeiro, Brazil. She moved to Rome and made
extensive concert tours in Europe and South America. In 1930, she debuted at
the Teatro alla Scala in Milan, and in the next year she sang Juliette in
Gounod's Roméo et Juliette at the Paris Opera. In
the same year, she gained a great success with her debut at the Opéra Comique
as Lakmé. She soon became one of the leading lyric coloratura sopranos in
Europe. Sayão made her U.S. debut in a recital at Town Hall in New York City on
December 30, 1935. Her U.S. operatic debut followed on January 21, 1936, when
she and Danise sang in the penultimate production of the Washington National
Opera, a semi-professional company not associated with the contemporary
organization. She sang her first performance at the Metropolitan Opera as Manon
on February 13, 1937. She remained at the Met for 16 seasons during which she
sang 12 roles and retired in 1952. For the next two years she was a guest
performer throughout the U.S., but in 1957 she decided to retire completely
from public performance. In 2000, the Bidu Sayão International Vocal
Competition was established to promote Brazilian operatic talent through a
world-class competition.
Written on Item: To Mrs. Cecilia Schultz, the most brilliant
among the concerts producers, with my sincere friendship Bidú Sayão. 1942.Written on verso: Met. Op. Soprano Cecilia Schultz.
|
1942? |
| 2/1 | 198-201 | Hazel Scott James J. Kriegsmann N.Y. (Items 198-200) (Photographer)
Hazel Dorothy Scott (June 11, 1920 – October 2, 1981) was a
Trinidadian-born jazz and classical pianist, singer, and actor. In 1924, Scott,
along with her mother and grandmother, moved to the Harlem, New York from
Trinidad to pursue opportunities for her musical talent. At 8 years old, she
auditioned for Julliard and earned a special scholarship and instruction from
the school director Walter Damrosch. After high school, she made her Broadway
debut in Sing Out the News. Commercial recordings
of her “Bach to Boogie” repertoire on the Signature and Decca labels would
break sales records nationwide. She was one of the first black entertainers to
refuse to play before segregated audiences. She performed in five major motion
pictures in the early ‘40s, including I Dood It,
the Gershwin biopic Rhapsody in Blue, and
The Heat’s On starring Mae West. She consistently
called for equitable treatment for black actors by film studios, which
curtailed her film career. In 1945, she married preacher and politician Adam
Clayton Powell, Jr. She focused on her role as a politician’s wife however she
still performed concerts nationally when Powell traveled to Washington, D.C. In
1950, she starred in The Hazel Scott Show as the
first black performer to host her own nationally syndicated television show.
However, accusations from the United States government of her supposed
communist leanings resulted in the cancellation of her show. After divorcing
her husband, she moved with her son to Paris, France. On a brief visit to the
States in 1955, she recorded Relaxed Piano Moods
with Charlie Mingus and Max Roach on the Debut label, an album now considered
by jazz critics and aficionados as one of the most important jazz recordings of
the twentieth century. She returned to the United States and performed until
her death in 1981 from pancreatic cancer. [Information from Smithsonian
Magazine].
Written on Item 198: To Cecilia Schultz It's been a great
pleasure to play Seattle for you. Sincerely, Hazel Scott.
|
Between 1940 and 1950? |
| 2/1 | 202 | Shankar and his Hindu Ballet Uday Shankar (December 8, 1900 – September 1977) was an Indian
dancer and choreographer who was well-known for creating a fusion of European
theater techniques and Indian classical dance, which was popular in India,
Europe, and the United States in the 1920’s and 1930’s. After collaborating
with ballerina Anna Pavlova on the Radha-Krishna ballet, which combined ballet
and Hindu artistic themes, he began to form a style of dance called “hi-dance.”
In 1931, Shankar formed Europe’s first Indian dance company, “Uday Shankar and
his Hindu Ballet.” They subsequently toured Europe and the United States under
impresarios Sol Hurok and Aaron Richmond. Shankar performed in the United
States for the first time in January 1933 in New York City, along with his
dance partner Simkie, a French dancer. After, Shankar and his troupe set out on
an 84-city tour throughout the country. The company appeared regularly in the
United States for more than 30 years.
Printed on verso: The Hindu Orchestra supporting Shankar's
authentic Hindu dances; they produce strange rhythms from percussion, string
and wind instruments. Vishnudas Shirali, musical director of the company, at
left.
|
Between 1935 and 1945? |
| 2/1 | 203 | Sai Sho[Illeg.] Written on Item: To Mrs. Cecilia Schultz with my best wishes Sai
Sho[Illeg.] March 10, 1940.
|
March 10, 1940? |
| 2/1 | 204 | Lajos Shuk Lajos Shuk was a Hungarian cellist. He made his debut in Berlin
and toured Europe. In 1920, the Lentz Quartet brought Shuk to the United States
to tour, performing as a soloist for orchestras across the country. He returned
to Europe in 1932 and studied conducting, leading the Arad, Romania
Philharmonic Orchestra. He returned to the United States in 1934 to conduct in
New York City. He was the musical director of the Buffalo Philharmonic
Orchestra for the 1935-1936 season. He continued conducting for musical groups
nationally.
Written on Item: To Mrs. C. A. Schultz manager of vision with
best wishes of bigger- of not better concerts Lajos Shuk Seattle 1930.
|
1930? |
| 2/1 | 205 | Simkie Simone Barbier was a French woman who danced with Uday Shankar
under the name Simkie. Barbier was initially a pianist. She joined Shankar in
1926, where he taught her Indian dance and she scored Shankar’s music in
western notation. She toured with Shankar’s dance group and became his dance
partner. She later left the group and returned to France.
