Page:A Dictionary of Music and Musicians vol 3.djvu/211

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[ A. J. H. ]  RUDERSDORFF,, born Dec. 12, 1822, at Ivanowsky in the Ukraine, where her father, Joseph Rudersdorff, a distinguished violinist (afterwards of Hamburg), was then engaged. She learned singing at Paris from Bordogni, and at Milan from de Micherout, also master of Clara Novello, Catherine Hayes, etc. She first appeared in Germany in concerts, and sang the principal soprano music, on production of Mendelssohn's 'Lobgesang' at Leipzig, June 5 [App. p.777 "June 25"], 1840. The next year she appeared on the stage at Carlsruhe with great success, and then at Frankfort—where in 1844 she married Dr. Kuchenmeister, a professor of mathematics,—and at Breslau. Her parts consisted of Agatha, Reiza, Valentine, Isabella, Elvira (Puritani), etc. From 1852 to 54 she sang at the Friedrich-Wilhelmstadt Theatre, Berlin, with great success, in light French operas of Adam, Auber, Boieldieu, Hérold, and Thomas, as Juliet (Bellini), and in new German operas, such as Bertalda in Lortzing's 'Undine,' etc., besides playing at Aix=la-Chapelle, Cologne and Dantzic. On May 23, 54, she first appeared in England in German opera at Drury Lane, as Donna Anna, and was fairly well received in that and her subsequent parts of Constance in Mozart's 'Entführung,' Agatha, Fidelio, and Margaret of Valois, and in English as Elvira in 'Masaniello.' She took up her residence in England for several years, only occasionally visiting Germany for concerts and festivals. She sang at the Royal Italian Opera in 1855, also from 1861 to 65, as Donnas Anna and Elvira, Jemmy, Bertha, Natalia (L'Étoile du Nord), etc.; and in English at St. James's Theatre for a few nights in Loder's opera, 'Raymond and Agnes.' But it was as a concert singer that she was best appreciated, her very powerful voice (not always pleasing), combined with admirable powers of declamation and certainty of execution, and thorough musicianship having enabled her to take high rank as a singer of oratorio. Conspicuous may be mentioned, her rendering of the opening soprano recitatives in the 'Messiah' and of the air following, 'Rejoice greatly,' and of the final air and chorus in the 'Israel,' especially at the Handel Festivals, when her voice would tell out with wonderful effect against the powerful band and choir. In concerts, whatever she undertook she always showed herself a thorough artist, being devoted to her art, in which she worked with untiring industry. This she proved by her revival of Mozart's fine scenas 'Ahi lo previdi' and 'Misera dove son,' and of