Wow!! I have heard her doing a 15 minute radio program for Gerber’s baby food in 1934, but she sounds better here. I read that she died of leukemia in late 1936.

Tbm vim por ele💙

Same i came there reading Napoleon Hill.

So do I! 😂

Tbm vim pelo livro ❤

Me to💕

Tomba 2 I think you were sitting next to me.

@@jeffreymiller4814 are you sure?

kkkkkkkkkkkkkkk

Brahms Wiegenlied

Ms.Wank not Ms. Schumann-Heink...

@@susmateja my bad

Using the sharpness component in Photoshop software, the copyright date indeed is “1934.”

A lyric mezzo-soprano whose professional career began with little notice in 1919, by 1922 Inga Wank was engaged by the conductor-impresario Josiah Zuro for the debut season of his opera company. The Zuro roster contained 28 singers, 14 of them women, all of whom were American-born. They formed the casts of 14 operas to be presented in 14 days at the Brooklyn Academy of Music. In addition to Inga Wank, the Juro roster included Lucy Gates, Alice Gentle, Ralph Errolle, and Richard Bonelli among others. Schumann-Heink first labeled Wank “my successor” in newspaper articles in 1929, and sent her to Hamburg to be coached in the Wagnerian roles. Wank was to have made her debut in Hamburg in the 1929-1930 season. I have found no subsequent mention of her in “Musical Courier,”’ “Musical Americs,” or in the columns of any newspapers so far.

@@RubyRosaRudy Thanks very much, Jim: very informative. What a different world today from when I posted my query!

@@RubyRosaRudy Richard Bonelli was a superb baritone and an inspiration to a very young Robert Merrill.

@@vanmusician: I was privileged to know and spend a good bit of time with Merrill, and as you say, Bonelli was one of the American-born predecessors he listened to. The other was John Charles Thomas. As his voice matured, he listened repeatedly to Riccardo Stracciari’s complete recordings of “Barber” and “Rigoletto.”

@@RubyRosaRudy I only heard Merrill live once - a late career concert with our Vancouver Symphony. He sang 'Largo al factotum' - down a tone. My teacher's teacher Basiola made a famous recording of Pagliacci with Gigli. In the preface to his book on technique Richard Miller says Basiola was the greatest vocal technician he ever met. Basiola was a student of baritone Antonio Cotogni, who taught many great singers, and was the earliest born opera singer to record. He was born in 1831. Am I correct in assuming you are the James Drake who wrote the two bios of Ponselle and the one of Tucker? I've had them for years.

@emily greene: look at the age and quality of the film, I'm sure she sounded much better in person. You're watching a legend here, don't be such a critic, I'm sure you couldn't do better

Let me get this straight; you think Madame Schumann-Heink's delivery needed work??

Lol

Please listen to her earliest records from the 1890's-1910. You'll hear a voice that deserves all praise of the past century! :)

@@johneasler9967 I’m referring to the student.

Tina studied with the composer.

fluorite1971 🤣🤣🤣🤣🤣. What a comment. Schumann-Heink would have eaten her for breakfast. In the early sixties Maria Jeritza and Lotte Lehmann, who were NOT fond of each other, and were about the same age as ES-H in this video, appeared on a Met intermission. Strauss was discussed, of course. Jeritza bragged that she sang Ariadne’s big climactic phrase “Du wirst mich befreien” in one breath. Lehmann admitted that she breathed in the middle. At which point dear dumb Maria started lecturing “dear Lottchen” and telling her she just needed to practice it slowly every day, extend her phrasing one note at a time, do breathing exercises, etc. The brilliant, quick-witted Lotte replied, “Now’s a fine time to tell me.” The divine LEHMANN could have taught Grümmer (or any other singer) how to sing Brahms better for sure, but most divas feel their way is THE way.

@@jeffreymiller4814 Pride goeth before the fall. Better is the performer who is humble to accept correction.