Born Lauritz Lebrecht Hommel Melchior in Copenhagen, Denmark, the young Melchior was a boy soprano and amateur singer before starting his first operatic vocal studies under Paul Bang at the Royal Opera School in Copenhagen at the age of 18 in 1908.
In 1913, Melchior made his debut in the baritone role of Silvio in Ruggero Leoncavallo's Pagliacci at the Royal Theatre (Det Kongelige Teater) in Copenhagen. He sang mostly secondary baritone and bass roles for the Royal Danish Opera and provincial Scandianavian opera companies for the next few years. His second debut was on 8 October, 1918 in the title role of Tannhäuser, also at the Royal Opera in Copenhagen.
In 1920, Melchior visited England to sing in an experimental radio broadcast to the Scandinavian capital cities from the Marconi station in Chelmsford. From 1920, Melchior was a frequent performer in London, appearing at Sir Henry Joseph Wood's Promenade Concerts in Queens Hall. While at London he met the popular novelist and passionate Wagnerite Hugh Walpole, who provided the fledgling Heldentenor with financial aid. Additional studies under Victor Beigel, Ernst Grenzebach and the legendary dramatic soprano of the Vienna Court Opera, Anna Bahr von Mildenburg, kept Melchior occupied until 1923. Word of his talent spread and was heard of by Cosima and Siegfried Wagner at Bayreuth. There the re-opening of the Festival for 1924 was under preparation. Melchior was engaged to sing Siegmund and Parsifal. This prestigious contract opened the way to several other appearances such as a Wagner concert with Frida Leider in Berlin in 1923. Around this time several acoustic records were cut for Polydor.
On May 14, 1924 Lauritz Melchior made his debut, as Siegmund, at the Royal Opera House at Covent Garden in London. The result was a smashing success. Some weeks later Melchior made his debut on the stage of the Festspielhaus in Bayreuth in the roles of Siegmund and Parsifal. On February 17, 1926 his first appearance at the Metropolitan Opera in New York City took place. He sang Tannhäuser opposite Maria Jeritza, Friedrich Schorr, Karin Branzell and Michael Bohnen with Artur Bodanzky conducting. Although he was not adversely criticized, there was not much enthusiasm elicited by this debut. In his first season at the Metropolitan opera, Melchior sang only eight times. His second season brought only one appearance. To build up his repertory and gain more stage experience, he accepted an engagement at the Hamburg State Opera, where he appeared as Lohengrin, Otello, Radames in Aida and Jean van Leyden in Le prophète. He also sang regularly at other major German music theaters, like the State Operas of Berlin and Munich.
Although Melchior sang at most of the theatres and concert halls of the Western world during his long career, he is perhaps best remembered as a member of the Metropolitan Opera company where he sang 519 performances of Wagnerian roles between 1926 and 1950. Melchior's breakthrough at the Metropolitan opera finally came when he performed in Tristan und Isolde on March 20, 1929. From this point on his career flourished. It was Lohengrin's Farewell which served as Melchior's "swan song" in his last stage performance, on 2 February, 1950.
Melchior appeared at Covent Garden from 1924 to 1939, also as Otello (opposite Viorica Ursuleac as Desdemona) and Florestan, besides the Wagnerian repertory. Also at Covent Garden in 1932, he sang opposite popular soprano Florence Easton in Siegfried, the only time they appeared together. Other important stations of his career were in the Buenos Aires (Teatro Colón) (1931-1943), San Francisco Opera (1934-1945) and Chicago Opera (1934-1945).
Melchior made very many recordings, first as a baritone on Danish HMV, then as a tenor for Deutsche Grammophon(Polydor) (1923-1930), English and German HMV (1927-1935), RCA Victor (1938-1941), American Columbia (1942-1950) and lastly Warner Brothers. His final appearance with Danish radio was in 1960 with a performance of the first act of Die Walküre to celebrate his 70th birthday, which was recorded and constitutes a terrific souvenir of the indestructible, indeed almost supernatural Melchior in full flight.
Some of Melchior's most notable colleagues in the opera houses of the world included the sopranos Frida Leider, Kirsten Flagstad, Lotte Lehmann, Helen Traubel, Marjorie Lawrence and Elisabeth Rethberg and conductors Felix Weingartner, Bruno Walter, Wilhelm Furtwängler, Fritz Reiner, Sir Thomas Beecham, Arturo Toscanini, Erich Leinsdorf, George Szell, and Otto Klemperer.
Between 1944 and 1952, Melchior performed in 5 Hollywood musical films for MGM and Paramount Pictures and made numerous US television appearances. In 1947, he put his hand and footprints in cement in the forecourt of Grauman's Chinese Theatre in Hollywood. From 1946-1949 Melchior went on a world tour with his personal conductor Ezra Rachlin. Their visit to Denmark was particularly meaningful as they were the guests of King Frederic, who was an amateur conductor with his own personal concert hall in his palace.
Following his unofficial retirement around 1955, Melchior made sporadic singing appearances. In the late 1960s, he set up a fund through Juilliard for the training of potential heldentenors called "The Lauritz Melchior Heldentenor Foundation."
In the summer of 1972, Melchior conducted the San Francisco Opera Orchestra at Sigmund Stern Grove in the Radetzky March by Johann Strauss I as part of the 50th anniversary celebration of the company; this was one of his last public appearances.
An American citizen since 1947, Melchior died in Santa Monica, California in 1973. He was put to rest in the Assistens Kirkegaard cemetery in Copenhagen.
Melchior is the father of Danish-American novelist and filmmaker Ib Melchior, who has written a biography about him and for years has fought a legal battle to reclaim the Melchior family estate Chossewitz in Germany, which was confiscated by East Germany.
