Opera Singer. Based primarily at the Frankfurt Opera, she had a roughly 30-year career during which she was best known for the dramatic soprano repertoire. Raised in Frankfurt, she studied at that city's Hoch Conservatory and in 1905 made her professional debut at Mannheim; that same year, she married tenor Karl Gentner (deceased 1922). In 1907 she made her debut with the Frankfurt Opera and was to remain a fixture there until her 1935 retirement. Initially singing small parts, she gradually advanced to more significant fare such as Micaela in George Bizet's "Carmen" and Sophie of Richard Strauss' "Der Rosenkavalier". As her voice matured, Gentner-Fischer assumed heavier roles such as The Countess in Mozart's "The Marriage of Figaro", Donna Anna from the same composer's "Don Giovanni", The Marschallin from "Der Rosenkavalier", and the title leads of Puccini's "Tosca", Verdi's "Aida", and "Carmen". As time went on, she became a noted Wagnerian, performing Brunnhilde from "The Ring Cycle", Elsa in "Lohengrin", and Isolde of "Tristan und Isolde". While best known in her native city, Gentner-Fischer was heard at the Berlin State Opera, the Teatro Colon of Buenos Aires, and Madrid's Teatro Real. Touring the United States in 1923 and 1924, she sang the 1923 American premiere of Eugen d'Albert's "Die toten Augen" at Chicago. In 1929, she was selected for the role of Emilia Marty in the German premiere of Leos Janacek's "The Makropulos Case". Her career ended with a 1935 performance as Isolde; her second husband, baritone Benno Ziegler, was Jewish, which necessitated his leaving Germany, and resulted in political ostracism of Gentner-Fischer. She lived her last years in essential isolation and died at Prien am Chiemsee; a number of her recordings have been preserved.
Opera Singer. Based primarily at the Frankfurt Opera, she had a roughly 30-year career during which she was best known for the dramatic soprano repertoire. Raised in Frankfurt, she studied at that city's Hoch Conservatory and in 1905 made her professional debut at Mannheim; that same year, she married tenor Karl Gentner (deceased 1922). In 1907 she made her debut with the Frankfurt Opera and was to remain a fixture there until her 1935 retirement. Initially singing small parts, she gradually advanced to more significant fare such as Micaela in George Bizet's "Carmen" and Sophie of Richard Strauss' "Der Rosenkavalier". As her voice matured, Gentner-Fischer assumed heavier roles such as The Countess in Mozart's "The Marriage of Figaro", Donna Anna from the same composer's "Don Giovanni", The Marschallin from "Der Rosenkavalier", and the title leads of Puccini's "Tosca", Verdi's "Aida", and "Carmen". As time went on, she became a noted Wagnerian, performing Brunnhilde from "The Ring Cycle", Elsa in "Lohengrin", and Isolde of "Tristan und Isolde". While best known in her native city, Gentner-Fischer was heard at the Berlin State Opera, the Teatro Colon of Buenos Aires, and Madrid's Teatro Real. Touring the United States in 1923 and 1924, she sang the 1923 American premiere of Eugen d'Albert's "Die toten Augen" at Chicago. In 1929, she was selected for the role of Emilia Marty in the German premiere of Leos Janacek's "The Makropulos Case". Her career ended with a 1935 performance as Isolde; her second husband, baritone Benno Ziegler, was Jewish, which necessitated his leaving Germany, and resulted in political ostracism of Gentner-Fischer. She lived her last years in essential isolation and died at Prien am Chiemsee; a number of her recordings have been preserved.
Bio by: Bob Hufford
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