Helena Forti (April 25, 1884 – May 11, 1942) was a dramatic soprano active 1906 – 1924, closely associated with the Dresden royal court opera, known for her beauty, voice and strong stage presence. She sang all Wagner's opera heroines,Neue Zeitschrift für Musik, 1924 Jg91, p. 658 in Dresden, Bayreuth and internationally. Other repertoire included the title role in Verdi's Aida, Santuzza in Mascagni's Cavalleria and contemporary works such as Marietta in Korngold's Die tote Stadt. She created the role of Myrtocle in d'Albert's Die toten Augen.Neue Zeitschrift für Musik 1924 Jg91, s. 658 Her Sieglinde in Die Walküre in Braunschweig was described by the Neue Zeitschrift für Musik1915 Jg. 82 as "Equally endowed with youth, beauty and vocal means... (Forti) immerses herself so intensely in her role that one believes the transformation of the virgin-Goddess into a human form." After retiring from the stage she taught voice and acting in Gera, Düsseldorf and Vienna. She died in Vienna, where she lived with her stage director and Intendant husband, Walter Bruno Iltz.
Family Helene Minna Antonie Therese Fiedler was born in Berlin, on April 25, 1884.Landesarchiv Berlin; Berlin, Deutschland; Personenstandsregister Geburtsregister; Laufendenummer: 188 An alternative birth date is 25 April 1886.This is doubtful, since the 1884 date is confirmed by a birth certificateBühnenjahrbuch 1943 Forti was "a true stage child"Neue Zeitschrift für Musik, 1924 Jg91 p.658 to theater-parents. Her father Anton Johann Fiedler, born August 29, 1838, "so called Forti",Adreßbuch für Dresden und Vororte Bandzählung1887|according to the Dresden Address book of 1887 was an operatic tenorLandesarchiv Sachsen-Anhalt; Magdeburg, Deutschland; Film Number: 1190634, his first marriage to a Laura Fricke lists him as an operatic tenor in Düsseldorf.Deutsches bühnen-jahrbuch ; theatergeschichtliches jahr- und adressenbuch .v.22 1911, p.233|Minna Hänsel, married to the former tenor and currently painter Anton Forti. in Düsseldorf who retired from singing and by the 1880s was an "academic painter" who ran a shop renting out paintings and etchings Anton Forti died February 14, 1920.Stadtarchiv der Landeshauptstadt Dresden; Dresden, Deutschland; Städtisches Friedhofs-und Bestattungswesen-Krematorium Tolkewitz und Urnenhain; Einäscherungsbücher Dresden 1911–1952; Repositurnummer: 9.1.24; Laufende Nummer der Registerbandes: 1920Adreßbuch für Dresden und Vororte Bandzählung1920 "Forti" appears to have been the family's stage name, and her last name in the personnel file at the Dresden court theater was like her father's, "Fiedler, so-called Forti".Ministerium des Königlichen Hauses Archivaliensignatur, Loc. 44 Nr. 49, years 1915 – 1917
Her mother was the Dresden-Residenztheater actresscast list from Residenztheater and operetta singer, page 183 Minna Amalie Forti-Hänsel (before 1853 – 1925). Minna Hänsel was "one of the best soubrettes ever", according to the Die deutsche Schaubühne,Die deutsche Schaubühne, Organ für theater und literatur. Jahrg.10 (1869) and played in the "second theater" in Dresden in 1869. After the loss of Gottfried Semper's "first court opera" due to fire, her theater closed as well (it was deemed a fire hazard: the loss of Semper's court-theater prompted reevaluation in all theaters). Minna Hänsel moved to Berlin.Not in the scope of this article, yet a demonstration of her mother's fame: The Pall mall budget, v.4 1870, reports of Minna Hänsel's creation of an "amazons corps" which was treated with derision. "That spirited lady had actually already gathered fifty-three young heroines under her banners, all ready and eager for the fray...Yet before proceeding further it was considered wise to inquire at head-quarters in what portion of the army these female volunteers would be considered most desirable. A letter was therefore addressed to General~Governor Von Falckenstein, whose answer, somewhat delayed, arrived a few days ago. He declines with many thanks the patriotic offer of their guarding the coast...Miss Hansel, however, "considering the rapid and victorious progress of the war," thinks that the delay in the general's