Printed to verso: Simkie featured partner of Shankar.
|
Between 1935 and 1945? |
Slavenska - StrawbridgeReturn to Top
| Container(s) | Description | Dates | |
|---|---|---|---|
| Box/Folder | item | ||
| 2/2 | 206-217 | Mia Slavenska Constantine N.Y. (Items 207-209, 214) (Photographer)
Born Mia Čorak in Austria-Hungary (now Croatia) in 1916, Mia
Slasvenska (February 20, 1916 – October 5, 2002) made her debut in Baranović's
ballet Licitarsko srce in 1924, at what is today the Croatian National Theatre.
She became the prima ballerina of the Zagreb Opera at the age of 17. At the
1936 Berlin dance Olympics, coinciding with the Olympic games, she won the
choreography and dance award. She began dancing in Vienna. She moved to the
U.S. in the late 1930’s as the leading ballerina of the Ballet Russe de Monte
Carlo. Her own company, Ballet Variante, was formed in 1944 in Hollywood. Her
greatest roles she achieved with the Slavenska Franklin Ballet Company that she
founded with Frederic Franklin in 1950. One of her most highly regarded roles
was as Blanche DuBois in Valerie Bettis' modern choreography of A Streetcar
Named Desire, premiered in Her Majesty's Theatre in Montreal in 1952. She
became the prima ballerina of the New York Metropolitan Opera in 1954 – 55. She
opened a ballet studio in New York in 1960, then taught at the University of
California, Los Angeles (UCLA) from 1969 to 1983 and concurrently at California
Institute of the Arts (CalArts) from 1970-83.
Written on Item 210: To Mrs. Cecilia Schultz with best wishes
Mia Slavenska.Item 214 is possibly with Leonide Massine.Printed on verso 215: Salome Mia Slavenska.Printed on verso 216: Balkan Sketches Mia Slavenska.Printed on verso 217: Settler's Sunday Mia Slavenska Ballet.
|
Between 1930 and 1950? |
| 2/2 | 218 | Oscar and Erwin Straus Oscar Nathan Straus (March 6, 1870 – January 11, 1954) was a
Viennese composer of operettas, film scores, and songs. Straus studied in
Vienna and with Max Bruch in Berlin and became a theatre conductor in Austria
and Germany. In 1900, he returned to Berlin, where he was engaged to conduct in
and compose for Count von Wolzogen's Überbrettl cabaret. Straus returned to
Vienna and produced operettas in 1927 he moved to Paris, then in 1930 resettled
in the United States, where he wrote several film scores. Then it was back to
France, where he became a citizen in 1939 and was awarded the Légion d'Honneur.
He was in New York City and Hollywood between 1940 and 1948 and then returned
to Europe. All this time, he toured as a guest conductor, made recordings, and
continued to compose, although his operetta output dropped off after the 1930s.
His most well-known work is The Chocolate Soldier (1908), an operetta based on
George Bernard Shaw’s play Arms and the Man. [Information from All Music].
Oscar and Erwin Straus' signatures are written on the item.
|
Between 1930 and 1940? |
| 2/2 | 219 | Edwin Stawbridge Edwin Strawbridge was a dancer and choreographer who directed
ballet performances for children during the 1930’s.
Written on Item: For Mrs. Schultz Edwin Strawbridge as Johnny
Appleseed. 3/10/45.
|
March 10, 1945? |
Swarthout - ThomasReturn to Top
| Container(s) | Description | Dates | |
|---|---|---|---|
| Box/Folder | item | ||
| 2/3 | 220-236 | Gladys Swarthout A copy of a drawing by James Montgomery Flagg (Item 223)Alfredo Valente (Items 233, 235)Carlo Edwards (Item 236) (Artist)
Gladys Swarthout (December 25, 1900 – July 7, 1969) was an
American mezzo-soprano opera singer and actress. She grew up in Missouri and
studied voice at the Clark Conservatory of Music in Chicago. After her studies,
she worked for the Vienna Opera Company in Highland Park, Chicago. She also
studied at the Metropolitan Junior College in Missouri and the Bush
Conservatory of Music in Chicago. She earned a contract at the Chicago Civic
Opera and performed in many roles that season. She sang for the Ravinia Opera
Company of Chicago for three seasons. In 1929, she made her debut with the New
York Metropolitan Opera Company, where she was a participant for several
decades. Paramount Pictures starred her in five films, including "Rose of the
Rancho" and "Romance in the Dark." She was honored with the degree of Doctor of
Music, is the only woman to have sung for the entire assembled Congress of the
United States, plus the Diplomatic Corps, Supreme Court and the President on
the occasion of the 150th session of Congress. On the radio she was often heard
on many of the most important radio programs, including those of General
Motors, RCA-Magic Key, Camel Caravan, the Ford Symphony, and the Prudential
Family Hour. She left public life around 1954. After her open-heart surgery in
1956, her and her husband Frank Chapman moved to La Ragnaia, Italy.
[Information from SwarthoutFamily.org].
