Anna Bellschan von Mildenburg (29 November 1872 – 27 January 1947) was an eminent Wagnerian dramatic soprano of Austrian nationality. Known as Anna Bahr-Mildenburg after her 1909 marriage, she had been a protégé of the composer/conductor Gustav Mahler during his musical directorship at the Hamburg State Opera. In 1898, Mahler took her to the Vienna State Opera, where she established herself as one of the great stars during his celebrated tenure there as music director.
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R.I.P Anna
Anna Bellschan von Mildenburg (29 November 1872 – 27 January 1947) was an eminent Wagnerian dramatic soprano of Austrian nationality. Known as Anna Bahr-Mildenburg after her 1909 marriage, she had been a protégé of the composer/conductor Gustav Mahler during his musical directorship at the Hamburg State Opera. In 1898, Mahler took her to the Vienna State Opera, where she established herself as one of the great stars during his celebrated tenure there as music director.
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Biography Anna Bellschan von Mildenburg, to give her full maiden name, was born in Vienna, the Austrian capital. She studied voice with Rosa Papier and Johannes Ress at the Conservatory of Gesellschaft der Musikfreunde in Vienna (now the University of Music and Performing Arts Vienna), and then privately with Cosima Wagner and Mahler. She had an affair with the latter which lasted until 1897. Von Mildenburg made her operatic debut in 1895 at Hamburg, singing the role of Brünnhilde in The Ring Cycle under Mahler's baton. Then, in 1897, she performed the role of Kundry in Parsifal at the Bayreuth Festival, and also took on the mezzo-soprano part of Ortrud in Lohengrin. Cosima Wagner, the composer's widow, became her mentor at Bayreuth, and she proceeded to perform all the main Wagnerian soprano parts at the festival prior to the outbreak of World War I in 1914. She first sang at the Vienna Hofoper on 8 December 1897, when she took the role of Brünnhilde in Die Walküre under Hans Richter. Mahler put her on a contract and she soon experienced enormous success. In her first season alone she earned 14,000 florins (about €112,000 in 2008). Her stature at the opera…
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Her sole recording & histrionic style Only one rare recording by von Mildenburg is known to have survived. It consists of part of the aria "Ocean! thou mighty monster", sung in German, from Oberon by Carl Maria von Weber. Made in 1904, the recording has been re-issued on CD on the Marston and Symposium labels. It substantiates her reputation as a first-class singer of impressive power and authority, possessing strong high notes and producing a steady emission of rounded tone during the years of her prime. Apparently, she was also a memorable if stylised actress with a strong stage presence. She even published a singers' guide in 1936 on how to act and gesture in Wagner in accordance with what she called the "authentic" Bayreuth method.
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Published works Befreiung, 1925. Mein Hundeleben. Für Hundenarren erzählt., 1926. Die „Einser“. Aus meinen Erinnerungen., 1926.
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Some of the information in this article comes from the German-language Wikipedia article. See also The Record of Singing by Michael Scott, Volume One (Duckworth, London, 1977), for a synopsis of von Mildenburg's career and an assessment of her singing, and her biographical entry in The Concise Oxford Dictionary of Opera, second edition, edited by Harold Rosenthal and John Warrack (Oxford University Press, London, 1980).
