#Jarmila

[monkeyssalad-blog]

Jarmila Novotna by Truus, Bob & Jan too! Via Flickr: German postcard by Ross Verlag, no. 6837/1, 1931-1932. Photo: Walter Firner, Berlin. Czech soprano Jarmila Novotná (1907-1994) was one of the world-renowned opera luminaries of the 20th Century. Her film appearances were unfortunately few and far between. Jarmila Novotná was born in in Prague, Czech Republic in 1907. She studied singing with Emmy Destinn. In 1925, the 17-years-old Novotná made her operatic debut at the Prague Opera House as Marenka in Bedřich Smetana's Prodaná nevěsta (The Bartered Bride). Six days later, the lyric soprano sang there as Violetta in Giuseppe Verdi's La traviata. The following year, she made her film debut in the silent film Vyznavaci slunce/The Sun Disciples (Václav Binovec, 1926), starring Luigi Serventi. In 1928 she starred in Verona as Gilda opposite Giacomo Lauri-Volpi in Verdi's Rigoletto and at the Teatro San Carlo in Naples as Adina opposite Tito Schipa in Gaetano Donizetti's L'elisir d'amore. In 1929 she joined the Kroll Opera in Berlin, where she sang Violetta as well as the title roles of Giacomo Puccini's Manon Lescaut and Madama Butterfly. When talking pictures arrived, she headlined in German films like Brand in Der Oper/Fire in the Opera House (Carl Froelich, 1930), with Gustaf Gründgens, Der Bettelstudent/The Beggar Student (Victor Janson, 1931), and the film version of The Bartered Bride, Die Verkaufte Braut (Max Ophüls, 1932). Hal Erickson at AllMovie on Die Verkaufte Braut (1930): “The original libretto, involving the comic misadventures of two mismatched couples, is given a respectable amount of attention, but the film's biggest selling card is the photographic dexterity of Max Ophuls, who never met a camera crane he didn't like. Since filmed opera was seldom big box-office in 1932, Ophuls concentrates on the farcical elements of the story; especially worth noting are comic contributions by Paul Kemp and Otto Wernicke, who seldom let their German film fans down. Curiously, star Jarmila Novotna, whose ‘live’ appearances in The Bartered Bride were much prized by contemporary critics, doesn't come off all that well in this film version.” Other films followed such as Nacht Der Grossen Liebe/Night of the Great Love (Geza von Bolvary, 1933) with Gustav Fröhlich. In January 1933 she created the female lead in Jaromir Weinberger's new operetta Frühlingsstürme (Spring Storms), opposite Richard Tauber at the Theater im Admiralspalast, Berlin. This was the last new operetta produced in the Weimar Republic, and she and Tauber were both soon forced to leave Germany by the new Nazi regime. Jarmila Novotnà returned to Czechoslovakia to star in the film Skrivanci pisen/Lark's Songs (Svatopluk Innemann, 1933). In 1934, she left for Vienna, where she created the title role in Franz Lehár's operetta Giuditta opposite Richard Tauber. Her immense success in that role led to a contract with the Vienna State Opera, where she was named Kammersängerin. She also appeared there with Tauber in The Bartered Bride and Madama Butterfly. In the cinema, she starred in the Austrian operetta film Frasquita (Karel Lamac, 1934) with Heinz Ruhmann, the Austrian romantic thriller Der Kosak und die Nachtigall/The Cossack and the Nightingale (Phil Jutzi, 1935) with Iván Petrovich, and in the French-British operetta film La dernière valse/The Last Waltz (Leo Mittler, 1935), which was made in two language versions. She then left the film industry to concentrate on her stage work with the Viennese State Opera. After the Anschluss of Austria, she had to leave Vienna. In January 1940 she made her debut with the Metropolitan Opera in New York, as Mimí in Puccini's La bohème. From 1940 to 1956, Novotná performed regularly at the Met. In 1946 she returned before the cameras in a straight dramatic role in the Hollywood production The Search (Fred Zinnemann, 1946), starring Montgomery Clift. The Search is a semi-documentary film on the plight of WWII orphans. Novotná played a Czech mother who has lost contact with her young son when they were in Auschwitz and she now travels from one refugee camp to another in search of him. Novotna's then played turn of the century diva Maria Selka in the biopic The Great Caruso (Richard Thorpe, 1951), featuring Mario Lanza. The film traces legendary tenor Enrico Caruso's ascension from adolescent choir singer in Naples to the uppermost ranks of the opera world. Mario Lanza's tenor voice made this film one of the top box-office draws of 1951, and this helped to popularize opera among the general public. On TV she appeared in The Great Waltz (Max Liebman, 1955), which charts the life and times of composer Johann Strauss, Jr. She also played Hans’ mother in the TV musical Hans Brinker, or the Silver Skates (Sidney Lumet, 1958), starring Tab Hunter. Her last screen appearance was as an interviewee in the documentary Toscanini: The Maestro (Peter Rosen, 1985). At 85, Jarmila Novotná passed away in 1994 in New York. Sources: Hal Erickson (AllMovie), Wikipedia, and IMDb.

