223:'s words had been 'dehumanised' (by Brahms) and that she sang 'without twopenn'orth of feeling', she had 'a thousand pounds' worth of intelligence and dramatic resolution. She has of late made a remarkable conquest of the art of singing.' He had once thought her voice would not last five years, but admitted that now it might last for fifty. The signs of wear and tear had vanished, and 'the sustained note at the end was a model of vocal management. In any reasonably artistic country,' he added, 'Miss Brema would be pursuing a remarkable career on the lyric stage instead of wasting her qualities on the concert platform.'
631:, also a celebrated Wagnerian singer (Ortrud, Kundry, Brangane and Fricka), Amneris and Dalilah, and in many ways a successor to Marie Brema, though without her range for a compelling BrĂĽnnhilde. In 1903, writing to Brema of her original performance, Elgar wrote 'I have, of course, in memory your fine and intellectual creation of the part; and though I never thought the 'tessitura' suited you well, as the magnificent artist you are, you
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22:
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ruefully described her as "a gifted musician but spoilt by excess of success. She no longer understood the value of money or what it meant in the world." Both Brema and her daughter were committed
Christian Socialists, and founded "Brema Looms", a workshop intended to provide employment to young disabled women from London's east end.
157:, but now he found her he found her insufficiently versatile, over-specialized, with a fixed vocal colour owing to over-emphasis of the dramatic lower register: and recommended that she should permit instead the simple beauty of sound in the upper part of her voice to be heard, when she should take high rank as a singer.
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In later years Brema lived at 17 Launceston Place, Kensington, and after the outbreak of the First World War at
Launceston Cottage in Radlett, next door to her daughter and grandchildren. By her family's account, she was a generous, extravagant, and dominating personality. Her grandson Francis later
592:. The performance was not a great success, owing partly to the difficult and somewhat revolutionary nature of the composition, and the comparatively short time that had been available for the artists to prepare it. She performed it again, this time under Elgar's baton, at the 1902
746:(1879-1964), it proved unhappy, and the couple eventually separated. Both of the children later became performers like their mother: Francis became a classical baritone, and Helen became an actor, under the stage name of "Tita Brand", playing for
650:, Marie Brema and Kirkby Lunn. Of Marie Brema he wrote that she was more correctly a mezzo-soprano, distinguished by 'her admirable command of tone-colour, her faultless diction, and her infinitely varied shades of impassioned poetic expression.'
174:(with Miss Palliser and Watkin Mills), he thought she sang 'While my watch I am keeping' 'with a gentler vocal touch and a nearer approach to purely lyric style than I had heard from her before', saying she might now become the successor of Mme
547:. Wood enjoyed working with her, and called her 'a really great Wagnerian singer.' He remarked that she could dramatise the parts she portrayed without making gestures, and was 'certainly German in style.' In 1898 she introduced Saint-Saëns's
68:) and an American mother, Cora Wooster Javis. She was brought up among people who enjoyed music and drama, but took no professional interest in music until her marriage in 1874 to Arthur Frederick Braun, a cotton merchant of German origins.
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Her BrĂĽnnhilde was considered especially fine, not only for her splendid vocalisation but also for her stature and handsome appearance. Returning to Europe she performed these roles at
Bayreuth, and added to them the second BrĂĽnnhilde
835: : 15 August 2022), Marie Agnes Fehrmann, 1860.|title=Brema, Marie (1856–1925), singer |date=2004-09-23 |publisher=Oxford University Press |volume=1 |language=en |doi=10.1093/ref:odnb/55552}}
692:, singing Orfeo in English. According to Henry Wood, her training of the chorus to project the diction into the auditorium was wonderful and inscrutable. This season was conducted by
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in a popular concert. She was so admired that she continued training under other teachers and made further concert appearances. Her stage debut was in 1891 at Oxford as
673:. This was for the Covent Garden 1901 season. In 1902 she sang BrĂĽnnhilde (in German) in Paris for Hans Richter. In January 1908 she organised three concerts given in
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646:, describing the London musical scene circa 1900, noted the absence of leading English-born contralto singers, apart from the three notable exceptions of
372:. She was the first English singer to appear there. Established as a Wagnerian, in 1894 she made her first tour of the United States of America with the
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In 1897 Brema was among those invited to perform at the State
Jubilee Concert at Buckingham Palace, where she sang 'Plus grand dans son Obscurité' from
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238:. During the operatic career which followed, she continued to sing frequently at concerts and oratorios at the music festivals in Great Britain.
