Milka Trnina:
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | Croatian |
| Veröffentlicht: |
Križ
Općina Križ
2013
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache |
| Beschreibung: | 218 S. zahlr. Ill. |
| ISBN: | 9789539637147 |
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Datensatz im Suchindex
| _version_ | 1804151519425069056 |
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| adam_text | SUMMARIES
Milka Ternina
mirrored
in her hometown
Ivana Posavec
Krivec
Nowadays the Municipality of
Križ,
following its abundant cultu¬
ral heritage marked with such an important figure as
Milka
Terni¬
na, initiates a wide range of cultural and tourist manifestations
in order to commemorate her importance using contemporary
creative.
On the occasion of celebrating her loo 1 birthday, in
1963
ongoing activities were started to permanently pay tribute to
Milka
Ternina s artistic importance in her hometown of
Vezišće.
In the same year her bust, a work of academic sculptor
Josip
Cmrok, was installed in front of the
Milka
Ternina Culture Center.
In
2010,
also on the occasion of Ternina s birthday, a special
room was opened at the
Križ
Gallery named
Hommage
to
Milka
Ternina holding a collection of paintings and ceramics inspired
by
Milkom
Ternina, her work and life dedicated to art and the
beauty of costumes she had worn for her performances. The
room also holds an exhibition of photographs from the Zagreb
City Museum.
To honor and preserve the memory of the famous artist, in
2O12
the Municipality of
Križ
adopted the Decision on
Milka
Ter¬
nina
plaquette as a
special honorary recognition for extraordi¬
nary contribution to promoting
Milka
Ternina s cultural heritage
in Croatia and abroad. The Municipality of
Križ
decided to give
the first such
plaquette
to the Croatian Association of Musical
Artists, as the Croatian umbrella musical organization, which
awards a special prize named after
Milka
Ternina as of
1957.
In
2011
the
plaquette
was awarded on
19
December at the traditio¬
nal Christmas Concert in
Križ
to mark her birthday. Concerts are
organized in collaboration with the Croatian National Theatre s
opera, which received the
Milka
Ternina
plaquette
in
2012.
In
20П
the Zagreb County Assembly gives to the diva from
Vezišće
the honorary citizenship in the Zagreb County, as pro¬
posed by the Municipality of
Križ.
Thus, the Zagreb County gave
Milka
Ternina the honor she had deserved as the diva of modern
times, a proud Croatian woman educated in Zagreb and born
in
Vezišće.
In
2013,
marking
Milka
Ternina s 100th anniversary, the Muni¬
cipality of
Križ
and the Zagreb Country published a monograph
dedicated to
Milka
Ternina comprising information about her
professional and private life as the first comprehensive overview
of this important artist s life.
For the same occasion, the Municipal Council of the Mu¬
nicipality of
Križ
in December
2012
adopted the Decision on
pronouncing the year of
2013
as
Milka
Ternina s year to under¬
pin a very particular cultural relevance of celebrating the 150th
birthday of this famous diva, patron and patriot.
Having accepted the auspices over the celebration of
Mil¬
ka
Ternina s 150th anniversary, Croatian President,
Ivo Josipo-
vić
presides over the Honorary Committee established for the
preparation and implementation of a special programme to
mark the year of
2013
as
Milka
Ternina s year . This act on the
President s behalf presents a special honor for the Municipality
of
Križ,
which has been systematically preserving the memory
of this great Croatian opera singer with international acclaim. It
also symbolizes the commitment for the future generations to
keep on working on the preservation of
Milka
Ternina s heritage.
The Honorary Committee is composed of the following
members: Berislav
Šipuš
-
The Ministry of Culture, Jadranka
Beresford-Peirse
-
The International Trust of Croatian Monu¬
ments,
Tedi
Lušetić
-
The City of Zagreb, Jadranka
Duić
Frían -
The Zagreb County,
Vinko Ivić
-
The Zagreb City Museum,
Mirjana
Šperanda
-
The City of
Požega, Dubravka Šeparović Mušović
-
The Croatian National Theatre s Opera, Krunoslav Cigoj
-
The
Croatian Association of Musical Artists,
Miroslav Luketić - Pli¬
tvice
Lakes National Park,
Palma
Klun Posavec -The
Ivanić-Grad
Public College and
Tomo
Benko and
Ivana
Posavec Krivec from
the Municipality of
Križ.
All members are renown figures from
the public, cultural and political life and representatives of in¬
stitutions actively involved with the promotion and preservation
of
Milka
Ternina s cultural and artistic heritage in Croatia and
abroad.
The Municipality of
Križ
together with the Croatian National
Theatre s Opera in Zagreb, Zagreb City Museum,
Požega
City
Museum, Croatian Association of Musical Artists,
Milka
Ternina s
admirers and many other institutions organized a series of ma¬
nifestations during
2013
to mark the 150th birthday of a girl who
started her journey towards the international acclaim in
Vezišće.
The Croatian National Post ltd. Also paid tribute to
Milka
Ternina on
16
April
2013
when the company published a special
stamp with her ¡mage in the series named Renown Croatians
holding
stamps dedicated to
Ranko Marinković, Stjepan Gra¬
dić and Antonija
Kraśnik.
The stamp was presented at the
Križ
Gallery.
The year dedicated to
Milka Ternina
will have various ma¬
nifestations intended to promote her artistic work: multi-me¬
dia opera concerts in
Požega, Križ
and
Dubrovnik
(during the
Dubrovnik
Summer Festival),
KUD Graničar Križ
concert at the
Plitvice
Lakes National Park, concerts at the
Milka
Ternina Pri¬
mary School in
Ivanić-Grad
and
Milka Trnina
singing choir
concert as well as concerts that will be held during the Vezisce
Festival in June. In December
2013
ceremonial concerts will
be also held in Vezisce and
Križ
to mark
Milka
Temina s 150th
birthday. The same month there will also be a concert held at
the Music and Drama University of Vienna on
s
December
2013
on the occasion of the 9th Croatian Music Festival in Vienna. This
is a very important event that will bring
Milka
back to Vienna
where she graduated.
To be aware of one s heritage, history, historical figures
-
it is
the most one nation, region or place can do in order to protect
its identity for the generations to come. The Municipality of
Križ
keeps memory of its important citizens and their achievements
relevant for cultural and social promotion of their homeland.
Milka
Ternina, the one and only, unique person and artist,
undoubtedly lived ahead of her times. Her heritage can teach
us that talent is something making a person different from the
crowd and that perseverance and faith will lead to the top no
matter how hard the journey. This little girl from dusty Sip in
Vezisce reached out to the world to make her dreams come true
and now it is up to us to keep her memory. In
Milka
Temina s
words:
Artistic life is harsh and painstaking, but if I were to come
back to another life in this world and there would be a chance
to choose, I would not choose any other profession.
Milka
Ternina in Zagreb
by
Marija
Barbieri
Zagreb
During the 1880s some twenty thousand people inhabited Za¬
greb, today s Croatian capital, then part of the Austro-Hungarian
Empire. Zagreb was the center of a literary and art movement
where music played one of the key roles. The first Croatian na¬
tional opera Love and Malice, written by a very talented com¬
poser Vatroslav Lisinski
(1819-1854),
was performed for the first
time in
1846.
A young tenor
Franjo Stazić
(1824-19П).
better
known as Franz
Steger, sang
the main role. During the period
1853-1871
Steger
performed at the Vienna State Opera. Zagreb
was also the place where lima
de Murska
(1834-1889)
and Mat¬
ilda Mallinger
(1847-1920)
started their musical education at the
Croatian Music Institute, an institution founded in
1827,
where
they were taking lessons from Professor Vatroslav Lichtenegger
(1809-1885)
who had been educated at the Prague Conserva¬
tory and worked as a cathedral
choralist. De
Murska
was one of
the most distinguished divas of the 19th century, the star of the
Vienna State Opera and Her Majesty s, Drury Lane and Covent
Garden theatres in London, a person inspiring George Bernard
Shaw. Mallinger appeared in most of the main opera roles staged
at the Bavarian State Opera in Munich and in
1868
she sang Eva
at the premiere of Wagner s The
Mastersingers
of Nuremberg.
Later on in her career she also sang for the Berlin State Opera.
Ivan pi. Zajc
(1832-1914)
arrived in
1870
to Zagreb whose the¬
atre had been nourishing mainly comic opera during the 1860s.
Zajc was born in
Rijeka
and educated at the Milan Conservatory.
He soon became a prominent composer and conductor. Fol¬
lowing his brilliant comic opera performances in Vienna, Ivan
pi. Zajc, the founder of the Croatian opera, came to Zagreb to
advance the music life in Croatia, which had previously been
mostly in hands of German and Italian musicians and opera
companies.
Josip Kašman
(1850-1925)
sang as Zajc s first baritone to¬
gether with the future king of baritones, Giuseppe Kaschmann,
one of the champions of the first Metropolitan season
1883/1884.
Without much experience in opera, yet welt-educated and pos¬
sessing a beautiful voice, Giovanni
Battista De Negri
(1850-1924)
arrived to Zagreb in
1878
and became known as Ivan
De Negri.
Afterwards he took off to Italy and the rest of the world and
soon became one of the stars of
La Scala in
Milan, applauded
for his roles of
Otelio,
Samson and
Tannhäuser.
Inspired by the
enthusiasm,
Milka
Trnina simply blossomed in those circles and
soon became
agreat
opera singer, internationally better known
as
Milka
Ternina.
Education and early days in Zagreb
Milka,
whose real name was
Katarina,
daughter of
Tona
and
Franjica Trnina, was born on
19
December
1863
in Doljnji Sip,
a small mill-island near the village of Vezisce in the
Moslavina
region. Her native village is nowadays part of the Municipality
of
Križ,
some fifty kilometers from Zagreb. She lost her father
when she was only a girl. She was taken care of by her uncle
Janko
Jurković
(1827-1889)
who was active as a consultant
for the government, writer, storyteller, comedian, critic and
esthetic and his wife Laura
(1842-1925).
The family moved to
Zagreb and
Milka
grew up in a prominent urban family and got
solid education, at the time convenient for the girls of her social
class. She took her first singing lessons at the age of thirteen. Ida
Wimberger, her first music teacher, discovered the exceptional
beauty of her voice, that little something that made
Milka
dif¬
ferent. Her first public performance took place on
10
November
1879
on the occasion of a concert held at the National Theatre,
built in
1834
and located in the Upper Town of the City of Zagreb.
Her performance of Alice from
Giacomo
Meyerbeer s Robert
le
Diable
immediately captured the audience s attention. Five
months later, on
15
April
1880,
she sang
Valentina
with Fernando
Tercuzzi
(1847-1906)
as
Marcelo
in the duet from Meyerbeer s
The Hugenots at the Croatian Music Institute. August
Šenoa
(1838-1881),
great Croatian poet and writer, the most important
figure of the Croatian cultural life at that time, was so fascinated
by the singer that he suggested to her uncle to send her to the
Vienna Conservatory. Ternina enrolled for the singing lessons
with Joseph
Gänsbacher (1829-1911),
probably the best singing
pedagogue in Vienna, working at the Vienna Conservatory in
the period
1875-1904.
By the end of the first year Ternina was
the best in her class and during the second Joseph
Gänsbacher
started introducing her to the most acclaimed singers on the
occasion of the music matinees hosted at his house. To her great
natural talent
Milka
attributed diligence and devoted and con¬
secrated work. At the same time, she was known for her sharp
intelligence and extensive general knowledge. One might say
that she possessed all the prerequisites for a marvelous career.
Milka
Ternina first appeared on stage on
η
April
1882
as
Amelia in Verdi s Masked Ball. Ivan pi. Zajc conducted and Ivan
De Negri
sang the role of Riccardo. And she had barely turned
eighteen! There were standing ovations, there were flowers, and
there were cheers... Yet,
Milka
was not satisfied. Self-criticism
was one of the most valuable and distinguished traits of her
character and she had started expressing this very early in her
career. The press was filled with acclamations.
Ivo Vojnović
(1857-1929),
influential writer and one of the pioneers of the
literary modernism in Croatia, wrote thatTernina s Amelia was
a very pleasant and gracious musical appearance and that
she knew how to win the audience s heart with her astound¬
ing, almost sculptural physique. He also added that her voice
lingers somewhere between contralto and mezzo-soprano with
a pleasant and soft sound where beautiful vocalization further
contribute to her virtuoso performance. One cannot but praise
her sophisticated and classy singing style, a reflection of the
education she had obtained from her instructors. [...]We should
be very frank and admit that Ternina s performance surprised
everyone. Despite all anxiety and stage freight she must have
suffered as a debutant, and all the manners thought at a con¬
servatory, one notices admirable stage movements entirely in
harmony with the general impression of her beautiful appear¬
ance.
[...]
A singer capable of keeping up with the victory she
celebrated on the day of her debut cannot but evoke the most
delightful hopes for the future.
Croatian ethnomusicologist, historian and composer
Franjo
Ksaver
Kuhač
(1834-1911)
remarked that alt timbre found in her
soprano has an unusual, soft-sounding quality adding that the
Ms Ternina s vocal range truly is remarkable in every aspect, her
voice very clear, smooth and perfectly trained; her performance
is distinct and self-assured with very correct singing. Thus, one
might conclude that she is naturally talented and at the same
time excellently educated. Her acting is refined, sensual and
well-balanced.
[...]
Personally, I find itvery brave on the behalf
of our young singer to perform for the first time in front of the
municipal audience singing a part that does not only require a
certain level of skill and confidence, but also routine. But yes,
just like a young eagle trying to fly for the first time, she was not
merely circling around her nest but, instead, flew over, directly
towards the sky.
At the very beginning of her career similar reviews followed
Ternina s subsequent performances in Zagreb. In September
1882
she sang
α
very demanding but very gratifying role of
Selika for three times and par excellence
parade-rôle
ofall
drama primadonas in
Меуегеег эЛ/псал
Woman, reporter for
the magazine Vienac wrote that apart from beautiful singing
she might entirely develop her beautiful dramatic gift and that
much older artists might be ashamed while looking Ms Ternina s
performance. In October
1882
in Zagreb
Milka
Ternina sang the
role of Leonora in The Troubadour twice.
Vojnović
then wrote:
She performed the main parts of her role beautifully. The audi¬
ence witnessed her assuredness, good taste and refinement in
Ms Ternina s talent for singing. All the coloraturas were mag¬
nificently performed and we heard some thrillers and scales
worthy of a true artist. As far as it concerns her acting, we
cannot but praise it. That kind of routine can only be found in
veritable artists.