Attached to verso of Item 220: From: General Motos Corporation
Boradway at 57th Street New York, N.Y. Beautiful Gladys Swarthout, soprano star
of the Metropolitan Opera and motion picture stages, who will appear as
co-soloist with Armand Tokatyan, Egyptian-born tenor, also of the Metropolitan,
on the General Motors Promenade Concerts program of Sunday, May 30. The two
soloists will sing with the 70-piece General Motors Symphony Orchestra,
augmented by the 16-voice male chorus, under the direction of Erno Rapee,
permanent conductor of the concerts. The nation-wide hook-up of NBC-WJZ
("Blue") network stations will broadcast the program between 8 and 9 P.M.,
EDST. (END).Attached to verso of Items 221-222: STARS IN A NEW PROGRAM
Lovely Gladys Swarthout will be starred in a new series of half-hour programs,
sponsored by the country's leading ice and ice refrigerator companies, starting
Wednesday, February 10, at 10:30 p.m., EST, over the coast-to-coast NBC-Red
Network. The famous mezzo-soprano and star of opera, radio and screen will be
accompanied by the noted baritone, Frank Chapman. Robert Armbruster will direct
the concert orchestra. NBC Photo 1/28/37.Attached to verso of Item 222: Gladys Swarthout, at the
Roosevelt tomorrow in "Champagne Waltz."Written on Item 224: For Cecelia Schultz With warmest greeting
and appreciation Gladys Swarthout.Written on Item 225: For Cecelia Schultz With admiration
Sincerely Gladys Swarthout.Gladys Swarthout's signature is written on Item 231.Attached to verso of Item 233: From Alex B. Williamson
Sixty-Seven West Forty-Fourth Street New York 18, N.Y. Vanderbilt 6-1466 "Best
Dressed Blues" is the title of GLADYS SWARTHOUT's lament, as she protests
against the role of glamour girl and begs consideration as a serious artist
instead. Annually voted one of America's ten best dressed women, the Missouri
mezzo earned that title with the stunning creations, such as this concert gown,
designed for her by the celebrated Valentina.Attached to verso of Item 234: From Alex B. Williamson
Sixty-Seven West Forty-Fourth Street New York 18, N.Y. Vanderbilt 6-1466
Hollywood publicists flooded the country's press with "cheesecake" photos of
GLADYS SWARTHOUT, including many which revealed her shapely figure in scentest
bathing suits. These were the bane of Gladys' existence.Attached to verso of Item 235: From Alex B. Williamson
Sixty-Seven West Forty-Fourth Street New York 18, N.Y. Vanderbilt 6-1466
Generally recognized as the preeminent Carmen of our day and successor in the
role to the shawl and castanets of Calvé, Mary Garden and Farrar, Miss
Swarthout attained that distinction as the result of years of hard work, and
wishes press and public would forget for awhile her natural good looks and
concentrate instead on the vocal mastery and serious musicianship which she has
striven so long to perfect.Attached to verso of Item 236: From Alex B. Williamson
Sixty-Seven West Forty-Fourth Street New York 18, N.Y. Vanderbilt 6-1466 Gladys
Swarthout's earliest grand opera days were blighted by her natural assets --
among them a pair of opera's shapliest limbs, which impresarios delighted in
revealing in snug-fitting tights, thus dooming her for several seasons to play
such minor "young boy" roles as Stefano in "Romeo and Juliet," in which she is
shown here.
|
Between 1930 and 1940? |
| 2/3 | 237 | John Charles Thomas Maurice Seymour (Photographer)
John Charles Thomas (September 6, 1891 – December 13, 1960) was
an American opera, operetta, and concert baritone. He attended the Peabody
Institute in Baltimore starting in 1910 studying voice. In 1912, Thomas left
the Peabody and toured briefly with a musical troupe. He then went to live in
Manhattan, New York City, where he performed with a Gilbert and Sullivan
operetta company before being contracted by the Shubert brothers to perform in
the show The Peasant Girl, which opened in March
1913. For the next nine years, he starred in a series of hit Broadway musicals.
Thomas sang in a concert performance of Rimsky-Korsakov's opera
Sadko at Manhattan's Carnegie Hall in December
1924. His debut in a fully-staged opera occurred in March 1925, as Amonasro in
a production of Verdi's Aida, presented by the
semi-professional Washington National Opera. From 1922 to 1928, he studied
voice seasonally in Europe; he also performed at the La Monnaie opera house in
Brussels from 1925 to 1927. During the 1920’s, Thomas gave recitals in the
United States. In 1923, he starred in the silent film Under the Red Robe. He
began performing on the radio and was a member of the Philadelphia Grand Opera
Company from 1929 to 1932. He performed with opera companies nationally and was
engaged with the Metropolitan Opera company from 1934 to 1943. From 1943 to
1946, he performed on the Westinghouse Radio Program with the Victor Young
Orchestra. Thomas was among the founders of the Music Academy of the West
summer conservatory in 1947. He retired bit by bit from the concert stage after
1950, and settled in Apple Valley, California in 1955 with his wife
Dorothy.
Written on Item: For Cecilia Schultz most sincerely
Johnchas.
|
Between 1920 and 1930? |
Tibbett - TourelReturn to Top
| Container(s) | Description | Dates | |
|---|---|---|---|
| Box/Folder | item | ||
| 2/4 | 238-249 | Lawrence Tibbett David Berns New York (Items 238-239)Robin Carson (Items 240)A Laviosa (Item 248) (Photographer)
Lawrence Mervil Tibbett (November 16, 1896 – July 15, 1960) was
a famous American opera singer, film actor, and radio personality. Tibbett
studied in New York City with Frank La Forge and signed with the Metropolitan
Opera in 1923. He first achieved national recognition playing Ford in Giuseppe
Verdi's Falstaff. During the 1930s, Tibbett toured
Europe and Australia, performing on stage or giving recitals. In the early
1930s, Tibbett also appeared in movies. He was nominated for the Academy Award
for Best Actor for his first film, The Rogue Song,
a 1930 Metro-Goldwyn-Mayer production. In 1936, he founded the American Guild
of Musical Artists with Jascha Heifetz, the most important labor union for solo
performing artists. He was the guild's proactive president for 17 years. In the
early 1950’s, he performed in musicals and plays. In later years, Tibbett
served as host of a radio show featuring recordings of operatic singers.
