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From 1919-1922 Fischer studied singing with Cecilia M. Hutchinson at the [[Royal College of Music]] (RCM) in London.<ref name=”CE”/> She attended the school after being awarded a Strathcona Scholarship from [[Schulich School of Music|Conservatory of Music]] at [[McGill University]] in 1917;<ref name=”Jew”/><ref>{{cite journal|url=https://archive.org/details/sim_musical-america_1919-03-22_29_21/page/31/mode/1up?q=%22Sarah+Fischer%22|journal=[[Musical America]]|title=Promising Operatic Productions|author=R.G.M.|date=March 22, 1919|page=31}}</ref> also winning the Sol feggio medal that same year.<ref name=”Jew”/> [[World War I]] prevented her from leaving Canada for the United Kingdom until two years later.<ref name=”CE”/> As both a lesbian and a jewish woman she faced challenges in a period when homophobia and anti-semitism were prevalent.<ref name=”Three”/> The U.K. based Canadian journalist Elizabeth Montizambert, a woman who befriended several women known to be lesbians, assisted her career by introducing her to prominent figures in British society, among them [[Arthur Balfour]].<ref name=”Three”/>

From 1919-1922 Fischer studied singing with Cecilia M. Hutchinson at the [[Royal College of Music]] (RCM) in London.<ref name=”CE”/> She attended the school after being awarded a Strathcona Scholarship from [[Schulich School of Music|Conservatory of Music]] at [[McGill University]] in 1917;<ref name=”Jew”/><ref>{{cite journal|url=https://archive.org/details/sim_musical-america_1919-03-22_29_21/page/31/mode/1up?q=%22Sarah+Fischer%22|journal=[[Musical America]]|title=Promising Operatic Productions|author=R.G.M.|date=March 22, 1919|page=31}}</ref> also winning the Sol feggio medal that same year.<ref name=”Jew”/> [[World War I]] prevented her from leaving Canada for the United Kingdom until two years later.<ref name=”CE”/> As both a lesbian and a jewish woman she faced challenges in a period when homophobia and anti-semitism were prevalent.<ref name=”Three”/> The U.K. based Canadian journalist Elizabeth Montizambert, a woman who befriended several women known to be lesbians, assisted her career by introducing her to prominent figures in British society, among them [[Arthur Balfour]].<ref name=”Three”/>

While a student at the RCM she was active as a concert soprano,<ref name=”SL”/> and in 1920 she performed the part of Countess Almaviva in ”[[The Marriage of Figaro]]” at [[The Old Vic]] with Sumner Austin as the Count.<ref>{{cite journal|url=https://archive.org/details/sim_athenaeum-uk_1920-11-05_4723/mode/2up?q=%22Sarah+Fischer%22|title=Music: Operatic Prospects|work=[[The Athenaeum (British magazine)|The Athenaeum]]|date=November 5, 1920|page=624|author=R.O.M.}}</ref> She returned to The Old Vic in 1921 in the role of Micaëla.<ref>{{cite news|title=World of Music|work=[[The Daily Telegraph]]|date= February 18, 1922|page= 6}}</ref> In May 1921 she performed in a concert at [[Wigmore Hall]] sponsored by the [[Society of Women Musicians]] with [[Mary, Princess Royal and Countess of Harewood]] in attendance.<ref>{{cite news|url=https://archive.org/details/per_christian-science-monitor_1921-06-11_13_171/page/n11/mode/1up?q=%22Sarah+Fischer%22|title=Music of the World; English Notes|work=[[The Christian Science Monitor]]|date=June 11, 1921|page=12}}</ref>

