The marriage was dissolved in 1935 because Alpár was Jewish and the marriage was illegal in Nazi Germany. In 1931, Alpár married actor Gustav Fröhlich, with whom she had a child, Julika.
An ensemble member of the Berlin State Opera from 1927 to 1930, she excelled in performances of Mozart’s The Magic Flute, Rossini’s The Barber of Seville, as well as in Verdi’s Rigoletto and La traviata. The debut marked the beginning of a long career, promoted by eminent conductors such as Erich Kleiber, which led her singing at the great opera houses of Vienna, Berlin, and all over the world. Her first public appearance as a coloratura soprano under the name of Alpár was in 1923 at the Budapest State Opera House. At an early age, she commenced the study of singing and pianoforte at the Academy of Budapest. Gitta Alpár was born in Budapest, the daughter of a Jewish cantor. He eventually returned to Europe in 1949 and died in Paris in 1953. As a result of the Anschluss, Kálmán and his family fled to Paris and then to the United States. Influences on his compositional style include Hungarian folk music (such as the csárdás), the Viennese style of precursors such as Johann Strauss II and Franz Lehár, and, in his later works, American jazz. Among his most popular works are Die Csárdásfürstin (1915) and Gräfin Mariza (1924). And since most likely more than a few of us have the odd Johann Strauss or Franz Lehar operetta in our record collections, adding the music of Emmerich Kalman doesn’t seem that big a stretch.Įmmerich Kálmán was a Hungarian composer of operettas and a prominent figure in the development of Viennese operetta in the 20th century. along with the American debut of Hungarian soprano Gitta Alpar give this an aura of historic importance. Įmmerich Kalman Plays the music of Emmerich Kalman with Gitta Alpar, Soprano – Felix Knight, Tenor – – Gordon Skene Sound Collection –Īlthough you might be hard pressed to label Emmerich Kalman a composer of serious Classical Music, he was quite well known and highly regarded in Light Opera circles throughout Europe – and the significance of this broadcast, his radio debut in the U.S. There was a lot "fudging" going on with regards to power ratings back then, and the power numbers that were quoted were often without regard for any frequency or distortion level.Gitta Alpar – making her American Debut with this broadcast. But be that as it may, I'd still like someone to show me a real measurement rather than just stating that these console amplifiers have this kind of performance capability.
And at no time have I found the heft of their output iron comparable to that of a separate hi fi component. I haven't worked on every RCA ever made, but I've seen plenty of them. The RCA's transformers' outer brackets are shorter than the tubes and the laminations are contained underneath those. The laminations extend visibly above the bulge in the bell ends and are much taller than the tubes themselves. The Eico transformers are both taller and wider and clearly have much larger laminations. It's hard to see how you can make that claim based on the photos. The appearance of the bell end covers fools the mind into thinking it's got more "heft".Īlso, the RCA's are driven to their limits most times, maximizing output.ĭoing a few simple "mods" to the power supply can increase headroom in most cases.
Actually, the output transformers of the RCA Victor are of the same size and frame as the Eico's, and even the Dynaco stereo 35's, using the Z565 transformers.