|
Between 1925 and 1935? |
| 2/4 | 250-252 | Jennie Tourel Jennie Tourel (June 22, 1900 – November 23, 1973) was a Russian
American operatic mezzo-soprano. Born in the Russian Empire, Tourel’s family
moved to Paris where she began studying voice. Tourel made her European opera
debut at the Opéra Russe in Paris in 1931, and subsequently sang at the
Opéra-Comique in Paris as Carmen in 1933. She sang with the Opéra-Comique for
the next decade. She made her American début at the Chicago Civic Opera in
Ernest Moret's Lorenzaccio in 1930. She fled
Europe during the German invasion and emigrated to the United States in 1940;
she became a citizen in 1946. She began singing with orchestras in the United
States. Tourel made her debut at the Metropolitan Opera House singing Adalgisa
to Zinka Milanov’s Norma. She also sang Mignon at
the old Met. In later years, Jennie Tourel devoted herself to recitals and
orchestra engagements, excelling particularly in French repertoire. She also
taught at the Juilliard School of Music in New York, the Aspen School of Music
in Colorado, the American Institute of Musical Studies in Graz, Austria, and
the Sanuel Rubin Academy of Music in Jerusalem. Her last opera performance was
as Doña Marta in the world premiere of Thomas Pasatieri's Black Widow at the Seattle Opera in 1972.
Written on verso of Item 250: Mignon.
|
Between 1940 and 1950? |
Traubel - ZorinaReturn to Top
| Container(s) | Description | Dates | |
|---|---|---|---|
| Box/Folder | item | ||
| 2/5 | 253-264 | Helen Traubel James Abresch 200 West 57th St., N.Y.C. (Item 254)John Alfred Piver (Item 255, 257-258, 260)Alfredo Valente (Item 261)Robert Lewis (Item 262) (Photographer)
Helen Francesca Traubel (June 16, 1899 – July 28, 1972) was an
American opera and concert singer. Traubel made her concert debut in 1925 with
the St. Louis Symphony. She toured Midwestern and Southern cities with the
orchestra, sang with the New York Philharmonic in 1926, and later sang a
concert series with the Philadelphia Orchestra. In 1937, Walter Damrosch
invited her to create the role of Mary Rutledge in his opera
The Man Without a Country, which premiered at the
Metropolitan Opera. For the next two years she continued her training in New
York while singing frequently on the radio. She made her New York concert debut
at Town Hall in October 1939, and she made her debut in the Met’s regular
season as Sieglinde in Richard Wagner’s Die
Walküre in December 1939. Traubel became the Met’s leading Wagnerian
soprano in 1941. During this time, she also sang with the Chicago City Opera
Company from 1927 to 1939 and the Chicago Opera Company from 1940 to 1946. She
made several national and European concert tours and was a popular recording
artist. She also sang frequently on radio and television and in nightclubs. In
addition to singing, she privately published her first book, a mystery entitled
The Ptomaine Canary, in 1950; her second novel,
The Metropolitan Opera Murders, appeared in 1951.
In 1953, Traubel resigned from her Metropolitan Opera contract due to a dispute
with their manager about appearing in nightclubs. She subsequently appeared on
Broadway in the Rodgers and Hammerstein musical Pipe
Dream (1955) and in several motion pictures. Her autobiography,
St. Louis Woman, written with R.G. Hubler,
appeared in 1959. [Information from Encyclopedia Britannica].
Attached to Item 253: EVOLUTION OF A PRIMADONNA First public
appearance of Helen Traubel, the Metropolitan Opera's great all-American
Wagnerian soprano, who will be heard in concert at the _______ here on _____,
was in a St. Louis grammar school play, in which this plump, blonde, little
girl appeared in gay-colored gypsy costume. Written on Item 256: To Cecelia Schultz with affectionate
greetings Helen Traubel.Written on Item 257: To Cecilia Schultz with my love - Sincerely
Helen Traubel.Attached to Item 260: "ALL-AMERICAN" PRIMADONNA" Helen Traubel,
the sensational dramatic soprano from St. Louis who enjoys the distinction of
being the "first all-American first lady of the Metropolitan Opera," is the
concert star at the _____ here on _____, when music-lovers of _____ may hear
her in a variety of delightful art and folk songs as well as in famous arias
from her operatic repertoire.Attached to Item 261: ISOLDE FROM MISSOURI The first native-born
and entirely native-trained soprano ever to have undertaken for the
Metropolitan Opera that most formidable of singing assignments, the tragic
heroine of "Tristan und Isolde," Helen Traubel comes to _____ for a concert at
the _____on _____, when she will be heard in a variety of art and folk songs,
as well as famous arias from her operatic repertoire.Attached to Item 262: AND NOW IT'S "CAPON a la TRAUBEL" In the
illustrious tradition of Peach Melba and Chicken Tetrazzini, which have given
culinary immortality to other great ladies of song, is the newest creation of
New York's Chef Iveis Donnard -- Capon á la Traubel, a succulent tribute to
Helen Traubel, great all-American soprano of the Metropolitan Opera
Association, who comes to _____ for a concert at the _____ on _____.Written on Item 263: To Cecilia- with Lova and Affection - Helen
Traubel.Attached to Item 264: Miss Helen Traubel and Mr. Robert Ringling
with "Grane".