While a student at the RCM she was active as a concert soprano,<ref name=”SL”/> and in 1920 she performed the part of Countess Almaviva in ”[[The Marriage of Figaro]]” at [[The Old Vic]] with Sumner Austin as the Count.<ref>{{cite journal|url=https://archive.org/details/sim_athenaeum-uk_1920-11-05_4723/mode/2up?q=%22Sarah+Fischer%22|title=Music: Operatic Prospects|work=[[The Athenaeum (British magazine)|The Athenaeum]]|date=November 5, 1920|page=624|author=R.O.M.}}</ref> She returned to The Old Vic in 1921 in the role of Micaëla.<ref>{{cite news|title=World of Music|work=[[The Daily Telegraph]]|date= February 18, 1922|page= 6}}</ref> In May 1921 she performed in at [[Wigmore Hall]] sponsored by the [[Society of Women Musicians]] with [[Mary, Princess Royal and Countess of Harewood]] in attendance.<ref>{{cite news|url=https://archive.org/details/per_christian-science-monitor_1921-06-11_13_171/page/n11/mode/1up?q=%22Sarah+Fischer%22|title=Music of the World; English Notes|work=[[The Christian Science Monitor]]|date=June 11, 1921|page=12}}</ref>

Fischer was a prima donna of the [[British National Opera Company]] in residence at the [[Royal Opera House]] (ROH) in 1922-1923; performing the roles of Countess Almaviva,<ref>{{cite journal|url=https://archive.org/details/sim_musical-america_1923-02-10_37_16/page/15/mode/1up?q=%22Sarah+Fischer%22|title=London Hears Bloch’s Trois Poemes Juifs|work=[[Musical America]]|date=February 10, 1923|volume= 37|number= 16}}</ref> Eva in ”[[Die Meistersinger von Nürnberg]]”,<ref>{{cite news|title=The Mastersingers|work=[[Telegraph and Argus]]|date= February 11, 1922|page= 5}}</ref> Marguerite in ”[[Faust (opera)|Faust]]”,<ref>{{cite news|url=https://archive.org/details/dailycolonist1122uvic_48/page/n11/mode/1up?q=%22Sarah+Fischer%22|title=The London Stage|work=[[The Daily Colonist]]|date=December 28, 1922|first=E. |last=Montizambert}}</ref> and Pamina in ”[[The Magic Flute]]”.<ref>{{cite news|title=The Magic Flute|work=[[The Observer]]|date= May 14, 1922|page= 10}}</ref> She notably sang the latter role for the very first radio broadcast recorded live at the ROH on 8 January 1923.<ref name=”CE”/><ref>{{cite news|title=Today in History|work=[[Welland Tribune]]|date=January 8, 2008|page= 7}}</ref> She then pursued further studies in Rome with Vincenzo Lombardi<ref name=”SL”/> before returning to the ROH in 1925 as Countess Olga Sukarev in [[Umberto Giordano]]’s ”[[Fedora (opera)|Fedora]]”.<ref name=”CE”/><ref>{{cite news|title=Royal Opera: Fedora|work=[[The Daily Telegraph]]|date= June 24, 1925|page= 12}}</ref> She performed at the ROH only once more in an opera;<ref name=”CE”/> creating the part of Mrs. Wardle in the world premiere of [[Albert Coates (musician)|Albert Coates]]’s ”Pickwick” in 1936.<ref name=”SL”/><ref name=”CE”/>