Listening to brilliant coloraturas in the role of Selika, as
well as Leonora, one might have thought that
Milka
Ternina s
future belonged to that kind of repertoire. Yet, she considered
coloratura to be a kind of mechanization of the art of singing
where human spirit cannot find inspiration. She was attracted to
composers such as Beethoven, Mozart, Wagner and Verdi. She
was not even nineteen years old and she had a clear vision of a
great singing future ahead but with her modern expression she
already announced the intention to introduce novelties in the
opera interpretations and to make them more contemporary.
In May
1883
Milka
Ternina sang
Margareta
in Faust on two
occasions and once as
Aida. A
critique from Vienac noticed that
the young artist who has just graduated from the Vienna Con¬
servatory disposes of many qualities that guarantee that she
would soon grow into a true dramatic singer.
Vojnović
notices
that she has a remarkable understanding of music and an in¬
herent taste.
Various reviews of
Milka
Ternina s appearances on stage
clearly present the qualities manifested so early in her career. It
seems that critics tend to acclaim her acting. It aiso seems that
the reason for that had something to do with the fact that Terni¬
na had a much different approach from what was customary at
the time. And modernity found in her expression together with
completeness and sincerity of her interpretation were actually
a pledge of her future international success. The stage in Zagreb
was too small for
Milka
so she had decided to return to Vienna,
passed her last singing examination and, as the best graduat¬
ing student of the conservatory, received a golden medal and
her diploma. She also signed a contract with the Leipzig Opera.
Zagreb in
1885,
7S86 and
1887
As a singer with a certain international reputation, singing in
Leipzig and
Graz, Milka
Ternina came back to Zagreb in May
1885
and sang
Aida once
and
Valentina
from The Hugenots thrice.
The reporter from
Narodne novine
wrote: It is known to me that
our honorable guest has a pleasant and soft voice which might
not be especially strong but that she is also well-educated is a
complete discovery, and unfortunately that cannot be said for
many
prima
donas. Those characteristics are inherent to the
entire role. Passionate and dramatic but also elegiac moments
of the grand opera were successfully performed with a great tal¬
ent and skill. As for her role of
Valentina,
the critic wrote that she
has a soft and aristocratic timbre, perfect
Ansatz,
clear
intona·
tion,
and especially well-developed and refined
postamento
un¬
derlining that apart from all that, our young artist always knows
what she wants and she wants only what she can perform. In
November
1885
Ternina participated in a concert dedicated
to the renewal of the Cathedral heavily destroyed during the
earthquake of
1880.
The concert was a first-rate cultural event.
Prior to her professional engagement in
Graz, in
Zagreb
Ternina sang Leonora from The Troubadour twice in February
1886.
Vienac published a comprehensive review of her perfor¬
mance, among other things stating that her transitions from
middle to lower tones are entirely smooth and rounded
[...]
and
we have witnessed that she disposes of all qualities that are
prerequisite for an outstanding dramatic singer. As a guest of
the Zagreb opera scene Ternina also sang
Aida
and according
to Vienac, she used the occasion to justify standing ovations of
the Zagreb audience with her breathtaking acting and marve¬
lous singing.
From
Graz Milka
Ternina moved to Bremen. She returned
to Zagreb in May
1887
to sing Amelia in A Masked Ball on the
occasion of a concert for an institution called The Teachers
Institute. Among other things, Vienac noticed the following:
Apart from her artistic precision
[...]
Ms Ternina impressed us
with the amplitude and resonance of her voice, which is par¬
ticularly beautiful in its highest and middle pitch, and also with
her masterful acting.
[...]
Only such harmony of various qualities
can result in true artistic effects.
Small opera scene in Zagreb was not a stage for such an art¬
ist to fully develop and reach the place which rightfully belongs
to a diva from the Olympus of the opera art. Her professional
engagement in Bremen was merely a step forward on that path.
After Bremen, Ternina went to Munich and then the rest of the
world, travelling back and forth on the both sides of the Atlantic.
Zagreb in
1894
and
1898
Early in
1894
Milka
Ternina briefly visited Zagreb to give two
charity concerts at the Croatian Music Institute dedicated to
poverty-stricken girls from the music institute and for the un¬
fortunate blind. Milan
Grlović
(1852-1915),
a publicist and a
writer also active as a music critic, wrote in the
Narodne novine
magazine that there is an enormous difference between
Milka
Tmina
from the past and
Milka
Ternina today. We had used to
observe a flower and listen to the voices of individuality, which
used the greatest amount of energy to reach its goal looking for
the complete expression of its artistic talent and inspiration;
last night we observed and listened to the fruits of such artistic
metamorphosis: rounded, brought to perfection with the best
possible taste and refinement. Crystallization of such a strong
artistic individuality is unusually interesting and enlightening.
Her present appearance and understanding bear no trace of a
smallest hesitation and the nuances she is able to produce are
a work of a genius with the best performance one can possibly
imagine. There is no affectation and everything is so natural and
smooth! And her voice! Ms Ternina has not only succeeded in
smoothly performing all registers of her voice but she has given
them a new potential in terms of stamina and purity. Her so¬
prano encounters no obstacles in reaching the
С
pitch compris¬
ing at least two octaves. Higher pitches are especially powerful
and resonant and her pianissimo is sweet.
Ms Ternina is an eminent dramatic singer, which is apparent
in her impressive overall appearance, beautiful physique and all
other artistic qualities. In that genre she has achieved rare glory
and rare successes regardless of the competition, becoming a
true chamber singer at the time when others are just dreaming
about it.
Stjepan Miletić
(1868-1908),
a well-known Croatian actor,
became the director of the Croatian National Theatre in Feb¬
ruary
1894.
During the four seasons of his directorship Zagreb
successfully followed all European trends. In
1895
the theatre
company finally moved to a beautiful new building designed by
a renowned construction company from Vienna owned by the
architects Ferdinand Fellner
(1847-1916)
and Hermann
Helmer
(1849-1919).
Franz Joseph I of Austria
(1830-1916)
himself
opened the theatre on
14
October
1895.
One of the
Miletić s
pri¬
orities was to bring famous artists to Zagreb, especially Croa¬
tian singers with established career abroad. His most important
aspiration was to bring
Milka
Ternina and his wish came true in
March
1898.
Ternina accepted the invitation and performed eight
times in four different roles. She sang the role of Elisabeth from
Tannhäuseru
on three occasions, Leonora from The Troubadour
on two,
Aida on
one occasion and, which was the most precious
thing, she introduced Beethoven s
Fidelio
to the Croatian audi¬
ence for the first time. All of the eight performances were con¬
ducted by Nikola
Faller (1862-1938),
one of the best educated
Croatian conductors who was at the time the opera director
constantly encouraging the Croatian music and systematically
collecting the material for the repertoire. As she often did at
the beginning of her guest performances, Ternina introduced
her abilities with her supreme role of Elisabeth. One should not
revert to excessive explanation of what her appearance meant
and how acclaimed she was. Standing ovations, flower bou¬
quets thrown on the stage from the pit, boxes and the gallery of
the theatre, jubilant welcome speeches, songs, laurel wreaths,
and at the end, her gracious and warm thanks...
Musicus
wrote
about
Milka
Ternina s artistic performance in
Obzor
magazine the
following: artistic perfection. Her appearance, voice, mimics,
movement, singing, expression, pronunciation
-
simply eve¬
rything symbolizes the highest and the most perfect harmony.
Milka
Ternina reached the apex of her artistic career and
deserved the acclamations entirely. It is hard to say whether
anyone had ever been so welcomed in Zagreb and seen off with
so much love and respect. Has anyone had such a celebration
organized for them? And the celebration continued, sonnets and
poems were written about her, she received charters and even
one cascade got named after
Milka
Ternina at the
Plitvice
Lakes.
Milka
Ternina had no other professional performances in
Zagreb after that. She participated in the charity concert held
at the Zagreb s Cathedral on
15
April
1916
when she sang
Luigi
Cherubim s Aye Maria. Her catastrophic performance hit the
headlines. However, she accomplished what she intended: sig¬
nificant funds were raised for the Red Cross. She never gave up
on her humanitarianism!
Beginning of Ternina s career
in Leipzig
by
Zdenka
Weber
Season
1883/1884
Milka Ternina
signed her first professional contract as a singer
with the
Neues Leipziger Stadt-Theater
and had her debut on
17
July
1883
as Elisabeth from
Tannhäuser.
She had been an¬
nounced as Ms Ternina from Vienna and the very first critique
published in the
Leipziger Tageblatt und Anzeiger
already em¬
phasized her remarkable talent, solid education, pure intonation
and performance of Elisabeth well thought out. However, the
critic noted her extensive use of tremolos and a foreign accent
in her pronunciation stating that, being from Croatia, she should
work on a more distinct and clearer pronunciation. On the other
hand, the
Leipziger Nachrichten
pinpointed that although of
Croatian nationality, Ternina has a very good command of the
German language. It is, therefore, obvious from those com¬
ments that different critics had entirely different reactions to
the same performance.
in any case, with her first appearances in Leipzig Ternina
attracted a considerable attention and there were great expec¬
tations for her future. Her next role was
Elza
from Lohengrin,
which she sang for the first time on
15
August
1883.
For Ternina,
that was a completely new role and her debut received nega¬
tive critiques because of her acting and unconfident singing
suggesting that she still needed to invest more assiduity and
hard work. In Leipzig she had to take up several smaller parts;
she performed seven times as Mermaid from Weber s Oberon,
but merely because of the obligation resulting from the contract
signed with the opera house. One of the more important roles
was the one of
Noëmi
from The Maccabees (Die
Maccabäer)
by Anton Rubinstein. However, Terninina s interpretation was
not received well; most probably her singing was not in a good
condition so she performed the role only twice.
Ternina s Pamina in Mozart s Magic Flute performed on
5
De¬
cember
1883
also did not impress the Leipzig opera critics, and
although they suggested she needed to work more to improve
the role, she had never got a second chance; Ternina sang the
role in Leipzig just one more time. The next role Ternina got was
Gertrud,
a girl from a fishermen village, in the first performance
of Viktor Ernst Nessler s fairy-tale opera
Der Rattenfänger von
Hametn. Libretto based on folk stories and the overall folk musi¬
cal spirit delighted the Leipzig audience and the opera stayed
on the repertoire over a longer period of time giving a chance
to Ternina to sing the role five times. However, the critiques
were very unfavorable for
Milka
saying that her voice was not
confident enough, her high tones too sharp and that her sing¬
ing evoked more unpleasant than pleasant impressions. Ap¬
parently, Ternina s career in Leipzig went downhill so it came
by no surprise that she decided to terminate the contract in
February
1884
and leave. The termination of the collaboration
was obviously something that both parties wished for: a young
artist struggling to develop her career on the opera stage and
the management of the New Leipzig Municipal Theatre.
Graz
could not keep Ternina for long
by
Christa
Häller
On
29
April
1884,
Milka
Ternina began her career in the
Graz
Op¬
era as Leonore in The Troubadour by Verdi. She was announced
as a guest from Leipzig. The performance suffered from a bad
tenor, but the reviews were kind, though somewhat reserved:
Miss Ternina^s performance left a good impression. Her voice
sounds round and strong but for the highest notes and is well
trained. She looks beautiful on stage, but her performance has
not yet mastered all stages of expression. The critic advised
her to refrain from any exaggeration so as not to hamper the
development of her voice. Thus a freely streaming chest voice
would replace the now dominating head voice. Two years later,
she was
Senta in
her farewell performance. On this occasion,
the critic expressed moving words: We sincerely regret to inform
you that Miss Ternina will no longer be a member of our theatre.
In just two seasons, she conquered both the audience and crit¬
ics. Moreover, she studied a wide repertoire; from German light
opera to Italian passion and Wagner. Two men were crucial for
her work in that time: the opera manager
Bertalan
made her
perform completely different parts and increased her versatil¬
ity of voice and acting, while the conductor Karl Muck made a
celebrated Wagner heroine out of her.
7884
On 22May
1884,
the
Graz
opera staged Wagner s Lohengrin on
his birthday.
Milka
Ternina sang
Elsa,
her first part in a piece
by Wagner. In the autumn
ofthat
year she sang in her second
Wagner opera, Elisabeth in
Tannhäuser.
The conductor was
Karl Muck. After the premiere, the critics praised
Milka
Ternina
for her excellent performance as
Elsa.
From her humble begin¬
nings in
Graz, her
path led her to Lohengrin and
Senta in
The
Flying Dutchman, both performed at the
Graz
opera. Yet,
Milka
Ternina s repertoire was not limited to Wagner. In the autumn
of
1884,
she sang her first Mozart part very fetchingly; the role
of the First Lady in The Magic Flute. Shortly afterwards, she was
the Queen of Earthly Spirits in
Ruy
Blas
by
Filippo Marchetti.
One
critic wrote: It brought bad luck to several opera houses before.
Both of these operas had little success, but
Milka
Ternina got
good reviews. In November, she sang
Margarete in
Faust by Gou¬
nod in only two performances. In December,
Milka
Ternina was
allowed a benefit performance
-
a frequent method of increas¬
ing fees at the time. The performance was The Huguenots by
Meyerbeer. The critics were enthusiastic about Ternina s voice
and acting. At the, time she appealed to many, for one critic
wrote: She is worth cash. Lohengrin was performed on Christ¬
mas. The critics praised her voice, but were dissatisfied with her
acting. It was possible that they did not consider the fact that
singers were hardly supported by a stage director at the time.
7885
In February and March of
1885,
Ternina was Eva in Wagner s Die
Meistersinger.
Working with Karl Muck turned that part into a
milestone for her career. Yet in March, The Prophet by Meyer¬
beer nearly led to a catastrophe. The critics wrote about the
miserable conditions in our opera. At the premiere, even
Milka
Ternina looked insecure during the first act. In May, she sang the
Countess in Mozart s Figaro and
Agathe in
Weber s
Freischütz,
but the newspapers gave no reviews.
Milka
Ternina s next success followed in September, when
Muck conducted
Aida.
The critics wrote of a perfect perfor¬
mance in both voice and acting, yet, this opera was not per¬
formed again for the remainder of
Milka
Termna s stay in
Graz.
In the week following A/da, she was
Elsa in
Wagner s Lohengrin.
The review was enthusiastic: Her
Elsa
deserves unlimited praise
and unanimous respect. In September, she performed the dif¬
ficult part of Leonore in
Fidelio
and sang and played excellently.
in December, a concert benefit was arranged. Ternina chose
neither Wagner nor Verdi, but Donna Anna in Mozart s Don
Juan, sung in the German language. The critics praised her so¬
norous voice, excellent schooling and sensitive performance.
