Frederica von Stade
Frederica "Flicka" von Stade Gorman (born June 1, 1945) is a semi-retired American opera singer. Since her debut in New York in 1970, she has performed in operas, musicals, concerts and recitals in venues throughout the world, including the Met, La Scala, the Paris Opera, the Vienna State Opera, the Salzburger Festspielhaus, Covent Garden, Glyndebourne and Carnegie Hall. Conductors with whom she has worked include Abbado, Bernstein, Boulez, Giulini, Karajan, Ozawa, Solti and Tilson Thomas. She has also been a prolific and eclectic recording artist, and has made many appearances on television.
Frederica von Stade
Frederica von Stade, July 24, 2014
|Born||June 1, 1945|
Somerville, New Jersey, United States
|Alma mater||Mannes School of Music, New York City|
|Occupation||Opera singer (mezzo-soprano)|
(m. 1973; div. 1990)
Michael G. Gorman
A mezzo-soprano equally at home in lyric music and in coloratura, von Stade has assumed fifty-four operatic roles on stage and eight more in concert or on disc. She is especially associated with the Mozart, Rossini and French repertoires and with contemporary American music, particularly the works of Jake Heggie. Among her signature roles are Penelope, Rosina, Angelina, Charlotte, Lucette, Mélisande, Hanna Glawari and Mrs de Rocher, and, in trousers, Cherubino, Hänsel, Chérubin and Octavian.
Her divorce from her first husband, Peter Elkus, was important in the development of American family case law, establishing the principle that when the marriages of performing artists are dissolved, the courts can attribute an economic value to their celebrity status and treat it as marital property to be shared with their former spouses.
Her patrilineal great-great-grandfather, Friedrich Wilhelm von Stade (1818–1888), was a merchant who was born in Altona, a suburb of Hamburg, Germany. (Von Stade family lore asserts that he was a Bürgermeister [mayor] in the city from which their surname derived, a mediaeval Hanseatic port some 45 km to Hamburg's northwest, but history indicates that this tradition is apocryphal.[nb 1]) He emigrated to America in the mid-19th century, founding a bristle importing company at 73 Beekman Street, New York City.
Her great-aunt, Eleanor Herndon Steele Reese (1893–1977), rancher, rural philanthropist and erstwhile Countess de la Greze, was once an international concert and operetta soprano who sang at Paris's Opéra-Comique, toured with her third husband, the tenor Clovis Hall, and commissioned compositions from Mario Castelnuovo-Tedesco and Darius Milhaud. Her parents were First Lieutenant Charles Steele von Stade (1919–1945), trained as an architect and winner of the US Open Polo Championship in 1941, and Sara Worthington Clucas von Stade (1918–1983).
Von Stade was born in Somerville, New Jersey on June 1, 1945, a premature baby weighing 2½ pounds. Seven weeks earlier, on April 10, 1945, her father had been killed in action in World War 2. The many letters that he had written to her mother later inspired Kim Vaeth and Richard Danielpour to devise the song cycle Elegies for her. She described her feelings about her father in her 2004 song lyric "To my Dad", which was set to music by Jake Heggie and performed by them on his album Flesh & Stone.
On December 6, 1946, von Stade's mother married Lieutenant Colonel (later Brigadier General) Horace W. "Hod" Fuller (1908 – 1989). He and his family spent several years in Greece and Italy, but his work commitments allowed him so little time with his stepdaughter that she scarcely got to know him. Von Stade's memories of her childhood in Athens inspired one of the poems in her lyric cycle Paper Wings, which was set to music by Jake Heggie and performed by them on his album The Faces of Love: The Songs of Jake Heggie.
On October 6, 1950, Sara Fuller and her children left Le Havre on the SS America to return to the United States. The Fullers divorced in 1951. Sara von Stade established a new life for herself in Washington, D. C., working for the CIA as a secretary. Von Stade remembers her early self as a "latchkey kid" with a dynamic, clever, humorous, volatile mother whose "problem with booze" did not compromise her passionate attachment to her daughter.
Von Stade's education began at the Holy Trinity School, Georgetown, a parochial elementary school founded by Jesuits and staffed by nuns. In grades 5 to 7, she studied at the Stone Ridge School of the Sacred Heart, a college-preparatory school near the Bethesda Naval Hospital. When she reached grade 8, her mother took her back to the Clucases' rural homeland in New Jersey, where she spent two years at the Far Hills Country Day School before returning to the care of the nuns of the Convent of the Sacred Heart at their elite boarding college-preparatory school, no longer extant, in Noroton, Connecticut.
Each of von Stade's closest relatives had at least some enthusiasm for music. At Yale University, her brother Charles sang in the Whiffenpoof a capella chorus; her mother liked listening to operas on the radio and to popular melodies on her Victrola record player; and her father, admired by his comrades for his attractive singing, was an amateur pianist and organist who might have studied music in college if he had survived his military service. She herself began singing when she was six or seven, pleased to discover that dressing up and performing for her family helped her to cope with a shyness so extreme that the prospect of going to a party could make her physically ill. At Stone Ridge, she sang processional music and Masses under the guidance of Mother Jan McNabb. From the age of fourteen, she began taking Saturday train rides from New Jersey to New York to see the latest musicals on Broadway; she routinely bought standing passes for a matinee and an evening performance on the same day, whiling away the interval between them by loitering outside the Metropole Cafe and eavesdropping on jazz played by Gene Krupa or Dizzy Gillespie. Among the shows that she enjoyed were Peter Pan, The Sound of Music, Camelot and Tovarich, and she went ten times to hear Ethel Merman in Annie Get Your Gun. At school in Far Hills, she made her own first appearances in musicals in productions mounted by a teacher called Betty Noling.
When she was sixteen, her mother took her to the Salzburg Festival to hear Karl Böhm conducting Elisabeth Schwarzkopf and Christa Ludwig in Der Rosenkavalier. Despite arriving at the Festspielhaus dishevelled and wet after being driven through the rain in a leaking Volkswagen, she was spellbound by what seemed to her the most beautiful thing that she had ever heard, and she still treasures an autograph that she subsequently solicited from Schwarzkopf after glimpsing her through a restaurant window. (Another fruitful consequence of her visit to Salzburg was her discovery of the nearby village of St Wolfgang in Salzkammergut, to which she returned decades later to film Christmas with Flicka.) She was introduced to much more classical music in her senior high school years in Noroton, where she sang choral works by Mozart, Handel, Palestrina, Orlande de Lassus and Josquin des Prez. But neither Richard Strauss nor any of the other composers in the classical pantheon could seduce her away from the kind of music that won her heart in her earliest years. When she entertained her friends and family at one of their gatherings, it was invariably with pop songs or show tunes that she had picked up by ear.
After graduating, von Stade was given a sum of money by her grandfather, with the advice to spend it on something better than clothes or a car. Her mother suggested using it to finance a gap year in Paris. She combined waitressing, tending bar and working as a part-time nanny to three children with studying piano at the École Mozart, although she was so embarrassed by the youth and skill of her fellow pupils that she did not persist with her lessons for long. She had happier musical experiences hearing Schwarzkopf in recital at the Théâtre des Champs-Élysées and Carmen at the Opéra.
Once back in New York, she worked as a sales assistant in the stationery department of Tiffany's – "I was terrible at it, and kept sending out orders to Houston, Wyoming and Sacramento, Nevada" – and took secretarial night classes that led to a job at the American Shakespeare Festival in Stratford, Connecticut. But she also began to investigate the possibility of earning money from her voice. Offering herself as a freelance singer for hire, she found employment in cocktail bars where "customers were not expected to listen, and didn't", and she took part in a promotional industrial musical staged for the Winchester Repeating Arms Company. Eventually she summoned up enough courage to begin asking for small parts in summer stock musicals. It was not an easy process for her: "You do fifty or sixty auditions and get called back five times and maybe get one job offer – if you're lucky." But ultimately her persistence was rewarded when she made her stage debut in the Long Wharf Theatre, New Haven in 1966, playing Beauty in a children's production of Beauty and the Beast.[dubious ]
Torn between her growing ambition, her difficulty in acknowledging it, her Catholic guilt over it and her fear of failure, she was unsure whether to commit herself to the training that would be necessary if she were to become the professional singer that she increasingly dreamt of being. Ultimately it was a friend's $50 dare that tipped the balance and led to her approaching a conservatory that happened to be close to her East 73rd Street Manhattan apartment, New York's Mannes School of Music. Even then, she was still hesitant, initially limiting herself to a part-time course in sight-reading. It was only at the urging of her instructor that she applied to become a full-time student singer. Hoping that she would at least learn how to play the piano well enough to handle pop tunes at parties, she auditioned with Mignon's "Connais tu le pays?", and was accepted into the college's vocal programme. She was funded by help from her family and part-time secretarial work, including a day's temping as Ethel Merman's PA. Despite a disappointing evening at a Metropolitan Opera Arabella – "Awful, no melody" – she chose to make opera her speciality, because it offered the quickest route to a degree. Under the tutelage of Sebastian Engelberg, she discovered talents in herself that she had not anticipated, yet she was still so unsure of herself that she contemplated a switch to nursing. But after Harold Schonberg wrote an appreciative review of her Lazuli in the college's production of Chabrier's L'étoile in The New York Times – "This little girl has real personality and an interesting voice. She could go places" – she found enough self-confidence to enter the Met's 1969 recruitment competition. Her singing of Charlotte's letter aria from Massenet's Werther got her through to the semi-finals, and the house's general manager, Rudolf Bing, was sufficiently impressed to sign her up on a three-year comprimario contract without further ado.
Von Stade made the first of her 305 Met appearances on January 10, 1970 as one of the Three Boys in Mozart's Die Zauberflöte, singing from a basket dangling vertiginously near the top of the proscenium arch: "We were so scared by the time we got down to the stage that we didn't even know what opera we were in". Her subsequent comprimario roles were Bersi, Cherubino, Hänsel, Lola, Maddalena, Mercédès, Nicklausse, Preziosilla, Tosca's Shepherd, Siébel, Suzuki, Tebaldo, Virginella, a Flowermaiden in Parsifal, an Unborn Child in Die Frau ohne Schatten, Wowkle ("Part of my job was to zip Tebaldi up before her high B-flats"), Flora ("The dress was too long, and I kept tripping over it" and a Stéphano whose swordplay almost cost Franco Corelli a finger.
Her neophyte years at the Met were happy ones: she got on well with Rudolf Bing, she was grateful to be coached by Alberta Masiello, Walter Taussig and Jan Behr and she was fond of coworkers like "Rosie, the wardrobe mistress, Jimmy, the make-up artist, Nina, the wig lady from Aberdeen and dear Artie, my buddy on the stage crew, who always told me I looked great." Moreover, the Met was an employer generous enough to allow her to moonlight with other companies. In spring 1971, she gave her first performance with the San Francisco Opera as Sesto in an F. Scott Fitzgerald-inspired production of Mozart's La clemenza di Tito, and in the summer, she took part in two productions in Santa Fe: she was Maria in the posthumous premiere of Villa-Lobos's Yerma, and she sang her first Cherubino in a staging of Mozart's Le nozze di Figaro that was notable as the US debut of Kiri Te Kanawa. According to a historian of the Santa Fe company, "It was two of the newcomers who left the audience dazzled: Frederica von Stade as Cherubino and Kiri Te Kanawa as the Countess. Everyone knew at once that these were brilliant finds. History has confirmed that first impression." The production was the first of several in which they would work together, and also the start of an enduring friendship.
