REGONDI, Giulio. Line 8 of article, for 1831 or 1832 read in June 1831.
REICHARDT, Alexander. Add date of death, May 14, 1885.
Reichardt, J. F. P. 100a, l. 34, for 17 read 27.
REICHER, Hedwig, née Kindermann, the daughter of the celebrated baritone,[1] was born July 15, 1853, at Munich. She was taught the piano first by her mother, and at the School of Music, but abandoned the same in favour of singing, on the advice of Franz Wüllner. She received her vocal instruction from her father, and made her début at the Munich Opera as one of the boys in the 'Meistersinger,' and next played small parts in the opera, drama, and ballet, besides singing in the chorus, so as to gain experience. She sang the alto part in Franz Lachner's Requiem at Leipzig in 1871 with such success that she became engaged at Carlsruhe. She played 'as guest' at Berlin as Pamina, June 5, and Agatha, June 9, 1874; she then returned to Munich, and sang Daniel in Handel's 'Belshazzar,' April 14, 1875. Soon after she married Emanuel Reicher, an actor at the Gärtnerplatz theatre, and for a time sang there in opera bouffe, but returned to opera and played Grimgerde in the 1st Cycle, and Erda in the 2nd Cycle at Bayreuth in 1876. She next played at Hamburg, Vienna (where she appeared as Leah on the production of Rubinstein's 'Maccabees'), and again at Munich. Having received instruction for the purpose from Faure and Jules Cohen at Paris, she played in French at Monte Carlo in 1880 with such success that she received an offer to sing at La Scala, Milan, but declined it in favour of an engagement at Leipzig under Neumann, where she made her début as Fidelio May 12, 1880. She became a great favourite, and remained there until 1882. She played on tour with Neumann as Brünnhilde in the 'Trilogy' in London, Berlin, and other German towns, and finally at Trieste, where she died June 2, 1883.
She made a great impression at Her Majesty's Theatre as Fricka on the production of 'Rheingold,' May 5, and of 'Walküre,' May 6, 1882, and still more as Brünnhilde in the 2nd Cyclus in the first two parts of the Trilogy; not only was her 'magnificent voice' equal to all the demands upon it, but her presentation of the character was full of force and of pathos. While no less touching than Frau Vogl in the truthfulness of her expression, she was more heroic and dignified; the supernatural element was brought into stronger relief … in the grand awakening scene her manner was perhaps too coldly dignified and wanting in the impulsiveness which characterizes the heroine when she has finally abandoned her supernatural attributes and become a true woman.[2]
[ A. C. ]
REID, General John. P. 101a, l. 23, for 1842 read 1841.
REINECKE, Karl. Line 4 of article, for 1827 read 1824. To the list of his works add 'Die Flucht nach Aegypten,' cantata for male voices; an opera, 'Auf hohem Befeh'* (Schwerin, Mar. 13, 1887); an overture 'Zenobia,' and a funeral march for the late Emperor of Germany (op. 200). Of his settings of fairy tales as cantatas for female voices 'Schneewittchen,' 'Dornröschen' and 'Aschenbrödel,' are very popular.
REINE DE CHYPRE, LA. Last line of article, for 1846 read 1841.
REINKEN, J. A. P. 103 b, l. 7, for viola read viola da gamba, and add that the 'Hortus Musicus' has lately been republished as no. XIII of the publications of the Maatschappij tot bevordering der Toonkunst (Amsterdam, 1887). No. XIV of the same publication consists of Reinken's 'Partite Diverse' (variations). Note 1, add reference to English translation of Spitta's 'Bach,' i. 197–9.
REINTHALER. Add Martin as a second Christian name; also that he was a pupil of A. B. Marx, and that his cantata 'In der Wüste' has been very successful.
RENN, organ builder. See Jardine & Co. vol. iv. p. 685.
REQUIEM. Mention should be made of the Requiem Masses of Gossec. [See vol. i. p. 611.] Berlioz, whose work is in some respects the most extraordinary setting of the words that has ever been produced, and Verdi, whose setting of the words maybe regarded as marking the transitional point in his style. A work of Schumann's, op. 148, is of small importance; more beautiful compositions of his, with the same title, though having no connection with the ecclesiastical use of the word, are the Requiem for Mignon, and a song included in op. 90. See vol. iii. p. 420 a.
REYER, Louis Etienne Ernest. Add the following to the article in vol. iii. p. 122:—The revival of 'Maître Wolfram' and 'La Statue' at the Opéra Comique, Dec. 12, 1873, and April 20, 1878, respectively, showed how little the composer had been influenced by injudicious advice given him on the production of the former work, and the transformation of 'La Statue' into a grand opera made evident the fact that his artistic tendencies and convictions had become stronger instead of weaker. After numerous attempts on Reyer's part to secure an unmutilated performance of 'Sigurd' at the Paris Opera, he produced it at the Théâtre de la Monnaie, Brussels, Jan. 7, 1884, with considerable and lasting success. On July 15 of the same year it was produced at Covent Garden. The first per-
- ↑ Kindermann, August, born Feb. 6, 1816, at Berlin, began his career at the opera as a chorus singer, received instruction from Meyer, and played both bass and baritone parts at Leipzig in 1839–1846, since when he has been engaged at Munich, where he obtained a life engagement, and has always been there a great favourite, being a very versatile artist. He celebrated his 25th anniversary of his engagement there on June 15, 1871, as Figaro in 'Nozze,' the Cherubino being his elder daughter Marie, then engaged at Cassel. He played Titurel (Parsifal) at Bayreuth in 1882; and on Sept. 9, 1886, he celebrated the jubilee of his career, and the 40th year of his engagement at Munich, playing the part of Stadinger in Lortzing's Waffenschmied.'
- ↑ Athenæum, May 20, 1882.