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On 10 October 1891 (aged 35), taking her stage name from her father's birthplace, she made her opera debut in the first
English production of
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His recommendation was not wasted, but the concert platform did not lose her. In 1894 Brema created the part of the Evil Spirit in Sir
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roles during the last decade of the 19th and the first decade of the 20th centuries. She was the first
British singer to appear at the
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She was encouraged to undergo vocal training, which she did, but it was several years more (after 3 months of study with
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852:, link.gale.com/apps/doc/CX2588803253/GVRL?u=txshracd2598&sid=bookmark-GVRL&xid=be32bad0. Accessed 25 Aug. 2022.
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for a patriotic poem "Chantons, Belges, Chantons" by
Cammaerts which was first performed with the recitation by Brand.
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453:. In various parts of Europe, in Paris, Berlin and Brussels, for example, she appeared with great success as Dalila in
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witnessed some early appearances in London, for instance in May 1892 an encored performance of
Welsing's setting of
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190:'s E major concerto), "happening to be tremendously in the dramatic vein, she positively rampaged through a
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Catalogue of Papers relating to the
Society of Women Musicians held at RCM Library Archives, London
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In the following years the role of the Angel was more often taken by the leading
English contralto
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In November and December 1900 she appeared for Wood in three special Wagnerian concerts at the
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Through her granddaughter Kippe Cammaerts, Marie Brema is the great-grandmother of the author
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on a Wagner birthday concert (22 May), and later in the same programme delivered BrĂĽnnhilde's
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Although Brema's marriage to Braun produced two children, (Arthur) Francis (1876-1940) and
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848:, edited by Anne Commire and Deborah Klezmer, vol. 1, Yorkin Publications, 2007, p. 259.
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and Catherine Noel "Kippe" Cammaerts, an actress. After the outbreak of war in 1914, Sir
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473:. Orfeo remained a most important role throughout her career. In the London 1897 season
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as Turiddu: the new opera was a sensation.) A performance was given before
754:. Brand was a large woman with a deep speaking voice, capable of reciting
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Following her retirement Brema became director of the opera class at the
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276: in this section. Unsourced material may be challenged and removed.
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831:"England Births and Christenings, 1538-1975", database, FamilySearch (
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concerto. The same soloists gave the second London performance of the
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Brema appeared opposite David Bispham again in the premiere of
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She achieved a success, and followed it with a greater one in
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She had won Shaw's admiration in a performance of Schubert's
846:
Dictionary of Women Worldwide: 25,000 Women Through the Ages
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In 1910–11 she organised an opera season of her own at the
661:, as Beatrice to his Benedick, in a cast also including
463:, a role which especially suited her, and as Amneris in
522:. Brema and Bispham sang again by royal invitation at
75:) that she first appeared before the public, singing
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A Pacifist At War: The Silence of Francis Cammaerts
712:. Among those to benefit from her instruction were
360:at Bayreuth, where she sang the roles of Ortrud in
1056:(Victor Gollancz, London 1946 Edition), 112, 143.
762:audibly over an unsubdued orchestra conducted by
407:In America Marie Brema sang Brangäne in a German
32:(28 February 1856 – 22 March 1925) was a British
911:Thirty Years of Musical Life in London 1870–1900
833:https://familysearch.org/ark:/61903/1:1:JQS2-KG6
144:, and in July in a Miscellaneous Concert (with
681:joined her in the solo quartets of the Brahms
1134:(Grayson & Grayson, London 1935), p. 181.
