V2241. JARMILA NOVOTNÁ, w.Toscanini, Walter, Breisach, Beecham, Weissmann, Panizza, Gould, Black, Voorhees, Pelletier, Abravanel, etc. Cond.: Arias from Zauberflöte, Nozze, Don Giovanni, Barbiere, Les Contes d’Hoffmann, Rusalka (Dvorák), Hubicka, Prodaná Nevesta, La Boheme, Tosca & La Traviata. (Czech Republic) Supraphon 4158, recorded 1930-56. - 099925415822
“Jarmila Novotná…was a legendary beauty with an uncanny gift for the stage….She brought a radiance to every role she undertook: her every entrance was like a burst of sunshine.”
- Lanfranco Rasponi, THE LAST PRIMA DONNAS, p.296
“Jarmila Novotná was widely considered one of the finest singing actresses of her time. Her interpretations of such roles as Donna Elvira, Euridice, Manon, Mélisande, Antonia and Marenka were praised for their intelligence and lyrical grace. She also excelled in trouser roles, particularly Orlofsky in DIE FLEDERMAUS, Cherubino in LE NOZZE DI FIGARO and Octavian in DER ROSENKAVALIER. On hearing her American début in San Francisco in MADAMA BUTTERFLY in 1939, Olin Downes wrote in The New York Times: ‘There is grace, warmth, communicative feeling in all that she does’.
She made her Metropolitan début in LA BOHEME in 1940, singing with Jussi Björling. That year Downes also praised her ‘great’ Violetta at the Met: ‘She conceived the music, from first note to last, dramatically, and portrayed the character with an aristocratic sensibility and simplicity. The word and the tone were indissoluble; the phrasing was that of the finest musician’. In her years at the Metropolitan Opera, Miss Novotna sang 193 performances and won consistent praise for her expressiveness and musicianship.
Miss Novotná studied with Emmy Destinn and made her début at the age of 17 with the Prague National Opera. She continued her studies in Milan and became a member of the Vienna State Opera from 1933 to 1938, eventually singing opera and concerts in most of the major houses of Europe. Toscanini brought her to the attention of the Met after she sang Pamina under his direction in Salzburg in 1937. She came to New York in 1940, arriving, she noted years later, the day Hitler marched into Prague. During the war years she recorded ‘Songs of Lidice’, in memory of the victims of the Nazi massacre. The recording presents folk songs of her native land; the piano accompaniments are by Jan Masaryk, the son of the former president of Czechoslovakia.”
- Edward Rothstein, THE NEW YORK TIMES, 10 Feb., 1994