On March 28, 1970, von Stade made her one and only Met appearance as Stéphano in Gounod's Roméo et Juliette – the occasion on which she almost maimed Franco Corelli – in the capacity of fourth cover for an indisposed Marcia Baldwin. Among the audience was Rolf Liebermann, the director of the State Opera of Hamburg. He enjoyed her performance, and he was impressed by her again when, on another evening at the Met, he heard her as Cherubino on March 11, 1972. About to take charge of the Paris Opera, he was planning to launch his intendancy with a lavishly glamorous production of Figaro at the Royal Opera of Versailles, produced by Giorgio Strehler and conducted by Georg Solti. Would she like to take her Cherubino to France? She consulted with Rudolf Bing's successor, Göran Gentele, who advised her not to renew her contract at the Met but to make the most of what promised to be an extraordinary opportunity: "Zero in on what kind of singer you want to be, and then come back to me".
She gave her final performance as a comprimario on June 23, 1972, singing the role of Preziosilla in, aptly, Verdi's La forza del destino. In the summer of that year, she returned to Santa Fe for her first Zerlina in Mozart's Don Giovanni and her first portrayal of the traumatized heroine of Debussy's Pelléas et Mélisande ("At the point where Pelléas was coming toward me singing 'Je t'aime, je t'aime', I was trying to decide whether to go to a certain pizza parlor after the show"). After recording her first LP in February 1973 – Joseph Haydn's Harmoniemesse, conducted by Leonard Bernstein – she crossed the Atlantic to begin preparations for her Paris Figaro. Both the production and her contribution to it were widely acclaimed – a French critic wrote that she had the voice of an angel – and she was soon receiving offers from many of the world's greatest opera houses. The first that she took up reunited her with Te Kanawa at Glyndebourne. She made her British debut there on July 1 under John Pritchard in another, televised staging of Figaro, singing with her modesty intact despite the wish of her producer, Peter Hall, that she should perform part of the boudoir scene naked. In the autumn, she returned to San Francisco as Dorabella in Mozart's Così fan tutte; and at Christmas, she came back to the Met eighteen months after leaving it, debuting her Rosina in Rossini's Il barbiere di Siviglia as an acknowledged international star. Meeting Marcia Baldwin in later years, she joked that her colleague's night of illness back in 1970 had been singularly serendipitous. "Without you, honey, I would not have had a career."
Von Stade's first season at Glyndebourne gave her the opportunity to become acquainted with Peter Hall's staging of Monteverdi's Il ritorno d'Ulisse in patria. She attended each of that summer's seventeen performances of the work. She was enthralled by how he had crafted it – "I don't think I've ever had an experience before or since that compared to it" – and also by Janet Baker's Penelope: "If I could project her quiet dignity and devotion in just one of my performances, I'd rejoice for the rest of my life." She was also delighted by Raymond Leppard's extravagant realization of the piece. While acknowledging that his way with baroque scores had been slighted by some musicologists as anachronistic, she relished the appealing vivacity of the results: "I think he brought them alive and gave them a life that made them intensely popular." It was in Leppard's version of Ulisse that she appeared in her house debut with the Washington Opera (1974) in the piece's first American staging. She was Penelope again in her house debut with the New York City Opera (1976), subsequently stepping into Baker's shoes under Leppard's direction at Glyndebourne in 1979 and reprising the role in San Francisco (1990) and – in Glen Wilson's austere edition – in Los Angeles (1997). She returned to Monteverdi in the autumn of her career, performing the smaller role of the scorned empress Ottavia in L'incoronazione di Poppea in Houston (2006) and in Los Angeles (2006).
She collaborated with Leppard on an unhappier baroque enterprise in 1980, singing Iphise in a televised, ultra-modernist staging of Rameau's Dardanus in Paris. One of Leppard's books recounts the project's troubles, which included a clowning violist, an incompetent organist. wire-flown singers who squeaked with terror and a producer and designer who abandoned their creation midway through its run. Von Stade thought the staging so inept that after the exit of its authors, she felt obliged to take control of it and try to repair its infelicities herself. Leppard described the experience as the worst of his conducting life, an agonizing episode that left a permanent scar on his psyche.
Handel's Serse was the only other baroque opera in which von Stade appeared, and the only British opera in her entire curriculum vitae. Singing its title role in a staging by Stephen Wadsworth in Santa Fe in 1993 without – by her own admission – adequate preparation, she suffered a disastrous memory lapse in the opening lines of her first major aria. (Slightly dyslexic, she sometimes finds learning scores difficult.) "I'm here to tell you that you don't actually die from shame", she said to her manager afterwards. "You might like to, you might wish you could – but you don't." She revisited Serse in her house debut at Seattle Opera when Wadsworth's production was revived there in 1997.
18th century operaEdit
Mozart is von Stade's favourite composer (and also the historical figure whom she most admires). She thinks that Cherubino was to some extent autobiographical: "In many respects he is the spirit of Mozart. That's how I imagine [Mozart] to have acted and looked, from his letters. I think [Cherubino is] very close to his character without the dark side." In particular, she sees the composer and his creation as both "little devils", sharing the "bug-eyed admiration of women" that she remarked in Tom Hulce's portrait of Mozart in the film Amadeus. Her playful, aristocratic interpretation of the adolescent page, informed by her observations of seven teenaged male cousins, was greeted by the eminent record producer Walter Legge – Elisabeth Schwarzkopf's husband – as revelatory: "The joy of the evening is Frederica von Stade, an actress of seemingly unlimited resources. I've never seen or heard a better Cherubino." Certainly no role figured in her engagement diary more often. Her early appearances as the farfallone amoroso were followed by others in Houston (1973), Paris (1974, 1980), Salzburg (house debut 1974, 1975, 1976, 1987), Vienna (house debut 1977), Chicago (1987, 1991) and San Francisco (1991), and she incarnated him forty-four times at the Met between 1975 and 1997.
Mozart's other da Ponte operas were less important in her career. She sang Zerlina with the Met in its spring tour in 1974, and Despina in Così fan tutte in San Francisco (2004) and at the Ravinia Festival (2010). (She admits to not being especially fond of her earlier Così role, Dorabella.) But she was often heard in trouser roles in Mozart's opera serie. Her Sesto in Santa Fe's 1971 La clemenza di Tito was followed by further performances at the Teatro Colón in Buenos Aires (1980), Munich (1981), San Francisco (1993) and Dallas (1999), and she recorded the opera's secondary role of Annio for Colin Davis (1976). In 1982, she returned to the Met after a hiatus of six years to star as Idamante in the house's televised company premiere of Idomeneo. the only staging that ever partnered her with Luciano Pavarotti (one of the singers who she most admires). She revisited the piece with other tenors at the Met (1983, 1986, 1989) and, in concert, at Tanglewood (1991).
The seldom performed operas of the 18th century's other great master, Joseph Haydn, were works in which she was never heard theatrically, but she did contribute to the pioneering series of recordings of them conducted by Antal Doráti. She was an uncharacteristically furious Amaranta in La fedeltà premiata (1975), and Lisetta in the astronomical comedy Il mondo della luna (1977).
19th century Italian operaEdit
Von Stade has often spoken of her special devotion to the Italian operas of the early 1800s. "I love bel canto; it's the core of what singing is about." "I really believe so much in bel canto, and particularly Rossini's music. It does everything that can be accomplished through the voice." "Sometimes what you want to get across is: 'This is hard, but I am fantastic because I can do this.' ... That's what Rossini is".
She is identified with Rosina in Il barbiere di Siviglia almost as closely as with Cherubino, although she has confessed to loving the Rossini role much less than the Mozart one. "I used to be uncomfortable doing Rosina. … She's usually played as the pert soubrette, with sort of a sharp turn. But I found I can do it within my own terms. Rosina can be wilful one moment, but she can be tender the next." She sang the role twenty-two times at the Met between 1973 and 1992, and also at Covent Garden (house debut 1975) and at La Scala (1976, 1984), in San Francisco (1976, 1992), in Hamburg (1979), in Vienna (1987, 1988), and in Chicago (1989,1994). Her first La Scala staging was nearly aborted when its producer, Jean-Pierre Ponnelle, insisted that she sing the cavatina "Una voce poco fà" unembellished. He relented only when the conductor Thomas Schippers called in the musicologists Philip Gossett and Alberto Zedda to persuade him to allow his weeping prima donna the ornaments and cadenza that she had prepared for him.
She finds Rossini's La Cenerentola a more sympathetic work, enjoying his treatment of Cinderella for more than its "vocal fireworks and slapstick comedy". "Warmth is the message here. As the subtitle says, it's 'la bontà in trionfo', the triumph of goodness – not goody-goody bontà, but bontà in the spiritual sense, … the sense that we can be everything to each other. I do feel it as a religious message. My joy is to have the privilege of expressing it. Cenerentola has a certain quality that all the women I play have, a softness. I guess that's what my definition of femininity is – the Cinderella softness." Her Angelina (Cinderella) was heard in San Francisco (1974), Paris (1977) and Dallas (1979), and also with the company of La Scala when they visited the United States to celebrate the republic's bicentenary (1976). (The Opéra de Paris invited her to participate in their contribution to the US's bicentennial festivities too, performing as Cherubino; she was the only American so honoured by both institutions.) Her interpretation of the role is preserved in a 1981 film of a production by Jean-Pierre Ponnelle which, she thought, achieved the opera's goal of making you "feel like your whole inside is smiling".
Comic operas were not the only bel canto works in which she performed. In 1978, she joined José Carreras to record Rossini's little known Otello under Jesús López Cobos. The vocal historian J. B. Steane regarded her interpretation of Desdemona as the "most lovely and suitable of her Rossini singing". "The character's tenderness and the music's lyricism asked for just what she had to give." She was also Elena in Rossini's La donna del lago in the opera's first 20th century American production in Houston (1981), reprising the role in concert at Carnegie Hall (1982) and theatrically at Covent Garden (1985). In Bellini's operas she was heard only rarely, despite her high estimation of them: "If I were a soprano, I would sing nothing but Bellini. I think Bellini comes closest to everything I believe about the greatness of singing." Her Adalgisa in a Met Norma (1975) had the misfortune to be paired with an incongruously cast Wagnerian in the opera's title role. Damning the production as "a travesty of Bellini's work both musically and dramatically", Donal Henehan of The New York Times wrote that Rita Hunter's "monumental proportions and virtual immobility as an actress" were not mitigated by her shrill top notes, her effortful coloratura in "Casta diva" and her being apparently often out of breath. Von Stade's hopes of revisiting the opera with Shirley Verrett came to nothing, but she did get to sing Amina in La Sonnambula in San Francisco (1984) and Dallas (1986), performing in a partly transposed version of the score based on that tailored for Maria Malibran.
19th century French operaEdit
Von Stade became skilled in French while still at school in Noroton, prescribed fifty or sixty pages of Voltaire or Saint-Exupéry a night by a teacher who banned English speech from her classroom. She finds French music more comfortable to sing than Italian, and she has a high regard for French musical sensibilities: "French music is luscious. … The French have a sense about proportion, and they know what works."
In Berlioz, she was Béatrice in concert performances of Béatrice et Bénédict in Boston (1977) and Carnegie Hall (1977) and at Tanglewood (1984). In Offenbach, she sang the title role in La Grande-Duchesse de Gérolstein in Los Angeles (2005). In Thomas, she starred in Mignon in Santa Fe (1982) after undertaking the smaller trouser part of Frédéric in the recording of the opera conducted by Antonio de Almeida (1977). But the composer most important in her French operatic repertory was Massenet.