|
Between 1940 and 1950? |
| 2/5 | 265 | Patricia Travers Patricia Travers (December 5, 1927 – February 9, 2010) was an
American violin child prodigy and actress. Travers began violin lessons at age
four which led to her first public performance at age six in the Music Mountain
Festival. She later performed on CBS radio 'Ford Sunday Hour' show when she was
nine. She soloed with the New York Philharmonic Orchestra at age ten where she
played Symphonie Espagnole. She appeared in the
1941 film There's Magic in Music. She performed
extensively from 1941 to 1951. One of her final works was a recorded
performance of Charles Ives'Sonata No.2 for Violin and
Piano along with the first recording of Roger Sessions'
Duo for Violin and Piano (1942) for Columbia
Records. She owned the 1732 'Tom Taylor' Stradivarius from 1938 to 1954. She
also used a 1733 Giuseppe Guarneri del Gesù violin. At 23 years old, she
withdrew from public life completely.
Written on Item: To Mrs. Schultz Cordial Greetings Patricia
Travers March 3, 1947.
|
March 3, 1947? |
| 2/5 | 266 | Vronsky & Babin Gene Cook (Items 267-269) (Photographer)
Victor Babin (December 13, 1908– March 1, 1972) was born in
Moscow, Russia. He and his wife Vitya Vronsky (August 22, 1909 – June 28, 1992)
performed as Vronsky & Babin and were regarded by many as one of the
foremost piano duos of the twentieth century. Vronsky & Babin were
introduced to American audiences through their recordings of the piano music of
Sergei Rachmaninoff, who became their friend and mentor. Despite a break from
performance during World War II, during which Babin served in the armed forces
and Vronsky worked with war casualties in hospitals, the duo still managed to
perform over 1,200 concerts in North America alone. In 1961, Babin became
Director of the Cleveland Institute of Music, where both he and Vronsky served
on the Institute’s faculty. Babin also composed a Concerto for Two Pianos. His other works included a
Capriccio for orchestra, a Konzertstück for violin and orchestra, a string
quartet, a Sonata–Fantasia for cello and piano, and the solo piano works
Fantasia, Aria and Capriccio and Deux Mouvements dansantes. For two pianos, he
wrote Six Studies, Three
Fantasies on Old Themes, and Three March
Rhythms. Babin died in 1972, and wife Vronsky continued to teach and
perform until her death in 1992. [Information from Steinway.com].
|
Between 1950 and 1960? |
| 2/5 | 270 | Frances Yeend Frances Yeend (January 28, 1913 – April 27, 2008) was an
American classical soprano. Born Frances Leone Lynch in Vancouver, Washington,
Yeend grew up in Portland, Oregon. She had very little musical training before
entering Washington State University (then Washington State College) in
Pullman, Washington where she studied singing. Following several years of
college, she worked as a music teacher for a few years, during which time she
also sang as a recitalist and on the radio. She also made her professional
opera début during this time as Nedda in Leoncavallo's Pagliacci in Spokane, Washington. Yeend's first New York
appearances were in 1943 as a member of the ensemble in the Broadway run of
The Merry Widow at the Majestic Theatre. Around
this time, she also sang on network radio as an uncredited soloist with Phil
Spitalny and His All-Girl Orchestra. She joined Columbia Artists Management
(CAM) in 1944 and performed the role of Micaela in a U.S tour of Bizet's
Carmen that autumn. She had a long and fruitful
association with the New York City Opera between 1948 and 1958, after which she
joined the roster of principal sopranos at the Metropolitan Opera where she
sang between 1961 and 1963. She also had an extensive concert career,
particularly in the United States. By 1963 she had sung in more than 200
orchestral concerts in North American with major symphonies. Yeend retired from
the stage in 1966 when she joined the faculty of West Virginia University as
Professor of Voice/Artist in Residence. She remained in that position until
1978 when she retired from teaching.
Written on verso: Traviata.
|
Between 1950 and 1960? |
| 2/5 | 271 | Vera Zorina Vera Zorina (January 2, 1917 – April 9, 2003), born Eva Brigitta
Hartwig, was a Norwegian ballerina, theatre and film actress, and
choreographer. Although born in Germany, Zorina’s parents were Norwegian. She
began dancing professionally as a small child and at the age of 12 was in a Max
Reinhardt production of A Midsummer Night’s Dream
in Berlin. In 1933 she joined the Ballet Russe de Monte Carlo, appearing at
Covent Garden in London and at the Metropolitan Opera in New York. She then
turned to musical comedy and appeared in London’s West End in Samuel Goldwyn’s
1937 production of On Your Toes. Goldwyn then put
her into his 1938 film, The Goldwyn Follies. She
also played the lead in I Married An Angel on
Broadway. The following year, she appeared in the film version of
On Your Toes and was then on Broadway for
Louisiana Purchase (1940), making the film version
in 1941. Other films she made were Star Spangled
Rhythm (1942) and Follow The Boys (1944).
In 1938, Zorina married ballet choreographer George Balanchine. Divorced in
1946, Zorina planned to return to ballet but met with limited success and after
appearing in a 1954 Broadway revival of On Your
Toes made few more public performances. In 1946, Zorina married Goddard
Lieberson, president of Columbia Records. After, she rarely appeared in public,
sometimes working as a narrator for works of contemporary classical music. She
moved to New Mexico and was director of operatic productions in Santa Fe. In
the 1970’s, she was director of the Norwegian Opera. She also produced records
for Columbia (CBS), under the name Brigitta Lieberson, before going into
retirement. [Information from AllMusic.com].
