Emanuel List

JewishGen: Vienna Births:
Name Birthdate (YYYY-MM-DD) Father Mother Town Comments Book Volume Number
FLEISSIG (LIST), Emanuel 1888-03-22 Albert SPIGLER, Peppi Künstlername Emanuel List (Artist name Emanuel List) L 1887-88 L 2647

Emanuel LIST, formerly FLEISSIG: b. 22 March 1888, Wien - d. 21 June 1967, Wien

Information courtesy of various sources, including the following:

https://en.wikipedia.org/wiki/Emanuel_List

Emanuel List (born March 22, 1888 in Vienna - d. June 21, 1967 in Vienna) was an Austrian-American opera bass. He is best remembered for his performances in Wagnerian operas.

Career​:

List first began singing as a boy soprano in a Vienna choir, and also sang in the musical theater there. When his family moved to America, he sang in vaudeville. In 1920, he returned to Vienna for additional training; his first opera role was at the Volksoper in 1922, as Mephistopheles in Charles Gounod's Faust. In 1923 he was offered a role in a production at the Charlottenburg opera company in Berlin, and two years later he joined the Berlin State Opera. That year he debuted in the role of Pogner in Wagner's Die Meistersinger, and went on to portray King Mark in Tristan und Isolde, Hunding in Die Walküre and Hagen in Götterdammerung, as well as Ramfis in Giuseppe Verdi's Aida and Baron Ochs in Richard Strauss's Der Rosenkavalier.

At the Salzburg Festival in Austria, List reprised his performance as King Mark and also played the roles of Osmin in Mozart's Die Entführung aus dem Serail and Commendatore in Don Giovanni, as well as Rocco in Beethoven's Fidelio. He did the entire Ring Cycle at the 1933 Bayreuth Festival, singing Hunding, Hagen, and Fafner.

List's Jewish heritage led him to leave Germany in 1933 for America; later that year he played the Landgrave in Wagner's Tannhäuser at the Metropolitan Opera, and remained in the company until 1950. He became an American citizen, and sang in San Francisco, Chicago, and Buenos Aires in addition to New York.

In 1950, List made his first appearance in Berlin since he had left the country, and retired in 1952. He died in 1967.

List Hall at the Metropolitan Opera House is named in his honor.[1]

And also:

Emanuel LIST: Objekt-Metadaten @ LexM

https://www.lexm.uni-hamburg.de/object/lexm_lexmperson_00001148

Emanuel List

geb. am 22. März 1888 in Wien, Österreich-Ungarn/heute: Österreich, gest. am 21. Juni 1967 in Wien, Österreich, Sänger (Bass).

Biographie:

Wie sein Vater sollte Emanuel List zunächst Schneider werden, schlug dann jedoch eine Sängerlaufbahn ein. Bereits mit 17 Jahren war er Chormitglied des Theaters an der Wien. Seine Gesangsausbildung erhielt er in Wien bei Emil Steger. Die ersten Jahre seiner Sängerlaufbahn widmete er vor allem der Unterhaltungsmusik: Mit einem Vokalquartett unternahm er Tourneen durch Europa, 1910 auch nach Australien und Neuseeland; 1914 trat er in einem Londoner Vaudeville-Theater auf. Im selben Jahr wanderte er in die USA aus und setzte in New York seine Gesangsausbildung bei Josiah Zuro fort. In dieser Zeit trat er an Kleinkunstbühnen und Filmtheatern auf. Erst nach seiner Rückkehr nach Österreich 1920/1921? begann seine Karriere als Opernsänger. 1922 debütierte er an der Wiener Volksoper als Mephisto in Gounods „Faust“. 1923 wechselte er an die Städtische Oper Berlin und 1924/1925? an die Staatsoper Berlin, wo er bis 1934 einen wichtigen Teil seiner Bühnenlaufbahn verbrachte. In dieser Zeit begann auch seine internationale Karriere mit Auftritten an der Londoner Covent Garden Opera (1925, 1930-1936), am Deutschen Theater Prag (1936-1938), an der Wiener Staatsoper (1929, 1934-1935), an der Pariser Grand Opéra sowie darüber hinaus in Stockholm, Kopenhagen, Mailand, Barcelona, Marseille und in den Niederlanden. Außerdem war er Gast an der Berliner Kroll-Oper (1928), bei den Salzburger Festspielen (1931, 1934/1935) und bei den Festspielen in Bayreuth (1933). Zu seinem Repertoire zählten vor allem die Bass-Partien aus den Opern Richard Wagners (Pogner in „Die Meistersinger“, Gurnemanz im „Parsifal“, Marke in „Tristan und Isolde“, König Heinrich im „Lohengrin“, der Landgraf im „Tannhäuser“, Daland in „Der fliegende Holländer“, Fafner, Hunding und Hagen im „Ring“). Darüber hinaus sang er Rollen aus den Opern von Mozart (Osmin in „Die Entführung aus dem Serail“, Komtur in „Don Giovanni“, Sarastro in „Die Zauberflöte“), aus Beethovens „Fidelio“ (Rocco, Minister), Jacques Fromental Halévys „Die Jüdin“ (Kardinal Brogni), Bedřich Smetanas „Die verkaufte Braut“ (Kezal), Verdis „Aida“ (Ramphis) und „Sizilianische Versper“ (Procida), Richard Strauss’ „Rosenkavalier“ (Ochs) und aus Johann Strauß Sohns Operette „Der Zigeunerbaron“ (Zsupan). In Berlin wirkte Emanuel List auch an verschiedenen Uraufführungen mit: 1928 „Oedipus Rex“ von Igor Strawinsky, 1928 „Der singende Teufel“ von Franz Schreker, 1930 „Christophe Colomb“ von Darius Milhaud.