8:
1004:(Victor Gollancz, London 1946 Edition), 143.
926:(Victor Gollancz, London 1946 Edition), 143.
696:. In 1912 she toured the provinces with the
213:, praised Marie Brema's introduction of the
64:of a German father Diederich Fehrmann (from
535:of Wagner (Felix Mottl arrangement) at the
1093:Letters of Edward Elgar and other writings
939:(Constable & Co, London 1932), II, 98.
913:(Century Co., New York 1903), pp. 354–55.
700:. After this she retired from the stage.
336:Learn how and when to remove this message
1448:20th-century British women opera singers
1443:19th-century British women opera singers
1393:Marie Brema with her daughter Tita Brand
1265:Michael Morpurgo: War Child to War Horse
1161:Dictionary of Modern Music and Musicians
219:in February 1894, for though he thought
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1342:Thirty Years of Musical Life in London
1095:(Geoffrey Bles, London 1956), 115–116.
427:, performances under the direction of
356:, and was invited to take part in the
348:She was then brought to the notice of
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1082:(Rider & Co, London 1944), p. 64.
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1132:Gervase Elwes. The Story of his Life
1017:(Macmillan Co., New York 1920), 208.
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734:, aged 69, from undisclosed causes.
274:adding citations to reliable sources
123:at Windsor Castle in November 1891.
16:British operatic soprano (1856–1925)
1388:Contemporary article on Marie Brema
1383:Contemporary article on Marie Brema
1335:Gervase Elwes The Story of his Life
793:composed a symphonic accompaniment
568:Birmingham Triennial Music Festival
435:. During the 1898–99 season at the
1433:English people of American descent
1349:Concise Oxford Dictionary of Opera
1175:at rcm.ac.uk, accessed 13 May 2018
555:, with orchestras of 200 members.
14:
1262:Fergusson, Maggie (7 June 2012).
1185:Adams, Byron (14 November 2011).
710:Royal Manchester College of Music
1428:English people of German descent
1289:Morpurgo, Michael (7 May 2018).
481:, called her 'superb' alongside
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36:active in concert, operatic and
1015:A Quaker Singer's Recollections
261:needs additional citations for
1225:Foot, M. R. D. (6 July 2006).
1191:. Princeton University Press.
1:
1119:Quaker Singer's Recollections
1041:Quaker Singer's Recollections
867:Jenkins, Ray (31 July 2012).
449:opposite both de Reszkes and
1372:(Geoffrey Bles, London 1956)
1347:H. Rosenthal and J Warrack,
1330:(Werner Laurie, London 1955)
1106:Thirty Years of Musical Life
1028:Thirty Years of Musical Life
844:"Brema, Marie (1856–1925)."
529:In 1897 Brema performed the
506:. Other performers included
242:Bayreuth, America and Europe
1344:(Century Co, New York 1903)
1163:(Dent: London; 1924), p. 61
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1188:Edward Elgar and His World
785:, prominent SOE operative
725:Society of Women Musicians
423:as King Mark, and also in
111:, London. (This was under
1356:Music in London 1890–1894
1130:W. Elwes & R. Elwes,
773:scholar, poet and writer
209:Shaw, who did not admire
148:, Joseph Hollman, etc).
1423:Musicians from Liverpool
1358:, 3 vols, (London, 1932)
769:Brand later married the
620:, with the newly formed
566:In October 1900, at the
549:La fiancee du timbalier.
487:Ernestine Schumann-Heink
182:concert (also featuring
134:later in the same year.