Despite this success, the opera was never played by Ternina
again. Three days later, on
11
November, her
Senta
was a huge
success. She was especially praised for her true understanding
of the poet-composer. On
6
December, she wrote a chapter in
the music history of
Graz.
She sang the part of soprano in the
Matthäus
Passion by Bach, then played in
Graz
for the first time.
7886
Come spring of
1885, Graz
City officials were dissatisfied with
the opera manager,
Bertalan.
He was accused of mediocre per¬
formances, anti-Semitic tendencies, monetary difficulties and
bad singers.
Bertalan
was dismissed, which also made Karl Muck
leave
Graz.
That may have been the reason why
Milka
accepted
an offer from the City of Bremen, in March, she once again sang
her best parts as Leonore,
Elsa
and Elisabeth. Her last pre¬
miere on
7
April was the
Trompeter von Säckingen
by the since
forgotten composer
Emil
Kaiser. The premiere was a disaster,
only
Milka
Ternina was praised. This disastrous production was
never again peformed.
Milka
Ternina had learned that part for a
single performance. She chose
Senta
for her last performance,
but the evening was a catastrophe: the singer of Daland had not
appeared, so the opera had to be performed without that role.
In her
Graz
years, Ternina sung no less than
18
opera parts
and the soprano part in the
Matthäus
Passion by Bach.
Graz
caused certain disappointments in Ternina s life, but many more
successes, thus paving her way to stardom.
Success in Germany
by Ivan
Mimik
Having been engaged for relatively short periods in Leipzig and
then
Graz,
Ternina signed a contract with the City Theatre in
Bremen. This meant a step forward for her very promising ca¬
reer. Her last appearance in
Graz
took place on
16
April,
1886
(Senta
in Wagner s
Fliegender Holländer),
and her first role in
Bremen was sung on
ι
September (Elisabeth in
Tannhäuser)
of
that same year. Ternina stayed in Bremen for four seasons and
appeared on stage at two theatres, mainly at the City Theatre
(Bremer Stadt-Theater, Staats-Theater),
but sometimes also at
the smaller
Tivoli
Theatre. In Bremen, Ternina kept herself busy.
On one occasion, having sung Leonora in
//
Trovatore,
she was
still able to sing Amelia in the last act of
Ballo in Maschera
-
that same evening,. This happened on
5
December
1889,
with
the celebrated baritone Francisco d Andrade as her partner.
Of course, the summer holidays were quite long: from May to
late August, and then the feature-rich seasons would begin. For
instance, during the
1886/1887
season, Ternina sang
41
times in
fifteen roles; in the folowing season the public had the opportu¬
nity to admire her talents on
56
occasions; in
1888/1889 58
times
and in the last season, that of
1889/1890,54
times in 2i roles.
In
1890,
the young artist s aunt Laura
Jurković
compiled a
list of the
44
roles her niece had learned: Wagner s Lohengrin
- Elsa, Ortrud; Holländer -
Senta;
Tannhäuser -
Elisabeth,
Venus;
Meistersinger -
Evchen;
Rheingold - Erda; Walküre -
Siegfried - Götterdämmerung - Brünnhilde; Tristan und Isolde
- Brangäne;
Verdi s
Maskenball -
Amelia;
Troubadour - Leonore;
Aida
-
Aida;
Mozart s
Figaros Hochzeit - Gräfin; Don Juan -
Donna Anna; Zauberflöte - Erste Dame;
Beethoven s
Fidelio
- Leonore;
Meyerbeer s
Hugenotten - Valentine; Robert der
Teufel - Alice; Afrikanerin -
Selica;
Prophet -
Bertha; Weber s
Oberon - Rezia; Freischütz - Agathe; Euryanthe -
Eglantine;
Drei Pintos -
Clarissa;
Spohr s Jessonda - Jessonda;
Bizet s
Car¬
men -
Micaela;
Joncières s
Johann von Lothringen - Helene;
Halévy s
Jüdin - Recha;
Lortzing s Undine
-
Bertaida;
Catarina
Cornam
-
Catarina;
Marschner s Helling
- Königin; Marchetti s
Ruy
Blas - Königin; Thomas
Mignon
-
Mignon;
Gounod s Faust
-
Gretchen;
Mendelssohn s Loreley
-
Finale,
-
Leonore; Donizetti s
Lucrezia
-
Lucrezia; Rubinstein s
Maccabäer
-
Noëmi;
(added
later) Nessler s
Rattenfänger - Gertrud;
Kaiser s
Trompeter -
Margarethe; Cornelius s
Cid
-
Chimene; Chabrier s Gwendoline
-
Gwendoline; Berlioz
Trojaner -
Dido;
Benvenuto
Cellini. This
list was afterwards continuously updated by Ternina.
The opera repertoire in Bremen, where Ternina sang, was
chiefly German and almost all of Wagner s operas were per¬
formed. Here she began singing the part of Isolde, which made
her famous later on in London and New York, but not in Munich,
where the opera management was far too concerned for the
safety of their
primadonna s
voice. Then came, in alphabetical
order: Beethoven s
Fidelio,
Lortzing s Undine, Marschner s Hans
Heiling, Mendelssohn-Bartholdy s Loreley, Mozart s Don Giovanni,
TheMagic Flute and The Marriage of Figaro, Spohr s Jessonda,
Weber s Oberon, Euryanthe and
Drei
Pintos.
The French compos-
ers
were also well represented by the likes of Berlioz
Benvenuto
Cellini, Bizet s Carmen
-
in which Ternina appeared as
Micaela,
Gounod s Faust,
Joncières John
of Lorraine, Meyerbeer s The Hu¬
guenots, Robert the Devil, LAfricaine,
Le
Prophete,
Tomas
Mignon,
whereas the Italian opera was represented merely by Verdi s
Aida,
II Trovatore
and
Un Ballo in Maschera.
Many of these operas have
since vanished from the stage altogether. Everything was sung in
German. Ternina sang the main female part in all of these operas,
sometimes even two
-
like
Elsa
and Ortrud. In Mozart s Magic
Flute, Ternina always sang the First Lady
-
only as a very young
artist she also played the role of Pamina, for instance in Leipzig.
Her acting abilities were tested by Ernst
von Possart
already in
Bremen, because he talked her into playing Astarte in Byron s
Manfred, a spoken piece. Her sense of humor was expressed with
the role of Prince Orlofski in the operetta Die
Fledermaus
by
Jo¬
hann
Strauss. Ternina also took part in a number of concerts, for
instance, singing the soprano part in Handel s Messiah.
It was Ternina who opened several operatic seasons in
Bremen, for example in the
1887/1888
season. Then, in June
1890,
she was invited to Munich. After these guest appearances,
Ternina received an invitation to become a permanent star in
Munich s cultural sky. The Bremen audience bid farewell to Terni¬
na on the last performance of
Les
Huguenots on
29
April
1890,
where she sang the part of Valentine
-
the same role with which
she made her Munich debut. While in Bremen, Ternina made a
number of good friends, with whom she remained in contact.
Munich recognizes Terninina s
exceptional talent
by Ivan Mirnik
It was in
1887
when the Munich actor and later stage director
and general manager of Munich Theatres Ernst
von Possart
came
to Bremen. Having witnessed several operas starring Ternina,
his enthusiasm could clearly be seen in Munich newspapers.
Possart arranged three operas to be sung by Ternina in July:
Valentine in
Les
Hugenots, Amelia in
Un Ballo in Maschera
and
Elisabeth in
Tannhäuser.
The success was unrivaled, one could
witness most flattering ovations, real storms of applause that
had not been heard in Munich for years. Everybody praised her
beautiful clear, strong and well-trained voice, her immaculate
breathing, her sophisticated and noble acting. All the critics
agreed: this artist ought to be brought to Munich as a permanent
member of the Royal Opera as soon as possible. Prince-Regent
Luitpold himself had the final say: ...thus her permanent en¬
gagement was not only immediately finalized, but also desired
and approved by the highest authority.
Music was performed at our home abundantly and very fre¬
quently. There was also a beautiful music hall. The opera s first
singers visited frequently. There was an exceptional
Wagnerian
singer,
a primadonna,
her name was Ternina, and my father
adored her above all measure. She sang during these music
evenings. This is a short fragment from the memoirs of Katia
Mann, nee Pringsheim. Still, one of the best written accounts
of
Milka
Ternina and her singing in Munich was written by the
music critic Baron Alfred
von Mensi-Klarbach (1923),
from which
this fragment stands out:
Milka
Ternina was not only a great,
perhaps the greatest, and certainly the most harmonious artist,
that belonged to the Munich Opera in the last
halfa
century,
but also an outstanding human being. She has looked into the
world with open eyes and has not been shattered by it, or lost
in it. The high moral seriousness innate to this stable personal¬
ity preserved her from this. We shall never see anybody like her
again!. Mensi-Klarbach s text, among other details, also gives
a description of Ternina s unique acting in the scene of
Brün-
nhilde s wakening in Siegfried.
Even as late as
1932,
one could read about Ternina in Mu¬
nich: The older citizens of Munich still remember this sublime,
noble figure with a benevolent, friendly smile, a deep clear look,
and a remarkable profile. In the nineties, she was doubtlessly
one of the most significant figures of the Munich Royal Opera,
an artist who could inflame two continents with
truefìre. A
pupil
of
Gänsbacher
while in Vienna, in both her singing and acting
career, she achieved something unreachable; something that
today s generations can hardly even imagine. In the great cul¬
tural centres of her time
-
Munich,
Bayreuth,
London and New
York
-
this artist enjoyed undiminishing enthusiasm from art¬
ists, critics and audiences. A medical condition forced her into
a much too early retirement. It would take far more than these
lines to describe her artistic career. Yet, we should at least try:
for instance the unforgettable impression of Elisabeth in
Tan¬
nhäuser
and Leonore in
Fidelio.
Apart from
Elsa
she also sang
Ortrud. Among her unique achievements were her
Senta in
The
Flying Dutchman, Briinnhilde and
Sieglinde,
Isolde and Kundry,
as well as the
primadonnas
of the Italian and French opera.
Both seriousness as well as loveliness and humor bestowed her
character equally. In the performances of Mozart s opera
Così
fan
tutte,
newly staged by Possart, she sang Fiordiligi, and in
Figaro the Countess, always entrancing the audience with en¬
thusiastic manifestations. What a powerful Donna Anna, and
what an Euryanthe and Valentine we had in her...
While Ternina was a permanent member of the opera, Mu¬
nich had two theatres
:
the lavish old baroque theatre in the Pal¬
ace, the
Residenztheater
and the big Royal and National Theatre
{Hof- und Nationaltheater);
the
Prinzregententheater was
built
later, when Ternina returned to Munich only as a guest. In Mu¬
nich, Ternina also appeared on the stage of the Royal
Odeon,
as well as at concerts of the Royal Academy. Many important
conductors either worked in Munich, or visited as guests: Her¬
mann
Levi,
Hugo
Röhr, Bernhard
Stavenhagen,
Franz
von
Fischer,
Max
von Erdmannsdörfer,
Felix
Motti,
Richard Strauss, Herman
Zumpe, and Felix Weingartner. Ternina s colleagues were also
among the most praised singers of the era, while stage design
and directing were also on an exceptionally high level.
In Munich, Ternina climbed the final step on the ladder of
her artistic ascent. The management was very careful not to
overstrain their new star: usually she sang six or seven times
a month, never day after day. She was rarely ill, and very few
performances had to be cancelled because of her indisposition.
She was considered come
un scoglio.
On the other hand, she
sometimes stepped in for her suddenly indisposed coleagues.
The General management also gladly approved her longer vaca¬
tions, so that the glory of the Munich Opera could also be spread
among the English and American audience.
When one studies the repertoire of Munich theatres at the
time, one should not forget that the Munich Royal Opera was
the citadel of German theatre. Many famous German operas
were performed here, as well as quite a few of newly composed
ones, which have fallen into oblivion since. Also, every piece
was sung in German.
The contract that bound Ternina to Munich expired on the
last day of June
1899.
Her last appearance was in
Fidelio
on
30
June
1899.
The critic Dilmann wrote: she surpassed herself. The
audience, aware that this was her last appearance, applauded
endlessly, even after the iron curtain had been lowered. From
that night onwards, Ternina came to Munich only as a guest.
During that same summer, she sang Kundry in
Bayreuth,
alter¬
nating in this role with Ellen Gulbranson. The last time Ternina
sang on stage was on
1
September
1906
at the Prince Regent
Theatre,
Sieglinde in
Siegfried. She withdrew from the scene
quietly, on the height of her powers.
Kundry in
Bayreuth
by
Marija
Barbieri,
Zdenka
Weber
Invited by Cosima Wagner, the composer s widow who after his
death took over the running of the famous festival dedicated to
Wagner s operas in
Bayreuth,
Milka
Ternina, at that time at the
height of her career in Munich, appeared as Kundry in Parsifal
in
Bayreuth in 1899.
This was one of Wagner s most cherished
works and it was only to be performed in
Bayreuth.
According
to the latest study of Ternina s letters kept at the
Nationalarchiv
und Forschungsstätte der Richard-Wagner-Stiftung Bayreuth,
the singer was in contact with the festival as early as
1892.
After
long preparations, Ternina sang Kundry five times in
1899
but
was never again invited to
Bayreuth,
it is not easy to understand
the reasons for this single appearance, but it may be that Co¬
sima liked the blond Croatian soprano
Blaženka
(Beatrix) Kernic
more than the dark-haired Ternina. Another reason may be that
Ternina s interpretation was too new and revolutionary for the
conservative Cosima. Be that as it may,
Milka
Ternina was the
first Kundry in the Metropolitan Opera House in New York, which
was the first performance of Parsifal outside
Bayreuth,
much
against Cosima s wishes.
The Covent Garden
applauded Ternina
by
Marija
Barbieri
7895
and
7898
Milka
Ternina set off to conquer the English audience in
1895.
Her first London concert was held in Queen s Hall on
25
April.