Fischer was a prima donna of the [[British National Opera Company]] in residence at the [[Royal Opera House]] (ROH) in 1922-1923; performing the roles of Countess Almaviva,<ref>{{cite journal|url=https://archive.org/details/sim_musical-america_1923-02-10_37_16/page/15/mode/1up?q=%22Sarah+Fischer%22|title=London Hears Bloch’s Trois Poemes Juifs|work=[[Musical America]]|date=February 10, 1923|volume= 37|number= 16}}</ref> Eva in ”[[Die Meistersinger von Nürnberg]]”,<ref>{{cite news|title=The Mastersingers|work=[[Telegraph and Argus]]|date= February 11, 1922|page= 5}}</ref> Marguerite in ”[[Faust (opera)|Faust]]”,<ref>{{cite news|url=https://archive.org/details/dailycolonist1122uvic_48/page/n11/mode/1up?q=%22Sarah+Fischer%22|title=The London Stage|work=[[The Daily Colonist]]|date=December 28, 1922|first=E. |last=Montizambert}}</ref> and Pamina in ”[[The Magic Flute]]”.<ref>{{cite news|title=The Magic Flute|work=[[The Observer]]|date= May 14, 1922|page= 10}}</ref> She notably sang the latter role for the very first radio broadcast recorded live at the ROH on 8 January 1923.<ref name=”CE”/><ref>{{cite news|title=Today in History|work=[[Welland Tribune]]|date=January 8, 2008|page= 7}}</ref> She then pursued further studies in Rome with Vincenzo Lombardi<ref name=”SL”/> before returning to the ROH in 1925 as Countess Olga Sukarev in [[Umberto Giordano]]’s ”[[Fedora (opera)|Fedora]]”.<ref name=”CE”/><ref>{{cite news|title=Royal Opera: Fedora|work=[[The Daily Telegraph]]|date= June 24, 1925|page= 12}}</ref> She performed at the ROH only once more in an opera;<ref name=”CE”/> creating the part of Mrs. Wardle in the world premiere of [[Albert Coates (musician)|Albert Coates]]’s ”Pickwick” in 1936.<ref name=”SL”/><ref name=”CE”/>

Latest revision as of 13:30, 30 September 2025

Sarah Fischer

Sarah Eugenie Fischer (23 February 1896 — 3 May 1975) was a French-born Canadian soprano, arts administrator, and music educator.

Early life and career

[edit]

The daughter of Jacob Fischer and his wife Dora Fischer (née Wolf),[1] Sarah Eugenie Fischer was born into a Polish-Jewish family in Paris on 23 February 1896.[2][1] The Fischer family immigrated to Canada when Sarah was 12 years old.[3] She settled with them in the city of Montreal.[3] Her father was a milliner and she worked as a telephone operator while pursuing training as a musician.[4] She studied singing in her native city with Joseph-Jean Goulet [de] (solfège)[2] and Céline Marier [de] (vocal technique).[3] She also studied acting with operatic mezzo-soprano Jeanne Maubourg.[2] She earned a diploma from the Académie de musique du Québec in 1917.[1]

Fischer made her professional opera debut in 1918 at the Monument-National as Micaëla in Georges Bizet‘s Carmen with Cédia Brault [de] in the title role and Albert Roberval [de] conducting.[2] She subsequently starred in other operas in Montreal and Quebec City; among them Philine in Ambroise Thomas‘s Mignon,[5] Colette in André Messager‘s La Basoche,[2] and the title part in Léo Delibes‘s Lakmé (1919).[6]

Studies in Europe and international career

[edit]

From 1919-1922 Fischer studied singing with Cecilia M. Hutchinson at the Royal College of Music (RCM) in London.[2] She attended the school after being awarded a Strathcona Scholarship from Conservatory of Music at McGill University in 1917;[1][7] also winning the Sol feggio medal that same year.[1] World War I prevented her from leaving Canada for the United Kingdom until two years later.[2] As both a lesbian and a jewish woman she faced challenges in a period when homophobia and anti-semitism were prevalent.[4] The U.K. based Canadian journalist Elizabeth Montizambert, a woman who befriended several women known to be lesbians, assisted her career by introducing her to prominent figures in British society, among them Arthur Balfour.[4]

While a student at the RCM she was active as a concert soprano,[3] and in 1920 she performed the part of Countess Almaviva in The Marriage of Figaro at The Old Vic with Sumner Austin as the Count.[8] She returned to The Old Vic in 1921 in the role of Micaëla.[9] In May 1921 she performed her first recital in the United Kingdom at Wigmore Hall sponsored by the Society of Women Musicians with Mary, Princess Royal and Countess of Harewood in attendance.[10] It was the first a many recitals she performed at that venue during her career.[2]