Written on Item: To Cecilia Scultz- in memory of one lovely
season- Vera Zorina.Printed on Item: Samuel Goldwyn presents "The Goldwyn Follies"
in Technicolor Released Thru United Artists.Printed on verso: May 5 1938 Zorina, prima ballerina of the
Monte Carlo Ballet Russe, who has been brought to Hollywood by Samuel Goldwyn
to play a featured acting and dancing role in "The Goldwyn Follies," wears here
a coat for formal evening occasions made entirely of heavily encrusted white
sequins, over a gown of white chiffon.
|
Between 1933 and 1938? |
Trudi Schoop and Her Comic Ballet; Jooss Ballet; Basque BalletReturn to Top
Trudi Schoop (1903-1999) was a Swiss-born dancer and dance troupe leader who specialized in comic stage productions. Schoop decided on a career as a dancer at a young age. Despite having no formal training, she put on a successful performance, after which her father sent her to study classical ballet in Vienna and modern dance in Zürich. In 1926 Schoop opened a dance school in Zürich and in 1931 she organized the Trudi Schoop Comic Ballet. The troupe toured widely throughout Europe and the United States until 1939 when the company disbanded due to the outbreak of World War II, during which Schoop performed in Switzerland for anti-Fascist cabarets. Touring briefly resumed following the end of the war from 1946 to 1947. Schoop ended her career as a performer in 1947 when she moved to Los Angeles. There she began to work with patients suffering from schizophrenia and was a pioneer in developing the field of dance therapy to treat mental illness. Trudi Schoop and Her Comic Ballet performed at the Moore Theatre in Seattle multiple times in performances arranged and promoted by Cecilia Schultz. [Information from the Guide to the Collection on Trudi Schoop from the Online Archive of California].
The Jooss Ballet was a dance company founded by German dancer and choreographer, Kurt Jooss (1901-1979). The company became known as Ballets Jooss around 1933 and went on a world tour between 1933 and 1934. The company disbanded in 1953. The Jooss Ballet performed in Seattle at the Moore Theater in November 1936 and February 1940, both performances promoted by Cecilia Schultz. [Information from Encyclopedia Britannica and Seattle Times (November 28, 1936 and February 27, 1940)].
| Container(s) | Description | Dates | |
|---|---|---|---|
Trudi Schoop and her Comic Ballet |
|||
| Box/Folder | item | ||
| 2/6 | 272-276 |
Barbara Stamped on verso of Items 272-276: S. Hurok presents TRUDI
SCHOOP and her Comic Ballet "The Charlie Chaplin of the Dance".
Barbara was a dance-comedy
written, directed, and choreographed by Trudi Schoop. It was performed on April
20, 1947 at the Ziegfeld Theatre in New York City.
|
1947? |
| 2/6 | 277-280 | Various Dance Sketches Bruno of Hollywood N.Y.C (Photographer)
Items contain Eugene Ulbricht (Eugene Hari), Meta Krahn (Ruth
Mata), and three other performers, possibly including Ralph Ray and Werner
Herrmann.
|
Between 1931 and 1939? |
| Box/Folder | item | ||
| 2/6 | 281-285 | Jooss Ballet Written on verso of Items 282-283: The Green Table.Written on Item 284: "The Big City".
The Green Table is a ballet
choreographed by Kurt Jooss in 1932. The ballet is Jooss' most popular work and
depicts the futility of war, the effects of war, and peace negotiations.The Big City is a ballet choreographed by Kurt Jooss in 1932.
The ballet is a dance vignette of a working firl seduced by a Libertine.
|
Between 1932 and 1934? |
| 2/6 | 286 | Basque Ballet |
Between 1930 and 1940? |
Ballet TheatreReturn to Top
Ballet Theatre was the name of the ballet company now known as American Ballet Theatre. Ballet Theatre was founded in 1939 in New York City by Lucia Chase and Richard Pleasant. The ballet company presented its first performance in 1940. The name was changed to American Ballet Theatre in 1957, and is one of the most famous classical ballet companies still active today. [Information from Encyclopedia Britannica].
| Container(s) | Description | Dates | |
|---|---|---|---|
Ballet Theatre Characters |
|||
| Box/Folder | item | ||
| 2/7 | 287 | Norma Vance in Gala
Performance
|
Between 1946 and 1952? |
| 2/7 | 288 | Nora Kaye in Gala
Performance Nora Kaye danced the role of La Reine de la Dance- from
Moscow.
|
1941? |
| 2/7 | 289 | Maria Karnilova as Helen of
Troy Karnilova danced the role of Helen of Troy in a tabloid
version of the ballet alongside Swan Lake and Mlle. Angot.
|
1943? |
| 2/7 | 290 | Erik Bruhn and Jacqueline Dodge in
Helen of Troy
|
1946? |
| 2/7 | 291 | Diana Adams as Helen of
Troy
|
1946? |
| 2/7 | 292 | Diana Adams and Igor Youskevitch in
Helen of Troy
|
1946? |
| 2/7 | 293 | Igor Youskevitch and Ruth Ann Koesun in
Helen of Troy Youskevitch danced Paris in 1950 and Kasum danced the sheep in
1946 and Chrisothemis in 1950.