The English music critic Herman Klein
(1856-1934)
asserted
that Wagner s style was created by the composer himself and
his four leading conductors: Hermann
Levi, Hans
Richter,
Anton
Seidl
and Felix
Motti. Levi,
who had worked in
Bayreuth
from the
founding of the Festival in
1876
and was the main conductor in
Munich for
24
years, was the last of them to go to London; in
his
caseto
conduct a concert performance of Beethoven and
Wagner. Klein writes: On this occasion, he brought along with
him a young Croatian soprano, who had for several years been
a favourite at the Munich Court Opera and earned a consider¬
able reputation for playing Wagner heroines. Her name was
Milka
Ternina. Klein had not at that time been aware of the full
scope of Ternina s greatness. He praised her splendid voice and
called her a singer of remarkable intelligence. He expected her
to prove her worth on the stage and that was precisely what hap¬
pened in
1898,
in Covent Garden, when the famous Maurice
Grau
(1851-1907)
became manager, she sang Isolde, and Klein went
on to write in his book Great Women Singers of my Time: The
real genius of Ternina emerged in full glory; and I think that very
few of us present were prepared for a display of such effulgence.
[...]
The art of the new soprano
-
the extraordinary warmth of
her voice and the eloquence of her diction, combined with her
suppressed passion, intense, piercing yet reticent, that lay bare
the whole soul of the woman, yielded a novel and delightful ex¬
perience. Personally I could not help feeling that this was, of all
the great
Isoldas
I had ever heard, the most original in concep¬
tion, the most emotional and touching in its womanly qualities,
the strongest in psychological force. Subsequent performances
confirmed not only the truthfulness of my impression, but the
fact that those peculiar traits were the predominant factors in
each of Ternina s striking gallery of impersonations. In a word,
she was unlike any of her contemporaries, and yet equal to the
best of them in histrionic grandeur, whilst surpassing most of
them in sheer purity of musical charm. No matter what the type
of
rôle,
she proved a supreme artist.
The acknowledged
Wagnerian,
Irish writer George Moore
(1852-1933)
wrote: The house seemed to awaken slowly to the
fact that the spectacle of a perfect incarnation of Isolde was being
achieved.
After this came
Sieglinde in Die Walküre, Brünnhilde in
Siegfried,
Walküre
and
Götterdämmerung,
where she as the ex-Valkyrie, had
very few equals, acted and sang with genuine power and feeling,
keeping in reserve sufficient energy to cope with the enormous dif¬
ficulties of the final scene. Her ultimate triumph came with Leonore
in
Fidelio
where she exceeded even our most strict expectations.
[...]She sang with superb feeling and a degree of abandonment
that made her performance immensely impressive
...
79OO
-
7goe
Tosca
The year
1900
represented a milestone in the career of
Mil¬
ka
Ternina. She was at the peak of her fame and abilities, she
was worshipped and revered. In May she appeared at Covent
Garden. During her first appearance in London, the audience
chanted Ternina s name, while during the second, the entire
audience stood up to applaud her. London took to her and this
love survived long after she ended her career in
1906.
When in
1900,
Ternina came to Covent Garden for the second time, she
was perhaps the world s leading soprano. She came to London
not only as an artist whose skills when playing roles from Wag¬
ner s operas were unrivalled, but also as the first truly great
performer of Puccini s
Tosca. Tosca
had its first performance in
Rome on January
15
with the Romanian soprano Hariclea
Dardée
(1869-1939)
in the title role. It was then given at
La Scala
and
Buenos Aires, before coming to London. Maurice
Grau,
however,
believed in the strength of Ternina s performance and believed
that she would triumph in
Puccinľs
opera just as the famed
French tragedienne Sarah
Bernhardt (1844-1923)
won fame and
reputation in the play
Tosca
by
Victorien Sardou
(1831-1908).
Ternina came to London in May, and sang the roles of Elisa¬
beth,
Elsa,
Leonora and
Brünnhilde.
Each performance was
more successfull than the one before. She was the
Elsa
of our
dreams. The London News claimed that her
Brünnhilde in
Sieg¬
fried is certainly the best that England has ever seen. As for
Brünnhilde in Götterdämmerung,
the Sunday Times wrote:
Fräu¬
lein
Ternina was
...
simply glorious.
The Morning Advertiser was of the opinion that: Ternina has
something of a supernatural gift of compelling slavish admira¬
tion, she lifts one into the upper world of spirits and deities; she
lives above us. Her fascination is not material; it is spiritual,
and therefore triumphs. She became recognized asthe leading
interpreter of
Wagnerian
characters of the time. When it comes
to the vocal aspect of her interpretations, praise was just as
frequent. The Star pointed out in singing, her sense of beauty is,
in its way, as fastidious as Melba s
-
she cannot make an ugly
sound. The comparison with
Melba,
whose singing was consid¬
ered the apogee of vocal perfection, confirms that Ternina was
not only a magnificent artist, but also a superlative vocalist.
And then, after all those performances of Elisabeth,
Elsa,
Leonora,
Brünnhilde,
Sieglinde
and Ortrud, on
12
July
1900
came
Tosca,
or
La Tosca
as it was then called after the title
of the
Victorien Sardou s
play. It was conducted by the cel¬
ebrated
Luigi Mancinelli
(1848-1921);
the equally celebrated
Fernando
de
Lucia
(1860-1925)
sang Cavaradossi, while Scarpia
was played by Antonio
Scotti
(1866-1936),
perhaps the great¬
est interpreter of this character ever. Superlative artists came
together to launch Puccini s latest work into orbit. They put
all their efforts into convincing the ensemble, which at the
time considered Wagner the height of operatic art, that they
should approach Puccini with the same dedication. And they
succeeded in doing so.
Ternina appeared in the costumes that had been created
for her by the English painter Percy Anderson
(1850-1928).
She
was a three-dimensional artist. She was just as interested in
the visual and dramatic aspects of the role as in the vocal,
and in this sense she was entirely up to date. The performance
was received with uproarious enthusiasm. Ternina adored this
role and this interpretation brought her enormous success. She
dedicated herself to the part entirely, and, in her own words,
working on it took ten years off her life. Henry James instinc¬
tively felt this when he remarked that hearing her sing was a
devastating experience. In his book, Klein wrote: Ternina s mag¬
nificent
Tosca
was unique in its picturesque beauty, its dramatic
contrasts, its irresistible sweep of tragic intensity
f
rom
climax
to climax. No other
Tosca
has ever approached Ternina s, such
was Puccini s own verdict when I put the question to him the last
time he came to London. He was about the least demonstra¬
tive Italian I have ever came across, and his smiles were worth
treasuring. But his face was simply wreathed in them when, at
the end of the first performance of
Tosca,
he came before the
curtain with Ternina on one side and
Scotti
on the other amid
a veritable tempest of applause. Puccini was delighted indeed
with Ternina s
Tosca.
She marked his unstoppable inroads into
the operatic world. The year
7900
was a year of brilliant suc¬
cesses for Ternina at Covent Garden.
That same year, at the performance of Lohengrin at Cov¬
ent Garden, Ternina made the acquaintance of the famed Leo
Slezák
(1873-1946)
who was generally considered a model of
what Lohengrin should be. Neither of them had a good opinion
about the
Bayreuth
school of singing. The
Bayreuth
style was
based on pushing voices too hard, which resulted in many of
them breaking down.
Slezák
was delighted with Ternina and in
the book My Life Fairytale
(Mein Lebensmärchen),
he wrote:
My Elisabeth and my
Elsa
were the celebrated Ternina, a full-
blooded artist, who created wonderful, noble characters and
sang with a marvellous sonorous voice expressing the most no¬
ble accents. You felt genuine exilleration when standing on the
stage with such a woman as your partner. She bade farewell to
Covent Garden on
28
May
1906
with Elisabeth, which she loved
the most among all of her
65
parts. She sang
10
roles in Covent
Garden and appeared
56
times.
Ternina s partners at Covent Garden
While at Covent Garden, she sang with the greatest
Wagne¬
rian
singers of the time, most of whom had made a name for
themselves in the
Bayreuth
repertoire but regularly appeared
in
Wagnerian
roles at Covent Garden and the Metropolitan. Her
partners were well-known tenors such as Jean
de Reszke
and
Slezák,
as well asthe Belgian tenor Ernst van Dyck
(1861-1923),
who achieved fame as Lohengrin and Parsifal, and afterwards
became well-known as
Siegmund
and Siegfried, and the first
interpreter of Massenet s
Werther
at the first Viennese pro¬
duction of the work in
1892.
There were also the Czech tenor
Kar(e)l
Burian
(1870-1924),
and two German tenors: Andreas
Dippel
(1866-1932),
who made his debut in Bremen in
1887,
and
Ernst
Kraus (1867 - ?)
who possessed a fine voice and presence,
and was the leading tenor of the Berlin Opera for twenty seven
years. When Ternina sang
Sieglinde,
the
Brünnhilde was
sung
by the English mezzo-soprano Marie
Brema
(1856-1925)
or El-
len Gulbranson
from Sweden
(1863-1947),
who was one of the
central figures of the
Bayreuth
Festival in the period from
1896
to
1914.
When she herself sang
Brünnhilde, Sieglindewas
played by
one of the leading Wagnerians of all time, the German soprano
Johanna Gadsky
(1872-1932).
Gadsky also played
Elsa
when
Ternina sang Ortrud in Lohengrin. If Ternina sang
Elsa, Ortrud
was taken by Marie
Brema
or the famed American alto Louise
Homer
(1871-1947).
Brema
sang
Brangäneto her
Isolde. Fricka
and Erda were sung by the German artist Ernestine Schumann-
Heink
(1861 -1936),
the greatest contralto of Ternina s genera¬
tion. Fricka,
Brangäne,
Ortrud and Venus in
Tannhäuser
were
also sung by Olive Fremstad
(1871 -1951),
an American artist of
Swedish origin, who evolverd from a contralto into a mezzo-
soprano and then into a soprano, becoming one of the great¬
est
Brünnhildes
and Isoldes of her time. Wotan and Wanderer
in The Ring, Kurwenal in Tristan and Isolde, and Telramund in
Lohengrin were sung by the Dutch baritone Anton van Rooy
(1872-1932),
who after a successful concert career, at the ex¬
plicit request of Cosima Wagner, debuted as Wotan in
1897
in
Bayreuth,
and sang the role fifty times in nine Metropolitan
seasons. Rooy sang Amfortas with Ternina in the Metropolitan
production of Parsifal.
Ternina was conducted by the Austrian conductor Felix
Motti
(1856-1911),
who had studied with Anton Bruckner in Vienna
and was Wagner s assistant at the first
Bayreuth
Festival in
1876,
where he worked until
1902,
as well as by Hans
Richter
(1843-1916),
whom Wagner invited to Munich in
1871
to be di¬
rector of the choir and then, in
1876,
entrusted him with con¬
ducting Ring of the
Nibelung,
which marked the opening of the
1876
edition of the Festival.
Farewell to the stage
When Ternina was at the peak of her fame and one of the most
distinguished and valued artists of her time, the fate s blows be¬
gan. At the beginning of May
1902,
she caught a cold while on
holiday in Switzerland. The consequences that followed were
very unpleasant. Ternina s facial nerve (nervus facialis) began to
quiver, causing the left end of her lips to rise. She endeavoured to
find a cure. A physician in Munich gave her an injection of alcohol,
but shot the liquid into a vein instead of the nerve. The results
were dreadful
-
the left side of the face was left paralysed, and
her left eye practically jumped out of its socket. Still, with time,
the condition improved, and she was ready to go on with her
work. The audience in London gave her a delighted welcome in
Walküre.
The reviews were all in superlatives. She was consid¬
ered the greatest artist an audience could ever have the privilege
of viewing on an opera stage. It seemed that everything was just
as it had been before, but that was not the case. The quivering
of the nerve occasionally recurred, and then she would have to
bear in mind to to turn the right part of her face to the audience.
Naturally, she was musical enough not to be forced to depend on
the conductor, but she had to keep this limitation in mind during
the performance. However, this was not the worst of her trou¬
bles, for when the nerve started pulsing, she would lose control
of tone, and could no longer sound so brilliant and rounded.
Ternina was unable to accept not being brilliant, unique,
perfect
-
the very best. Reviews stated that after the illness her
voice still could not achieve its former glory and that some of the
tones were not what they had been but that in spite of alt she
is still the best actress that sings. She simply was not what she
had once been. She was not in command of each tone the same
way she had been before. She was, in her own words, still a fine
torso, but
stilljust
a torso that conveyed a ravaged image of
former beauty. She knew that each new performance would be
a new struggle to prove herself, and the pressure on her began
to grow. The time to make an ultimate decision had approached.
After she had sung her last performance on
28
May
1906
in Covent Garden, Ternina set off for Munich, the city of her
first triumph, where her world career had begun. On
14
August
1906
in Prinz-Regenten-Theater she sang Elisabeth, conducted
by Richard Strauss, on
19
August she sang
Sieglinde,
and on
ι
September
Sieglinde
again. That was the last performance of
the great
Katarina
Milka
Ternina.
Milka
Ternina s career lasted longer than those of most great
female artists
-
from April
1882
to August
1906 -
more than
24
years. She played
65
roles and sang in Croatian, German, French
and Italian. During the 1880s and 1890s, she made almost
60
appearances per year; during
1895,
over
70.
Throughout her
career, she made nearly
1200
appearances, including concerts.
She sang Verdi s Requiem and Bach s
Matthäuspassion,
as well
as charity events. So many performances in pieces with such
different traits and vocal demands are proof of not only her
immense talent, but also of her excellent control of the tech¬
nique of singing. This certainly deems her worthy of one s full
admiration. Considering she strived for perfection and was very
self-critical, she would have probably retired once she felt she
could not provide perfection anymore, even if her facial nerve
disorder had not befallen her. For example, Maria
Callas
re¬
mained on the scene for
23
years. As Katia
Ricciarelli
once put
it, truly unique artists; those who mark historical eras, work for
whichever duration of time it takes them to fulfill their mission.
Ternina did precisely that.
Ludwig Eisenberg was
certainly right
when he wrote in his Big Biographical
Lexikon
of the German
Stage in the 19th century: European and trans-Atlantic criticism
aggrandises her achievements with exquisitely culled words and
attempts to describe the exaltation of her form and gesture, the
fire that flames forth from the interior of her characters and
breaks through with sometimes passionate force, the mighty
tones, the enthusiastic temperament, the profound emotion, the
masterly voice training, the voice that spellbinds with its beauty
and her frequently fascinating acting. And yet these laudable
critical intentions are often nothing than mere attempts, for the
artistic personality of Ternina is hard to describe. The produc¬
tions of this distinguished singer are revelations of perfect art.
At the urging of her American friends, she taught voice at the
College of Music in New York and moved back to Zagreb for good
in
1913.