"I didn't like Charlotte in Werther at first", she says. "She seemed cold. I don't think so at all now. … She's seeking freedom of expression. … She's been trained within an inch of her life, trained by the period in which she grew up, by an ill parent. … For Charlotte, responsibility is the message. … Every woman who has a child is never the same, in the most awesome way. It's a privilege, but it's heavy. Since Charlotte has had motherhood passed on to her, she feels it with a certain sense of burden. She's still so young." "It takes courage for her to permit herself to experience the kind of passion she has for Werther." Von Stade sang in her first Werther in Houston (1979), revisiting the opera at Covent Garden (1980), in Vienna (1987) and at the Met (1988). (Excerpts from the Houston production were included in Call Me Flicka, an hour long BBC television profile of von Stade, aired on January 18, 1980, that followed her over two years in America, France and England. The programme also included sequences of her singing music by Mozart, Rossini, Gershwin, Canteloube and Joni Mitchell.)
Von Stade describes Cendrillon, Massenet's Cinderella opera, as "the musical embodiment of the fairy tale as I remember it as a child. The characters are nicely defined and have great humanity." "Pretty party dresses and ball gowns and glass slippers and long hair – oh, it couldn't be more fun." In playing Lucette (Cinderella), she felt obliged to exercise a degree of restraint: "I find that with Massenet so much is stated musically, so much romanticism is there, that if you echo it too much in the musical line, it's like being tickled to death. It's too much." She was first seen in Cendrillon in a televised production in Ottawa (1979), and then in Washington (1979, 1988) and, again televised, in Brussels (house debut 1982) and in Liège (1982). Cendrillon, Mignon and Offenbach's La Périchole were the three panels of a French triptych of semi-staged performances that her manager, Matthew Epstein, organized for her at Carnegie Hall in 1983.
19th century German operaEdit
Von Stade's 19th century repertoire included a single major role in a German opera, Hänsel in Humperdinck's Hänsel und Gretel. She played him in eleven child-oriented English language performances at the Met between 1972 and 1983; that of Christmas 1982 was televised.
20th century French operaEdit
She performed in Debussy's Pelléas et Mélisande in Geneva (1976), in Paris (1977, 1986), at La Scala (1986), in Vienna (1988, 1990), and at Covent Garden (1993). At the Met, she sang the role in 1988 and again in 1995, when the house celebrated her quarter century of service to it with a new production of the opera by Jonathan Miller.
She was in Ravel's L'Enfant et les sortilèges, in semi-staged presentations: one in London's Barbican Hall (1991), the other in San Francisco (1999), both presided over by her friend Michael Tilson Thomas. She did appear theatrically as Sister Blanche de la Force in Poulenc's Catholic-themed rarity, Dialogues des Carmélites, in a single run of performances at the Met (1983).
20th century German and Austrian operaEdit
One of her German-language roles was Octavian in Richard Strauss's Der Rosenkavalier. She first portrayed him in Houston (1975), revisiting him at the Holland Festival (1976), in Hamburg (1979), in Paris (1981), on a Met spring tour (1983) and in San Francisco (1993). Her other Richard Strauss role, the Komponist in Ariadne auf Naxos, she abandoned after concluding from a production in Hamburg (1983) that it called for a voice with more thrust than hers.
The tormented lesbian Countess Martha Geschwitz in Alban Berg's Lulu, essayed by her in San Francisco (1998), was another role that was only peripheral to her career, although her interpretation of it was favourably received by critics. But a venture into the world of operetta was more profitable. She had loved Franz Lehár's Die lustige Witwe ever since one winter in a rural phase of her childhood, when "the fire trucks sprayed water on the ponds to make them smoother for ice skaters. Then the waltz from The Merry Widow was played over loudspeakers, and I skated around in pure bliss." She cites the work as supporting her belief that light music can be as great in its own way as Mozart's in his. "It has some of the most genuine, emotionally honest music ever composed, and some of the orchestrations just break your heart. It's sweet, but it's also real, with an adorable story that can be by turns funny, tender and harsh." She was Hanna Glawari in Paris (1991), at the Teatro Colón (2001) and in San Francisco (2002). And it was waltzing with the Count Danilo Danilovitsch of Plácido Domingo – who had first sung with her in a Tosca on a Met visit to Cleveland, Ohio on April 29, 1970 – that she thought it fitting to bring her thirty years at the Met to a close (2000).
The opera of her native land was an important component of von Stade's career almost from its beginning. In Houston in 1974, she was the infatuated ingénue Nina – sharing the stage with her maternal grandmother in a bit part – in the premiere of Thomas Pasatieri's The Seagull. (She is fond of recalling that on opening night, her dressing room was knee deep in roses, all of them for Mrs Clucas.) In Dallas in 1988, she starred as the vulnerable spinster Tina in the televised premiere of Dominick Argento's The Aspern Papers. In San Francisco in 1994, she was the vicious and manipulative Marquise de Merteuil in the televised premiere of Conrad Susa's The Dangerous Liaisons – "I thought, who can compete with Glenn Close? So I didn't even try" – finally granting the director Frank Corsaro his wish of two decades earlier that she would one day play "a real bitch". In 2014, she starred as the embittered nonagenarian Myrtle Bledsoe in Ricky Ian Gordon's A Coffin in Egypt in its premiere in Houston, reprising the role at Opera Philadelphia (2014) and at the Chicago Opera Theater (2015) and, in concert, in Wynton Marsalis's Jazz at Lincoln Center (2016). And in 2018, she returned to Philadelphia to create the role of Danny, a woman in the early stages of Alzheimer's dementia, in the premiere of Lembit Beecher's Sky on Swings. The Beecher project was one of her most personal: her aunts Carol and Marjorie had both fallen prey to Alzheimer's, and she hoped that, as well helping its audience to understand the disease better, Beecher's opera would foster empathy for Alzheimer's victims' families. "They're essentially losing someone, only they don't die."
Her work on Dangerous Liaisons in 1994 sparked what turned out to be the most consequential of all her professional relationships. The man whom San Francisco Opera assigned to chauffeur her to promotional interviews was its then head of publicity, Jake Heggie, a 33-year-old aspiring composer. When he introduced her to his settings of three Irish folk-songs – "Barb'ry Allen", "He's gone away" and "The leather-winged bat" – they struck her as marvellously accomplished, and she immediately set about doing all that she could to advance his career. Eighteen months later, San Francisco Opera commissioned him to work with the writer Terrence McNally on an operatic version of Sister Helen Prejean's then recent Dead Man Walking (1993), a book – also the basis of a film starring Sean Penn and Susan Sarandon (1995) – written in the hope of dissuading its readers from supporting capital punishment.
Heggie wanted von Stade to play his opera's central role, Sister Helen, but she declined it in favour of his second choice, the mezzo-soprano Susan Graham. She was, however, eager to create the role of Mrs Patrick de Rocher, the mother of a man awaiting execution, which Heggie and McNally expanded into "a kind of fulcrum" of the work to take advantage of von Stade's assumption of it. The opera is especially dear to her: she says that there is none that she more enjoys listening to, and she cites McNally as her favourite writer. The piece's implicit condemnation of the United States' retention of the death penalty is a reproof that she wholeheartedly endorses, basing her critique of capital punishment on behaviourism. "If you know nothing but brutality your whole life, it becomes your life. And that is where the mistake is. You can't just remove people, you have to remove what is making them that way, and that's what we're not doing." "Capital punishment is an extreme form of state-sponsored vengeance that only demeans and dehumanizes everyone, and does nothing for the victims' survivors, nothing for society. We're all losers when someone is executed." She was Mrs de Rocher at the world premiere of Dead Man Walking in San Francisco (2000), at the Theater an der Wien in Vienna (2007) and in Houston (2010). (The San Francisco production was the subject of a KQED behind-the-scenes documentary, And then one night: the making of 'Dead Man Walking', which aired on PBS on January 14, 2002.) Heggie wrote roles for her in two more of his operas: she starred as the celebrated actor Madeline Mitchell in Three Decembers (originally titled Last Acts) in Houston (2008), at the University of California, Berkeley (2008) and in Hawaii (house debut 2017), and she was the music teacher and philanthropist Winnie Flato in Great Scott in Dallas (2015) and San Diego (2016).
Von Stade does not regret her decision to pursue a career in opera rather than in musicals: she knows that if she had been a Broadway singer, she would have had to perform daily rather than just two or three times a week, and she is thankful that she was spared the injury to family life that such an onerous routine entails. Nevertheless, she has never lost the love of musical theatre that took root in her as a child, when the brassy sound of a Broadway band could excite her almost to the point of making her pass out. "I wanted Broadway more than anything," she says. "My heart is on Broadway." "My idea of dying and going to heaven is walking in a Broadway theatre and hearing the overture." When the commercial success of Bernstein's operatically cast recording of West Side Story proved that there was a market for musicals sung by the likes of José Carreras and Kiri Te Kanawa, she was happy to avail herself of the crossover opportunities that his album opened up for her.
The first came in the summer of 1987, when EMI spent half a million dollars recording John McGlinn's musicologically rigorous version of Jerome Kern's Show Boat. As a little girl, she had dressed up in her mother's clothes and sat on her mother's piano to sing "Bill", but EMI cast her not as Julie LaVerne but in the dual roles of Magnolia Hawkes and the adult Kim Ravenal. A Granada Television documentary, The Show Boat Story, documents the making of the album (although it glosses over the project's loss of Willard White and other singers of colour who were alienated by McGlinn's refusal to censor Oscar Hammerstein's use of the N-word). In 1990, von Stade returned to Show Boat in Flicka and Friends: From Rossini to Show Boat, a televised concert staged in New York's Alice Tully Hall, in which Jerry Hadley and Samuel Ramey joined her in singing excerpts from the work. In the autumn of 1987, she recorded a collection of show numbers and pop songs in Flicka: Another Side of Frederica von Stade; the difficulty that she experienced in adapting her technique to the requirements of pop left her with an abiding respect for the singers into whose territory she had trespassed. In December, she starred in the most nearly complete version of the The Sound of Music ever recorded, conducted by Erich Kunzel, after two preparatory concert performances of the piece in Cincinnati. In 1988, she was Hope Harcourt in another John McGlinn recording, a historically scrupulous version of Cole Porter's Anything Goes. Her final collaboration with McGlinn was in 1989, when they taped My Funny Valentine: Frederica von Stade Sings Rodgers and Hart.
In 1992, she was Professor Claire de Loone in a semi-staged production of Bernstein's On the Town in London that was recorded for release on CD, VHS video cassette and Laserdisc. In 1994, she was reunited with Jerry Hadley and Erich Kunzel to record an anthology of show tunes, Puttin' on the Ritz. In 1999, she was Desiree Armfeldt in Stephen Sondheim's A Little Night Music in Houston, performing a specially revised version of the score that reallocated some music from its Greek Chorus to its principals. And in 2014, she was the Old Lady who was easily assimilated in a semi-staged performance of Bernstein's Candide at Tanglewood.
Von Stade's concert repertoire included sacred music by J. S. Bach, Handel and Mozart. She sang in Mozart's Requiem under Carlo Maria Giulini (London, 1989), and she took part in the filmed performance of his Great Mass in C minor presided over by Bernstein six months before his death (Waldsassen, 1990). It was Bernstein who introduced her to a very different Christian work, Mahler's Symphony No. 4, as she sat beside him on his piano stool and was treated to a private lesson on the song in which it culminates. The symphony's child's-eye vision of paradise entrances her: "I love this concept of heaven that Mahler gives – having asparagus, and [Saint] Cecilia, and baking the bread. It meant so much to me. being a Catholic." She sang in the symphony under Pierre Boulez (New York, 1974), Claudio Abbado (Edinburgh, 1976), Seiji Ozawa (Boston, 1983) and André Previn (Tanglewood, 1996). The other work of Mahler's with which she was particularly closely associated was his song cycle Lieder eines fahrenden Gesellen, which she sang under Erich Leinsdorf (New York, 1976) and Ozawa (Boston, 1982).
