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(Uncredited) American tenor Paul Althouse (1889-1954) / Oscar Saenger Singing Lesson No. 20 for Tenor ~ vocalise / spoken introduction by Oscar Saenger / William Falk – piano / Recorded: September 2, 1915.
The Oscar Saenger Singing Lessons appeared on Victor records for soprano, mezzo-soprano, tenor, baritone, and bass. These are 10 double-sided 12″ discs, with 20 different lessons for each category. Although the labels do not identify any of the singers, this is clearly Paul Althouse, (pictured here), confirmed in Victor ledgers and published in THE VICTOR DISCOGRAPHY: GREEN, BLUE AND PURPLE LABELS by Mainspring Press (2006). Among Saenger’s more famous pupils were Althouse, Josephine Jacoby, Marie Rappold, Mabel Garrison, Orville Harold. Henri Scott.
The following is from the Kutsch & Riemens Concise Biographical Dictionary of Singers (1969)
PAUL ALTHOUSE (b. Dec. 2, 1889, Reading, Pennsylvania; d. February 6, 1954, New York)
His teachers in New York were Perley Dunn Aldrich and Percy Rector Stevens, as well as Oscar Saenger. He made his debut at the Metropolitan Opera (1913) as Dmitri in the first American production of Boris Godonouv, and he remained a member of that company until 1921; there he sang in the first performances of, among others, Mme. Sans-Gene (1915), The Canterbury Pilgrims (1917), and Shanewis (1918). He appeared as Faust in San Francisco (1925) and sang as a guest star in Berlin, Stuttgart, and Stockholm (1929). A visit to the Bayreuth Festival led him to become interested in Wagner roles. He sang Tannhauser and then Siegmund in 1930 at the Chicago Opera and Tristan at the 1935 Salzburg Festival. From 1934-41 he was again at the Metropolitan Opera, appearing during this time particularly as a Wagner tenor. During these years he also had an important career as an oratorio singer. In 1941 he bade farewell to the stage and became one of America’s most important voice teachers, numbering among his pupils Richard Tucker, Eleanor Steber, and Irene Dalis. He recorded on Edison cylinders, Victor and Pathe discs. He made an electric recording of Schoenberg’s Gurrelieder under Stokowski (1933); he also made private recordings for the Metropolitan Opera.