Hostname: page-component-586b7cd67f-dlnhk Total loading time: 0 Render date: 2024-12-04T19:35:51.240Z Has data issue: false hasContentIssue false
  • English
  • Français

Rosa de Vries: A Dutch Diva and Nineteenth-Century Trans-Atlantic Operatic Culture

Published online by Cambridge University Press:  04 June 2014

HELEN METZELAAR
Get access Rights & Permissions [Opens in a new window]

Abstract

In an arduous, twenty-year international career, Dutch opera soprano Rosa de Vries née van Os (1824–89) performed both French and Italian opera repertory with leading companies on both sides of the Atlantic. Experiencing triumphs and disappointments while managing both career and family, de Vries represents a class of mid-century opera singers, celebrated in their time but little remembered today. This article tells the story of de Vries's life and career, and in doing so aims to contribute to an understanding of transatlantic operatic life at the time. This reconstruction of Rosa de Vries offers a gateway for further studies of the cultural heritage of an important period in the history of opera and the strenuous demands of an international operatic marketplace.

Type
Research Article
Information
Journal of the Society for American Music , Volume 8 , Issue 2: Musical Women in Nineteenth-Century America , May 2014 , pp. 167 - 188
Copyright
Copyright © The Society for American Music 2014 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Ahlquist, Karen. Democracy at the Opera: Music, Theater, and Culture in New York City, 1815–60. Urbana: University of Illinois Press, 1997.Google Scholar
Arditi, Luigi. My Reminiscences. New York: Dodd, Mead, 1896.Google Scholar
Belsom, Jack. “En Route to Stardom: Adelina Patti at the French Opera House, New Orleans, 1860–1861.”Opera Quarterly 10/3 (1994): 113–30.CrossRefGoogle Scholar
Belsom, Jack. “Reception of Major Operatic Premières in New Orleans during the Nineteenth Century.” M.A. thesis, Louisiana State University, 1972.Google Scholar
Bordogni, Marco. Méthode de chant. Paris: n.p., 1840.Google Scholar
Bordogni, Marco. Trente-six vocalises: selon le goût moderne. Ed. Teschner, G. W.. Berlin: Schlesinger, ca. 1888.Google Scholar
Chorley, H. F.Thirty Years’ Musical Recollections. London: Hurst & Blackett, 1862.Google Scholar
Cropsey, Eugene H.Crosby's Opera House: Symbol of Chicago's Cultural Awakening. Madison, NJ: Fairleigh Dickinson University Press, 1999.Google Scholar
“Devries, Herman.” Baker's Biographical Dictionary of Musicians. 7th ed. Ed. and rev. Slonimsky, Nicolas, 584. New York: Schirmer, 1984.Google Scholar
“Devries, familie,” Algemene Muziek Encyclopedie, vol. 2, ed. Robijns, J. and Zijlstra, M., 363. Bussum: Unieboek, 1980.Google Scholar
Forbes, Elizabeth. “Devriès [De Vries],” The New Grove Dictionary of Opera, ed. Stanley Sadie. In Grove Music Online, ed. Laura Macy. http://www.oxfordmusiconline.com.Google Scholar
Forbes, Elizabeth. Mario and Grisi: A Biography. London: Victor Gollancz, 1985.Google Scholar
[van, Haeften G. A.]. Koninklijk Conservatorium voor Muziek te 's-Gravenhage 1826–1926. The Hague: n.p., 1926.Google Scholar
Harder, Caroline. “The Roles of ‘Mothers’ in Opera as Exemplified by Fidès (Meyerbeer's Le Prophète), Kostelnicka (Janacek's Jenufa), Mrs. Patrick de Rocher (Heggie's Dead Man Walking).” D.M.A. diss., University of British Columbia, Vancouver, 2009.Google Scholar
Kaufman, Thomas. “The Arditi Tour: The Midwest Gets its First Real Taste of Italian Opera,” Opera Quarterly 4/4 (Winter 1986–87): 39–52.Google Scholar
Keller, Gerard, and Kruseman, Philip, eds. “Vries-van Os, Rosa de.” In Geïllustreerd muzieklexicon, 872–73. The Hague: Kruseman, 1932.Google Scholar