French music was as prominent in her concert career as in her theatrical work. In Berlioz, she was heard in the orchestral version of his song cycle Les nuits d'été under Ozawa (Boston and New York, 1983) and John Nelson (Tanglewood, 1992), and she was the mezzo-soprano soloist in Roméo et Juliette under James Levine (Ravinia, 1988). In La damnation de Faust, she was Marguerite under Georges Prêtre (La Scala, house debut 1975), Ozawa (Salzburg, 1979, Boston, 1983, New York, 1983 and Tanglewood, 1988) and Georg Solti (New York, 1981), as well as starring in a quasi-operatic staging of the piece produced by Luca Ronconi (La Scala, 1995). In Chausson, she sang in Poème de l'amour et de la mer under Riccardo Muti (New York, 1985, and Philadelphia, 1988.) In Debussy, she was La Damoiselle élue under Ozawa (Boston, 1983). And she sang Ravel's song cycle Shéhérazade under Michael Tilson Thomas (New York, 1975), Ozawa (Boston, 1979), Leonard Slatkin (Washington, 1998) and Hans Graf (Tanglewood, 2005) as well as performing it under Slatkin in her belated, televised debut at the BBC Proms in 2002. (She had been scheduled to star in the festival's Last Night in 2001, but had been thwarted by the grounding of aircraft that followed Al-Qaeda's attack on the United States on September 11.)
She sang in the first performances of several works by contemporary American composers. Together with Thomas Hampson, she starred in the premiere of the version of Bernstein's Arias and Barcarolles orchestrated by Bruce Coughlin (London, 1993). Many of her other premieres were of music that had been composed with her in mind. From Dominick Argento, there was Casa Guidi (Minneapolis, 1983); from Richard Danielpour, Elegies (New York, 1988); from Jake Heggie, "On the road to Christmas" (San Francisco, 1996), I shall not live in vain (State University of New York, Purchase, 1998), Patterns (San Francisco, 1999) and Paper Wings (Louisville, Kentucky, 2000); and from Nathaniel Stookey, Into the Bright Lights (Kitchener, Ontario, 2009), a cycle of three songs setting poems by von Stade herself about singing, aging and her love of her daughters.
Chamber music, song recitals and special eventsEdit
In 1974, von Stade performed in a programme of songs, arias and duets with Judith Blegen and the Chamber Music Society of Lincoln Center in Alice Tully Hall, subsequently becoming the first singer admitted to the Society as a member. She gave her first solo recital in 1976 at Carnegie Hall: forgetting the words of Charles Ives's Tom sails away, she fell across Michael Tilson Thomas's piano in laughter and embarrassment. In 1977, she took part in President James Carter's New Spirit Inauguration Concert, singing Take care of this house from Bernstein's 1600 Pennsylvania Avenue under the baton of the composer.
In 1985, she sang for President Ronald Reagan at the gala preceding his second inauguration, and again when he visited the Kennedy Center for a tribute in honour of Irene Dunne and other performers. In 1988, she went to Tanglewood to sing A little bit in love from Wonderful Town in a telecast gala celebrating Leonard Bernstein's seventieth birthday.
In 1990, she was invited to the White House to entertain Presidents George H. W. Bush and Mikhail Gorbachev. In 2009, she went to Washington to sing with Bill Cosby, James Taylor, and President Barack Obama at the seventy-seventh birthday celebrations of Senator Edward Kennedy. She was accompanied by some young singers from UC Berkeley's Young Musicians Choral Orchestra (YMCO), a philanthropic foundation instituted to support the education of children from disadvantaged backgrounds. In 2010, she performed with another of her young protégés when she paid a visit to Garrison Keillor's radio show, A Prairie Home Companion.
Von Stade stepped back from full-time performing in 2010. She was honoured at the Metropolitan Opera Guild's annual Waldorf-Astoria luncheon, and she gave a farewell recital at Carnegie Hall. In 2011, many of her closest friends in music joined her in San Francisco's Herbst Theater for Celebrating Frederica von Stade, a gala to raise funds for some of her charities. She has remained active in several spheres of music, creating roles in contemporary operas, appearing as a recitalist and in concert, giving masterclasses in conservatories and supporting a number of philanthropic musical enterprises including the YMCO, El Sistema, the Longy School Side by Side Orchestra and the Dallas Street Choir.
Marriage and childrenEdit
At Mannes, von Stade met Peter K. Elkus (b. 1939), bass-baritone, photographer and, later, teacher, a son of Richard J. Elkus, chairman of Ampex. Von Stade and Elkus were married in Paris in the spring of 1973. In 1976, they moved from their 23rd-floor West Side apartment overlooking the Lincoln Center and the Hudson River to a rented Parisian house near the Bois de Boulogne. Their elder daughter was born in 1977; Jenifer Rebecca Elkus was named after a Carol Hall song that von Stade was recording as her baby began to arrive – "She heard her name and figured she'd better come out". Formerly a middle school counselor, Jenny now practises as a clinical psychologist in Virginia, but is also a singer who can be heard duetting with her mother on von Stade's jazz recording Frederica von Stade sings Brubeck - Across your dreams. Anna Lisa Elkus was born in 1980 (delivered, like her sister, by caesarean section). Von Stade's lyric cycle Paper Wings, sung by her on the CD The Faces of Love: The Songs of Jake Heggie, presents vignettes of Lisa's infancy. Now a manager at a global technology company in California, Lisa was a devotee of dance and pop music as a child and has performed as a singer in a rock 'n' roll band.
Divorce, remarriage and grandchildrenEdit
As Jenny approached school age, Elkus and von Stade relocated to a Colonial mini-estate near Glen Head on Long Island, not far from the sprawling mansion once occupied by von Stade's paternal grandparents in the ultra-exclusive enclave of Old Westbury. Elkus coached his wife until 1985: "It's the same old story," said von Stade. "You can't learn to drive from your husband. A husband-and-wife team is a risky thing, ... We thought we were strong enough to defy it, and we weren't." Von Stade filed for divorce in 1990, instigating a courtroom conflict that earned the couple many column inches in newspapers and a place in legal history.
Von Stade and Elkus agreed to share custody of their children, but they were unable to negotiate a mutually satisfactory division of their wealth. In the year of their wedding, von Stade's income net of expenses had been just $2,250; by the time that their marriage was dissolved, it had swollen to $621,878. While her growing success was obviously founded partly on the innate qualities of her voice, it was equally plainly attributable partly to her artistry and fame, and Elkus thought that these latter intangibles were part of the couple's marital property and, moreover, assets that he had had a hand in creating. After marrying von Stade, he had given up his own work as a singer and teacher in order to travel with her, attend her rehearsals and performances, advise and critique her, photograph her for album covers and magazine articles and help her care for their daughters. He believed that his efforts in support of von Stade's career entitled him not just to a share in the couple's current riches but also to a payment – perhaps as high as $1.5 million – anticipating the money that she would make in the coming years from performing and, possibly, from undertaking celebrity endorsements. Arguing that no such endorsements were in prospect, that she had already been successful before her marriage and that Elkus's coaching had sometimes done her voice more harm than good, von Stade's lawyers asked the Supreme Court of New York County to rule that her career and profile belonged to her and her alone. In an order made on September 26, 1990, Walter M. Schackman, J. found in von Stade's favour, noting that Elkus's self sacrifice in supporting her endeavours had been compensated by a "substantial life style" in which he had "reaped the rewards of his association" with her, and that his services to her would be adequately remunerated by his share of the couple's tangible assets (which included a house valued at almost $1 million). But when Elkus's lawyer appealed to the Appellate Division of the Supreme Court of New York, Rosenberger, J. and four of his colleagues took a different view, overturning the trial court's order in a unanimous judgement handed down on July 2, 1991 that effectively made Elkus a shareholder in von Stade's future. In an analysis of the case that questioned whether the Appellate Division's holding was compatible with the Thirteenth Amendment's prohibition of involuntary servitude, Janine R. Menhennet, an attorney practising in California, condemned Rosenberger's decision as an insult to von Stade that had invaded the personal nature of her voice and awarded Elkus a part of her very identity.
On December 30, 1990, von Stade married fellow divorcee Michael G. Gorman, father of three, a San Francisco manufacturer and, later, banker, no musician but rather, in her words, "a normal dude", whom she had met in 1988. Her second marriage earned her another page in the annals of family law when Elkus returned to the courts to try to prevent her from uprooting their daughters from their settled life on Long Island. Once again, Elkus lost the first round of his fight but won the second: despite von Stade's assurances that she would address Elkus's concerns for their children's welfare by hiring a housekeeper, curtailing her travelling and supporting him in visiting them, a New York appellate court reversed the holding of a lower court and found that there was "no compelling reason or exceptional circumstances to justify relocation to California". In the event, Jenny and Lisa did ultimately join their mother, stepfather and step-grandfather in a 1910 Tudor Revival O'Brien & Werner house in the middle of Alameda, a home in which Gorman and von Stade lived for many years before moving to a property on the island's southeast waterfront.
Von Stade has sung on more than a hundred recordings, including symphonic works, sacred music, operas, musicals, art songs, pop songs, folk songs, jazz and comedy. Her recordings have garnered eleven Grammy nominations and two Grammy wins, two Grand Prix du Disque awards, the Deutsche Schallplattenpreis, Italy's Premio della Critica Discografica, and "Best of the Year" citations by Stereo Review and Opera News. Her personal favourites are her Arthaus video and Decca audio recordings of Le nozze di Figaro, her EMI Pelléas et Mélisande, her Deutsche Grammophon Mahler Symphony No. 4, her pop album Flicka - Another side of Frederica von Stade and her jazz album Frederica von Stade sings Brubeck - Across your dreams.
All of the von Stade recordings first released on vinyl have now been issued on compact disc as well, but six are only available on CD in boxed collections. Frederica von Stade Live! and Shéhérazade are only available in the 18-CD set Frederica von Stade: The Complete Columbia Recital Albums (Sony, 2016), and Judith Blegen & Frederica von Stade: Songs, Arias & Duets, Frederica von Stade: Song Recital, Frederica von Stade: Italian Opera Arias and the Mahler album Songs of a Wayfarer, Rückert-Lieder and songs from Des Knaben Wunderhorn are only available in that same anthology and in the 4-CD set Frederica von Stade: Duets, Arias, Scenes and Songs (Newton Classics, 2012). The two SACDs in the discography are hybrid discs which are compatible with any CD machine. Recordings highlighted in blue are the subject of ancillary articles which deal with their taping, cover art, track listings and release histories and provide summaries of reviews by notable critics including Denis Arnold, Alan Blyth, Edward Greenfield, Richard Freed, George Jellinek, William Mann, Stanley Sadie and J. B. Steane.
Albums of music by a single composerEdit
- Argento: Casa Guidi; conducted by Eiji Oue; recorded May 2001; Reference Recordings.
- Berlioz: La damnation de Faust; conducted by Georg Solti; recorded May 1981; Decca.
- Leonard Bernstein: Arias and barcarolles; conducted by Michael Tilson Thomas; recorded September 1993; DG.
- Leonard Bernstein: The Bernstein songbook; conducted by Leonard Bernstein; FVS's contribution recorded January 1977; Sony.
- Leonard Bernstein: On the Town; conducted by Michael Tilson Thomas; recorded June 1992; DG.
- Chris Brubeck: Convergence; FVS's contribution conducted by Sara Jobin; copyright 2005; CD/SACD; Koch International Classics.
- Canteloube: Chants d'Auvergne, Vol. 1; conducted by Antonio de Almeida; recorded June 1982; Sony.