answer has frustrated her plans, and has accordingly disbanded her corps." This was reported widely, including Kladderadatsch v.22–23 yr.1869–70, and in the Deutsche Schaubühne, 1869 and in Ellen C. Clayton, Female Warriors, Tisnley Brothers, 1879 Semper would go on to rebuild the theater to its current form, where Minna Hänsel's daughter would sing for many years. Hänsel sang the title role in Offenbach's Helena at the Imperial German Court Theater (Kaiserlich-Deutsches Hoftheater) in St. Petersburg, in 1874, becoming a well-known soubrette who sang in Chemnitz, Görlitz, Hannover, Stuttgart (summer theater in Berg), Stettin and in Dresden,Neue Zeitschrift für Musik1911 Jg. 78 p.635|Forti and her mother's career later a fine comic character-actress.Dresdner neueste Nachrichten , 23.04.1903, p.2| positive review of Minna Hänsel's comic talent. By 1872 the Residenz theater in Dresden was built in the Zirkusstrasse,The large building seated more than 1100 people, played operettas and lighter plays. By 1934 it was converted to a storage space, and was destroyed in 1945 and Hänsel became one of its main artists.
The family's apartment in Dresden was in Zeughausstrasse 2, adjacent to the Synagogue (also designed by Gottfried Semper, the court opera architect). The Jewish local community had its offices in this building as well.Dresden historic address books, 1900–1925) Apart from participation in a 1916 concert in the synagogue,Neue Zeitschrift für Musik, 83. jg, 1916, p.55 it is not known if Forti had any specific connection to the Jewish community or if she was Jewish – later, in 1933, her husband would be accused by the Nazi party of having a Jewish wife.| p. 49
Life
Already at age five, Helena appeared in children's roles at the Residenztheater in Dresden. Her professional stage debut was as an actress, at the Dessau court theater, at age sixteen in Goethe's The Brother and Sister (Die Geschwister).Forti as actress in Dessau v.13 1902, Listing: 'Dessau' In Dessau she played the "Naive and Sentimental" "Fach".Deutsche Bühnen Jahrbuch, 1943 She also worked at the theater in Colberg.Deutsches bühnen-jahrbuch v.14 1903.Listing: 'Colberg'
In 1903 she studied singing with the Dresden baritone Karl Scheidemantel,Vrbka Tomáš, Státni opera Praha: opera 1888–2003 : historie divadla v obrazech a datech, 2004, 597 pages. p.111 who would become opera director in Dresden in 1920, in her final years there; Further studies were with Teresa Emmerich in Berlin.Musical courier,a weekly journal devoted to music and the music trades, 1908| Forti as student of Teresa Emmerich in Berlin (advertisement of Emmerich) p. 14 Forti's stage Debut as a soprano operatic singer came in 1906, as Valentine in Giacomo Meyerbeer's Les Huguenots at the Hoftheater Dessau, Debut 1906 in Dessau where she was a member of the soloist ensemble, staying till 1907.Deutsches bühnen-jahrbuch,v.18 1907|HF listed under 'Dessau' Numerous national and international performances followed, at the Royal opera in Stuttgart in 1907, 1908–09 at the Brno Theater,Deutsches Bühnen Jahrbuch, v.19, 1908 and 1910–11 in Angelo Neumann's Deutsches Theater in Prague. There she learned her first dramatic roles, and sang contemporary pieces such as Deltnar's Carmelita,which was cancelled after the first performance. The papers were full of general director Neumann, the composer, and the "Temperamentvolle Diva (='Diva full of personality') Helena Forti". and Felix Weingartner's "Orestea Trilogie".Bühne und Welt: 1909, v. 11, P.830 She sang as a guest in the Court Opera in Berlin (Valentine in Meyerbeer's Huguenots) in 1908,Guide musical; Revue internationale de la musique et de theâtres lyriques, Vol. 60|Review of Valentine in Huegenottes (with Siems, Vogelstrom, Staegemann) in the theaters of Bremen and Braunschweig,Bühne und Welt, v. 2;v. 11, 1909 in Vienna (as Elisabeth in Tannhäuser) in 1910 and 1913, and at the Munich Wagner-Festival (in 1911). Her last performance in Prague was Leonora in Fidelio, Alexander von Zemlinsky conducted.Deutsche Arbeit, v. 11,Ausgaben 1–6, 1911| comments on Forti's positive development as a singer, and regrets her departure.
