Albert was born on March 9, 1865 to Bertha and Seligmann Wolf. He grew up in a Jewish family in Hungen, Hesse, Germany where he was the 4th out of 9 children.
Instead of staying in his hometown, he left the small village in 1885 as part of the compulsory military service for which he relocated to Berlin.
It is likely that his operatic career started in the early 1890s.
In January 1893 he made his first so far documented appearance at the Kroll Opera in Berlin, Germany under the direction of Oskar Eichberg and later in October of the same year starred as guest in the opera "Martha" for the role of the "Lyonel" in Heidelberg, Germany. Earlier appearances are mentioned in interviews, however couldn't be confirmed yet.
In the early 1890s he already started going by the name of "Albert Wolffungen". Wolffungen in stark contrast to "Wolf" was a pretty rare name in 19th century Germany. It also might be a possible pun meaning Albert Wolf(from)Hungen and/or refer to the "Wolfungen" from the "Nibelungen" Saga.
During the time in his home country, according to his own words, he spent most of his time in Berlin, but evidently toured throughout many German cities, such as Dortmund in 1898/99 as well as Jever in 1899.
At the Royal Opera of Dresden he gained high endorsements from chief conductor Ernst von Schuch. It also must have been there where he took lessons from the famous and highly respected Giovanni Battista Lamperti. However, the exact year and duration of this stay is still unknown.
Another well known teacher he took lessons from in Berlin, Germany was Julius Stockhausen.
Methods of both masters were later on included in his own repertoire as a vocal teacher.
After the death of his father in 1888, many of his siblings emigrated to the United States in the years after. In March 1900, he eventually followed his siblings after being scouted by Henry Wolfsohn, starting his U.S. career in Washington, DC and soon after in Philadelphia, PA. During this period the first mentionings of his music teaching career could be found.
Between 1904 and 1906 he returned to Germany, but eventually settled in the U.S., where he would stay for the rest of his life. His name was then again changed to "De Cortez Wolffungen" and finally changed to "Albert De Cortez" around 1918/ 1919.
At this point it is not entirely clear as to why he kept changing his name several times.
What makes it even more interesting is that an alteration was also made to his birthdate, likely with intention, from 9th to 8th of March 1865, as the Declaration of Intention from 1923 was signed by himself and the altered date remained unchanged until his death.
The at least ten years of operatic career - according to his own words - mostly starring leading roles in Germany, earned mixed, but as found so far mostly positive reviews. However, frequent health issues affecting his voice, among other things, contributed to some less enthusiastic reviews.
It appears that over the years that his constitution kept be prone to health issues, such which are common for singers, which did not stop him from performing and he tended to overwork himself.
In May 1912, under his direction and also taking the role of the "Valentine", the highly advertised Opera "Faust'' started with a delay of about one hour and was shortened after an extended break, about which it was reported that director Wolffungen had fainted due to the strains of him overworking himself for several months. Additionally, financial issues lead to the cancellation of the second show.
Nevertheless, the critiques for this opera were splendid, just like most of the reviews he received for his work in the U.S.
"Mr. Wolffungen who sang the leading role, has an excellent tenor voice of wide compass, fine musical quality and a method that combines virility and refinement. He has a good presence, a confident though modest manner, and it was evident that the score was entirely familiar to him. Whether in the solos or the concerted numbers, Mr. Wolffungen was equally at home and his clear, bell-like tones cut the air distinctly, yet without striving even with strong chorus for a background. He made an admirable impression."
- Public Ledger, Philadelphia.
"Mr. Wolffungen, who possesses a fine tenor voice of dramatic quality and a wonderful range, was heard in a number of selections, singing German, french, Italian and english, and was enthusiastically received, this being his first appearance before a Buffalo audience, "When the Dew is Shining," by Rubinstein; "The Lover's Pledge," by Richard Strauss, and Gounod's "Spring," where all sung with exquisite feeling while the heavier numbers from La Boheme and Lohengrin were splendid efforts, demonstrating his versatility and bringing out the full strength of his voice.
