She now began to sing in Wagner's operas, taking the parts of Woglinde and Helmwige, and she sang the "Bird" music in Wagner's trilogy at Bayreuth. In 1880 she made a successful appearance in England as Violetta, and again as Philine in "Mignon." She also sang at Her Majesty's Theatre for two seasons, and in 1884 she went to Covent Garden and made a substantial success as Isolde. The following year she visited the United States, and for several years was frequently heard in German opera, acquiring a great reputation, but in 1892 she was taken ill and returned to Germany. At that time the condition of her health was such that it was feared she would never sing again; but in 1896 she reappeared and was engaged to sing at Bayreuth, where she electrified the world by her magnificent performance. One of the critics wrote regarding[{180}] the event: "Lehmann is the greatest dramatic singer alive, despite the fact that her voice is no longer fresh; but her art is consummate, her tact so delicate, and her appreciation of the dramatic situation so accurate, that to see her simply in repose is keen pleasure."
Like all the greatest Wagnerian singers, her reputation was made in work of a very different nature. It was, indeed, because of her ability to sing music of the Italian school that she was so highly successful in the Wagner rôles, and it may be stated that her long career, and Materna's, are sufficient refutation of the oft-repeated assertion, that Wagner opera wears out a singer's voice rapidly.
In 1888 Lilli Lehmann married Paul Kalisch, of Berlin, a tenor singer of good repute. The marriage took place after an engagement of several years, and was carried out, in a most informal manner, in New York.[{181}] Herr Kalisch telegraphed one afternoon to a clergyman to the effect that he was coming at five o'clock to be married. The clergyman held himself in readiness, the couple arrived promptly, and the knot was tied. During the few years of retirement, Frau Lehmann-Kalisch resided in Berlin, where she devoted her time to teaching the vocal art, but since her Bayreuth appearance of 1896, she has revisited America, and renewed her former triumphs.
Minnie Hauk will be remembered as the creator (in London) of "Carmen," in Bizet's opera of that name. The opera had not been very successful in Paris, but when it was produced at Her Majesty's, in London, Miss Hauk demonstrated that she was not only a singer of more than ordinary ability, but possessed also considerable dramatic power.
Miss Hauk was born in New York, in 1852. Her father was a German, and a[{182}] scholar of high reputation, who, having taken part in the revolutionary movement of 1848, went to New York, where he married an American lady. On account of her health he was obliged to take her, and the child, Minnie, to the West, and they settled at Leavenworth, Kan., where Mr. Hauk acquired some property. At this time Kansas was still peopled by Indians, and life was rough and unsettled. Amidst wars, inundations, hurricanes, and attacks from Indians, Minnie Hauk spent her early childhood.
Her mother's health did not improve even under these stimulating conditions, and the family moved to New Orleans, taking passage in a steamer owned by Mr. Hauk. This vessel was lost during the voyage, but the family arrived safely in New Orleans, in time to witness the siege of that city during the War of the Rebellion,—the burning of the cotton presses and ships, the battle,[{183}] and the occupation by Northern troops, all form most interesting and striking recollections. Yet amidst the scene of strife, the young girl was singing from morning till night, roaming about the plantations surrounding the city, climbing trees, imitating the songs of birds. The negroes on the plantations taught her their songs, she learned to play the banjo, and she organized theatrical performances amongst her playmates. All her inclinations pointed to a stage career, and when a concert was arranged for the benefit of the widows and orphans of the war, she was invited to sing, though not more than twelve years old.
This was her first appearance in public, and the pieces which she sang were "Casta Diva," and a selection from Auber's "Crown Diamonds." Her success in this concert was so great, that when the family returned to New York, she was placed under Signor Errani to begin her operatic education.[{184}] She made rapid progress, and after several essays at the private theatre of Mr. Leonard Jones, she made a successful début at the Academy of Music, singing the part of Amina in "La Sonnambula," and becoming at once a popular singer. This was in 1868, and later in the same year she made her début in London.
Under the management of Maurice Strakosch she made a tour through Holland and Russia, and was also well received in Vienna, in 1870, at the Imperial Opera House. In 1874, she was invited to join the Royal Opera House at Berlin, as leading prima donna, by the express desire of Emperor William and the Empress Augusta. Here she remained four years.
In 1877 she appeared at the Théâtre de la Monnaie, Brussels, and in 1878 she returned to America. During the spring seasons of 1878 to 1880, she sang on alternate nights with Nilsson, at Her Majesty's in London.[{185}] She made a brilliant record both in Europe and America, as a leading star of Her Majesty's Opera Company during the seasons of 1881-2-3-4-5-6, but of late years has not been heard in opera.
Mapleson gives Miss Hauk credit for being one of the most capricious of prima donnas, and declares that he generally received three or four notes a day from her containing complaints or requests. She married in 1876 Chevalier Hesse von Wartegg, who has written some interesting books on Tunis and Algiers.[{186}]