Dresden 1911–1925
The reigning Wagner prima-donnas of the court theater of Dresden were Therese Malten and her successor Marie Wittich.Calico, Joy, Staging Scandal with Salome and Elektra, Stars of Dresden and Bayreuth, they made way for a new, dramatically oriented singer like Annie Krull, Strauss's choice for Diemuth (in Feuersnot) and the title role of Elektra. Yet Krull failed to achieve Wittich's star-status and left Dresden for Mannheim in 1911.p.287 Forti had first appeared in Dresden during the Esperanto Congress in 1908,La Bela mondo. 1908–1909, Dresden. p.12-14 in Esperanto, no publisher given and in September 1911 sang Sieglinde in Die Walküre as a guest at the Royal court opera. She was then hired as Krull's replacement in the soloist ensemble, and started her contract in Dresden on October 14, 1911. letter of October 13, 1911 The music director, Ernst von Schuch, writing to Strauss, described Forti as "A Brunnhilde presence, with a big voice". Yet this very "Brunnhilde look" was a problem for Strauss, who warned against casting Forti as Salome, her being too "giant". Strauss, later writing to the Dresden conductor Hermann Ludwig Kutzschbach, suggester her as the Composer in Ariadne (she later sang the title role), and was happy to accept her as Herodias in Salome (1916).Richard Strauss und die Sächsische Staatskapelle: Tagungsband, Georg Olms, 2019, , p.615 Forti's first role in Dresden was Elisabeth in Tannhäuser on October 25, 1911,Neue Zeitschrift für Musik, 1911 v. 78, p.635 With Elisabeth, Forti earned a "noticeable success which should be decisive for her being further cast in Wagner roles. She brings not only the vocal size, but also the necessary pathos of expression."Die Musik, vl. 12, XLVI, 1912–1913 p.299 and she remained in Dresden till 1925, her last performance that of Adriano in Wagners Rienzi.
Forti sang the title roles of Aida, FidelioDie Musik 11Jg, 1Q, v.41, 1911–1912, p.441 and Carmen,Bühne und Welt, p. 137 vol 16 part 2, 1914 Marina in Boris Godunov,Neue Zeitschrift für Musik, 1923 Jg90 Santuzza in Cavalleria,Die Musik 11Jg, 2Q, V.42, 1911–1912, p.425 Antonia in Contes d'Hoffmann, Rachel in La Juive,Neue Zeitschrift für Musik, 1917,p.84 Leonore im Il Trovatore, Amelia in Ballo in Maschera and even Pamina in Die Zauberflöte, but mainly she was the Wagner-singer of Dresden: Senta in Der fliegende HolländerDie Musik, 11Jg, 1Q, Bd.41, 1911–1912 |Senta in Dresden p.354 Ortrud in Lohengrin,Die Musik, 14Jg, 1Q, Bd.53, 1914–1915 s.254 |Ortrud in Dresden Isolde in Tristan und Isolde,Watt, Charles E., 1861–1933 Music news Sieglinde in Die Walküre,Neue Zeitschrift für Musik, 1911 Jg. 78p.635 and all other Wagner heroines, Elsa, Eva, Brünnhilde, Fricka, etc. Forti sang more contemporary pieces as well, the title role of Ariadne auf Naxos, Minneleide in Pfitzner's Die Rose vom Liebesgarten; most notably she created the role of Myrtocle in d'Albert's opera Die toten Augen in 1916.