- The Buffalo Courier
"The Programme presented by Herr Wolffungen at his recital at Carroll Institute bore striking evidence of the breadth of his musical knowledge and his catholicity of taste. His selections sung in English, French, Italian and German were by the best composers of each nation -Schubert, Franz, Richard Strauss, Henschel, Wagner, Gounod and Leoncavallo- and he showed himself at home in the French chanson, the German lied and in Wagnerian and Italian opera. Herr Wolffungen's voice is a ringing tenor, robust in character, of unusual carrying power and ringing in its modulation, from the vigorous declamation of Wagner to the delicacy of expression required for such songs as Rubinstein's "Es blinkt der Thau.""
- Washington Evening Star
Like many German immigrants, he was accused of disloyalty to the United States on several occasions during the First World War. Although none of the accusations turned out to be true, an interrogation in February 1918, Chicago, IL mentioned that he was forbidden to sing despite his profession.
Ads of him offering French lessons were found in the Chicago Daily News in January 1919.
It was reported in the 1920s that the focus of his work increasingly gravitated towards teaching, managing and directing.
On February 25th as well as March 1st, 1925 on WGN and November 30th, 1925 on WLS "De Cortez Opera Company" from Chicago aired on radio.
In an exclusive program on KFSD San Diego the station broadcasted "Albert De Cortez vocalists in special recital" on May 27th, 1930 and October 17th the same year. Both events were advertised in several articles in local newspapers.
As claimed in an article from the San Diego Union from September 22nd, 1929, he was frustrated by the little opportunities young singers in the U.S. got, in contrast to European stages to enter a musical career. According to him he established a concept, in which the cast was almost entirely filled by local, well trained amateur singers and only the leading roles by professionals, providing new talents the chance to be seen in public.
Lessons and memberships usually seemed to be affordable in price. At times scholarships were offered. Not few of the concerts and opera performances were dedicated to charitable purposes.
During his time in the USA, he had opened studios for vocal teaching, such as the "First Philadelphia Grand Opera School" in 1901 and Grand Opera Choruses in Buffalo 1906, Washington, DC in 1912, Milwaukee 1922, "The Cortez Opera Company" around 1925 among countless smaller projects and arrangements in at least 8 states and more than 15 cities: Philadelphia, Buffalo, Pittsburgh, Dunkirk, Washington DC, Indianapolis, Atlanta, Chicago, Green Bay, Sheboygan, Milwaukee, Detroit, Los Angeles, Santa Barbara, and San Diego, to name a few in which he also lived.
In contrast to his professional persona, matters of his private life were barely ever mentioned.
Albert never married and assumedly left no children. However, long-term friendships had formed with some of his former students with whom he spent several summers at country resorts. It is unknown if he was in a relationship.
On May 27th, 1931, at the age of 66, he died at the General Hospital in Los Angeles, CA.
The services were held on May 29th, 1931 at Pierce Brother's Chapel, Los Angeles, CA.
—--------------------------------------------------------------------------------------------------------------
I want to thank BJW, who mapped Albert's grave and cared for it so diligently for all those years and of course the very nice contact and support!
Also so many thanks to Charles A. for his scanlations and publishing Albert's photograph, which lead to the research in the first place,
and of course to FamilyHistMom for her fantastic and experienced work creating the Wolfes' family tree, to which Albert eventually could be rejoined after such a long time. Great thanks to Mr. Eller, who is probably the best possible person to staff the Hungen town archives, and who helps processing the Jewish history of the town with great empathy. Many thanks are also due to Mrs Thomas of the Landesarchiv Berlin, the Stadtmuseum Berlin, The Bundesarchiv and the University of Iowa Libraries and the Princeton University Libraries for their dedicated and kind services!
And in all this, a very special thanks to Pascal Krause, who helped me in too many ways with the research to mention here, but for example in correcting the spelling and grammar of this biography.
Instead of staying in his hometown, he left the small village in 1885 as part of the compulsory military service for which he relocated to Berlin.
It is likely that his operatic career started in the early 1890s.
In January 1893 he made his first so far documented appearance at the Kroll Opera in Berlin, Germany under the direction of Oskar Eichberg and later in October of the same year starred as guest in the opera "Martha" for the role of the "Lyonel" in Heidelberg, Germany. Earlier appearances are mentioned in interviews, however couldn't be confirmed yet.