[kajenus]

Happy Valentine's Day from Jarmila!

[bonusdragons]

June 5, 2023:

Red Primary, Fae, Sludge.

Jarmila of Vacrana’s clan!

[selidor]

Explore Bolgheri Cypress Way by © Jarmila

[rougejaunebleu]

Jarmila Čihánková Painting No. 35 1965 Olej na plátne 140 × 107 cm

[erstwhile-punk-guerito]

[ineedtoreadmorepoetry]

Although a poem is only a little word machine/ as William Carlos Williams says/ a little word machine ticking in the world of megamachines and megatons and megaelectronvolts, although in the world of a poem one doesn't live any better than in any other world, although the world of a poem is dreary, arises out of desolation and perishes in the desolation of spiritual history, although art doesn't solve problems but rather only wears them out, as Susan Songtag says, yet a poem is the only sword and shield: for in principle and in essence it is not against tyrants, against automobiles, against madness and cancer and the gates of death, but against what is there all the time, all the time inside and out, all the time in front, behind, and in the middle, all the time with us and against us. It is against emptiness. A poem is being as against emptiness. Against the primary and secondary emptiness.

[czgif]

Jarmila Gerlová and unidentified man in I Killed Einstein, Getlemen (Zabil jsem Einsteina, pánové) 1970, dir. Oldřich Lipský IMDB

[princessmacabre]

by Jael Jarmila

[thinkingimages]

Maryša - 26.10.1956 Jarmila Krulišová (Maryša). Foto: Jaromír Svoboda

[stromuprisahat]

I didn't expect to get emotionally involved in almost hundred years old psychological novel about a tragic romance, written by actively communist writer, but here I am, I guess...

[kajenus]

Made Genshin OC... Her name's Jarmila and she's a Dendro vision from Snezhnaya. She's a member of Song and Dance Ensemble "Kolochka"!

[opera-ghosts]

Rare Film Footage by Soprano Jarmila Novotná singing "Arie der Olympia" from "Hoffmanns Erzählungen"

Music: Jacques Offenbach from Film "Brand in der Oper" (Fire in the Opera House) (1930)

Members of the Orchestra of Berlin Städtische Oper

Conductor: Bruno Seidler-Winkler

[joanofarc]

josef hanzlík, translated by jarmila & ian milner.

[annadelveys]

jeremy allen white as nero WHEN

[lobo1tomia]

Jarmila Dědková: Martina újra táncol - a 244. epizód

Robog tovább a pöttyös-csíkos vonat: legújabb választásunk egy valószínűleg kevésbé ismert szerzőre/regényre esett, ugyanis Jarmila Dědková cseh írónő Martina újra táncol című könyvét olvastuk. (Ezzel el is értünk sorozatunk első külföldi szerzőjéhez!) Ahogy a cím is sejteni engedi, Dědková könyve a balett világába enged betekintést, bár abban mindketten egyetértettünk a végén, hogy a kedvünket…