V2642. ROSE ADER: Songs by Cimarosa, Schumann & Schubert; Arias from Otello, La Boheme, Madama Butterfly & Turandot - recorded 1928-52; EDITH BACH: Two songs; FRITZI JOKL: Arias from Nozze, Les Huguenots, Martha, Don Pasquale & Alessandro Stradella; HENRIETTA GOTTLIEB: Siegfried - Ewig war ich; w.WALTER KIRCHHOFF: Heil dir Sonne; w.LUDWIG WEBER: Die Walküre - Nicht weise bin ich, doch wusst ich das eine. (France) Malibran AMR 198, w.notes n French and English. [AMR titles are issued without rear tray-cards]
“Born in the Austrian Empire in 1890, Rose Ader is known only from a few recordings - thanks to the disc she recorded in 1928 for Parlophone, with the two arias of Mimì. Her voice is of such exquisite sweetness and purity that one wonders why she did not record more. In fact there were several test recordings and broadcasts that her son made available, accessible again thanks to Stefan Johansson.
Her career took her also to Vienna where she sang a lot in 1918-1919, then as a guest in 1931 - 1936 when she was Oscar, Micaela, Manon, Zerlina, Mimì, Marguerite, Urbain and Gilda. She sang Rosalinde in of Max Reinhardt’s production of DIE FLEDERMAUS, in Berlin and Paris. In 1930 she was Mimì at the Opera-Comique, then made her debut in Covent Garden in 1931, with Rosalinde. Ader settled in Austria after 1933. She had married the Sicilian Count Trigona in 1923, then she settled in Italy where she survived World War II, probably hiding her Jewish identity. She had a son, Antonio, then after the war they left for Buenos Aires where she taught at the Conservatory beginning in 1949. In 1952, at 62, she was still singing some songs for Radio Argentina, retaining lovely quality in her voice. She died there in 1955.”
- Richard Copeman
“Here is another great soprano. If you were to demand the name of the most beautiful voice I have ever heard, I might choose Rose Ader (1890-1955). Here is another singer about whom very little is known.
Not much of substance is known about the Austrian soprano. For twelve seasons her career was centered in Hamburg. It was there in 1921 that she sang the first performance of Puccini’s SUOR ANGELICA in Germany. She emigrated with her family to Austria in 1933, went from there to Italy where they remained until after the war at which time she emigrated to Argentina, where she ended her days. There are very few recordings extant. Only two recordings, of the Mimì arias, were ever published. There remain some Parlophone test pressings, including one of ‘Un bel dì’ that simply must be heard.
Puccini wrote the role of Liù with her in mind. In fact, she and Puccini were lovers. In a letter from Puccini to Ader, which translates thus:
“Mia cara Rose, it hurts me to hurt you! But I must do it for your own good – it doesn’t matter if I suffer – you have a future and with me you have no luck. I can do nothing or little for you… Frankly it would be better to finish it – to remain friends and send news of one another once in a while. You know that I want only good things for you and desire all the good fortune in the world for you. You are used to a life that’s bright – beautiful – and staying with me, what life would you lead? Think about it seriously – it gives me much pain to think you are not happy. I received your two letters and I did not want to write you right away – I am working and feeling well enough – My poets have not given me the third act [of TURANDOT]! Liù weeps and in writing the music I think of you, my poor and sweet and good Rose! Affectionately, your Giacomo.”
Ader may very well have inspired Puccini as he composed the music to what was purportedly his favorite heroine, Ader was denied the opportunity to create the role of Liù, a distinction which went to Maria Zamboni instead.”