Her last appearance was at a charity concert in Zagreb
Cathedral, on
15
April
1916.
She sang Cherubini s
Ave Maria,
and
that was the last appearance of the great TERNINA.
She worked as an honorary professor at the Zagreb Music
Academy, and her vigilant eye saw to the growth of
Zinká Kunc,
a future diva of the Metropolitan. Ternina was an exceptionally
generous person, ready to help anyone in need. She acquired
great wealth and used it for charitable purposes. She enjoyed
helping students and even paid for them to eat in a Zagreb tav¬
ern under the condition that they did not find out who their
benefactor was.
Milka
Ternina died unexpectedly on
18
May 1941m Zagreb.
A major Croatian music prize is named after her. The power of
her dramatic expression was often compared to the greatest
tragediennes of the time
-
Eleonora Duse
(1859-1924)
and Sarah
Bernhardt,
while in terms of vocal beauty, she was among the
greatest singers of all times. Recalling her as a person and as
an artist, Hermann Klein wrote:
/
mei
Ternina frequently both
in New York and London. She was a woman of singular refine¬
ment and obvious superior education. Being intensely musical,
she was fond of discussing her art, but would carefully avoid
talking about her sister and brother artists or indulging in gos¬
sip connected with the operatic stage. She had profound ad¬
miration for the genius of Jean
de Reszke,
and much regretted
that he would never sing
Tannhäuser
to her Elisabeth; but he
could never be inducted to attack the
rôle.
At the same time, she
claimed that as Tristan the lover, he had never met his equal,
while as Siegfried, the singer he would never be surpassed. Let
me add that Ternina s Isolde and Bru nnhilde were endowed with
such greatness that she proved herself worthy to shine beside
him; and lucky was the generation that beheld the conjunction
of two such supreme artists.
Glory across the Atlantic
by
Zdenka
Weber
7896
The invitation to the United States of America in
1896
was a
logical result of her fame upon the successes she had had in
Munich and London and organizer s wish to present
Milka
to
the American cultural circles. This wish became a task taken
over by Walter Damrosch, American composer and conductor
of German origin and a great admirer of the
Wagnerian
mu¬
sic. He intensified the
Wagnerian
campaign in
1895
conquering
American concert stages and opera houses with a significant
success. The
Wagnerian
music soon got its audience and many
admirers all over the US, and especially on the East Cost. In
1896
Damrosch intended to excel the successes of his com¬
pany composed of singers such as Rosa
Sucher,
Marie
Brema
and Max Alvary by inviting dramatic soprano
Katharina Klafsky
from Hamburg,
Milka
Ternina from Munich, also as a dramatic
soprano, tenor
Wilhelm Gruening
from Hamburg and baritone
Demeter
Popovici from Prague.
The New York newspapers were reporting about
Milka
Terni¬
na s arrival to the States on
17
January
1896,
and to emphasize
the importance of that event, they wrote that she needed a
special approval from the Bavarian regent in order to leave the
Bavarian State Opera in Munich where she had been singing for
six years. It is interesting to note that the papers even mentioned
that
Milka
was
α
native of Croatia
(!).
After that, there was an
interview published in The Sun magazine where the journalist
described her as an attractive dark-skinned and brown-haired
woman with a beautiful face, tall and heroic enough to play
the
Wagnerian
heroines. On the occasion of her first arrival to
America Ternina spent three days with her auntie Laura in New
York and visited the Metropolitan, probably because she wanted
to see the most prominent American opera house where she
hoped to perform one day.
For the purposes of this overview, it was possible to sup¬
plement information and find critiques that followed Ternina s
performances in Boston, Albany, Philadelphia and New York.
Announced in the newspapers as the first harbinger of the Ger¬
man opera
Milka
Ternina had her American debut in Boston on
4
February
1896
singing at the Boston Theatre the role of
Brün-
nhilde in Die
Walküre.
The first critique after her performance
was published in The Boston Herald, and it was very positive:
Miss Ternina has a sweet and well educated voice, somewhat
lacking in power, but exquisite in quality wonderfully fluent and
capable of successfully expressing the entire gamut of the emo¬
tions. She sings with warmth and graceful ease, and with a
devotion to the canons of high art that cannot be sufficiently
praised. All newly-discovered critiques on Ternina s debut in
America focus attention on her exquisite vocal and acting ca¬
pabilities, stating that the arrival of this supreme
prima
donna
was a particular advantage for the Damrosch s company. On
6
February
1896
Ternina sang the role of
Brünnhilde in
Siegfried
and the Boston newspapers praised her beautiful appearance
and singing as well as her powerful acting skills and artistic ex¬
pression. Only a week later she appeared on stage in one of her
most favorite roles
-
Elisabeth from
Tannhäuse -
and received
immediate success: Fraeulein Ternina has proved herself the
reigning favorite of this German Opera season, and she was
the Elizabeth of the occasion. Headlines like
Milka
Ternina s
Triumph As Elisabeth published in the Boston Journal where
a prominent critic Philippe Hale welcomed her performance,
speak for themselves about the outstanding impression that
Milka s artistic creation left.
Although the role of Isolde had not been planned for Ternina
in Boston, due to
Katharina Klafsky s
illness she took over the
role in Tristan and Isolde on
15
February and, again, it was a
great success, it was a superb impersonalisation, dramatically
as well as vocally, and is entitled to rank as the best portrayal
of this most exacting role ever given here. All these quotations
show how remarkable and triumphant were these appearances
for Ternina in Boston where she was greeted with so many ap¬
praisals after every performance.
Another three articles from the Albany newspapers are pre¬
served and also affirm Ternina s success. She appeared as
Elsa in
Lohengrin on
18
February and her performance was described as
the very personification of high art. A very interesting interview
was published in the Albany Evening Journal in which she said:
/
speak not English very well!
Ternina also performed
Brünnhilde in Die Walküre
on 2i Feb¬
ruary in Philadelphia. After that some comparisons with
Kathari¬
na
Klafsky appeared because journalists wanted to inspire some
liveliness in the relations between the two Damrosch s
prima
donnas in order to attract the audience to see their performanc¬
es. In any case, Ternina s
Brünnhilde,
as opposed to Klafsky s
Isolde, received many more appraisals mostly related to their
different acting styles where Klafsky s style was described as full
of stage mannerism. Critics explicitly noted Terninina s qualities,
her top intelligence, refined acting and absolute singing author¬
ity. A new piece of information has been found concerning her
appearance on the concert with the Boston Symphonic Orches¬
tra held in Philadelphia on
24
February when she performed
the arias
Ozean, Du Ungeheuer
from Oberona and
Leise, leise
from
Der Freischütz,
an opera written by Carl Maria
von
Weber.
The Croatian State Archives in Zagreb kept critiques docu¬
menting Ternina s concert with the Boston Symphonic Orchestra
in Baltimore
26
February
1896.
Again, they wrote about her ex¬
quisite intelligence appraising her as a singer who excited the
audience the most among all other singers who had visited the
United States over the past ten years. However, all this occurred
before her arrival to New York, megalopolis where she was yet
to appear and justify all the appraisals.
Three final weeks of the Walter Damrosch s opera company
tour in America started upon their coming to New York early
in March
1896.
The newspapers once more started comparing
Katharina
Klafsky and
Milka
Ternina; this time our
prima
donna
received somewhat more negative criticism. Newspapers were
a bit ironical about Ternina describing her as Munich and Bos¬
ton s favorite! undermining the Boston appraisals since
Katha¬
rina
Klafsky corresponded with the ideal of Wagner s orthodox
admirers, whereas Ternina embodied all the characteristics the
other, more progressive group of Wagner s devotees demanded.
They performed together in Lohengrin on
4
March; Klafsky sang
Ortrud, and Ternina sang
Elsa.
Ternina s interpretation was ac¬
claimed and the way she portrayed
Elsa
was characterized as in¬
telligent and natural. However, Klafsky received a perfect whirl¬
wind of applause! It was very hard for Ternina to confront all
kinds of prejudices and her
Elsa was
commended in The World
magazine with a brief remark that her performance corresponds
more with the French and Italian than the German school. The
article emphasized refined beauty of her musical phrases, pure
diction and intonation and absolute elegance of vocal style or
the elements that Ternina introduced in the new interpretation
of Wagner and which made her magnificent, unique and remem¬
bered. On
7
March in New York Ternina sang the role of
Brün¬
nhilde
in Siegfried and everyone praised that particular creation.
Two days later she had another chance to show her Elisabeth in
Tannhäuser.
This was another opportunity to present the con¬
frontation between the old and the new school. The New York
critics were persistently rejecting Ternina as
a Wagnerian
singer
and continued mocking the Boston appraisals. As a matter of
fact, a pioneer role she had in the development process linked
to the
Wagnerian
style of interpretation was better understood
only later on when she started singing at the Metropolitan.
Second visit to New York
- 1898
The year of
1898
was a very successful one for
Milka
Ternina.
Since she was performing exclusively for the opera house in Mu¬
nich during
1897,
her appearances continued in
1898
as well but
d
uring
that year she also had two very
і
mportant guest concerts
at the Croatian National in Zagreb and the Royal Opera House
Covent Garden in London.
Maestro s
widow Cosima Wagner
heard her singing in London. She had taken over the direction of
the Ceremonial Games in
Bayreuth
after Wagner s death in
1883
and decided to invite Ternina to perform in
Bayreuth in 1899
as
Kundry in Parsifal. Ternina arrived for rehearsals in September
1898,
and had a very successful performances in
1899.
There¬
fore, the future was presenting itself in the brightest colors and
she needed to realize a new visit to the United States.
Ternina arrived to New York on
21
December
1898
on a ship.
During the entire trip across the Atlantic, Ternina suffered from
seasickness and was not able to leave her cabin. Rehearsals
for Tristan and Isolde started on
22
December but
Milka
had to
pause them on
24
December because of the pain in her limbs
and a severe fever. Her medical condition did not improve af¬
ter many unsuccessful medical interventions in New York and
Philadelphia. On
ι
February
1899
she was on the ship for Europe
without effectuating a single performance in America. Ternina s
biographer Mate
Grković
noted that that experience proved to
be very hard on her since it destroyed many high hopes she had
had for future. Nevertheless, she did not want to relinquish the
possibility of conquering New York with her artistic creations
and so, by the end of the season
1898/1899
Ternina sang her
farewell role at the State Opera in Munich. On the occasion she
sang Leonora from Beethoven s
Fidelio.
During the summer of
1899
she performed in
Bayreuth
after which she was gathering
her forces for the third journey to the United States and the first
appearance at the Metropolitan.
Season
1899/1900 -
first guest performance
at the Metropolitan
Ternina started the journey with her auntie on
15
October
1899
from Hamburg and Bremen via New York. Just like before, she
suffered the seasickness and upon her arrival to cold New York
in early November she was ill again and frightened that that time
she might face tragic consequences. Anyhow, she managed to
perform on
10
November in Cincinnati as
Elsa in
Lohengrin. Her
vocal abilities were still weakened and she noted in her diary
that it seemed to her that America was not her destiny. How¬
ever, her condition improved and on
24
November in Chicago as
Brünnhilde in Die Walküre
and then on
28
November as
Elsa in
Lohengrin Ternina achieved very good results with the audience
and no result with the newspapers, as she noted in her diary.
On
η
December Ternina sang Valentine from Meyerbeer s
The Hugenots at the Boston s theatre in the French language and
only two days later she sang
Senta in
The Flying Dutchman, it
is important to acknowledge Maurice
Grau,
the director of the
Metropolitan Opera and a person of refined artistic taste, for
the confidence he put in the artists working with him. Although
Milka Ternina
asked him in January
1900
to terminate their con¬
tract due to her poor health,
Grau was
not willing to accept the
proposal because his intention was to keep the promise he had
made to the New York audience concerning Ternina s appear¬
ance at the Metropolitan. Indeed, on
27
January Ternina sang
Elisabeth in
Tannhäuser - her
success was utmost. The New
York Times reported: Her voice is one of the most beautiful now
before the public-round, sweet and sympathetic in quality and
of sufficient carrying power. She uses it with admirable method.
The tones are well placed, are produced with almost perfect
attack and employed with the discretion of a true vocal artist.
Other critics were also thrilled with her performance and Ternina
was praised as an Elisabeth that New York had never heard.
It was really
Mme
Ternina s Triumph! After the first success at
the Met she sang Briinnhilde and
Sieglinde
and every time she
received appraisals as an opera singer with remarkable and in¬
telligent acting and rarely beautiful and refined vocal capacities.
It is today possible to trace Ternina s successful crea¬
tions of Leonora in Beethoven s
Fidelio
and
Brünnhilda in
Die
G tterdämmerung
owing to the newspaper articles that I have
received from the Metropolitan Opera Archives. The articles
stated that she was one of the most impressive interpreters of
tragic roles of our times. The New York audience remembered
Ternina as an exquisite opera artist who would remain in the
memory of all those who had witnessed her performances. After
four appearances in the role of the First Lady in Mozart s Die
Zauberfl
te, Milka
Ternina concluded her first guest visit to the
Metropolitan as Elisabeth in Pittsburgh on
17
April
1900.
Season
7900/7907 -
second performance
at the Metropolitan
The entire year
1900
proved to be very successful for Ternina:
she sang glamorous roles at the Covent Garden Opera in Lon¬
don and the Munich Opera Festival. In November she was on
vacation and getting ready for the next journey to the US. After
arriving to New York, as a Metropolitan Opera singer, Ternina
sang in New York but also in Philadelphia, Boston, Pittsburgh,
Cincinnati and Chicago. She had spent five months in the States
and on
26
April
1901
when appeared as Elisabeth in Chicago.
However, that season was marked by her undoubtedly most
important American premiere: Puccini s
Tosca.
Year
1901 -
Tosca
at the Metropolitan
The American premiere of Puccini s
Tosca
took place on
4
Feb¬
ruary
1901
and
Milka
Ternina was the first American
Tosca.
Gi¬
useppe Cremonini sang the role of Cavadarossi, Antonio
Scotti
was Scaprio and
Luigi Mancinelli
conducted the opera. Ternina,
Scotti
and Mancinelli had actually performed the same roles at
the London premiere, which was typical for the Maurice Grau s
direction; he was the director of both opera houses, the Covent
Garden and the Metropolitan. Although some critics disliked
Puccini s melodrama, Ternina received somewhat contradictory
critiques that were mainly favorable of her performance. On
5
February
1901
The New York Times wrote that Miss Ternina s
acting was almost great, and her singing was highly expressive.
She dressed the part beautifully and was a commanding figure.