Fischer was a prima donna of the British National Opera Company in residence at the Royal Opera House (ROH) in 1922-1923; performing the roles of Countess Almaviva,[11] Eva in Die Meistersinger von Nürnberg,[12] Marguerite in Faust,[13] and Pamina in The Magic Flute.[14] She notably sang the latter role for the very first radio broadcast recorded live at the ROH on 8 January 1923.[2][15] She then pursued further studies in Rome with Vincenzo Lombardi[3] before returning to the ROH in 1925 as Countess Olga Sukarev in Umberto Giordano‘s Fedora.[2][16] She performed at the ROH only once more in an opera;[2] creating the part of Mrs. Wardle in the world premiere of Albert Coates‘s Pickwick in 1936.[3][2]

In 1925 Fischer was a guest artist at the Opera Comique in Paris where she had success in the role of Mélisande from Claude Debussy‘s Pelléas et Mélisande.[3] She became closely associated with this role[3][2] first repeating it at the Opéra de Monte-Carlo in 1926 followed by further performances at the Algerian National Theater Mahieddine Bachtarzi among other locations.[3] In 1927 she returned to the Opera Comique in the title role of Mignon; notably performing the part for its 1600th performance at that opera house.[2] That same year she performed at Théâtre des Champs-Élysées as part of the International Mozart Festival.[1] In 1928 she portrayed several Mozart heroines under Bruno Walter at the Odéon-Théâtre de l’Europe; among them Countess Almaviva, Pamina, and Fiordiligi in Così fan tutte.[2]

On 6 July 1934, Fischer performed in the first BBC television broadcast of opera music; performing excerpts of the title role from Carmen opposite Heddle Nash as Don José.

Fischer died at the age of 87 at Hôtel-Dieu Hospital in Montréal on 3 May 1975.[17][18]

  1. ^ a b c d e f Schneiderman, Harry; Karpman, I.J. Carmin, eds. (1955). “Fischer, Sarah Eugenie”. Who’s Who in World Jewry: A Biographical Dictionary of Outstanding Jews. Monde Publishers, Inc. p. 209.
  2. ^ a b c d e f g h i j k l m n o Potvin, Gilles (March 4, 2015). “Fischer, Sarah”. The Canadian Encyclopedia.
  3. ^ a b c d e f g h i Kutsch, K. J.; Riemens, Leo (2003). “Fischer, Sarah”. In Rost, Hansjörg (ed.). Grosses Sängerlexikon. K. G. Saur Verlag. p. 1477.
  4. ^ a b c Marshall, Debbie (2017). Firing Lines: Three Canadian Women Write the First World War. Dundurn Press. p. 253.
  5. ^ R. G. M. (January 18, 1919). “Montreal Throngs Greet Paris Forces”. Musical America: 34.
  6. ^ “Delibes Opera Well Presented”. The Montreal Star. May 15, 1919. p. 2.
  7. ^ R.G.M. (March 22, 1919). “Promising Operatic Productions”. Musical America: 31.
  8. ^ R.O.M. (November 5, 1920). “Music: Operatic Prospects”. The Athenaeum: 624.
  9. ^ “World of Music”. The Daily Telegraph. February 18, 1922. p. 6.
  10. ^ “Music of the World; English Notes”. The Christian Science Monitor. June 11, 1921. p. 12.
  11. ^ “London Hears Bloch’s Trois Poemes Juifs”. Musical America. 37 (16). February 10, 1923.
  12. ^ “The Mastersingers”. Telegraph and Argus. February 11, 1922. p. 5.
  13. ^ Montizambert, E. (December 28, 1922). “The London Stage”. The Daily Colonist.
  14. ^ “The Magic Flute”. The Observer. May 14, 1922. p. 10.
  15. ^ “Today in History”. Welland Tribune. January 8, 2008. p. 7.
  16. ^ “Royal Opera: Fedora”. The Daily Telegraph. June 24, 1925. p. 12.
  17. ^ J.K.S. (May 5, 1975). “Sarah Fischer Was a Grande Dame of Music”. The Montreal Gazette. p. 21.
  18. ^ “Sarah Fischer Dies at 87”. The Montreal Star. May 5, 1975. p. B7.

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