|
1950? |
| 2/7 | 294 | Les Sylphides |
1941? |
| 2/7 | 295 | Norma Vance in Les
Sylphides
|
Between 1946 and 1952? |
| 2/7 | 296 | Peter and the Cat in Peter and
the Wolf The character of Peter is possibly danced by Eugene Loring and
the Cat is possibly danced by Nina Stroganova.
|
1940? |
| 2/7 | 297 | Ruth Ann Koesun and John Kriza in
Princess Aurora Possibly the "Bluebird" pas de deux from "The Sleeping
Beauty".
|
Between 1940 and 1945? |
| 2/7 | 298-299 | Theme and
Variations |
1947? |
| 2/7 | 300 | Erik Bruhn and Luane Plaine(?) in
Theme and Variations
|
1947? |
Ballet Theatre Performers |
|||
| Box/Folder | item | ||
| 2/7 | 301 | Charlyne Baker Waterman Portraits San Diego, Calif (Photographer)
Charlyne Baker danced with the Ballet Theatre as the Ranch
Owner's Daughter in Rodeo (1950), in
Caprichos (1950), and in Circo de Espana (1951).
|
Between 1950 and 1951? |
| 2/7 | 302 | Nana Gollner Gollner danced intermittently with the Ballet Theatre from
1939 to 1950.
|
Between 1940 and 1950? |
| 2/7 | 303 | Nora Kaye and Igor Yousevitch |
1947? |
| 2/7 | 304-305 | Nora Kaye Item 305 is possibly from Pas de
Quatre.
|
Between 1946 and 1951? |
| 2/7 | 306-307 | Hugh Laing Hugh Laing danced with the Ballet Theatre from 1939 to 1950,
dancing in Fandango, Gala
Performance, Judgement of Paris, and many
others.
|
Between 1940 and 1950? |
| 2/7 | 308 | Igor Youskevitch |
Between 1946 and 1955? |
Ballet Russe de Monte CarloReturn to Top
Ballet Russe de Monte Carlo was a ballet company founded in Monte Carlo in 1932. Directed by Colonel W. de Basil, the company performed new compositions by Léonide Massine and George Balanchine. In 1938, the company divided into two competing companies, one led by de Basil and the other by Massine and impresario René Blum. De Basil renamed his company the Royal Covent Garden Ballet Russe. Massine and Blum carried on the name Ballet Russe de Monte Carlo. This company performed principally in the U.S. but declined in the 1950s and ceased producing in 1963. The Ballet Russe de Monte Carlo performed at the Moore Theater in Seattle multiple times between 1937 and 1960. [Information from Encyclopedia Britannica article, “Ballet Russe de Monte Carlo” and Seattle Times].
| Container(s) | Description | Dates | |
|---|---|---|---|
Ballet Russe de Monte Carlo Characters |
|||
| Box/Folder | item | ||
| 2/8 | 309 | Alexandra Danilova, Frederic Franklin, and Nikita
Talin in The Bells
|
Between 1946 and 1951? |
| 2/8 | 310 | Two performers in Boutique
Fantasque, possibly Alexandra Danilova and Leonide Massine Attached to verso: 'La Boutique Fantasque' Glittering ballet
of toys coming to life, with music by Rossini and Respighi on a Ballet Russe
program at the Music Hall.
|
1940? |
| 2/8 | 311 | Ruthanna Boris and Leon Danielian in
Cirque de Deux Larry Colwell (Photographer)
|
1947? |
| 2/8 | 312 | Patricia Wilde and Frank Hobi in Cirque de Deux Larry Colwell (Photographer)
|
1947? |
| 2/8 | 313 | Frederic Franklin and dancers in Coppelia
|
1945? |
| 2/8 | 314 | Alexandra Danilova and dancers in
Coppelia
|
1945? |
| 2/8 | 315 | Irina Baronova in Coq
D'Or Stamped on verso: S. Hurok presents Col. W. deBasil's Ballet
Russe de Monte Carlo.
|
1937? |
| 2/8 | 316 | Ballet dancers in Gaite
Parisienne
|
1938? |
| 2/8 | 317 | Ballet dancers in Les
Sylphides
|
1939? |
| 2/8 | 318 | Elaborately costumed dancers in Night Shadow
|
1946? |
| 2/8 | 319 | Gertrude Tyven in Paquita Maurice Seymour, Chicago (Photographer)
|
1950? |
| 2/8 | 320-321 | Frederic Franklin as the Champion Roper in Agnes de
Mille's Rodeo Maurice Seymour, Chicago (Photographer)
|
1942? |
| 2/8 | 322 | Mary Ellen Moylan and Robert Lindgren in
Scheherazade
|
1939? |
Ballet Russe de Monte Carlo Performers |
|||
| Box/Folder | item | ||
| 2/8 | 323-326 | Ruthanna Boris |
Between 1943 and 1950? |
| 2/8 | 327 | Leon Danielian Colwell (Photographer)
|
Between 1940 and 1950? |
| 2/8 | 328-330 | Alexandra Danilova |
Between 1940 and 1950? |
| 2/8 | 331 | Alexandra Danilova and Frederic Franklin |
Between 1938 and 1952? |
| 2/9 | 332 | Anton Dolin Constantine (Photographer)
|
Between 1930 and 1940? |
| 2/9 | 333 | Anton Dolin and Alicia Markova |
Between 1938 and 1940? |
| 2/9 | 334 | Edwina Fontaine Maurice Seymour, Chicago (Photographer)
|
Between 1943 and 1948? |
| 2/9 | 335 | Frederic Franklin Maurice Seymour, Chicago (Photographer)
|
Between 1938 and 1952? |
| 2/9 | 336 | Nathalie Krassovska |
Between 1936 and 1949? |
| 2/9 | 337 | Mia Slavenska and Igor Youskevitch |
Between 1938 and 1944? |
| 2/9 | 338 | Mary Ellen Moylan |
Between 1943 and 1950? |
| 2/9 | 339 | Mary Ellen Moylan and Luis Trapaga |
Between 1943 and 1950? |
| 2/9 | 340 | Photograph of a drawing of Igor Schwezoff Soss Melik (Artist)
Igor Schwezoff was the choreographer for The Red Poppy.