Season
7907/7902 -
third guest visit to the Metropolitan
The list of
Milka
Ternina s roles suggests that she performed
at the Met from
23
December
1901
to
21
April
1902
as Isolde,
Sieglinde,
Brünnhilde, Tosca,
Elsa, The First Lady
and Elisabeth.
Her third guest visit was a successful continuation of her per¬
formances at the Metropolitan. It is surprising to learn that it is
nowadays impossible to find at the Croatian State Archives in
Zagreb or the Metropolitan Opera Archives any reviews from the
newspapers even though it is presumable that there were some.
There is only a report written by the Metropolitan s manager, W.
J. Henderson, who evaluated the performances as probably the
best ones in the world because they gathered artists such as
Mrs.
Lehmann,
Ternina,
Nordica,
Brema
and Schumann-Heink,
the Reszke brothers, Mr. Bisham and Mr. Van Rooy. And this
referred to all productions that the Met audience had the op¬
portunity to enjoy.
In the summer
1902
while she was resting in Engadin, Swit¬
zerland Ternina, experienced the first neuralgic pain on the left
side of her face and her nervus facialis, or the mimic nerve,
started trembling occasionally. Thus, she did not accept the
invitation to New York for the season
1902/1903
and decided
that she needed to rest and recover.
Season
1903/1904 -
the fourth guest visit
to the Metropolitan
By the end of
1902
Maurice
Grau
had to retire as the director of
the London Covent Garden Opera and the Metropolitan Opera
because of health problems and
Heinrich
Conried took over the
position. Ternina accepted Conried s invitation to return to the
Metropolitan and her first role for that season was
Tosca,
sched¬
uled for
2
December
1903.
She was greeted as Ternina
-
mag¬
nificent
-
Ternina and Ternina as
Tosca!
Many positive things
were said about her special talent, personality, temperament,
technique, intelligence, perfect acting and impeccable voice
but some also mentioned health problems because of which
she had to leave the Metropolitan during the previous season.
Enrico Caruso sang with Ternina for the first time as Cavaradossi,
and he was a singer whose time was yet to come. On
4
Decem¬
ber newly staged
Tannhäuser
opened and Ternina excelled as a
unique Elisabeth.
Agreat
connoisseur of Wagner s music, Felix
Motti,
was the conductor and the critics claimed that Ternina s
interpretation of Elisabeth was exceptionally successful.
Season
7903/7904 -
Parsifal at the Metropolitan
The season
1903/1904
was the last Ternina s season at the Met¬
ropolitan and surely, it was noted as a very special one. Name¬
ly, Wagner s musical drama Parsifal was performed outside of
Bayreuth
for the first time on
24
December
1903
at the famous
Metropolitan Opera. It was a world-class event, prepared over
a long period of time and followed by extensive international
media coverage. The world was well aware of the resistance
Wagner s widow Cosima expressed, who had even threatened
to file a lawsuit against any production outside
Bayreuth.
But
director
Heinrich Conried
was persistent and the Parsifal affair
filled the newspapers. There is a popular legend in Croatia that
Ternina acted as an intermediary in the theft of partitions and its
transfer to New York, which was never confirmed. Be as it may,
Milka
Ternina was the first Kundry outside of the German shrine
of the
Wagnerian
legacy in
Bayreuth.
Indeed, Ternina had her
experience from
Bayreuth
and she knew the part very well. So,
on the Christmas Eve of
1903
the first opening of Parsifal outside
of
Bayreuth
took place at the Metropolitan. The New York Times
wrote about the triumph on the Christmas Day, describing the
courage to put the opera on the new stage before the interna¬
tional audience as well as all necessary financial investments in
order to create the stage design in a very long article, as it was
appropriate for this unique event. One can find the following
critique on Ternina:
Mme Ternina s
Kundry is an impersonation
that has taken its place high in the annals of
Bayreuth.
As the
penitent servant of the
Gral
she is a figure of savage impulsive¬
ness, with an undertone of sullen desperation: as the seductive
instrument of Klingsor s magic, a vision of entrancing beauty
and alluring charm. But there is so much more than the outward
effect in the potency of her appeal that seems but the agency of
raising to a higher power the subtle and insinuating eloquence
thatshe imparts to hervoice, her gesture, and her action. Itwas
a performance of supreme beauty. In voice it was not the Ternina
of old, but though she lacked sometimes in sensuous beauty
of tone, there was that in her declamation and the sustained
phrasing that went far to atone for the quality of her voice. At
the Met Ternina performed as Kundry seven times and the sea¬
son
1903/1904
also included the roles of Elisabeth,
Elsa,
Isolde,
Leonora
(Fidelio), Brünnhilde
(Siegfried, Die
Götterdämmerung,
Die
Walküre)
and The First Lady in Die
Zauberflöte.
However,
although the audience expressed its lasting respect and excite¬
ment, not all of her performances at the Metropolitan were on
the level they were accustomed to. And Ternina was well aware
ofthat.
After her last performance of the season in Die
Götter¬
dämmerung,
on
24
April
1904,
she never returned to the stage
where she sang fourteen roles on one hundred and twenty four
occasions, reaching glory and recognition that still make her
one of the most successful opera singers who ever performed
at the Metropolitan Opera.
Milka
Ternina s heritage at
the Zagreb City Museum
by
Nada Premerl
The
Milka
Ternina collection at the Zagreb City Museum holds
about
250
objects.
The introduction to the publication dedicated to the col¬
lection mentions many prominent persons belonging to the
elite with whom Ternina associated, linking them with the ob¬
jects from her legacy now exposed at the Zagreb City Museum.
Several personalities are especially important: her friendship
with William Sturgis-Biigelow, professor Alfred Pringsheim and
princess Massimo
d Arsoli
with her gift
-
a buffalo s horn deco¬
rated with silver strings and a special dedication. Ternina used
the horn on stage as a prop for the role of
Sieglinde.
Another
particularly important object is the Diploma from the Bavarian
Prince Luitpold issued in Munich on
18
December
1890
appoint¬
ing
Milka
Ternina the Royal Chamber Singer.
Her luxurious costumes and sketches for costumes designed
by Percy Anderson, a British painter, are at the very center of the
exhibition. The costumes arrived to the Museum in
1925
after
the grand Cultural and Historical Zagreb City Exhibition held at
the Art Pavilion and the foyer of the Croatian National Theatre
on the occasion of the 1000th anniversary of the Croatian King¬
dom. In
1925
Milka
Ternina donated to the City of Zagreb the
four precious costumes
(Tosca
¡η
the first, second and third
act, Elisabeth in
Tannhäuser
and Isolde) she had been wearing
in London and the United States. On the occasion she gave an
interview to the
Hrvatska pozornica
magazine: ...my costumes...
make part of my personality, a piece of my art that stays with
me forever. Ternina understood the importance of costumes and
that was the reason why she hired Percy Andersona, who was
the best known, most experienced and most creative costume
designer at the time. Ternina used to underline that she had a
spiritual influence on painters and costume designers and that
they used their paintbrushes to follow her thoughts and beliefs.
The Zagreb City Museum collection also keeps thirty-two
Percy Anderson s aquarelle sketches for the singer s costumes
demonstrating the author s imagination and creativity. For the
premiere of
Tosca
in London, in collaboration with the costume
designer and contrary to Puccini s expectations,
Milka
Ternina
appeared in the second act in a black dress decorated with
turquoises and embroidery. Later on that dress became a role
model for other productions of
Tösca.
Memory flags and silver
laurel wreaths, programme booklets for particular productions,
canvass and leather-bound songbooks with golden imprints,
diplomas, stage props, medals, photographs and other mem¬
orabilia from
Milka
Ternina s life all make this collection very
unique and complete.
The Zagreb City Museum also holds the largest collection of
Milka
Ternina s original photos of her private life as well as of her
performances and most of them are signed by the diva. Ternina s
photographs were taken mostly in New York and Munich and
some of the older ones in
Zagreb, Graz
and Bremen.
The collection of historical photographs at the Zagreb City
Museum holds about one hundred and twenty original album
photos mostly collected after
Milka Ternina
passed away in
1941.
Aimé Dupont, as
the first official Metropolitan Opera photog¬
rapher, was the author of almost all photographs taken in New
York. Actors appreciated
Duponťs
work and that was probably
the reason why
Milka
Ternina always wore the costumes from the
London productions, which were afterwards also used for her
performances in the United States. As a photographer,
Dupont
specialized for theatre and his skillful photographs were taken
directly on stage or in his atelier, which was probably located at
the opera house. That might be the reason why
Milka
Ternina s
photographs were almost always taken in New York and never
in London.
Aimé Dupont,
originally a sculptor, started working as a
photographer in
1880.
He worked with his wife Etta Greer. The
couple moved to New York in the 1880s and became known for
taking opera singers portraits.
Dupont
died in
1903
and his wife
Etta took over the business for another two years after which
the Met signed a contract with Herman Mishkin
(1871 -1948).
Ternina s Munich photographs were taken at the famous El¬
vira State Atelier. Inside the well-known extravagant edifice with
a painted pink dragon on the front, one of the symbols of the
Jugend
style, Anita Augspurg
(1857 - 1943),
an actress and a
teacher, and Sophie
Goudstikker
opened the
Hof-
Atelier Elvira
studio in
1887.
Many famous artists, writers, actors and member
of the Bavarian royal family gather there and had their photo¬
graphs taken; they all became the regular clients of the atelier.
The original Enrico Caruso s photographs with the inscription
from
1903:
A Madame la
grande
Artiste
/
Milka
Ternina/
Très
sincèrement
/
Enrico Caruso that the great artist signed after
appearing in
Tosca
as Cavaradossi together with
Milka
Ternina
on
2
December
1903
have a special cultural, historic and mate¬
rial value for the collection. There are also photographs signed
by the famous conductor
Artur
Vigna
from the Metropolitan
Opera House, the inscription from
1901
signed by the famous
German soprano Lilli
Lehmann
who was also
Milka
Ternina s
teacher and a very important photograph of
Giacomo
Puccini
who noted after the premiere of
Tosca:
Alla Eletta artista
/
Si¬
gnorina
Ternina
La
Tosca
ideale di Londra /con animo grato e
grande ammirazione offre Giacomo
Puccini/ London
73
Luglio
900.
Puccini believed that
Ternina
is the best
Tosca
in the world.
Songbooks printed in Leipzig and Mainz in
1898
with Ternina s
comments on the margins, silk ribbons from the wreaths and
other memorabilia resuscitate the life of a diva who revolution-
alized the perception of the Wagner s characters as one of its
best interpreters but also as the first
Tosca
in London and New
York.
M
ilka Ternina s legacy at the
Požega
city museum
by Lidija
Ivančević Španiček
The
Požega
City Museum holds a very interesting and excep¬
tionally valuable collection of various objects that belonged
to the Croatian opera singer
Milka
Ternina. The first object of
this collection arrived in
1933
when Ternina sent it together
with a thank-you note for her seventieth birthday to the Cul¬
tural and Historic Museum. Ternina donated a portrait of her
uncle
Janko
Jurković,
a writer born in
Požega.
The portrait is
a work of the academic painter
Petar Orlić
who had spent his
high school years in
Požega. Dionizije
Smojvir donated other
objects to the Museum in
1985,
and
1992
subsequently. In
2010
Dr
Rajko
Grujić s
family from
Požega
made a gift to the Museum
donating glass object that had been given to them by the family
friend, Mr. Smojvir. Presently, the collection comprises about
thirty individual objects. Apart from the portrait of Mr.
Jurković,
there are two valuable paintings, oils on canvas, A Portrait of
Milka
Ternina by the academic painter
Josip
Restek
and do¬
nated in
1980
by the author, Landscape presenting
Donji
Sip,
Ternina s place of birth, painted by an unknown author and two
Pre-Raphaelite graphics also by an unknown author. The other
group comprises textile objects, curtains and parts of the cur¬
tain from a Buddhist temple from the 17th and the 19th centuries
and a Chinese silk scarf which Wiliam Bigelow Sturgis, one of the
most famous collectors of Japanese and Chinese artifacts, had
given to
Milka
Ternina. The collection also comprises an Oriental
table, a photograph of
Milka
Ternina with an inscription saying
To Adolf from his aunt
Milka
dating from
1920
and connecting
Ternina and Adolf Mladic, her cousin, who was the first director
of the Royal Maritime Academy in
Dubrovnik.
Other very inter¬
esting groups of objects are
Milka
Ternina s personal belongings
and fragments of her furniture: four chairs which were a gift
from the Bavarian king
Ludwig
II, a
suitcase, parts of the living
room curtain, a small purse for her prayer book,
Milka
Ternina s
visiting card with a leather cover, a monogrammed glass with
her initials, six art
déco
crystal plates, a glass jar with a floral
motif, a silver teapot, an ice container, silver samovar, a brass
candy dish and a luxurious flower dish with antique ornaments
and a sculpture of Goddess Athena in the form of a baptistery.
There are two very interesting framed photographs: one is
Milka
Ternina s portrait from the 1930s and on the other one we can
see
Milka
Ternina in her garden in Berchtesgaden in
1907
upon
her retirement.
Apartfrom
the collection of various objects, the
Požega
City Museum Collection keeps the photographs taken
in
1987
when the collection was analyzed along with the other
things Dionizije Smojvir gave to his friends. Before arriving to
the
Požega
City Museum, this segment of Ternina s legacy con-
stituted something like a private museum . The owner placed
the objects in an almost ambient interior where he, almost like
a curator, revealed parts of
Milka
Ternina s life to his friends. Be¬
fore leaving to the retirement home, Mr. Smojvir intended to find
the best possible place for his possessions where they would
be available for everyone to see. When we read
Milka
Ternina s
biography written in
1966
by Mate
Grković,
we might come to a
conclusion that she missed her mother and her home in
Požega
a lot. She probably decided to leave some of her dearest be¬
longings to her mother. In her honor
Milka
Ternina also erected
one of the most beautiful crypts with an allegoric sculpture of
a young girl mourning over the cross. With the same intention
the City of
Požega
together with the Croatian Ministry of Culture
every year tries to find funds for the restoration and preservation
of the collection at the
Požega
City Museum so that the future
generations can learn about our famous opera singer and wit¬
ness the presence of Croatian artists in the European centers
and to preserve the memory of the renown diva from
Požega.
The continuity of the perception
of
Milka
Ternina s artistic
personality and achievements
by
Antun Petrušić
Mate
Grković
quotes the only relevant biography published
thus far under the title
Milka Trnina
in
1966.