- Canteloube: Chants d'Auvergne, Vol. 2 & Triptyque; conducted by Antonio de Almeida; recorded July 1985; Sony.
- Danielpour: Elegies & Sonnets to Orpheus; conducted by Roger Nierenberg; recorded September 1998; Sony.
- Debussy: Mélodies; accompanied by Dalton Baldwin; copyright 1980; EMI.
- Debussy: Pelléas et Mélisande; conducted by Herbert von Karajan; recorded December 1978; EMI.
- Debussy: Pelléas et Mélisande; conducted by Claudio Abbado; recorded live, 28 May 1986; Opera D'Oro.
- Dvořák: Dvořák in Prague: A Celebration; conducted by Seiji Ozawa; recorded December 1993; Sony.]] [also on DVD]
- De Falla: The Three-Cornered Hat; conducted by André Previn; copyright 1983; Philips.
- Fauré: Mélodies; accompanied by Jean-Philippe Collard; recorded December 1981 and June 1982; EMI.
- Fauré: L'œuvre d'orchestre, Vol. 1; conducted by Michel Plasson; recorded June 1980; EMI.
- Ricky Ian Gordon: A coffin in Egypt; conducted by Timothy Myers; recorded March 2014; Albany Records.
- Joseph Haydn: Harmoniemesse; conducted by Leonard Bernstein; recorded February 1973; issued with Haydn's The Creation as Leonard Bernstein: the royal edition No. 36 of 100; Sony.
- Joseph Haydn: La fedeltà premiata; conducted by Antal Doráti; recorded June 1975; Philips.
- Joseph Haydn: Il mondo della luna; conducted by Antal Doráti; recorded September 1977; Philips.
- Heggie: Dead Man Walking; conducted by Patrick Summers; recorded October 2000; Erato.
- Heggie: Dead Man Walking; conducted by Patrick Summers; recorded January and February 2011; Virgin.
- Heggie: The faces of love, the songs of Jake Heggie; accompanied by Jake Heggie; recorded 1998 and 1999; RCA.
- Heggie: Flesh & stone: songs of Jake Heggie; accompanied by Jake Heggie; copyright 2007; Classical Action.
- Heggie: Great Scott; conducted by Patrick Summers; recorded October and November 2015; Erato.
- Heggie: Passing by: songs by Jake Heggie; accompanied by Jake Heggie; recorded June 2007 and January 2008; Avie.
- Heggie: Three Decembers; conducted by Patrick Summers; recorded March 2008; Albany Records.
- Humperdinck: Hänsel und Gretel; conducted by John Pritchard; recorded June 1978; Sony.
- Kern: Show Boat; conducted by John McGlinn; recorded June - August 1987; EMI.
- Mahler: Songs of a Wayfarer, Rückert-Lieder & Songs from Des Knaben Wunderhorn; conducted by Andrew Davis; recorded December 1978; Sony.
- Mahler: Symphony No. 4; conducted by Claudio Abbado; recorded May 1977; DG.
- Mahler: Symphony No. 4 & Songs of a Wayfarer; conducted by Yoel Levi; recorded July 1998; Telarc.
- Massenet: Cendrillon; conducted by Julius Rudel; recorded June 1978; Sony.
- Massenet: Cendrillon; conducted by Mario Bernardi; recorded live, July 1979; Celestial Audio.
- Massenet: Chérubin; conducted by Pinchas Steinberg; recorded April 1991; RCA.
- Massenet: Werther; conducted by Colin Davis; recorded February 1980; Philips.
- Mendelssohn: A Midsummer Night's Dream; conducted by Eugene Ormandy; recorded April and May 1976; RCA.
- Mendelssohn: A Midsummer Night's Dream; conducted by Seiji Ozawa; recorded October 1992; DG.
- Monteverdi: Il ritorno d'Ulisse in patria; conducted by Raymond Leppard; recorded June 1979; Sony.
- Mozart: La clemenza di Tito; conducted by Colin Davis; recorded July 1976; Philips.
- Mozart: Così fan tutte; conducted by Alain Lombard; recorded May 1977; Erato.
- Mozart: Great Mass in C minor, Ave verum corpus & Exsultate, jubilate; conducted by Leonard Bernstein; recorded April 1990; DG. [Also on DVD]
- Mozart: Mass K. 139, "Waisenhausmesse"; conducted by Claudio Abbado; recorded October 1975; DG.
- Mozart: Le nozze di Figaro; conducted by Herbert von Karajan; recorded live, 1974; Opera D'Oro.
- Mozart: Le nozze di Figaro; conducted by Herbert von Karajan; recorded live, May 1977, Orfeo
- Mozart: Le nozze di Figaro; conducted by Herbert von Karajan; recorded April and May 1978; Decca.
- Mozart: Le nozze di Figaro; conducted by Georg Solti; recorded June and December 1981; Decca.
- Offenbach: Arias and overtures; conducted by Antonio de Almeida; recorded December 1994; RCA.
- Porter: Anything goes; conducted by John McGlinn; recorded August 1988; EMI.
- Rameau: Dardanus; conducted by Raymond Leppard; recorded November 1980; Erato.
- Ravel: Shéhérazade, Chansons madécasses, Mélodies populaires grecques and Mélodies hébraïques; conducted by Seiji Ozawa; recorded October and November 1979 and April 1980; Sony.
- Rodgers: My funny valentine - Frederica von Stade sings Rodgers & Hart; conducted by John McGlinn; recorded September 1989; EMI.
- Rodgers: The Sound of Music; conducted by Erich Kunzel; recorded December 1987; Telarc.
- Rossini: Il barbiere di Siviglia; conducted by Thomas Schippers; recorded live, 31 December 1976; Living Stage.
- Rossini: The Rossini bicentennial birthday gala; conducted by Roger Norrington; recorded February and March 1992; EMI.
- Rossini: La donna del lago; conducted by Claudio Scimone; recorded live, 5 October 1981; Ponto.
- Rossini: Otello; conducted by Jesús López Cobos; recorded September 1978; Philips.
- Richard Strauss: Der Rosenkavalier; conducted by Edo de Waart; recorded July 1976; Philips.
- Richard Strauss: New Year's Eve Concert 1992; conducted by Claudio Abbado; recorded December 1992; Sony. [Also on DVD]
- Thomas: Mignon; conducted by Antonio de Almeida; recorded June and July 1977; Sony.
- Verdi: Don Carlo; conducted by Francesco Molinari-Pradelli; recorded live, 22 April 1972; Foyer.
- Verdi: Don Carlo; conducted by Francesco Molinari-Pradelli; recorded live, 15 June 1972; Living Stage.
- Verdi: La Traviata; conducted by Richard Bonynge; recorded live, 22 October 1970; Bella Voce.
- Wilberg: Requiem & other choral works; conducted by Craig Jessop; recorded October 2007; Mormon Tabernacle Choir.
Albums of music by more than one composerEdit
- Angel heart, a music storybook; conducted by Michael Morgan, recorded 2011 and 2012; Oxingale Records.
- Ardis Krainik celebration gala; recorded live, 20 October 1998; Lyric Opera of Chicago.
- Judith Blegen & Frederica von Stade: Songs, Arias & Duets; music by Schumann, Chausson, Schubert, Alessandro Scarlatti, Mozart, Saint-Saëns and Brahms, conducted by Charles Wadsworth, recorded November 1974 and January 1975; Sony.
- A Carnegie Hall Christmas Concert; conducted by André Previn; recorded December 1991; Sony. [Also on DVD]
- Dance on a moonbeam, a collection of songs and poems; recorded 1998; Telarc.
- Flicka - another side of Frederica von Stade; music by Richard Rodgers, Mack Gordon, Alan Brandt and Jeremy Lubbock, conducted by Jeremy Lubbock; recorded October 1987; Sony.
- Frederica von Stade: Berlioz - Nuits d'été; Debussy - La damoiselle élue; conducted by Seiji Ozawa, recorded October 1983; Sony.
- Frederica von Stade chante Monteverdi & Cavalli; conducted by Raymond Leppard; recorded July 1984; Erato.
- Frederica von Stade: French opera arias; music by Meyerbeer, Gounod, Berlioz, Massenet, Offenbach and Thomas, conducted by John Pritchard; recorded January 1976; Sony.
- Frederica von Stade: Italian opera arias; music by Monteverdi, Rossini, Paisiello, Broschi and Leoncavallo, conducted by Mario Bernardi; recorded August 1977 and July 1978; Sony.
- Frederica von Stade Live!; music by Vivaldi, Durante, Alessandro Scarlatti, Marcello, Rossini, Ravel, Canteloube, Copland, Hundley, Thomson and Hughes, accompanied by Martin Katz; recorded April 1981; Sony.
- Frederica von Stade sings Brubeck - Across your dreams; copyright 1996; Telarc.
- Frederica von Stade sings Mozart and Rossini; conducted by Edo de Waart; recorded September 1975; CD/SACD; PentaTone Classics.
- Frederica von Stade: Song Recital; music by Dowland, Purcell, Liszt, Debussy, Canteloube and Carol Hall, accompanied by Martin Katz; recorded December 1977; Sony.
- Frederica von Stade: Recital, Edinburgh 1976; songs by Dorumsgaard, Mahler, Ives, Poulenc, Britten, Offenbach and Carol Hall, accompanied by Martin Isepp; recorded live, 31 August 1976; Gala.
- Frederica von Stade: Liederabend, Salzburg 1986; songs by Fauré, Richard Strauss, Mahler, Copland, Ives, Pasatieri, Canteloube, Schonberg, Poulenc and Offenbach, accompanied by Martin Katz; recorded live, 18 August 1986; Orfeo.
- Frederica von Stade: Voyage à Paris; songs by Poulenc, Satie, Debussy, Honegger, Ravel and Messiaen, accompanied by Martin Katz; recorded April 1993; RCA.
- Marilyn Horne: Divas in song - a 60th birthday celebration; accompanied by Martin Katz and others; recorded January 1994; RCA.
- Marilyn Horne & Frederica von Stade: Dvořák, Schumann, Mendelssohn; Lieder and duets; accompanied by Martin Katz; recorded July 1992; RCA.
- James Levine's 25th Anniversary Metropolitan Opera Gala; conducted by James Levine; recorded April 1996; DG. [Also on DVD]
- Opera stars in concert: gala concert for Polio-Plus; conducted by Anton Guadagno; recorded September 1988; Amadeo.
- Puttin' on the Ritz: the great Hollywood musicals; conducted by Erich Kunzel; recorded December 1994; Telarc.
- A salute to American music; the Richard Tucker Music Foundation Gala XVI; conducted by James Conlon; recorded November 1991; RCA.
- Simple gifts; music by Handel, Mozart, Mendelssohn, Gluck, Puccini, Vaughan Williams, Schubert, Canteloube, Copland, Carol Hall and Bernstein, conducted by Joseph Silverstein; recorded November 1991; Decca. (Also issued as A song of thanksgiving).
- Songs of the cat; conducted by Philip Brunelle; copyright 1991; RCA.
- Pauline Viardot and friends; recorded February 2006; Opera Rara.
- Dvořák: Dvořák in Prague, a celebration; conducted by Seiji Ozawa; recorded in Smetana Hall in December 1993; Kultur.
- Humperdinck: Hansel and Gretel; sung in English; conducted by Thomas Fulton and produced by Nathaniel Merrill; recorded at the Metropolitan Opera in December 1982; Deutsche Grammophon.
- Mozart: Grosse messe c-moll KV427; conducted by Leonard Bernstein; recorded April 1990; Deutsche Grammophon.
- Mozart: Idomeneo; conducted by James Levine and produced by Jean-Pierre Ponnelle; recorded at the Metropolitan Opera in November 1982; Deutsche Grammophon.
