185:. He developed the character in detail, not only singing but acting, with special emphasis on gesture, facial expressions and body positioning. Critics praised both his forceful comic and accurate vocal performance. He performed this role at the anniversary of the opera at the National Theatre. His performance as Kecal was recorded in 1933 (where he was conducted by
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136:. He directed 12 operas himself. He founded and led an organization for soloists of the National Theatre, and from 1920 to 1922, was director of opera and theater at the Švandovo Arena in Prague. In 1927, he was awarded the State Prize for excellent work in the National Theatre.
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Pollert's voice was strong and granular, extremely resonant, with an extraordinary range, its color gradually cultivated into a soft and velvety tone. He was regarded as particularly suited to comedic roles, which he played realistically, with a tendency to naturalism.
252:ČERNUŠÁK, Gracián; ŠTĚDROŇ, Bohumír; NOVÁČEK, Zdenko. Československý hudební slovník osob a institucí. Svazek 2. Praha : Státní hudební nakladatelství, 1965. Kapitola Pollert. Obsahuje seznam jeho rolí i s počtem vystoupení.
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Pollert's talent was discovered by his brother, who in his adulthood financed his singing lessons with
Francis Pivoda and Moritz Wallerstein. His study did not last long; he was engaged in
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KOPECKÝ, Emanuel; POSPÍŠIL, Vilém. Slavní pěvci Národního divadla. Praha : Panton, 1968. 226 s. Kapitola Dva basisté: Jiří Huml a Emil
Pollert, s. 100–111.
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PROCHÁZKA, Vladimír, (red.) Národní divadlo a jeho předchůdci. Praha : Academia, 1988. 623 s. Kapitola Emil
Pollert, s. 385–386.
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119:, Pollert took his place at the center of the stage, representing a total of 221 roles in more than 5,000 performances.
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DEYL, Rudolf. Sláva – tráva : Herecké vzpomínky. Praha : Vilímek, 1938. 318 s. Kapitola Kamarád, s. 306–318.
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Pollert died in Prague of a heart attack in 1935 just before his scheduled appearance in the role of
Boniface in
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in the season 1898–1899, following which he was recommended to the
National Theatre and immediately accepted.
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He focused particularly on roles by Czech composers, particularly those by
Smetana. He sang Kecal in
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Besides performing in operatic roles, he was involved in the production of several
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189:) and preserved twice on film: in a silent version of 1913 (directed by
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Deyl, cit. d.; Národní divadlo a jeho předchůdci, s. 385 aj.
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16:For the Czechoslovak slalom canoeist, see
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87:His debut was in the dramatic opera
244:Kopecký, Pospíšil, cit. d., s. 107
226:Kopecký, Pospíšil, cit. d., s. 106
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235:Československý hudební slovník
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300:Singers from Austria-Hungary
295:People from Mělník District
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149:. He is buried at the
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89:Byl jednou jeden král
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18:Emil Pollert (canoer)
197:; theater director,
161:Notable performances
285:Czech opera singers
181:and many places in
126:and starred in the
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195:Svatopluk Innemann
167:The Bartered Bride
151:Vinohrady cemetery
112:The Bartered Bride
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280:1935 deaths
275:1877 births
38:Emil Popper
269:Categories
205:References
146:The Secret
133:The Mikado
100:Tannhäuser
60:) at the
191:Max Urban
175:Bucharest
52:) was a
183:Bohemia
124:ballets
106:Rusalka
94:Dalibor
78:Olomouc
68:roles.
42:Liblice
36:, born
179:Vienna
171:Warsaw
50:Prague
46:Mělník
54:Czech
109:and
72:Life
66:bass
58:bass
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