The author was
Ternina s personal friend with an insight in her private life and
he states that any written traces abut the artist s life were
missing as well as sound recordings of her great creations.
The author further reports on the exhibition prepared by
Nada Premerl
from the Zagreb City Museum in
2006
at the
Covent Garden Opera House on the occasion of the loo*
anniversary of
Milka
Ternina s last appearance at the eminent
opera house when there was also a concert held by the opera
singers from Zagreb, members of the Zagreb Opera Studio.
A memory plate with
Milka
Ternina s name was put in place
the same year at the
Plitvice
Lakes and a concert held also
by the members of the Zagreb Opera Studio. The continuity
of celebrating
Milka
Ternina s artistic persona and her
accomplishments is furthermore supported through a special
award given by the Croatian Association of Musical Artists
bearing her name. The award is given to artists ever since
1958,
and the contribution from
Antun Petrušić
also contains
a list of all winners
ofthat
most honorable Croatian award.
The Association of
Milka
Ternina s Admirers
-
On the
honorary task of affirming
Milka
Ternina s name and eminence
by
Zdenka
Weber
The author gives a very detailed description of the activities
that the Association of
Milka
Ternina s Admirers has undertaken
since
28
October
2003,
the year it was founded. Over the past
ten years the Association has organized many events for young
singers, mainly students studying solo singing at the Academy
of Music in Zagreb. The Association takes care of
Milka
Ternina s
grave at the Mirogoj cemetery in Zagreb putting flowers and
candles for every year marking the day of her birth and death.
The Association also organizes excursions to the
Plitvice
Lakes
every year in May, arranges flower wreaths next to her waterfall
and organizes concerts with the members of the Zagreb Op¬
era Studio. Among the members of the Association there are
also representatives of Ternina s native
village-Vezišće,
which
gives the Association an opportunity
tojóin
the traditional Uune
Meetings held there. There is a plan to build the
Milka
Ternina
Cultural in
Donji
Sip, but the preparations have not seen any
progress until this date. The Association also holds its annual
assemblies. The first president of the Association and its initia¬
tor was maestro
Antun Petrušić,
and the acting president is the
author of this text. One of the Association s important initiatives
was the support to this monograph and it is important to un¬
derline that most authors inside this book are actually members
of the Association.
ŽIVOTOPISI AUTORA
Manja
Barbieri
(Split,
1939.).
glazbena publicistkinja i operna kritičarka, završila
je Klasičnu gimnaziju u Splitu i diplomirala germanistiku, engles¬
ki i talijanski na Filozofskom fakultetu u Zagrebu. Glazbu je učila
privatno. Od
1964.
radila je u redakciji ozbiljne glazbe Radio
Zagreba, danas Hrvatskoga radija. Autorica je ciklusa Operni
solisti, U svijetu opere, Operna večer i Život glazbe
s
opernom
tematikom, povremeno
s
temom Književnost i opera, kao i prve
kontaktne emisije ozbiljne glazbe na Hrvatskome radiju Nedjel¬
jom u operi. Vodi Izravne operne prijenose EBU (Europske radi-
jske unije) i iz
Metropolitana.
Dobitnica je triju prvih nagrada
na natjecanjima za najbolju glazbenu emisiju nekadašnje JRT
(Jugoslavenske radiotelevizije)
1972., 1975.
i
1976.
i Nagrade
Radio Zagreba
1979.
godine. Za HRT je pripremila i vodila
cikluse Hrvatsko operno stvaralaštvo i Hrvatski operni pjevači
te portrete hrvatskih opernih umjetnika. Pokrenula je i vodila
snimanja nekoliko hrvatskih opera i arija u izvedbi hrvatskih
opernih umjetnika. Urednica je ¡(li) autorica teksta nosača zvuka
niza hrvatskih opernih pjevača i Simfonijskog orkestra Hrvatske
radiotelevizije
- 8
desetljeća. Za CD Dunja Vejzović u Zagrebu
dobila je
2003.
diskografsku nagradu Porin. Stalna je surad¬
nica u Leksikografskom zavodu „Miroslav Krleža (Hrvatski bio¬
grafski leksikon i Hrvatska enciklopedija). Piše za
online
novine
(kultura i izvedbene umjetnosti)
klasika.hr
i za
wam,
Cantus i
Hrvatsko gtumište. Autorica je ¡(li) koautorica nekoliko mono¬
grafija: Hrvatski operni pjevači
1846. - 7978.,
Josip Gostič, Do¬
kumenta. Dunja Vejzović,
Lisinsk¡3O
-
Palača za novo stoljeće,
Milka
Ternina
and the
Royal
Opera
House,
Josip Rijavec, Mireila
Toić, Bugarski pjevači na hrvatskim opernim scenama od
7920.
do
2006.
i Slovenski umjetnici na hrvatskim pozornicama, kao
i niza separata
za Arti musices
Hrvatskog muzikološkog društva,
programskih knjižica za HNK Zagreb i HNK Ivana pt. Zajca u Ri¬
jeci, ciklusa
SFUMATO
HRT-a, izdanja
Koncertne
dvorane Vatro-
slava Lisinskog u Zagrebu, ciklusa Metropolitan u Lisinskom, te
sarajevskog SVEM-a. Članica je Hrvatskog novinarskog društva,
Hrvatskog društva skladatelja i Hrvatskog muzikološkog društva.
Christa Höller
Rođena je u austrijskom gradu
Styria
1932.
godine kao kći učitelja.
Njezini su roditelji bili zaljubljenici u glazbu; otac je svirao gla¬
sovir i orgulje, a majka violinu.
S podukom
iz sviranja glasovira
započela je već u četvrtoj godini života
paje
kao djevojčica
počela pjevati u crkvenom zboru. Nakon mature pohađala je
nastavu iz psihologije i engleskog jezika na Sveučilištu u
Grazu,
gdje je doktorirala na području humanističkih znanosti. Tijekom
studiranja je uzimala dodatne satove iz pjevanja kod
Friederike
Rischanek te položila dva ispita iz opernog pjevanja pri Zajed¬
nici glumaca i pjevača. Nakon studiranja radila je kao psiholog.
Godineig82. ponuđen joj je novinarski posao u dnevnim novima
Tagespost
(izlaze u
Grazu), za
koje je pisala glazbene prikaze
koncerata. Ubrzo je pisala za nekoliko novina i časopisa u Au¬
striji, Sloveniji, Njemačkoj i Engleskoj, uglavnom
0
glazbi, operi i
baletu. Neki od časopisa za koje je radila su: The London
Danc¬
ing
Times,
Orpheus
Berlin,
Balletjournal/Das Tanzarchiv
i The
Austrian Music
Journal
Vienna.
Christa Höller je
objavila četiri
knjige iz područja povijesti kulture. Također drži predavanja
0
glazbi i glazbenicima u Austriji i šire. Živi u
Grazu.
Lidija Ivančević Španiček
Rođena je
1961.
godine u obitelji Josipa i Marije Ivančević u Pože¬
gi, gdje je završila osnovno i srednjoškolsko obrazovanje. Nakon
završenog interdisciplinarnog studija na
ALU i
Filozofskom fa¬
kultetu
/
povijest umjetnosti u Zagrebu radila je kao profesor li¬
kovne kulture u OŠ u Rudama kraj Samobora. Na radnom mjestu
kustosa u tadašnjem Muzeju Požeške kotline danas Gradskom
muzeju Požega, zaposlena je od ig86.godine. Položovši stručni
ispit za kustosa, stekla je radom u struci zvanje višeg kustosa,
a zatim i muzejskog savjetnika. Tijekom svog rada u muzeju su¬
radnica je različitih institucija, ustanova i pojedinaca (Gradu
Požegi, Konzervatorskom odjelu za zaštitu kulturnih dobara:
Stara svilana, Ljekarna u Požegi, HRZ u Zagrebu, Institutu za
povijest umjetnosti, Požeškoj biskupiji, Povijesnom arhivu u Po¬
žegi, Gradskoj knjižnici i čitaonici u Požegi, Gradskom kazalištu,
osnovnim i srednjim školama,) radeći na evidentiranju, istraži¬
vanju, obradi, prikupljanju i zaštiti pokretne muzejske i druge
pokretne i nepokretne kulturne zaštite Požege i požeškog kraja.
Najznačajnije teme tijekom stručnog rada bile su Gustav Poša,
ostavština
Milke
Trnine u Požegi, staklo i staklane Požeške župa¬
nije, slikar
Jozo Janda,
kiparica i slikarica
Greta
Turković, Zlatno
doba razglednica Požege, te
Ignác Berger,
slikar Požeške bisku¬
pije. Osim stručnog muzejskog rada osnutkom Požeške biskupije
1997·
godine obavila je ispis umjetnina iz Zagrebačke biskupije u
Požešku biskupiju, te radila na inventarizaciji muzejskih predme¬
ta Dijecezanskog muzeja u Velikoj i Požegi. Bila je povjerenik za
zaštitu spomenika kulture, tajnica Povjerenstva za kulturnu ba¬
štinu Požeške biskupiju, članica različitih stručnih prosudbenih
komisija. Kao povjesničar umjetnosti i tehnički crtač sudjelovala
je u istraživanju arheološkog lokaliteta Rudina, te bila jedna od
autorica stručnog teksta fotomonografije „Rudina . Dobitnica
je donacije Zagrebačke banke (digitalni fotoaparat i prve javne
skulpture sv. Josipa u Požegi iz
19.
st Franjevačkog samostana
u Požegi). Predlagateljica je restauracija od izuzetnog značaja
koje je HRZ iz Zagreba uzeo u vlastiti program (freska Miroslava
Kraljevića, kaljeva peć iz
18.
st. iz dvorca u Trenkovu.slike vrat¬
nica isusovačke ljekarne iz iS.stoljeća), radila je na vrijednim
muzejskim otkupima koje je grad Požega otkupljivao i dona¬
cijama koje su darovali građani. Suautorica je triju muzejskih
stalnih postava, radila je na evakuaciji muzejskih predmeta u
vrijeme Domovinskog rata i njenom spašavanju nakon potresa
1995·
g· Autorica je koncepcije budućeg stalnog postava
/
pov.
umjetnosti i kulturna povijest/
(2005./ 2006.)
koji je prihva¬
ćen od Hrvatskog muzejskog vijeća. U Gradskom muzeju radi
već
27
godina gdje je do
2013.
godine bila autorica više od
100
izložbi, te suautorica
50
komplesnih izložbi. Godišnju nagradu
kao javno priznanje Grada Požege za doprinose u kulturi dobila
je
2000.
godine.
Ivan
Mimik
(Zagreb,
1942.)
maturirao je u Zagrebu na I. gimnaziji te diplomi¬
rao arheologiju na Filozofskom fakultetu u Zagrebu
1969.
godine.
Od
1970.
do
1973.
radio je kao arheolog-konzervator Republičkog
zavoda za zaštitu spomenika kulture u Zagrebu. Od
1973.
radio je
na Odjelu za numizmatiku Arheološkog muzeja u Zagrebu. Magi¬
strirao je Bibliotekarstvo, dokumentaciju, informacijske znanosti
i muzeologiju
1974.
godine
s
temom Tradicija numizmatičkog
istraživanja u Hrvatskoj. Kao student boravio je u Mađarskoj,
na Arheološkom institutu Sveučilišta u Londonu i u Britanskom
muzeju. Godine
1978.
promaknut je u zvanje višeg kustosa. Iste
je godine stekao stupanj doktora filozofije (povijesnih znanosti)
na Arheološkom institutu Sveučilišta u Londonu
s
doktorskom
disertacijom
Coin Hoards in Yugoslavia,
dio koje
je
1981.
objav¬
ljen u
Oxfordu.
I dalje napreduje u struci:
1979.
izabran je u
zvanje znanstvenog suradnika,
1982.
imenovanje za muzejskog
savjetnika,
1984.
stječe zvanje znanstvenog savjetnika. Od
20η.
godine je u mirovini. Surađivao je u arheološkim iskopavanjima
i istraživanjima u Hrvatskoj (Kaptol kod Požege, Jamina Sredi
na Cresu, Vela Grota na Lošinju, Danilo Gornje kod Šibenika,
Dioklecijanova palača u Splitu, Otok kod Vinkovaca, Štikada kod
Otočca, Gornje Čelo na Koločepu) i inozemstvu (Vindonissa u
Švicarskoj, Berbourgu Luksemburgu). Godine
1983.
predavao je
kolegij ¡z barbarsko-keltske numizmatike na Sveučilištu Saarlan-
da u
Saarbrückens
a
2002.
u okviru poslijediplomskog studija
povijesti kolegij iz pomoćnih povijesnih znanosti (numizmati¬
ka) pri Filozofskom fakultetu u Zagrebu. Sudjelovao je u nizu
znanstvenih skupova u Hrvatskoj i u inozemstvu. Autor je više
od
400
znanstvenih i stručnih radova
s
različitom tematikom
(arheologija, numizmatika, povijest, spomenička zaštita i si.),
od toga tri knjige objavljene u inozemstvu i dvije u Hrvatskoj, te
66
novinskih članaka. Uređivao je Vjesnik Arheološkoga muzeja
u Zagrebu
(1980.-2011.),
kao i neka druga muzejska izdanja.
Antun Petrušić
(Zagreb,
1935.).
Nakon završene Klasične gimnazije diplomirao
je
1961.
dirigiranje na Muzičkoj akademiji u Zagrebu u razredu
Slávka
Zlatica. Još kao student bio je
korepetítor
Baleta Hrvat¬
skog narodnog kazališta u Zagrebu, dirigent Zbora „Ivan
Goran
Kovačić i suradnik redakcije ozbiljne glazbe Radio Zagreba. Od
1962.
do
1989.
godine dirigent je Opere Hrvatskog narodnog
kazališta u Osijeku. Ostvario je raznolik repertoar od osamde¬
setak opera stranih I domaćih skladatelja. Posebno treba ista¬
knuti
25
djela hrvatskih skladatelja, od kojih više praizvedbi (D.
Savin Scherzo,
В.