Anders als andere Kollegen jüdischer Herkunft wurde Emanuel List 1933 nicht sofort aus seinem Engagement an der Berliner Staatsoper entlassen, sondern bis 1934 geduldet. Die Gründe hierfür liegen möglicherweise in seiner 1918 angenommenen US-amerikanischen Staatsbürgerschaft. Zugleich fand er im Dezember 1933 ein neues Wirkungsfeld an der Metropolitan Opera in New York, wo er als Landgraf in Wagners „Tannhäuser“ debütierte. In 16 aufeinander folgenden Spielzeiten trat er in 17 Rollen (vor allem aus den Opern Wagners sowie Strauss’ Ochs im „Rosenkavalier“) in 324 Vorstellungen an dieser Bühne auf. Zugleich gastierte er an anderen US-amerikanischen Bühnen (Chicago Grand Opera Company, Philadelphia, San Francisco), am Teatro Colón in Bueno Aires sowie an europäischen Bühnen. Nach dem „Anschluss“ Österreichs an das Deutsche Reich 1938 sagte er sein Engagement bei den Salzburger Festspielen ab. In den USA erlangte er vor allem auch durch seine Lieder- und Arienabende Bekanntheit.

Am 23. Febr. 1950 sang Emanuel List zum letzten Mal den Ochs an der Metropolitan Opera in New York. Er kehrte nach Berlin zurück, wo er an der Städtischen Oper 1950-1952 als Gast wirkte. 1952 bis zu seinem Tod am 21. Juni 1967 lebte er wieder in Wien.

Hauptquellen: KutschKJ/RiemensL/RostH 2003, NGroveD 2001, StomporS 1994, MGG2 1994 ff.

Empfohlene Zitierweise

Sophie Fetthauer: Emanuel List, in: Lexikon verfolgter Musiker und Musikerinnen der NS-Zeit, Claudia Maurer Zenck, Peter Petersen (Hg.), Hamburg: Universität Hamburg, 2006 (https://www.lexm.uni-hamburg.de/object/lexm_lexmperson_00001148).

Personendaten:

Hauptname: List, Emanuel
Weitere Namen: Fleissig, Emanuel
geboren: 22. März 1888 Wien, Österreich-Ungarn/heute: Österreich
gestorben: 21. Juni 1967 Wien, Österreich
Mutter: ?
Vater: Name des Vaters unbekannt, Beruf: Schneider
Ehe/Partnerschaft: I. ∞ 1939 Anny, geb. in Wien, geschieden 1946, II. ∞ Hansi Frank
Kinder: 2 Söhne
Muttersprache: Deutsch
Religionszugehörigkeit: jüdisch
Staatsangehörigkeit: österreichisch, 1918 US-amerikanisch (Anon. 1942d)
Grabstätte: Zentralfriedhof Wien, Neuer israelitischer Friedhof, Gr. 1, R 1/61

N.B. It is not yet clear which wife/wives of Emanuel LIST might be mother of "two sons" ...

Some welcome details concerning the quality of his voice etc.