- Mozart: Le nozze di Figaro; conducted by John Pritchard and produced by Peter Hall; recorded at Glyndebourne in 1973; Arthaus Musik.
- Mozart: Le nozze di Figaro; conducted by Georg Solti and produced by Giorgio Strehler; recorded in Paris in 1980; Dreamlife.
- Mozart: Le nozze di Figaro; conducted by James Levine and produced by Jean-Pierre Ponnelle; recorded at the Metropolitan Opera in December 1985; Metropolitan Opera.
- Rossini: La Cenerentola; conducted by Claudio Abbado and produced by Jean-Pierre Ponnelle; filmed in Vienna in 1981; Deutsche Grammophon.
- Richard Strauss: New Year's Eve Concert 1992 - Richard Strauss Gala; conducted by Claudio Abbado; recorded in Berlin in 1992; Kultur.
- A Carnegie Hall Christmas Concert; conducted by André Previn; recorded December 1991; Kultur.
- Christmas with Flicka; conducted by Julius Rudel; filmed in Austria, copyright 1987; Kultur.
- Christmas with the Mormon Tabernacle Choir and Orchestra at Temple Square, also issued as The Wonder of Christmas with the Mormon Tabernacle Choir and Orchestra at Temple Square; conducted by Craig Jessop and Mack Wilberg; recorded December 2003; MTC.
- Glyndebourne Festival Opera: A Gala Evening; conducted by Andrew Davis and Bernard Haitink; recorded 1992; Image Entertainment.
- The Metropolitan Opera Centennial Gala; conducted by James Levine et al.; recorded October 1983; Deutsche Grammophon.
- The Metropolitan Opera Gala 1991 - 25th Anniversary at Lincoln Center; conducted by James Levine; recorded September 1991; Deutsche Grammophon.
- James Levine's 25th Anniversary Metropolitan Opera Gala; conducted by James Levine; recorded April 1996; Deutsche Grammophon.
Laserdiscs and VHS videocassettesEdit
- Leonard Bernstein: On the Town; conducted by Michael Tilson Thomas; recorded June 1992; Deutsche Grammophon; LD and VHS.
- Rossini: The Rossini bicentennial birthday gala; recorded February and March 1992; EMI; LD and VHS.
- I Hear America Singing; starring Thomas Hampson; released in January 1997; Kultur; VHS only.
- Autobiographical essay on Le nozze di Figaro in Hamilton, David (ed.): The Metropolitan Opera Encyclopedia: Thames and Hudson; 1987.
- Preface to Bretan, Nicolae: Religious music; Editio Musica; 1989.
- Recipe for Soupe à Sara in Bond, Jules J. (ed.): The Metropolitan Opera Cookbook; Stewart Tabori & Chang; 1994.
- Autobiographical essay: Frederica von Stade: Voyage à Paris; RCA Victor Red Seal CD; 1995
- Song: And then the setting sun; music by Jake Heggie; 1996.
- Song: The car ride to Christmas; music by Jake Heggie; December celebration: new carols by seven American composers; Pentatone SACD; 1996.
- Song cycle: Paper wings; music by Jake Heggie; The faces of love: the songs of Jake Heggie; BMG CD; 1997.
- Autobiographical essay in Martin, James (ed.): How can I find God?: the famous and the not-so-famous consider the quintessential question; Liguori; 1997.
- Song: Sophie's song; music by Jake Heggie; The faces of love: the songs of Jake Heggie; BMG CD; 1998.
- Autobiographical essay: Frederica von Stade: French opera arias; Sony CD; 1998.
- Essay on Charles S. von Stade; Danielpour: Elegies; Sony CD; 2001.
- Autobiographical introduction to Siberell, Anne: Bravo! Brava! A night at the opera; Oxford University Press; 2001.
- Song: To my Dad; music by Jake Heggie; Flesh & Stone: Songs of Jake Heggie; Classical Action CD; 2004.
- Song: A hero (Winter roses III); music by Jake Heggie; 2004
- Song cycle: Into the bright lights; music by Nathaniel Stookey; AMP; 2009.
- Autobiographical essay: Gramophone, May 2010.
Von Stade was honoured with an award in 1983 at the White House by President Reagan in recognition of her significant contribution to the arts, and by France's second highest honour in the Arts as an officer of the Ordre des Arts et des Lettres. In April, 2012 was elected to the American Academy of Arts and Sciences. She holds honorary doctorates from the universities of Boston and Yale, the Mannes School of Music, the Cleveland Institute of Music, the San Francisco Conservatory of Music and the Georgetown University School of Medicine.
- Two historians of Stade have drawn up lists of the city's Bürgermeister, and Friedrich Wilhelm von Stade features in neither. See "List of the Bürgermeister of Stade from 1839, compiled by Karin Viol (2020)". and Bohmbach, Jürgen (2011): Bürgermeister in Stade–Die letzten 172 Jahre, in Gillen, Harald (editor): Allgemeiner Haushaltungskalender 2012, p. 86: Zeitungsverlag Krause, ISBN 9783926419088
- Parlour, Richard: Flicka at forty, Music and Musicians, July 1985, p. 6
- Jacobson, Robert: Flicka and Richard, Opera News, January 24, 1976, p. 16
- Swan, Annalyn: The sweetheart of American opera, Newsweek, April 4, 1983, p. 50
- Fox, Sue: My hols, The Sunday Times, July 21, 1985, §5, p. 18
- Berthoud, Roger: La dame aux beaux plombages, The Illustrated London News, August 1, 1985, p. 20
- "Friedrich Wilhelm von Stade". FamilySearch.
- Anonymous (May 9, 2008). "An interview with Frederica von Stade and Jake Heggie, part 1 of 2 (FanFaire)". YouTube video.
- Moritz, Charles (editor): Current Biography Yearbook 1977, H. W. Wilson & Co., 1978, p. 414
- Koopman, John: Im Gespräch: Frederica von Stade, Das Opern Glas, April 1990, p.41
- Hendricks' Commercial Register of the United States. p. 135: S. E. Hendricks Co. 1891.CS1 maint: location (link)
- "Guide to the Hall Clovis papers". Online Archive of California.
- "Steele Reese Foundation".
- "Miss Flicka von Stade fiancée of Peter Elkus". New York Times. February 11, 1973. p. 68.
- frebault. "Frederica von Stade's family tree". Geneanet.
- Laffaye, Horace A. (2015). The Polo Encyclopedia, 2nd edition. pp. 377, 385: McFarland & Company. ISBN 9780786495771.CS1 maint: location (link)
- "Charles S. von Stade". HonorStates.
- US World War II Army enlistment records, 1938-1946
- Tassel, Janet: A real thoroughbred, Opera News, April 9, 1983, p. 16
- Serinus, Jason Victor (June 8, 2010). "Flicka's farewell opens doors". San Francisco Classical Voice.
- Danielpour, Richard: Elegies and Sonnets to Orpheus, with Thomas Hampson, Ying Huang, von Stade, the London Philharmonic Orchestra and the Perspectives Ensemble, conducted by Roger Nierenberg, Sony CD, SK 60850, 2001
- Heggie, Jake: Flesh & Stone, Songs of Jake Heggie; with Zheng Cao, Joyce Castle, Mary Philips, Frederica von Stade, Carey Bell (clarinet), Dawn Harms (violin), Jake Heggie (piano), David Henderson (saxophone), Emil Miland (cello), Richard Worn (bass) and Eugenia Zukerman (flute); Classical Action CD; 2007
- Michaelson, Judith (March 4, 1990). "Oh, the life of the diva: 20 years since her debut, Frederica von Stade finds herself at the peak–and a crossroads in her career". Los Angeles Times.
- Anon: Von Stade: Forget the Magic; Time, December 13, 1976, p. 101
- "Mrs Sara von Stade bride of H. W. Fuller". New York Times. December 7, 1946. p. 13.
- "Horace W. Fuller". FamilySearch.
- Anonymous (May 9, 2008). "An interview with Frederica von Stade and Jake Heggie, part 2 of 2 (FanFaire)". YouTube video.
- Heggie, Jake: The Faces of Love: The Songs of Jake Heggie; with Brian Asawa, Zheng Cao, Kristin Clayton, Renée Fleming, Nicolle Foland, Jennifer Larmore, Sylvia McNair, Frederica von Stade, Carol Vaness, Jake Heggie (piano) and Emil Miland (cello); RCA CD, 09026-63484-2; 1999
- "Excerpt from a list of inbound First Class passengers on the SS America on its voyage from Le Havre to the port of New York, departing on October 6, 1950". FamilySearch.
- "H. W. Fuller, 81, dies; decorated ex-Marine". The New York Times. August 18, 1989. pp. A20.
- McLellan, Joseph (February 27, 1988). "Von Stade's Cinderella story". The Washington Post.
- "History of HTS". Holy Trinity School.
- Schaeffer, Pamela. "Flicka von Stade: going where the music leads: opera star explore new roles for life's next stage" (PDF). Heart, A Journal for the Society of the Sacred Heart, US Province, Winter, 2003. p. 13.CS1 maint: location (link)
- Strauss, Elaine (March 3, 1999). "Von Stade's WWII reunion". U.S. 1.
- Palant, Jonathan (May 26, 2020). "An interview with Frederica von Stade". Artistry Today – via YouTube video.
- "American War Cemetery, Margraten; Charles S. von Stade". Fields of Honor.
- Auen, Mary; Gazzola, Luiz (March 6, 2013). "The exclusive Opera Lively interview with Frederica von Stade". OperaLively.
- Reich, Ronni (October 9, 2011). "'Flicka' back in Jersey: opera legend Frederica von Stade comes home for NJPAC performance". The Star-Ledger.
- Berman, Ron (March 5, 2019). "BWW interview: Frederica von Stade at San Diego Opera". BroadwayWorld.
- Siberell, Anne (2001). Bravo! Brava! A Night at the Opera. p. 6: Oxford University Press. ISBN 9780195139662.CS1 maint: location (link)
- Christmas with Flicka, with Melba Moore, Rex Smith, von Stade and Julius Rudel, Kultur DVD, D2986, 2005
- Anon: Flicka; The New Yorker, May 7, 1979, p. 35
- Martin, James (1997). How Can I Find God?. p. 56: Liguori. ISBN 9780764800900.CS1 maint: location (link)
- Von Buchau, Stephanie: Our friend Flicka; Opera News, April 10, 1971, p. 26
- Movshon, George (February 29, 1976). "What next for this charming Cherubino?". The New York Times.
- Unknown. "Interview with Frederica von Stade, Jerry Hadley and Samuel Ramey (New York, 1990)". YouTube video.
- Trelawney, Petroc (June 21, 2019). "An interview with Kiri Te Kanawa and Frederica von Stade (BBC)". YouTube video.
- "Frederica von Stade". Metropolitan Opera Archive.
- Kellow, Brian: Cherubino grows up, Opera News, April 1, 1995, p. 38
- Von Stade, Frederica: Diary, Gramophone, May 2010, p. 20
- Mesa, Franklin (2007). "Opera: An Encyclopedia pf World Premieres and Significant Performances". p. 293: McFarland & Company. ISBN 9780786409594.CS1 maint: location (link)
- Scott, Eleanor: The First Twenty Years of the Santa Fe Opera, The Sunstone Press, 1976 OCLC 2856854
- Smith, Patrick J.: Frederica von Stade, musician of the month, High Fideliy / Musical America, December 1973, p. MA-8
- Haydn, Joseph: Die Schöpfung and Harmoniemesse, with Judith Raskin, John Reardon, Alexander Young, the Camerata Singers, Judith Blegen, Simon Estes, Kenneth Riegel. von Stade and the Westminster Choir, conducted by Leonard Bernstein; Leonard Bernstein: The Royal Edition, No. 36; Sony CD, SM2K 47560, 1992
- Rosenwald, Peter J.: Cinderella of the opera: the fabled slipper fits Frederica von Stade... perfectly, Horizon, September 1979, p. 22
- "Frederica von Stade". Glyndebourne Festival Archive.
