Star in Bayreuth and Frankfurt: opera singer Anny Schlemm has died

Anny Schlemm, a renowned operatic soprano who performed internationally and was deeply connected to Frankfurt and Bayreuth, has died at the age of 94 in Graz, Austria. She passed away on August 20 after a long career spanning more than six decades. Born on February 22, 1929, in Neu-Isenburg, Germany, Schlemm made her debut at the age of 17 in Mozart’s Bastien und Bastienne at the Theater Halle, where her family had relocated in 1941. Her career took her through major opera houses in Europe, including Munich, Stuttgart, Vienna, Moscow, Toronto, and San Francisco, as well as numerous festivals and recording studios around the world. Schlemm began her professional journey in Cologne and later joined the Komische Oper Berlin before embarking on an extensive international career. From 1978 to 1986, she performed the role of Mary in Wagner’s Der Fliegende Holländer during eight consecutive seasons at the Bayreuth Festival. One of her signature roles was Boulotte in Offenbach’s Le Chevalier de la Croix (Ritter Blaubart), which she performed in 257 productions over the years. As a soprano, mezzo-soprano, and eventually contralto, she sang in 135 different roles throughout her career. She concluded her stage appearances in the 2002/03 season as Mama Lucia in Mascagni’s Cavalleria Rusticana at the Frankfurt Opera, where she had been an ensemble member since 1952. The Frankfurt Opera, where she spent much of her career, remained a central part of her life. Her father, Friedrich Schlemm, had been a chorister there until 1941, and the institution became a cornerstone of her artistic identity. In 1963, Schlemm was named a Kammersängerin, and in 1999, she received the honorary title of member of the city's municipal theaters. She maintained close ties with Frankfurt and Neu-Isenburg for many decades, even after moving to Graz in 2007 to live with her son, Uli Rennert, a jazz musician and university professor. In February, a joint exhibition celebrating the legacies of Franz Völker and Anny Schlemm was held in Neu-Isenburg, coinciding with Schlemm’s 97th birthday. The event included a concert and marked the culmination of a series of cultural initiatives honoring both artists. Schlemm had previously donated her musical archive to the Franz Völker-und-Anny-Schlemm-Gesellschaft, an organization dedicated to preserving their legacies. This group had also supported young sopranos through the Schlemm Prize, awarded annually by the Frankfurt Opera Studio. However, the association has since dissolved. Neu-Isenburg recognized Schlemm’s contributions to music and culture by granting her the honor of citizen in 1999. A street in the new residential area of Birkengewann in the town is named after her, reflecting her enduring influence in her hometown. The Frankfurt Opera confirmed her death on August 20, stating that she passed away in Graz, where she had resided in recent years. Schlemm’s career spanned several transformations, both personally and artistically. Starting as a youthful soprano, she evolved into a mezzo-soprano and eventually took on roles typically associated with contralto. Her versatility allowed her to perform in a wide range of repertoire, from classical to operatic works. Her performances were noted for their emotional depth and technical precision, earning her acclaim across continents. Her connection to Frankfurt was profound, not just professionally but also through her family roots. Her father’s tenure at the Frankfurt Opera shaped her early exposure to the arts, and her own long-standing relationship with the institution solidified her status as one of its most celebrated performers. Even after retiring from the stage, she continued to contribute to the cultural fabric of the region through her involvement with local institutions and her support for emerging talent. Schlemm’s legacy includes not only her recordings and performances but also the ongoing impact of the archival materials she left behind. These resources continue to serve as inspiration for future generations of singers and scholars. Her passing marks the end of an era in German opera, but her work will remain influential for years to come.