Bahr-Mildenburg, Anna (1872–1947)

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Bahr-Mildenburg, Anna (1872–1947)

Austrian soprano. Born Anna Mildenburg on November 29, 1872, in Vienna, Austria; died on January 27, 1947, in Vienna; studied with Rosa Papier-Paumgartner; married Hermann Bahr (the writer), in 1909.

Debuted in Hamburg as Brünnhilde in a performance conducted by Gustav Mahler (1895); began a relationship with Mahler; appeared with Mahler in Vienna (1898–1916) and at Bayreuth (1897–1914).

In the musical world, Anna Bahr-Mildenburg's name is inextricably linked with that of Gustav Mahler. Born in Vienna on November 29, 1872, she did not choose singing early and was already 19 when she began to study with Rosa Papier-Paumgartner , an influential teacher. Four years later, Anna auditioned for Pollini, the director of the Hamburg Opera. Recognizing her great talent, Pollini engaged her immediately, and she appeared shortly thereafter as Brünnhilde in Die Walküre, one of opera's most demanding roles. During rehearsals, Bahr-Mildenburg met Gustav Mahler, and he took over the direction of her career. Under his training, she became an outstanding dramatic soprano. During their years in Hamburg, Bahr-Mildenburg and Mahler had a passionate affair which ended by the time she first performed in Vienna in 1898. Their professional relationship continued, however, after Papier-Paumgartner suggested the former lovers renew their professional collaboration when Mahler became director of the Vienna Hofopera. Bahr-Mildenburg joined the peerless Mahler ensemble and was on the Hofopera staff until 1917, nearly 20 years.

Bahr-Mildenburg also appeared on the international stage. She was at Covent Garden in 1906 and would appear in the first London performance of Richard Strauss' Elektra in 1910. By 1907, some said her voice was in decline, perhaps because she had assumed the heaviest dramatic roles which taxed her capabilities. The sole recording which documents her talents was made in 1905; it demonstrates that hers was a powerful, penetrating voice with a superb attack. As a singer, she did not hold herself back, an approach which may explain the decline of her voice but also explains why Mahler and Pollini were so excited by their discovery of her.