Bjelinski Močvara i Zvona, B. Papandopulo
Kentervilski duh.) i prvi izvedbu prerađene Jadranske duologije
Jakova Gotovca (Stanac i Dalmaro). Apsolutni rekord opernog
dirigiranja je Ero
s
onoga svijeta Jakova Gotovca, opera kojom je
Antun Petrušić ravnao
132
puta! Od
1989.
najprije je zborovođa,
a zatim i dirigent Opere Hrvatskog narodnog kazališta u Zagrebu,
a od
1990.
najprije docent, zatim izvanredni i redovni profesor
Muzičke akademije u Zagrebu. Umirovljen je
2003.
godine na¬
kon
46
godina priznatog radnog staža. Antun Petrušić bavio se
i opernom režijom, povremeno skladanjem, preveo je više od
30
opernih libreta
s
talijanskog, njemačkog, engleskog i ruskog
jezika, a bavio se i muzikološkim istraživanjima, naročito života
i stvaranja hrvatskih skladatelja
(Dora
Pejačević, Mirko Kolarić,
Franjo Krežma i
dr.).
Još kao srednjoškolac osnovao je i deset
godina vodio jedinstveni ansambl Opera u sobi, da bi prema
tom uzoru
1992.
godine utemeljio Zagrebački operni studio,
s
mladim pjevačima na počecima njihovih profesionalnih karijera
s
kojima je održao više od
420
predstava, koncerata i prigodnih
priredbi. Antun Petrušić gostovao je kao dirigent u svim oper¬
nim kućama u bivšoj Jugoslaviji, kao i u Mađarskoj, Rumunjskoj,
Italiji, Austriji, Češkoj i SAD-u. Dobitnik je Nagrade
„Milka
Tmina
1974·
godine i Nagrade Hrvatskog narodnog kazališta u Osijeku
1978.
godine. Član je stručnih društava i udruga te Hrvatskog
europskog pokreta, a od
1996.
i Američkog biografskog instituta.
Bio je među utemeljiteljima Udruge poklonika
Milke
Trnine
2003.
godine i njezin prvi predsjednik u dva mandata.
Ivana Posavec Krivec
Ivana Posavec Krivec rođena je u Zagrebu
17.
rujna
1975.
godine,
kao i svi Križani pohađala je osnovnu školu
Milke
Trnine u Križu.
Završivši
VII.
gimnaziju u Zagrebu, upisuje smjer povijest-geo-
grafija na Filozofskom i Prirodoslovno matematičkom fakulte¬
tu Sveučilišta u Zagrebu. Završava akademsko obrazovanje na
temu „Otok Ivanich u sistemu Vojne krajine i stiče naziv profe¬
sor povijesti i geografije. Već kao apsolventica počela je raditi,
prvo u osnovnoj školi u Križu, zatim u
XII
gimnaziji u Zagrebu a
2000.
godine u Ministarstvu vanjskih poslova. Na parlamentar¬
nim izborima
2004.,
te kao
29.
godišnjakinja postaje saborska
zastupnica
2005.
godine. Kao članica Odbora za ravnopravnost
spolova počinje pratiti teme žena. Sve aktivnija Ivana posvećuje
se i na lokalnoj sceni u Križu kroz niz udruga, rad sa mladima, te
stvarajući nove kulturne i turističke proizvode. Od
2006.
godine
je i predsjednica Turističke zajednice općine Križ, a
2007.
oku¬
plja istomišljenice i osniva udrugu za afirmaciju žena i ženskog
poduzetništva „Ženske Ruke .
Ivanina profesionalna karijera isprepliće se sa političkom,
makon Ministarstvo vanjskih poslova i europskih integracija
odlazi na mandat saborske zastupnice, a
2007.
vraća se u Mi¬
nistarstvo vanjskih poslova i preuzima brigu
0
hrvatskim manji¬
nama i iseljeništvu. Kao profesionalni diplomat postaje tajnik
međuvladinog odbora za pitanje manjina između Hrvatske i
Mađarske. Uspješna i u tom poslu, profesionalno napreduje.
Preuzima brigu oko provedbe programa učenja hrvatskogjezika
za naše mlade iseljenike, Croaticum na Filozofskom fakultetu.
U Ministarstvu vanjskih poslova ostaje do najvećeg političkog
izazova
-
neposrednih izbora
2009.
godine kada postaje prva
žena, načelnica Općine Križ.
Na nacionalnim izborima za Hrvatski sabor
20η.
godine po¬
novno postaje zastupnica. U Saboru obnaša dužnost članice
Odbora za zaštitu okoliša i prirode, Odbora za obitelj, mlade i
šport te Odbora za Hrvate izvan Hrvatske.
2012.
godine odlukom
Ministra Uprave imenovana je u promatračko izaslanstvo Repu¬
blike Hrvatske u Skupštini europskih regija u
Bruxellesu.
Ivana
Posavec Krivec sa suprugom i dvoje djece živi u Križu.
Nada Premerl
(Otočac,
1939.)
diplomirala je na Filozofskom fakultetu
Sveučilišta u Zagrebu povijest umjetnosti i njemački jezik
(1963.).
Cijeli radni vijek radila je u Muzeju grada Zagreba. U zvanje višeg
kustosa imenovana je
1978.,
a u zvanje muzejskog savjetnika
1987.
Istražuje teme iz kulturno-povijesnog života Zagreba, te
urbanističke i graditeljske povijesti grada. Obradila je, inven-
tarizirala i katalogizirala više od
6000
muzejskih predmeta iz
fundusa MGZ, priredila
25
autorskih izložbi i sudjelovala na više
od
30
izložbi kao koautor i suradnik. Autorica je muzeološke
koncepcije i većeg dijela scenarija stalnog postava MGZ, rea¬
liziranog u razdoblju od
1992.
do
1998.,
uz koji je kao autorica
napisala Vod/č po Muzeju (Zagreb, MGZ,
2000.)
na hrvatskom
i engleskom jeziku. Autorica je muzeološke koncepcije i reali¬
zacije postava Stan arhitekta Viktora Kovačića,
Massarykova
27
i istoimenog kataloga-monografije na hrvatskom i engleskom
jeziku. U nizu autorskih izložbi i kataloga ističu se projekti: Satovi
zagrebačkih urara
18. 119.
st. (Zagreb, MGZ,
1965.),
Zagrebački
Grič, još jedna žrtva bezumnog rata (Zagreb, Beč,
1991.),
Potok
u srcu Zagreba
-
potok Medveščak od izvora do ušća
(2005),
i
katalog
-
monografija pod istim naslovom (Zagreb, MGZ,
2005.)
na hrvatskom i engleskom jeziku. Autorica je koncepcije izložbe
Milka
Ternina and
Royal
Opera
House,
postavljene u Covent
Gardenu
2006.,
i urednica istoimenog kataloga
Milka
Ternina
and
Royal
Opera
House
na engleskom i hrvatskom jeziku (Za¬
greb, MGZ,
2006.)
Autorica je koncepcije izložbe Ljerke Njerš
Hommage
Milki
Trnini (raku keramika i glinotisci) u Muzeju grada
Zagreba
2001.
te izložbe Ljerke Njerš
Hommage
Milki Ternini
(glinotisci i monotipije) u veleposlanstvu Republike Hrvatske u
Londonu
2006.
Nada Premerl objavila je više od
70
stručnih i
znanstvenih tekstova u katalozima, vodičima, časopisima i zbor¬
nicima te preko stotinu jedinica za leksikon Zagreb u izdanju
Leksikografskog zavoda Miroslav Krleža
(2006).
Autorica je
brojnih muzejskih kataloga i urednica nekoliko knjiga. Koau-
toricaje knjige Priče iz staroga Zagreba (Zagreb, GZH,
1990.)
Odlikovana je Redom Danice hrvatske
s
likom Marka Marulića
(1996).
Dobitnica je Nagrade Grada Zagreba za životno djelo
(2004.)
i Nagrade HMD Pavao
Ritter
Vitezović za životno djelo
(2005.).
Zdenka
Weber
(Varaždin,
1950.)
završila je Gimnaziju i Srednju muzičku školu
(glavni predmet klavir) u Varaždinu. Na Filozofskom fakulte¬
tu Sveučilišta u Zagrebu diplomirala je njemački jezik
(1972.)
i engleski jezik i književnost
(1974.),
a na Muzičkoj akademiji
muzikologiju
(1975.).
Kao stipendistica francuske Vlade stu¬
dirala je na Sveučilištu
Sorbonne
u Parizu gdje je doktorirala
muzikologiju i povijest glazbe
(1985.)
na temu Recepcija glaz¬
be Claudea
Debussyja u
Hrvatskoj (objavljeno kao knjiga pod
naslovom Impresionizam u hrvatskoj glazbi, Matica hrvatska,
1995.).
Studirala je i uz stipendiju austrijske Vlade na Sveučilištu
u Beču
O975./76.).
Za svoj postdoktorski studij dobila je stipen¬
diju
Deutscher akademischer Austauschdienst
paje
studirala
na
Slobodnom sveučilištu i na Tehničkom sveučilištu u Berlinu
(1986.
i
1989.).
Obavljala je niz odgovornih poslova i dužnosti:
od
1974.
godine radila je u Muzikološkom zavodu Muzičke akade¬
mije u Zagrebu; od
1985.
do
1990
predavala je Povijest glazbe u
Zagrebu i u Osijeku; od
1992.
bila je osobna referentica glavnog
muzičkog direktora Deutsche
Oper
Berlin; predavala je Povijest
glazbe na Visokoj školi za glazbu
Hanns Eisler
u Berlinu; od
1997·
bila je
konzulica
za kulturu u Generalnom konzulatu, a
od
1999.
u Veleposlanstvu Republike Hrvatske u Berlinu; od
2002.
bila je savjetnica, potom od
2010.
ministar savjetnik u
Ministarstvu vanjskih i europskih poslova Republike Hrvatske;
od
2О12.
je ministar-savjetnik za kulturu u Veleposlanstvu RH u
Beču. Kao glazbena kritičarka i publicistkinja javlja se od
1972.
u
gotovo svim hrvatskim dnevnim novinama, kulturnim tjednicima,
na radiju i televiziji. Od
1974.
objavljuje muzikološke znanstvene
i stručne radove, urednica je nekoliko muzikoloških zbornika.
Izbor iz svojeg opusa
s
više od
3000
jedinica objavila je kao
knjigu pod naslovom U zagrljaju glazbe (TIVA Tiskara, Varaždin,
2012.).
Sudjelovala je na znanstvenim skupovima u Hrvatskoj,
Sloveniji, Bosni i Hercegovini, Austriji, Danskoj, Francuskoj, Italiji,
Njemačkoj, Poljskoj, Španjolskoj, Izraelu i dr. Dobitnica je niza
nagrada i odlikovanja, među kojima se ističu Hrvatski pleter
(1999-). Red Danice hrvatske
s
likom Marka Marulića
(2000.),
Broš kraljice
Luise
Zaklade
Otto von
Bismarck
(2000.),
Chevalier
des Arts et des Lettres
Ministarstva kulture Francuske Republike
(2004.)
i Nagrada Grada Varaždina za
2012.
godinu. Članica je
Hrvatskog društva skladatelja, Hrvatskog muzikološkog društva,
Hrvatskog novinarskog društva i Udruge poklonika
Milke
Trnine,
čija je trenutno predsjednica.
SADRŽAJ
б
Uvodnici
8
Riječ urednice
9
Milka
Tmina u zavičajnom zrcalu
Ivana Posavec Krivec
20
Najvažniji trenuci iz životopisa
Milke
Tmine
24
Milka
Trnina u Zagrebu
Marija
Barbieri
42
Počeci međunarodne karijere u Leipzigu
Zdenka
Weber
48
Graz je Terninu
kratko zadržao
Christa
Holier
54
Uspjeh u Njemačkoj
Ivan
Mimik
68
München je
prepoznao Ternininu veličinu
Ivan
Mimik
100
Kundry
u
Bayreuthu
Marija
Barbieri,
Zdenka
Weber
104
Covent Garden
slavio
je Terninu
Marija
Barbieri
116
Slava preko Atlantika
Zdenka
Weber
144 192
Ostavština Mitke Tmine Popis uloga
u Muzeju Grada Zagreba
Milke
Tmine
Nada
Pre
meri
162
Milka Ternina
Predmeti iz ostavštine
Milke
Temine Alfred
von Mensl·Klarbach
u Gradskom muzeju Požega
Lidija Ivančević Španiček
198
170
Velike tradicije kod
Milke
Trnine
/i/o
Raić
Kontinuitet percepcije umjetničke ličnosti
i dometa
Milke
Trnine
Antun Petruštć
174
200
Summaries
Udruga poklonika
Milke
Trnine
-
na časnoj
J
ρ
zadaći afirmiranja njezina imena i slave
Zdenka
weber
Životopisi autora
178
Kronološki popis svih nastupa
Milke
Trnine
|
| any_adam_object | 1 |
| author_GND | (DE-588)1043975713 (DE-588)1029628386 |
| building | Verbundindex |
| bvnumber | BV041409300 |
| ctrlnum | (OCoLC)864588367 (DE-599)BVBBV041409300 |
| format | Book |
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| id | DE-604.BV041409300 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T00:56:06Z |
| institution | BVB |
| isbn | 9789539637147 |
| language | Croatian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-026856632 |
| oclc_num | 864588367 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 218 S. zahlr. Ill. |
| publishDate | 2013 |
| publishDateSearch | 2013 |
| publishDateSort | 2013 |
| publisher | Općina Križ |
| record_format | marc |
| spelling | Milka Trnina [urednica Zdenka Weber. Autori tekstova Marija Barbieri ...] Križ Općina Križ 2013 218 S. zahlr. Ill. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache Ternina, Milka 1863-1941 (DE-588)124532500 gnd rswk-swf Ternina, Milka 1863-1941 (DE-588)124532500 p DE-604 Weber, Zdenka 1950- Sonstige (DE-588)1043975713 oth Barbieri, Marija 1939- Sonstige (DE-588)1029628386 oth Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026856632&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026856632&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Milka Trnina Ternina, Milka 1863-1941 (DE-588)124532500 gnd |
| subject_GND | (DE-588)124532500 |
| title | Milka Trnina |
| title_auth | Milka Trnina |
| title_exact_search | Milka Trnina |
| title_full | Milka Trnina [urednica Zdenka Weber. Autori tekstova Marija Barbieri ...] |
| title_fullStr | Milka Trnina [urednica Zdenka Weber. Autori tekstova Marija Barbieri ...] |
| title_full_unstemmed | Milka Trnina [urednica Zdenka Weber. Autori tekstova Marija Barbieri ...] |
| title_short | Milka Trnina |
| title_sort | milka trnina |
| topic | Ternina, Milka 1863-1941 (DE-588)124532500 gnd |
| topic_facet | Ternina, Milka 1863-1941 |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026856632&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026856632&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT weberzdenka milkatrnina AT barbierimarija milkatrnina |