Wilhelmine Schröder-Devrient

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Schröder-Devrient, Wilhelmine


Born Dec. 6, 1804, in Hamburg; died Jan. 26,1860, in Coburg. German soprano.

Schröder-Devrient studied under J. Mazatti in Vienna. In 1821 she made her debut as Pamina in Mozart’s The Magic Flute. She toured in various cities of Italy, as well as in Paris, London, and Prague. Her performance as Leonore in Beethoven’s Fidelio (1822, Vienna) brought her fame as the leading female singer of Europe. From 1823 to 1847 she was a soloist with the court opera in Dresden. For her part in the Dresden uprising of 1849 she was exiled from Saxony, and she did not perform again until 1856. Schröder-Devrient performed as a guest artist in Russia.

Schröder-Devrient, a singer of superb vocal technique and a gifted actress, excelled as Senta in Wagner’s Der fliegende Holländer and Agathe in Weber’s Der Freischütz.


Serov, A. N. Kriticheskie stat’i, vol. 3. St. Petersburg, 1893. Pages 1361–75.
Wolzogen, A. von. Wilhelmine Schröder-Devrient. Leipzig, 1863.
Hagemann, K. Wilhelmine Schröder-Devrient. Wiesbaden, 1947.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
The issue of ideal, German expression is explored at length in Trippett's fourth chapter, in which he discusses Wagner's working relationship with Wilhelmine Schroder-Devrient, the soprano widely regarded as having provided the composer with "the most powerful artistic impression he ever received," but little more (p.
In its rare stagings since then, it has attracted some legendary Wagnerian names, from Wagner's own beloved Wilhelmine Schroder-Devrient to Lucienne Breval to Olive Fremstad and Frida Leider.
1620-c.1660), who created the prototype of the first operatic prima donna; Nancy Storace (1765-1817), Mozart's "Susanna" (in The Marriage of Figaro) who masterfully combined comedic talent and acting ability with singing; Giuditta Pasta (1797-1865), whose tremendous vocal and dramatic talents inspired Bellini's Norma and whose singing Chopin called "sublime"; Wilhelmine Schroder-Devrient (1804-1860), whose dramatic performance of Fidelio profoundly influenced Wagner's development of music dramas; Jenny Lind (1820-1887), the superstar who literally took America by storm; and Marian Anderson (1897-1993) whose determination and lovely contralto voice helped break down racial barriers.
Liszt, Clara Schumann, and Wilhelmine Schroder-Devrient were all heard there within a few years of each other, which brings home the realization that Wagner's Riga years were no cultural exile.
These include a portion of Claire von Glumer's adoring biography of soprano Wilhelmine Schroder-Devrient, a favorite of Wagner's during his Dresden years; an excerpt from English critic Henry Chorley's commentary upon musical life in Dresden during the 1840s; French writer Catulle Mendes's reminiscence of Wagner from his visit to Tribschen during the summer of 1869; and American dentist Newell Sill Jenkins's assessment of the personality, widespread intellectual interests, and grand plans for emigrating to America of his friend and patient Richard Wagner.