(Exercises for technique; Cadenzas for operatic arias; Cad...)
Exercises for technique; Cadenzas for operatic arias; Cadenzas for concert arias; Cadenzas for variations; Cadenzas for waltzes; Cadenzas for duets; Cadenzas for songs; Traditional cuts; Programs.
((Vocal Method). A method that has long been highly regard...)
(Vocal Method). A method that has long been highly regarded among teachers and students alike. Each of these books consists of 3 parts: Part I describes the vocal mechanism and its function briefly and in simple, non-technical language. Part II consists of basic, fundamental vocalises carefully selected to develop the specific voices for which the book is written. Part III presents the important elements of diction in the 5 languages most commonly used in singing: English, Italian, French, German and Spanish.
The Estelle Liebling Vocal Course: Mezzo-Soprano & Contralto
((Vocal Method). A method that has long been highly regard...)
(Vocal Method). A method that has long been highly regarded among teachers and students alike. Each of these books consists of 3 parts: Part I describes the vocal mechanism and its function briefly and in simple, non-technical language. Part II consists of basic, fundamental vocalises carefully selected to develop the specific voices for which the book is written. Part III presents the important elements of diction in the 5 languages most commonly used in singing: English, Italian, French, German and Spanish.
The Estelle Liebling Vocal Course: Soprano: Coloratura, Lyric and Dramatic
((Vocal Method). A method that has long been highly regard...)
(Vocal Method). A method that has long been highly regarded among teachers and students alike. Each of these books consists of 3 parts: Part I describes the vocal mechanism and its function briefly and in simple, non-technical language. Part II consists of basic, fundamental vocalises carefully selected to develop the specific voices for which the book is written. Part III presents the important elements of diction in the 5 languages most commonly used in singing: English, Italian, French, German and Spanish.
Liebling Estelle Vocal Course For Lyric Tenor And Dramatic Tenor
((Vocal Method). A method that has long been highly regard...)
(Vocal Method). A method that has long been highly regarded among teachers and students alike. Each of these books consists of 3 parts: Part I describes the vocal mechanism and its function briefly and in simple, non-technical language. Part II consists of basic, fundamental vocalises carefully selected to develop the specific voices for which the book is written. Part III presents the important elements of diction in the 5 languages most commonly used in singing: English, Italian, French, German and Spanish.
The Estelle Liebling Book of Coloratura Cadenzas Containing Traditional and New Cadenzas Cuts, Technical Exercises, and Suggested Concert Programs
(This book contains traditional & new cadenzas, cuts, tech...)
This book contains traditional & new cadenzas, cuts, technical exercises & suggested concert programs. All of the music is for coloratura soprano & piano. The book is divided into these categories: Cadenzas for 1. Operatic aria; Concert arias; Variations; Waltzes; Duets; Songs; Traditional cuts
Estelle Liebling. Karl A. F. Eckert. None he loves but me. Swiss Echo Song
(Estelle Liebling. Arrangements and Editions for Coloratur...)
Estelle Liebling. Arrangements and Editions for Coloratura Voice with Piano. Karl A. F. Eckert. None he loves but me. Er liebt nur mich allein Il n'aime que moi! Swiss Echo Song Published by Schirmer. 7 Pages Size 8 x 11 approx Very Good Pre-Owned Condition BoxUU. Bag1
Estelle Liebling was an American voice teacher, composer and singer.
Background
Estelle Liebling was born on April 21, 1880 in New York City, New York, United States, the daughter of Max Liebling, a pianist and accompanist, and Matilde de Perkiewicz. The Lieblings were a German-American family of well-known professional musicians. Her father immigrated to America in the mid-1860's; his brothers Emil, Saul ("Solly"), and George were pianists who had studied with Franz Liszt. Liebling's brothers, Otto, James (a cellist), and Leonard, were also musical. Leonard was a pianist, critic, and writer, and the editor in chief of the Musical Courier from 1911 until his death in 1945.
Education
Liebling went to Europe to study voice as a young girl. First she studied with Selma Nicklass-Kempner in Berlin. Dame Nellie Melba, the great soprano, advised Liebling to study with Melba's own teacher, Mathilde Marchesi, one of the most famous of all singing teachers.