- "San Francisco Opera Archive".
- Wylie, David F. (September 1, 2008). "Flying high with Flicka: an interview with Frederica von Stade". CS Music.
- Tims, Anna (June 22, 2011). "The artists' artist: mezzo-sopranos". The Guardian.
- Swed, Mark (May 8, 1997). "Minimalist 'Ulysses', maximum impact". Los Angeles Times.
- Ward, Charles (May 1, 2006). "Poppea takes risks that play out perfectly". Houston Chronicle.
- Pasles, Charles (November 27, 2006). "They're bad to the bravos". Los Angeles Times.
- "Frederica von Stade". Paris Opera Archive.
- "Dardanus (Paris, 1980): part 1 of 12". YouTube video.
- "Dardanus (Paris, 1980): part 2 of 12". YouTube video.
- "Dardanus (Paris, 1980): part 3 of 12". YouTube video.
- "Dardanus (Paris, 1980): part 4 of 12". YouTube video.
- "Dardanus (Paris, 1980): part 5 of 12". YouTube video.
- "Dardanus (Paris, 1980): part 6 of 12". YouTube video.
- "Dardanus (Paris, 1980): part 7 of 12". YouTube video.
- "Dardanus (Paris, 1980): part 8 of 12". YouTube video.
- "Dardanus (Paris, 1980): part 9 of 12". YouTube video.
- "Dardanus (Paris, 1980): part 10 of 12". YouTube video.
- "Dardanus (Paris, 1980): part 11 of 12". YouTube video.
- "Dardanus (Paris, 1980): part 12 of 12". YouTube video.
- Leppard, Raymond (1993). Lewis, Thomas P. (ed.). Raymond Leppard on Music. p. 138, p. 165: Pro/Am Music Resources. ISBN 9780912483962.CS1 maint: location (link)
- Stearns, David Patrick; Frederica von Stade, Gramophone, May 2016, p. 56
- Kozinn, Allan (August 9, 1993). "Review/opera: seekers of the unusual find it twice in Santa Fe". The New York Times.
- Kosman, Joshua (November 27, 2011). "Frederica von Stade looks back on stellar career". SFGate.
- Pfaff, Timothy (February 24, 1997). "Seattle surrenders to 'Xerxes'". SFGate.
- Bargreen, Melinda (February 16, 1997). "For Opera diva Frederica von Stade, wearing the pants is all in a day's work". The Seattle Times.
- Spicer, Graham (September 17, 2015). "Frederica von Stade answers the Gramilano questionnaire...singers' edition". Gramilano.
- Lipton, Gary D.: Upstairs, Downstairs, Opera News, December 7, 1985, p. 4
- Paolucci, Bridget: A time for soul-searching, Opera News, April 9, 1988, p. 28
- Schwarzkopf, Elisabeth (1982). On and Off the Record: A Memoir of Walter Legge. p. 78: Faber and Faber. ISBN 9780571119288.
- Rubin, Stephen E. (December 9, 1973). "The eyes of Texas are upon 'Figaro'". The New York Times.
- "Musique: Les Noces de Figaro de Mozart: musique filmée". Musée du Louvre.
- "Le nozze di Figaro (Paris, 1980) (complete)". YouTube video.
- "Frederica von Stade". Salzburg Festival Archive.
- "Vorstellungen mit Frederica von Stade". Vienna State Opera Archive.
- "1987/1988 Season". Lyric Opera of Chicago Archive.
- "1991/1992 Season". Lyric Opera of Chicago Archive.
- Villella, Frank (June 1, 2020). "Happy birthday, Frederica von Stade!". Chicago Symphony Orchestra.
- James, Jamie: Birthday interview: Frederica the Great, Opera Now, June 1991, p. 52
- "Frederica von Stade". Teatro Colón Archive.
- Spoto, Donald: Flicka in ¾ time, Opera News, March 2000, p. 24
- Mozart, W. A.: La clemenza di Tito, with Janet Baker, Stuart Burrows, Robert Lloyd, Yvonne Minton, Lucia Popp, von Stade and the Chorus and Orchestra of the Royal Opera House, Covent Garden, conducted by Colin Davis, Philips Mozart Edition CD, 422 544-2, 1992
- Oestreich, James R. (July 16, 1991). "Music in review". The New York Times.
- Haydn, Joseph: La fedeltà premiata, with Luigi Alva, Ileana Cotrubas, Tonny Landy, Kari Lövaas, Maurizio Mazzieri, von Stade, Lucia Valentini Terrani, Alan Titus, the Chœurs de la Suisse Romande and the Orchestre de Chambre de Lausanne, conducted by Antal Doráti, Philips CD, 432-430-2, 1993
- Haydn, Joseph: Il mondo della luna, with Luigi Alva, Arleen Augér, Anthony Rolfe Johnson, Edith Mathis, von Stade, Lucia Valentini Terrani,Domenico Trimarchi, the Chœurs de la Suisse Romande and the Orchestre de Chambre de Lausanne, conducted by Antal Doráti, Philips CD, 432 420-2, 1992
- Rockwell, John (March 27, 1983). "For Frederica von Stade, a lyric voice has not been a handicap". The New York Times.
- "Frederica von Stade". Royal Opera House, Covent Garden Archive.
- "Il barbiere di Siviglia, 1976/1977 Season". Teatro alla Scala Archive.
- "Il barbiere di Siviglia, 1984/1985 Season". Teatro alla Scala Archive.
- "1989/1990 Season". Lyric Opera of Chicago Archive.
- "1994/1995 Season". Lyric Opera of Chicago Archive.
- Gossett, Philip (2006). Divas and Scholars:Performing Italian Opera. p. 290: University of Chicago Press. ISBN 9780226304823.CS1 maint: location (link)
- Rossini, Gioachino: La Cenerentola, with Francisco Araiza, Claudio Desderi, Margherita Guglielmi, Paolo Montarsolo, Paul Plishka, von Stade, Laura Zannini and the Chorus and Orchestra of La Scala, Milan, conducted by Claudio Abbado and produced by Jean-Pierre Ponnelle, Deutsche Grammophon DVD, B0005769-09, 2005
- Rossini, Gioachino: Otello, with José Carreras, Nucci Condò, Salvatore Fisichella, Keith Lewis, Gianfranco Pastine, Samuel Ramey, von Stade, Sioned Williams, the Ambrosian Chorus and the Philharmonia Orchestra, conducted by Jesús López Cobos, Philips CD, 432 456-2, 1992
- Steane, J. B. (1998): Singers of the Century: Volume 2, p. 186: Amadeus Press. ISBN 9781574670400
- Henahan, Donal (October 17, 1981). "Houston digs up 'Donna del Lago'". The New York Times.
- Henahan, Donal (November 15, 1982). "Opera: 'Donna del Lago' in a Carnegie concert". The New York Times.
- Henehan, Donal (November 8, 1975). "Rita Hunter in Met 'Norma'". The New York Times.
- Blyth, Alan: Frederica von Stade; Gramophone, February 1977, p. 1263
- Rockwell, John (September 20, 1984). "Opera: San Francisco 'Sonnambula'". The New York Times.
- "Dallas entertainment listings". Texas Monthly. December 1, 1986.
- "Boston Symphony Orchestra Archive".
- Schonberg, Harold C. (October 27, 1977). "Music: a Berlioz as is rarely done". The New York Times.
- Swed, Mark (September 12, 2005). "Garry Marshall is a shtickler for humor". Los Angeles Times.
- Henehan, Donal (August 10, 1982). "Opera: Thomas 'Mignon' at Santa Fe". The New York Times.
- Thomas, Ambroise: Mignon, with André Battedou, Marilyn Horne, Paul Hudson, Claude Méloni, von Stade, Alain Vanzo, Ruth Welting, Nicola Zaccaria, the Ambrosian Opera Chorus and the Philharmonia Orchestra, conducted by Antonio de Almeida, Sony CD, SM3K 34590, 1988
- "Houston entertainment listings". Texas Monthly. p. 38. January 1, 1979.CS1 maint: location (link)
- "Call Me Flicka, BBC Two England, 18 January 1980". Radio Times. p. 76. January 10, 1980.CS1 maint: location (link)
- Davis, Peter G. (September 18, 1979). "Opera: capital hears 'Cendrillon'". The New York Times.
- McLellan, Joseph (February 26, 1988). "Von Stade's scintillating 'Cendrillon'". The Washington Post.
- "Frederica von Stade". La Monnaie Archive.
- "Cendrillon (Brussels, 1982): excerpt from Act 1: Lucette and the Fée". YouTube video.
- "Cendrillon (Brussels, 1982): excerpt from Act 3: Lucette and Pandolfe". YouTube video.
- Rockwell, John (February 21, 1984). "Opera: premiere of 'Chérubin' at Carnegie Hall". The New York Times.
- Henehan, Donal (August 4, 1989). "Review/opera: Massenet's infrequently performed 'Chérubin'". The New York Times.
- "Pelléas et Mélisande, 1975/1976 Season". Geneva Opera Archive.
- "Pelléas et Mélisande, 1985/1986 Season". Teatro alla Scala Archive.
- "LSO at the Barbican, BBC Radio 3, 28 April 1991". Radio Times. p. 96. April 28, 1991.CS1 maint: location (link)
- Kosman, Joshua (May 14, 1999). "S.F. Symphony turns to opera, bringing Ravel's L'Enfant to life". SFGate.
- Davis, Peter G. (December 12, 1983). "Sorcery in Boston". New York Magazine. p. 91.CS1 maint: location (link)
- "Der Rosenkavalier, 2–15 Juni 1976". Holland Festival Archive.
- Ulrich, Allan (June 8, 1998). "Weak casting spoils 'Lulu'". SFGate.
- Swed, Mark (June 11, 1998). "For better or worse, a real 'Lulu' of a production". Los Angeles Times.
- Bennett, David (May 3, 2016). "A conversation with Frederica von Stade (Osher Lifelong Learning Institute, University of California, San Diego)". YouTube video.
- "The Seagull". Opera America.
- Holland, Bernard (November 21, 1988). "Review/opera: in Dallas, a turn on James's 'Aspern Papers'". The New York Times.
- "The Aspern Papers (Dallas, 1980) (complete)". YouTube video.
- Oestreich, James R. (September 13, 1994). "Music review; operas on willful women and pliable men". The New York Times.
- Rose, Charlie (November 30, 1994). "Interview with Frederica von Stade, including an excerpt from The Dangerous Liaisons (San Francisco, 1994)". Charlie Rose video.
- Barnett, Gregory (June 2014). "'A Coffin in Egypt', Houston Grand Opera, March 21, 2014". Opera News.
- Waleson, Heidi (June 9, 2014). "A diva reclaims the stage with authority". The Wall Street Journal.
- Von Rhein, John (April 26, 2015). "Opera review: COT's 'Coffin' a moving star vehicle for von Stade". Chicago Tribune.
- Anonymous (April 21, 2015). "Interview with Frederica von Stade about 'A Coffin in Egypt'". Chicago Opera Theatre – via YouTube video.
- Woolfe, Zachery (February 19, 2016). "Review:Frederica von Stade, wickedness in a one-act opera". The New York Times.
- Anonymous (February 17, 2016). "Interview with Frederica von Stade and Ricky Ian Gordon about 'A Coffin in Egypt' (Lincoln Center)". YouTube video.