Korenhof, Paul. “Het Théâtre Français in de periode 1804–1919.” In De Koninklijke Schouwburg (1804–2004): een kleine Haagse geschiedenis, ed. Korenhof, Paul, 82–113. Zutphen: Walburg Pers, 2004.Google Scholar
Kutsch, Karl-Josef and Riemens, Leo. “Devriès, David;” “Devriès, Fidès;” “Devriès, Hermann;” “Devriès, Jeanne;” “Devriès, Maurice;” “de Vries-van Os, Rosa.” In Großes Sängerlexikon. Vol. 2, 1148–51. Munich: K. G. Saur, 2003.Google Scholar
Lawrence, Vera Brodsky. “William Henry Fry's Messianic Yearnings: The Eleven Lectures, 1852–53.” American Music 7 (1989): 382–411.Google Scholar
Lawrence, Vera Brodsky. Strong on Music: The New York Music Scene in the Days of George Templeton Strong. Vol. 2: Reverberations, 1850–1856. Chicago: University of Chicago Press, 1995.Google Scholar
Letellier, Robert Ignatius, trans. and ed. The Diaries of Giacomo Meyerbeer. Vol. 2: The Prussian Years and Le Prophète, 1840–1849. Madison, NJ: Fairleigh Dickinson University Press, 2001.Google Scholar
Maretzek, Max. Crotchets and Quavers or Revelations of an Opera Manager in America. New York: Da Capo Press, [1855] 1966.Google Scholar
Martin, George W.Verdi in America: Oberto through Rigoletto. Rochester, NY: University of Rochester Press, 2011.Google Scholar
Massenet, Jules. Mes Souvenirs. Paris: Pierre Lafitte, 1912.Google Scholar
Metzelaar, Helen, “Rosa van Os, operazangeres.” In 1001 Vrouwen uit de Nederlandse Geschiedenis, ed. Kloek, Els, 1009–10. Nijmegen: Vantilt, 2013.Google Scholar
Moreau, Mário. O Teatro de S. Carlos, dois séculos de história. 2 vols. Lisbon: Hugin, 1999.Google Scholar
Newman, Nancy. Good Music for a Free People: The Germania Musical Society in Nineteenth-Century America. Rochester, NY: University of Rochester Press, 2010.Google Scholar
Odell, George. Annals of the New York Stage. 15 vols. New York: AMS Press, 1970.Google Scholar
Poriss, Hilary. Changing the Score: Arias, Prima Donnas, and the Authority of Performance. New York: Oxford University Press, 2009.Google Scholar
Preston, Katherine K. Opera on the Road: Traveling Opera Troupes in the United States, 1825–60. Urbana: University of Illinois Press, [1993] 2001.Google Scholar
Preston, Katherine K. “To the Opera House? The Trials and Tribulations of Operatic Production in Nineteenth-Century America.” Opera Quarterly 23/1 (2007): 39–65.Google Scholar
Ripley, Eliza. Social Life in Old New Orleans. New York: D. Appleton and Company, 1912.Google Scholar
Rosa de Vries. Esquisse Biographique (d'après Le Kunstkronijk). The Hague: Belinfante, 1860.Google Scholar
Schnapper, Laure. “Bernard Ullman-Henri Herz: An Example of Financial and Artistic Partnership, 1846–1849.” In The Musician as Entrepreneur, 1700–1914: Managers, Charlatans, and Idealists, ed. Weber, William, 130–44. Bloomington: Indiana University Press, 2004.Google Scholar
Sherman, Robert L.Chicago Stage: its Records and Achievements. Vol. 1. Chicago: R. L. Sherman, 1947.Google Scholar
Schiller, Friedrich. Über die ästhetische Erziehung des Menschen in einer Reihe von Briefen. [Letters Upon the Aesthetic Education of Man], n.p., [1794] 1990.Google Scholar
Slechte, C. H. “Een onvoltooid paleis; onder koninklijk beheer; een gedwongen verpachting.” In 175 jaar Koninklijke Schouwburg, ed. Slechte, C. H., Verstraete, G. and van der Zalm, L.. The Hague: Kruseman, 1979.Google Scholar
Starr, S. Frederick. Bamboula! The Life and Times of Louis Moreau Gottschalk. New York: Oxford University Press, 1995.Google Scholar
Stover, John F. American Railroads. Chicago: University of Chicago Press, 1961.Google Scholar
Tintori, Giampiero. Cronologia, opera-balletti-concerti 1778–1977. Bergamo: Grafica Gutenberg, 1979.Google Scholar
Viotta, Henri. “Muzikaal overzicht.” De Gids 58/4 (1894): 593–94.Google Scholar