https://www.preiserrecords.at/en/emanuel-list.html

Lebendige Vergangenheit
Emanuel List's dark, sonorous voice, a veritable black bass, can justifiably be considered one of the most important of his age. His vocal virility enabled him to plummet depths at which many a colleague was virtually inaudible. "Herr List did not achieve these notes by 'sleigh of voice', as it were, he truly possesses this range" wrote a surprised critic about the rare phenomenon of List's voluminous lower notes. List's voice, however, also extended to a powerful baritonal height, and, if needs be, he could taper off his vocal phrases in a softly floated piano. Thus, unlike many a colleague, the artist possessed a plethora of abilities which are a precondition for a world career. If his father had had his way, Emanuel List (born March 22, 1890 in Vienna) should have made his way as a tailor, but once his voice had been discovered a stage career seemed inevitable. Initially he appeared as an extra at the Theater an der Wien and also sang in the chorus. Subsequently the well-known teacher Emil Steger supervised the polish of this promising voice. Eventually he joined a vocal quartet that toured throughout Europe. Via London he came to New York where he continued his vocal studies, funding them by singing in cinemas. He did not return to Vienna until 1922 and was engaged to appear at the Vienna Volksoper. Tue house being relatively small, his towering portrayal of Mephistofele in "Faust" caused a sensation. At this point of time an engagement to the State Opera did not come about partly because there was not dearth of basses there at the time but chiefly because the overwhelming personality of Richard Mayr brooked not competition. Tue artist thus left for Berlin. There he initially sang at the Städtische Oper under Bruno Walter and, as of 1924, as 1. Bass at the. Staatsoper unter den Linden. Frequently he was compared to bis famous predecessor Paul Knüpfer, whose vocal style bad indeed been very similar. lt is common knowledge that the bass voices take langer time to mature, rarely reaching their full potential and beauty before the age of 40 - at a time when other singers, particularly tenors, evince the first signs of vocal decline. Emanuel List was no exception to this rule. His voice, bis theatrical ability and personality reached their mastery around 1930. Internationally he became well-known when he sang Mozart's-Commendatore in Salzburg in 1926, followed by a surprisingly humorous Osmin, who justifiably trembled in the encounter with the temperamental Blondchen but showed no trepidation whatever when he had to sing the feared low D's. List was especially acclaimed as Hagen - a role he endowed with a truly frightening devious­ ness and falsehood. When summoning bis vassals bis voice boomed with predatory power. As it happened, bis engagement in Bayreuth 1933 marked the end of bis career in Europe. He left for the US, appearing in many cities but, primarily, at the Metropolitan Opera, chiefly in Wagner operas. But also bis Ochs von Lerchenau was much admired, especially for the Viennese slant he gave the role. At the Vienna State Opera he first appeared on April 28, 1929 as Cardinal Brogni in Halevy's "La Juive". He did justice not only to the cantilena in Act I but also to the thunderous anathema of Act III. Tue full range of bis capabilities became apparent in Act IV in the encounter with Leo Slezak's Michelangelo-like Eleazar. An unforgettable Grant Opera scene of vocal and histrionic splendor. In 1934 he sang a wonderful Sarastro, evincing no difficulties whatever with the bottom F m the word "Doch" in the Sarastro/Pamina duet and in 1935 he presented bis Ochs von Lerchenau. In view of bis healthy vocal condition bis portrayal was primarily vocally oriented and from this sound foundation he developed bis theatrical characterisation, without any exaggeration or vulgarity. He played a jovial country gentleman who gets caught up in the snares of urban life but who never loses bis poise. Also, in this role bis stupendous range from a fully-rounded low C to a clarion high F sharp in Act II was much admired. Also, after World War II he sang this role at the Theater an der Wien but bis appearances were infrequent. His operatic career had thus come full circle. He spent the remainder of bis life in Vienna, continuing to take great interest in the artistic life of the city. List's fulfilled life came to an end on June 21, 1967. Emanuel List did not play fast and loose with bis natural gifts, he worked seriously and always strove for artistic perfection. This endeavor is fully borne out by bis recorded legacy.

Basic birth data from IKG-Wien archives courtesy of www.genteam.at

Nr. 39574
Familienname Fleissig (List)
Vorname Emanuel
Code 1
Vorname des Vaters Albert
Name der Mutter Spigler
Vorname der Mutter Peppi
Ort Wien
Buch Nr. L 1887-88
Band L
Datum 22.03.1888
Zahl 2647
Zusatz zur Zahl
Folio
Anmerkung Künstlername Emanuel List

Details from actual IKG-Wien birth registration, viewable courtesy of:

1888.03.22 - Emanuel FLEISSIG - IKG-Wien BR:

https://www.familysearch.org/ark:/61903/3:1:33S7-9B24-7GR?i=186&cc=...

Father: Albert FLEISSIG, "Geschäftsmann aus Sastin?"

Mother: Pepi née SPIGLER

Witnesses: Alois ENGEL & H? INFELDER?

Notes in right margin re. "Künstlername" - stage name - Emanuel LIST

1913 UK basic marriage data:

https://www.familysearch.org/ark:/61903/1:1:26Z9-9XC

Name Emanuel Fleissig
Marriage Date 1913
Heiratsort St. Martin, London, England
Art des Ereignisses Marriage
Anmeldungsamt St. Martin
Seite 1441
Band 1A
Partner-Zeilennummer 45
Anmeldungsvierteljahr Jul-Aug-Sep
Anmeldungsdatum 1913
Spouse Name (available after 1911) Bell

Possible Spouse Violet D Bell

1914 US naturalisation:

https://www.familysearch.org/ark:/61903/3:1:3QS7-89M8-P9LG-8?i=195&...

Gives profession as "actor", wife's name as "Violet" - she's still living in "old country" ...

1918 US naturalisation:

https://www.familysearch.org/ark:/61903/3:1:3QSQ-G9M8-2N3N?i=570&cc...

States that wife "Violet" is still in "England"

Also cf. 1940 Brazil immigration card:

https://www.familysearch.org/ark:/61903/3:1:939X-4BLH-9?i=101&cc=19...

Giving parents' names as: "Albert lIST & Josefine SPIGLER"

...

And also cf. burial data and grave photos courtesy of:

https://de.findagrave.com/memorial/189000513/johanna-list

&

https://billiongraves.com/grave/Emanuel-List/24953046