- Shengold, David (December 2018). "'Sky on Swings', Opera Philadelphia, September 22, 2018". Opera News.
- Blum, Ronald (March 20, 2018). "Frederica von Stade tackles Alzheimer's in new Hannah Moscovitch opera". The Associated Press.
- Eblen, Shannon (September 11, 2018). "Reinterpreting Alzheimer's". Opera Philadelphia blog.
- "Jake Heggie". FamilySearch.
- "Three Folk Songs (1995)". Jake Heggie.
- Kosman, Joshua (October 9, 2000). "'Walking' tall: opera's 'Dead Man' is a masterpiece of music, words and emotions". SFGate.
- Anonymous (September 27, 2007). "Moderne Oper: 'Dead Man Walking' im Theater an der Wien". Die Presse.
- Anonymous (December 21, 2010). "Houston Grand Opera presents Jake Heggie's Dead Man Walking". BroadwayWorld.
- "Dead Man Walking (Houston, 2010): a scene with Mrs de Rocher". YouTube video.
- "Dead Man Walking (Houston, 2010): a scene with Mrs de Rocher and Sister Helen". YouTube video.
- "Dead Man Walking (Houston, 2010): interviews and excerpts". YouTube video.
- "And then one night: the making of 'Dead Man Walking'". PBS.
- "And then one night: the making of 'Dead Man Walking'". IMDb.
- Jones, Kenneth (December 11, 2008). "Three Decembers, a McNally-inspired chamber opera, makes west coast debut December 11". Playbill.
- "Three Decembers (University of California, Berkeley, 2008): interviews and excerpts". YouTube video.
- Anonymous (March 23, 2017). "An interview with Frederica von Stade". Hawaii Opera Theatre video.
- Rinaldi, Ray Mark (November 4, 2015). "Review: 'Great Scott' in Dallas, opera within an opera without a clue". The Denver Post.
- Kern, Jerome: Show Boat, with Karla Burns, David Garrison, Lillian Gish, Jerry Hadley, Bruce Hubbard, Nancy Kulp, Robert Nichols, Paige O'Hara, von Stade, Teresa Stratas, the Ambrosian Chorus and the London Sinfonietta, conducted by John McGlinn, EMI CD, CDRIVER1, 1988
- "The Show Boat Story (London, 1987) (complete)". YouTube video.
- Holden, Stephen (September 25, 1988). "'Show Boat' makes new waves". The New York Times.
- "Live from Lincoln Center: Flicka and Friends: From Rossini to Show Boat, with Jerry Hadley, Samuel Ramey, Frederica von Stade, the New York Concert Singers and the Orchestra of St. Luke's, conducted by Henry Lewis (April 18, 1990)". IMDb.
- "Live from Lincoln Center: Flicka and Friends (New York, 1990): part 1 0f 2". YouTube video.
- "Live from Lincoln Center: Flicka and Friends (New York, 1990): part 2 of 2". YouTube video.
- Von Stade, Frederica: Flicka: Another Side of Frederica von Stade, with von Stade and an unidentified orchestra, conducted by Jeremy Lubbock, Columbia CD, MK44609, 1990
- Rodgers, Richard: The Sound of Music, with Barbara Daniels, Eileen Farrell, Håkan Hagegård, Lewis Dahle von Schlanbusch, von Stade, the May Festival Chorus and the Cincinnati Pops Orchestra, conducted by Erich Kunzel, Telarc CD, CD-80162, 1988
- Cooklis, Ray (December 6, 1987). "Pops' 'Sound of Music' to fill Music Hall". The Cincinnati Enquirer. p. 68.CS1 maint: location (link)
- Porter, Cole: Anything Goes, with Kim Criswell, Jack Gilford. Cris Groenendaal, von Stade, the Ambrosian Chorus and the London Symphony Orchestra, conducted by John McGlinn, EMI CD, CDC7 49848-2, 1989
- Rodgers, Richard: My Funny Valentine: Frederica von Stade Sings Rodgers and Hart, with Rosemary Ashe, Peta Bartlett, Lynda Richardson, von Stade, the Ambrosian Chorus and the London Symphony Orchestra, conducted by John McGlinn, EMI CD, CDC7 54071-2, 1990
- Bernstein, Leonard: On the Town, with Tyne Daly. Meriel Dickinson, David Garrison, Adolph Green, Thomas Hampson, Cleo Laine, Evelyn Lear, Marie McLaughlin, Kurt Ollmann, Samuel Ramey, von Stade, Michael Barrett, London Voices and the London Symphony Orchestra, conducted by Michael Tilson Thomas, Deutsche Grammophon CD, 437 516-2, 1993
- "On the Town (London, 1992) (complete)". YouTube video.
- Puttin' on the Ritz: The Great Hollywood Musicals, with Jeremy Davenport. Michael Feinstein, Jerry Hadley, Lee Roy Reams, Bobby Short, Leslie Uggams and the Cincinnati Pops Orchestra, conducted by Erich Kunzel, Telarc CD, CD-80366, 1995
- Jones, Kenneth (January 29, 1999). "'Little Night Music' is now operetta in Houston's revised revival, January 29 – February 14". Playbill.
- Kandell, Leslie (August 19, 2014). "Boston Symphony shines in accompanying roles". The Daily Gazette.
- "Concerts and recordings, 1989". Philharmonia Chorus.
- Mozart, W. A.: Grosse Messe c-moll, Ave verum corpus and Exsultate, jubilate, with Arleen Augér, Cornelius Hauptmann, Frank Lopardo, von Stade, the Bavarian Radio Symphony Chorus and the Bavarian Radio Symphony Orchestra, conducted by Leonard Bernstein, Deutsche Grammophon DVD, 00440-073-4240, 2006
- Anonymous (2015). "Interview with Frederica von Stade about her favourite memories (WFMT)". YouTube video.
- Miller, Eileen: The Edinburgh International Festival, 1947 – 1996, Scolar Press, 1996, p. 248, ISBN 9781859281536
- Schonberg, Harold C. (September 27, 1976). "Music: a fascination for Mahler". The New York Times.
- "Georges Prêtre Berlioz concerts, 1974/1975 season". Teatro alla Scala Archive.
- "La damnation de Faust, 1994/1995 season". Teatro alla Scala Archive.
- Henahan, Donal (February 6, 1985). "Concert: Philadelphia". The New York Times.
- "Poème de l'amour et de la mer (Philadelphia, 1988): part 1 of 2". YouTube audio.
- "Poème de l'amour et de la mer (Philadelphia, 1988): part 2 of 2". YouTube audio.
- Rockwell, John (May 5, 1975). "Music: Ravel discovery". The New York Times.
- Page, Tim (October 2, 1998). "Frederica von Stade brings out NSO's best". The Washington Post.
- Anonymous (July 23, 2002). "Culture: pick of the day: television". The Guardian.
- Bernstein, Leonard: Arias and Barcarolles, Suite from A Quiet Place and Symphonic Dances from West Side Story, with Thomas Hampson, von Stade and the London Symphony Orchestra, conducted by Michael Tilson Thomas, Deutsche Grammophon CD, 439 426-2, 1996
- Argento, Dominick: Casa Guidi, Capriccio for Clarinet and Orchestra (Rossini in Paris) and In Praise of Music: Seven Songs for Orchestra, with Burt Hara, von Stade and the Minnesota Orchestra, conducted by Eiji Oue, Reference Recordings CD, RR-100-CD, 2002
- Oestreich, James R. (January 24, 1998). "Music review: von Stade sings in a work about her father". The New York Times.
- "Frederica von Stade". Jake Heggie.
- Bernstein, Tamara (September 21, 2009). "Grief and gratitude for a glorious goodbye". The Globe and Mail.
- "Live from Lincoln Center: The Rossini Bicentennial Birthday Gala (New York, 1992): part 1 of 2". YouTube video.
- "Live from Lincoln Center: The Rossini Bicentennial Birthday Gala (New York, 1992): part 2 of 2". YouTube video.
- Bernstein: The Bernstein songbook, CD booklet
- Frederica von Stade: the complete Columbia recital albums, CD booklet
- Cooper, Sid: It looked so good in the window, 2008, p. 183
- "Von Stade singing "Smoke gets in your eyes" and "You are love" at the Kennedy Center, 1985". YouTube.
- Boston Symphony Orchestra archive
- Korchilov, Igor: Translating history, 1999, p. 254
- Kennedy, Senator Edward M. True compass: a memoir, 2011
- Murphy, Katy: Oakland children to sing tribute to Sen. Ted Kennedy; eastbaytimes, 3 Mar 2009
- Von Stade, Frederica: Diary; Gramophone, May 2010, p. 20
- D'Souza, Karen (November 21, 2011). "A farewell for Frederica von Stade". The Mercury News.
- Gilmore, Sue (March 26, 2018). "A living legend: the sublime songstress". Diablo Mag.
- "Peter K. Elkus". FamilySearch.
- Feeney, Anne. "Frederica von Stade: biography". AllMusic.
- Frederica von Stade sings Brubeck - Across your dreams, CD booklet
- "F Skiddy von Stade estate". Old Long Island.
- Anderson, Susan Heller (January 21, 1991). "A happy ending". New York Times. pp. B4.
- "Frederica V. Elkus". FamilySearch.
- "Feder, Robert D.: Valuing Specific Assets in Divorce: 2017 Supplement, §29, pp.12-15".
- "Elkus v. Elkus, Supreme Court of New York, 169 A.D.2d 134, 572 N.Y.S.2d 901".
- Margolick, David (September 26, 1990). "Divorce Case Quandary: Is Fame Property?". New York Times.
- Sullivan, Ronald (July 3, 1991). "Her Fame Is Ruled His Too: Soprano Must Share Income". New York Times.
- "Casenote Legal Briefs: Family Law; Keyed to Courses Using Areen and Regan's Family Law, 5th edition; Aspen Publishers, 2007; p. 134".
- "Elkus v. Elkus, Supreme Court of New York, 572 N.Y.S.2d 901 (App. Div. 1991)".
- Menhennet, Janine R. "Elkus v. Elkus: A Step in the Wrong Direction".
- Dannen, Fredric: Von Stade's operatic life, The New Yorker, March 27, 1995, p. 39
- Prior, Ginny (November 1, 2002). "The world is Frederica von Stade's stage, but Alameda is home". Alameda Magazine.
- "Elkus v. Elkus, Supreme Court of New York, 588 N.Y.S.2d 138 (App. Div. 1992)".
- Katz, Sanford. N.: Family Law in America, 2nd edition; Oxford University Press, 2015; pp. 126-127
- Barnes, Carolyn (June 27, 2000). "A visit to the home of Frederica von Stade". Los Altos Online.
- Levaux, Janet (September 12, 2016). "Alameda tour to feature six historic homes". East Bay Times.
- Serinus, Jason Victor (April 4, 2011). "Flicka brings it back home". San Francisco Classical Voice.
- "Act II Opening". Opera News. March 2014.
- "I Hear America Singing (1997) (complete)". YouTube video.
- Rosenberg, Donald: Frederica von Stade captivates audience at the Cleveland Institute of Music; cleveland.com, 18 May 2009
- Caldera, Vernon (February 15, 2011). "Video: Frederica von Stade Gives Her Final Operatic Performance in Houston". Retrieved July 22, 2018.
|Wikinews has related news:|
- Official Frederica von Stade web site
- Frederica von Stade on Charlie Rose
- Frederica von Stade on IMDb
- Works by or about Frederica von Stade in libraries (WorldCat catalog)
- Saint Flicka: Frederica Von Stade
- Kellow, Brian, Cherubino Grows Up, Opera News, April 1995
- Spoto, Donald, Flicka in 3/4 Time,Opera News, March 2000