Articles with RISM identifiers

Henriette_Sontag

Henriette Sontag, born Gertrude Walpurgis Sontag, and, after her marriage, entitled Henriette, Countess Rossi (3 January 1806 – 17 June 1854), was a German operatic soprano of great international renown. She possessed a sweet-toned, lyrical voice and was a brilliant exponent of florid singing.

Maria_Konopnicka

Maria Konopnicka (Polish pronunciation: [ˈmarja kɔnɔpˈɲitska] ; née Wasiłowska; 23 May 1842 – 8 October 1910) was a Polish poet, novelist, children's writer, translator, journalist, critic, and activist for women's rights and for Polish independence. She used pseudonyms, including Jan Sawa. She was one of the most important poets of Poland's Positivist period.

Arnulf_Schröder

Arnulf Schröder (born Munich, June 13, 1903 - died there, December 22, 1960) was a German actor and director. He studied at the Oberrealschule with Claire Bauroff. He spent some of his career working in the cabarets of Berlin.

Max_Pulver

Max Pulver is the author of four graphology books (1931, 1934, 1944 and 1949), several articles, and one novel (1927). He developed the theory of symbolism of space. His work discusses pressure, intelligence, and crime. He founded the Schweizerische Graphologische Gesellschaft (Swiss Graphological Society) in 1950 and was president until his death.

Marie_Jaëll

Marie Jaëll (née Trautmann) (17 August 1846 – 4 February 1925) was a French pianist, composer, and pedagogue. Marie Jaëll composed pieces for piano, concertos, quartets, and others, She dedicated her cello concerto to Jules Delsart, and was the first pianist to perform all the piano sonatas of Beethoven in Paris. She did scientific studies of hand techniques in piano playing and attempted to replace traditional drilling with systematic piano methods. Her students included Albert Schweitzer, who studied with her while also studying organ with Charles-Marie Widor in 1898–99. She died in Paris.

Julia_Culp

Julia Bertha Culp (6 October 1880 – 13 October 1970), the "Dutch nightingale", was an internationally celebrated mezzo-soprano in the years 1901–1919.

"You might describe Julia Culp as a connoisseur’s singer," Michael Oliver wrote in the International Opera Collector in 2000. "Her voice was not large, her compass not wide. She never sang in opera; striking dramatic gesture were not her line. What she excelled in were the singer’s rather than the vocal actress’s virtues: sustained legato line, remarkable breath control, subtle colour, immaculate care for words…. But ‘connoisseur’s singer’ does not mean that only connoisseurs can appreciate her; one becomes a connoisseur by listening to her."