Serenade
Lauritz Melchior Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Durch die Nacht zu dir;
In den stillen Hain hernieder,
Liebchen, komm zu mir!
Flsternd schlanke Wipfel rauschen
In des Mondes Licht;
Des Verrters feindlich Lauschen
Hrst die Nachtigallen schlagen?
Ach! sie flehen dich,
Mit der Tne sen Klagen
Flehen sie fr mich.
Sie verstehn des Busens Sehnen,
Kennen Liebesschmerz,
Rhren mit den Silbertnen
Jedes weiche Herz.
La auch dir die Brust bewegen,
Liebchen, hre mich!
Bebend harr' ich dir entgegen!
Komm, beglcke mich!
The lyrics to Lauritz Melchior's Serenade describe a lover's desperate plea for their beloved to come to them amidst the stillness of the night. The lyrics are filled with melodious longing and passion, as the singer's songs whisper through the night to their lover, begging them to come down to the quiet grove where they are waiting. The rustling of the moonlit trees adds to the eerie yet romantic atmosphere of the song. Despite the potential dangers of their rendezvous, hinted at by the "enemy listening," the singer remains steadfast in their devotion and calls out to their beloved with the sweet sounds of nightingales. The nightingales themselves seem to understand the singer's love and pain, as they sing in sweet tones for the beloved to come to them.
The lyrics evoke a sense of urgency and longing as the singer waits for their love to arrive. They demonstrate a deep sense of passion that has been echoed in classic love songs throughout history. The intense passion of the song is almost palpable as the singer begs for the arrival of their beloved. The use of night imagery and the sounds of nature further contribute to the romanticism of the piece. Overall, the song is a beautiful ode to the love and longing that has been expressed through music for centuries.
Line by Line Meaning
Leise flehen meine Lieder
My songs plead gently
Durch die Nacht zu dir;
Through the night to you;
In den stillen Hain hernieder,
To the quiet grove below,
Liebchen, komm zu mir!
Sweetheart, come to me!
Flsternd schlanke Wipfel rauschen
Whispering slender treetops rustle
In des Mondes Licht;
In the light of the moon;
Des Verrters feindlich Lauschen
The hostile eavesdropping of traitors
Frchte, Holde, nicht.
Do not fear, lovely one.
Hrst die Nachtigallen schlagen?
Do you hear the nightingales sing?
Ach! sie flehen dich,
Ah! They plead with you
Mit der Tne sen Klagen
With the sweet lamenting tones
Flehen sie fr mich.
They plead for me.
Sie verstehn des Busens Sehnen,
They understand the longing of the heart,
Kennen Liebesschmerz,
They know the pain of love,
Rhren mit den Silbertnen
They stir with the silvery tones
Jedes weiche Herz.
Every soft heart.
La auch dir die Brust bewegen,
Let your heart also be moved,
Liebchen, hre mich!
Sweetheart, hear me!
Bebend harr' ich dir entgegen!
Trembling, I await you!
Komm, beglcke mich!
Come, make me happy!
Lyrics © Warner/Chappell Music, Inc., Universal Music Publishing Group
Written by: DENNIS CHALLEN BROWN, GRANT GEISSMAN, FRANZ SCHUBERT
Lyrics Licensed & Provided by LyricFind
Bivolari
One of my favorite rendition. True, his english is a bit weird. But it just goes to show what commitment to a piece can do. He sings with great style and panache. It is immensely exciting.
Bradley Monroe
He was from Denmark. True Wagnerian with great German diction.
vmzwickey
How hauntingly beautiful and brings back a magical night as a teenager in Madison, Wisconsin.
He performed in the Student Prince, at the Parkway Theater, the former Fuller Opera House.
I can still remember hearing his enchanting voice booming on the lawns of the state capitol with the governor in the audience.
He was the best Wagnerian tenor of his time.
I had a free seat in the front row. Why? I was a “candy girl” and sold candy and popcorn in the lobby during intermission, then chose an unoccupied seat during the intermission.
smemr
I have this on the old "Hear Them Again" set that RCA put out in late 60's. This version, recorded in 1946, showed what an impressive voice he still had at the age of 56. While he opts out of the final high note I was always impressed by the massive long held G at the end.
Daniel Giacomuzzi
Sr. Edmund StAustell, muchísimas gracias por subir esta música. Siempre estoy a la caza de tesoros musicales y hoy es un gran día para mi al descubrirla. Me encanta el timbre de Lauritz Melchior, su potencia es embriagante. Un verdadero placer a mis oídos.
Andy Howlett
Absolutely lovely. Old fashioned, heartfelt delivery from the soloist and the orchestra.
JP Karlsen
My mom introduced me to this great tenor and a host of others. Thank you mom. Fantastisk voice and power🇩🇰💕
Camille Bouchard
Une voix superbe; mes parents l'adoraient et moi aussi.
John Schofield
Wonderful music sang by a wonderful tenor!!!!, Lauritz Melchior is one of my favorite tenors, but even if you are not a fan, you must apreciate the talent and extraordinary felxibility of this heldentenor, to "egalize" all his vocal line....Simply Wonderful!!!!
John Schofield
@EdmundStAustell Mi estimado Señor; es verdad, esa voz era un milagro de la naturaleza. Rotunda y potente, con un inacabable"leggato"; casi como un hermoso instrumento de viento...Ah! que maravilla y que inalcansable "modelo" a seguir para nosotros los tenores. Gracias por publicar este maravilloso material del gran Lauritz Melchior!!!!...Bravooo!!!!