![[Opera] Chaliapin, Feodor. (1873–1938) Signed Photograph to Maria Jeritza](http://www.schubertiademusic.com/cdn/shop/files/Chaliapin_SP_to_Jeritz_12412.jpg?v=1722188334)
[Opera] Chaliapin, Feodor. (1873–1938). Signed Photograph to Maria Jeritza. Original Mishkin photograph of the great Russian basso “widely considered the greatest singing actor of his day" (Grove), signed "Feodor Chaliapin" and inscribed in white ink to the prominent Moravian soprano [Maria] Jeritza: "À Chère et charmante Mme Jeritza souvenir amicale de son admirateur. Brava, Bravissima mia bella artista!!!" Waist-length, with arms crossed. Dated New York, 1922. Ca. 277 x 176 mm. From the Mishkin studio, copyright 1913. Very slightly worn and stained, overall fine.
Maria Jeritza was one of the greatest sopranos of her generation, celebrated for her singing as well as for her acting, which included acrobatic elements. World famous composers wrote roles specifically with her in mind. For Richard Strauss, she created Ariadne (both versions, 1912 and 1916) and the Empress in Die Frau ohne Schatten (1919). Puccini wrote Turandot for her; she performed it, but she did not create the role. Other roles in which Jeritza excelled were Salome and Jenůfa. She gave her debut at the Metropolitan Opera in New York in 1921 as Marietta in Korngold's Die tote Stadt and appeared on the Met's stage no fewer than 290 times in 20 roles.
Maria Jeritza was one of the greatest sopranos of her generation, celebrated for her singing as well as for her acting, which included acrobatic elements. World famous composers wrote roles specifically with her in mind. For Richard Strauss, she created Ariadne (both versions, 1912 and 1916) and the Empress in Die Frau ohne Schatten (1919). Puccini wrote Turandot for her; she performed it, but she did not create the role. Other roles in which Jeritza excelled were Salome and Jenůfa. She gave her debut at the Metropolitan Opera in New York in 1921 as Marietta in Korngold's Die tote Stadt and appeared on the Met's stage no fewer than 290 times in 20 roles.
[Opera] Chaliapin, Feodor. (1873–1938). Signed Photograph to Maria Jeritza. Original Mishkin photograph of the great Russian basso “widely considered the greatest singing actor of his day" (Grove), signed "Feodor Chaliapin" and inscribed in white ink to the prominent Moravian soprano [Maria] Jeritza: "À Chère et charmante Mme Jeritza souvenir amicale de son admirateur. Brava, Bravissima mia bella artista!!!" Waist-length, with arms crossed. Dated New York, 1922. Ca. 277 x 176 mm. From the Mishkin studio, copyright 1913. Very slightly worn and stained, overall fine.
Maria Jeritza was one of the greatest sopranos of her generation, celebrated for her singing as well as for her acting, which included acrobatic elements. World famous composers wrote roles specifically with her in mind. For Richard Strauss, she created Ariadne (both versions, 1912 and 1916) and the Empress in Die Frau ohne Schatten (1919). Puccini wrote Turandot for her; she performed it, but she did not create the role. Other roles in which Jeritza excelled were Salome and Jenůfa. She gave her debut at the Metropolitan Opera in New York in 1921 as Marietta in Korngold's Die tote Stadt and appeared on the Met's stage no fewer than 290 times in 20 roles.
Maria Jeritza was one of the greatest sopranos of her generation, celebrated for her singing as well as for her acting, which included acrobatic elements. World famous composers wrote roles specifically with her in mind. For Richard Strauss, she created Ariadne (both versions, 1912 and 1916) and the Empress in Die Frau ohne Schatten (1919). Puccini wrote Turandot for her; she performed it, but she did not create the role. Other roles in which Jeritza excelled were Salome and Jenůfa. She gave her debut at the Metropolitan Opera in New York in 1921 as Marietta in Korngold's Die tote Stadt and appeared on the Met's stage no fewer than 290 times in 20 roles.