|
1941 |
| 2/9 | 341 | Gertrude Tyven Maurice Seymour Chicago (Photographer)
|
Between 1945 and 1955? |
| 2/9 | 342 | Gertrude Tyven and Robert Lindgren Walter E. Owen N.Y (Photographer)
|
Between 1945 and 1955? |
Ballet Russe de Monte Carlo Miscellaneous |
|||
| Box/Folder | item | ||
| 2/9 | 343 | Ballet Russe de Monte Carlo performance poster and art
prints on a table Variety of artists' names written on verso.
|
1947? |
| 2/9 | 344 | Ballet Russe de Monte Carlo performance poster on
table surrounded by books, figurines, and photographs behind window labeled
"the record shop" |
1947? |
| 2/9 | 345 | Ballet Russe de Monte Carlo poster on display in the
window of the Woodlawn Flower Shop |
1947? |
| 2/9 | 346 | Group of people associated with the Ballet Russe de
Monte Carlo including Cecilia Schultz and possibly Alexandra
Danilova |
1947? |
UnidentifiedReturn to Top
| Container(s) | Description | Dates | |
|---|---|---|---|
| Box/Folder | item | ||
| 2/10 | 347 | String quartet of four men Morse Aeolian Hall, Room 1818, New York City (Photographer)
|
Between 1920 and 1930? |
| 2/10 | 348 | Portrait of man Rogers (Photographer)
|
Between 1920 and 1930? |
| 2/10 | 349 | Portrait of young child |
Between 1920 and 1930? |
| 2/10 | 350 | Man and woman dance pair dressed in Spanish
costumes Marvin Tipp 502 New World Life Bldg. Seattle, Wash. SE. 4160 (Photographer)
Written on verso: Inside Out [?] Lee Faley & Sonja Minera
[?]
|
Between 1940 and 1950? |
| 2/10 | 351 | Clothing advertisement with mannequins in front of a
stage and instruments Sign on floor says: "In the Mood for the Ballet... Wrap yourself
in glamour with graceful folds of lovely fabrics enhanced by exquisite
[illegible]".
|
Between 1940 and 1950? |
| 2/10 | 352 | South Asian woman in costume holding sticks seated in
front of bowls on a decorated table |
Between 1940 and 1950? |
Cecilia Schultz portraits and the Moore TheaterReturn to Top
The Moore Theatre in Seattle opened in 1907 as a successful vaudeville house until the late 1920s. By 1934, the owners were struggling to keep the theater open. In 1935, Cecilia Schultz took over management of the theater, initially as a one-year lease. At the time, she was one of only a handful of woman theater managers in the country, and the only one west of Chicago. Cecilia Schultz formally reopened the Moore in the summer of 1935. After a successful season featuring famed singers and musicians such as members of the Metropolitan Opera Company and the Moscow Cathedral Choir, Schultz went on to manage the Moore for 14 years, until 1949. [Information from Cecilia Augspurger Schultz biography by John Caldbick on HistoryLink].
| Container(s) | Description | Dates | |
|---|---|---|---|
| Box/Folder | item | ||
| 2/11 | 353 | Cecilia Schultz with Frederick Jagel, Marion Claire,
Bruna Castagna, and Henry Weber Written on verso: Left to right: Frederick Jagel- Met. Chic.
S.F. opera. Marion Claire - H gn. Mrs. Scultz/ Bruna Castagna - Met. Chi. S.F.
Henry Weber - Cond. W. gn.
|
Between 1950 and 1959? |
| 2/11 | 354 | Cecilia Schultz with James Melton and others Dexter (Photographer)
|
Between 1950 and 1959? |
| 2/11 | 355 | Cecilia Schultz seated at a table with James Melton and
others Dexter (Photographer)
|
Between 1950 and 1959? |
| 2/11 | 356 | Cecilia Schultz and others seated at tables in a
restaurant Larry Gordon (Photographer)
|
Between 1950 and 1959? |
| 2/11 | 357 | Cecilia Schultz and others in an auditorium Floyd Daniel (Photographer)
|
Between 1950 and 1959? |
| 2/11 | 358 | Cecilia Schultz with Frederick Jogel and Bruna
Castagna |
Between 1950 and 1959? |
| 2/11 | 359 | Four people with flowers on their lapel Howard Staples & Associates (Photographer)
|
Between 1950 and 1959? |
| 2/11 | 360 | People seated at tables in a ballroom Howard Staples & Associates (Photographer)
|
Between 1950 and 1959? |
| 2/11 | 361 | Street entrance of the Moore Theatre and Moore
Hotel Frank Jacobs, Inc (Photographer and Artist)
|
Between 1950 and 1959? |
| 2/11 | 362 | Drawing of a wave and birds with words,
November 1930 25 cents A.J. Stahmer Creative Commerical Art (Artist)
|
1930 |