Career
At eighteen, Liebling made her operatic debut in Dresden as Lucia di Lammermoor and then appeared with the Dresden company in The Barber of Seville and The Magic Flute. She also appeared during this period with the Stuttgart company and with the Opéra-Comique in Paris. Liebling returned to the United States and became active as a concert singer. Her manager, Henry Wolfson, brought her back from a concert tour to make an appearance at the Metropolitan Opera on February 24, 1902, as a last-minute substitute, without rehearsal, for Suzanne Adams in the fiendishly difficult role of Marguerite in Meyerbeer's Les Huguenots. Having learned the role only in German, she sang in this language while the rest of the cast sang in French. Her next appearance, her "official" debut, was also made with short notice as Musetta in La Bohème on the afternoon of December 5, 1903, when Enrico Caruso was singing his first Rodolfo with the company. Liebling had not sung the role before, and it is not a very rewarding one for a coloratura soprano. The reviews were mixed, with the critics seeming to vie with one another to praise or fault her voice and her acting. She appeared only one more time with the company, as the First Genie in The Magic Flute on February 18, 1904. Liebling returned to her first love, the concert stage, and established herself there as a popular recitalist. She concertized throughout the United States, France, and Germany with great success and frequently appeared with great orchestras such as the Berlin Philharmonic, the New York Philharmonic, the Boston Symphony, and the Philadelphia Orchestra. She was often referred to in the press as "the fair singer, " and photographs taken during the early years of the century show her as petite, fashionably gowned, and attractive.
Liebling continued her singing career for several years, but the New York Times review of her Town Hall recital on April 19, 1921, mentions that she had been "for some years absent from the local stage. " Her programs were then of unusual interest, being made up of neglected works of the past and contemporary songs by European and American composers. The New York Times critic Richard Aldrich, who had severely criticized her Musetta years before, noted in 1921 that she sang with "ripe musical intelligence, with full round tone, and with evident pleasure to her audience. "
Although Liebling continued to sing up to her fiftieth birthday, it was as a teacher that she became most renowned. In 1921 she opened a private voice studio at 145 West Fifty-fifth Street in Manhattan. Many of the world's greatest singers, including Maria Jeritza, Titta Ruffo, Frieda Hempel, Maria Müller, and Max Lorenz, studied with her. She also worked with nonoperatic performers, including Gertrude Lawrence, Adele Astaire, Joan Crawford, and Vivienne Segal. She claimed that seventy-eight Metropolitan artists had studied or coached with her at one time or another. The coloratura Amelita Galli-Curci, who claimed to have been self-taught, studied with Liebling when established as a great star, and when the young singer Jessica Dragonette wrote to Galli-Curci asking for advice in the choice of a teacher, the singer wrote back, "In my opinion, the outstanding teacher in New York is unquestionably Estelle Liebling. " Dragonette followed this advice and soon became one of the most popular radio singers in the early days of broadcasting. Margaret Truman, the president's daughter, and Doris Duke, the tobacco heiress, also took lessons from Liebling.
One of Liebling's gifts was her early recognition of the need for singers to study radio technique, and she scheduled special radio classes for her students. Elisabeth Rethberg and many other famous singers went to Liebling especially to learn this approach. As early as 1937, Liebling reported that she had been working with her students on television techniques for the past five or six years and was looking forward to the day when technical problems would be solved and "engineers have passed the experimental stages. " Liebling was on the faculty of the Curtis Institute of Music In Philadelphia from 1936 to 1938. One of Liebling's most famous students was Beverly Sills, who began lessons with her at the age of seven and who continued to work with her for more than thirty years. In addition to voice lessons, Liebling took an interest in what Sills read and wore, and introduced her as a guest at her frequent dinner parties to give Sills a chance to develop social skills. Many of Liebling's students reported this same interest in their behavior and appearance and cited her important connections. Liebling continued to teach into her eighties, giving classes at her apartment on Central Park South. Following a heart attack in 1964, she was forced to cut the teaching schedule she had maintained for years (from 9:30 A. M. to 6:30 P. M. ) to four half-hour lessons in the morning and four in the afternoon. In addition to her singing and teaching, Liebling collected and published cadenzas, many of which she got from Marchesi and famous singers of the past and some of which she composed herself. She also composed some songs and edited separate arias and collections.
Quotations:
"I always liked concert work more than opera. "
Personality
Quotes from others about the person
"Three-quarters of who I am came from my family; the other 25 percent came from Miss Liebling. She was funny, attractive, and knew everybody in opera. " - Beverly Sills
Connections
On September 17, 1905, Liebling married a distant relative, Arthur Rembrandt Mosler, a mechanical engineer and a member of the Mosler Safe family; they had one child.