1370:Letters of Edward Elgar
1333:W. Elwes and R. Elwes,
1080:Queen's Hall, 1893–1941
937:Music in London 1890–94
419:as Tristan and brother
358:Richard Wagner Festival
160:In February 1893, at a
1438:English mezzo-sopranos
1418:Singers from Liverpool
1157:Arthur Eaglefield Hull
659:Much Ado About Nothing
604:: in the same concert
602:David Ffrangcon-Davies
577:The Dream of Gerontius
178:. In April 1893, at a
42:Bayreuth Festspielhaus
34:dramatic mezzo-soprano
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723:She was chair of the
622:London Choral Society
588:, under the baton of
526:not long afterwards.
52:Marie Brema was born
24:
1268:. HarperCollins UK.
698:Denhof Opera Company
635:it go very finely.'
624:, in February 1904.
586:Harry Plunket Greene
270:improve this article
104:Cavalleria rusticana
54:Marie Agnes Fehrmann
48:Origins and training
1227:"Francis Cammaerts"
748:George Bernard Shaw
485:, Susan Strong and
236:Birmingham Festival
216:Harzreise im Winter
109:Shaftesbury Theatre
25:Marie Brema in 1897
629:Louise Kirkby Lunn
493:at Covent Garden.
439:she sang Fides in
382:and BrĂĽnnhilde in
379:Tristan und Isolde
198:scena and through
107:, as Lola, at the
87:Adriana Lecouvreur
27:
1351:(London 1974 Edn)
1328:Opera Biographies
1275:978-0-00-738729-8
1198:978-1-4008-3210-1
880:978-1-4481-5064-9
787:Francis Cammaerts
553:Royal Albert Hall
532:Wesendonck Lieder
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141:Love's Philosophy
132:Orfeo ed Euridice
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783:World War II
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741:
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729:
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707:
694:Frank Bridge
687:
683:Liebeslieder
682:
658:
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644:Herman Klein
642:
639:Later career
632:
626:
618:Queen's Hall
613:
590:Hans Richter
582:Edward Lloyd
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572:Edward Elgar
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1354:G.B. Shaw,
935:G.B. Shaw,
850:Gale eBooks
718:Heddle Nash
677:, in which
671:Pol Plançon
663:John Coates
608:played the
598:John Coates
455:Saint-Saëns
446:Le prophète
433:Felix Mottl
429:Anton Seidl
415:as Isolde,
385:Die WalkĂĽre
146:Ellen Terry
30:Marie Brema
1402:Categories
1340:H. Klein,
1078:R. Elkin,
978:, II, 295.
909:H. Klein,
816:References
764:Henry Wood
732:Manchester
648:Clara Butt
541:Henry Wood
520:Mme Albani
296:newspapers
176:Belle Cole
171:Redemption
1361:H. Wood,
1303:0261-3077
1239:0261-3077
1215:, p. 143.
1147:, p. 143.
1121:, p. 294.
1117:Bispham,
1108:, p. 467.
1043:, p. 265.
1039:Bispham,
1030:, p. 449.
991:III, 165.
657:'s opera
610:Beethoven
594:Sheffield
562:and Elgar
560:Gerontius
441:Meyerbeer
363:Lohengrin
232:King Saul
200:Beethoven
62:Liverpool
1377:See also
1308:8 August
1244:8 August
797:Carillon
760:Bergliot
675:Brussels
655:Stanford
516:de Lucia
491:The Ring
479:WalkĂĽre)
425:The Ring
369:Parsifal
192:Schiller
154:Erlkonig
99:Mascagni
77:Schubert
38:oratorio
1321:Sources
1104:Klein,
1026:Klein,
899:. 1896.
781:during
771:Belgian
616:at the
580:, with
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421:Edouard
409:Tristan
310:scholar
234:at the
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82:Ganymed
1301:
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877:
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312:
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211:Brahms
188:Chopin
166:Gounod
113:Arditi
66:Bremen
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744:Helen
614:Dream
606:YsaĂże
465:Verdi
317:JSTOR
303:books
128:Gluck
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1310:2023
1299:ISSN
1270:ISBN
1246:2023
1235:ISSN
1193:ISBN
875:ISBN
750:and
716:and
669:and
633:made
600:and
584:and
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431:and
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758:'s
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