In the early 1890s he already started going by the name of "Albert Wolffungen". Wolffungen in stark contrast to "Wolf" was a pretty rare name in 19th century Germany. It also might be a possible pun meaning Albert Wolf(from)Hungen and/or refer to the "Wolfungen" from the "Nibelungen" Saga.
During the time in his home country, according to his own words, he spent most of his time in Berlin, but evidently toured throughout many German cities, such as Dortmund in 1898/99 as well as Jever in 1899.
At the Royal Opera of Dresden he gained high endorsements from chief conductor Ernst von Schuch. It also must have been there where he took lessons from the famous and highly respected Giovanni Battista Lamperti. However, the exact year and duration of this stay is still unknown.
Another well known teacher he took lessons from in Berlin, Germany was Julius Stockhausen.
Methods of both masters were later on included in his own repertoire as a vocal teacher.
After the death of his father in 1888, many of his siblings emigrated to the United States in the years after. In March 1900, he eventually followed his siblings after being scouted by Henry Wolfsohn, starting his U.S. career in Washington, DC and soon after in Philadelphia, PA. During this period the first mentionings of his music teaching career could be found.
Between 1904 and 1906 he returned to Germany, but eventually settled in the U.S., where he would stay for the rest of his life. His name was then again changed to "De Cortez Wolffungen" and finally changed to "Albert De Cortez" around 1918/ 1919.
At this point it is not entirely clear as to why he kept changing his name several times.
What makes it even more interesting is that an alteration was also made to his birthdate, likely with intention, from 9th to 8th of March 1865, as the Declaration of Intention from 1923 was signed by himself and the altered date remained unchanged until his death.
The at least ten years of operatic career - according to his own words - mostly starring leading roles in Germany, earned mixed, but as found so far mostly positive reviews. However, frequent health issues affecting his voice, among other things, contributed to some less enthusiastic reviews.
It appears that over the years that his constitution kept be prone to health issues, such which are common for singers, which did not stop him from performing and he tended to overwork himself.
In May 1912, under his direction and also taking the role of the "Valentine", the highly advertised Opera "Faust'' started with a delay of about one hour and was shortened after an extended break, about which it was reported that director Wolffungen had fainted due to the strains of him overworking himself for several months. Additionally, financial issues lead to the cancellation of the second show.
Nevertheless, the critiques for this opera were splendid, just like most of the reviews he received for his work in the U.S.
"Mr. Wolffungen who sang the leading role, has an excellent tenor voice of wide compass, fine musical quality and a method that combines virility and refinement. He has a good presence, a confident though modest manner, and it was evident that the score was entirely familiar to him. Whether in the solos or the concerted numbers, Mr. Wolffungen was equally at home and his clear, bell-like tones cut the air distinctly, yet without striving even with strong chorus for a background. He made an admirable impression."
- Public Ledger, Philadelphia.
"Mr. Wolffungen, who possesses a fine tenor voice of dramatic quality and a wonderful range, was heard in a number of selections, singing German, french, Italian and english, and was enthusiastically received, this being his first appearance before a Buffalo audience, "When the Dew is Shining," by Rubinstein; "The Lover's Pledge," by Richard Strauss, and Gounod's "Spring," where all sung with exquisite feeling while the heavier numbers from La Boheme and Lohengrin were splendid efforts, demonstrating his versatility and bringing out the full strength of his voice.
- The Buffalo Courier
"The Programme presented by Herr Wolffungen at his recital at Carroll Institute bore striking evidence of the breadth of his musical knowledge and his catholicity of taste. His selections sung in English, French, Italian and German were by the best composers of each nation -Schubert, Franz, Richard Strauss, Henschel, Wagner, Gounod and Leoncavallo- and he showed himself at home in the French chanson, the German lied and in Wagnerian and Italian opera. Herr Wolffungen's voice is a ringing tenor, robust in character, of unusual carrying power and ringing in its modulation, from the vigorous declamation of Wagner to the delicacy of expression required for such songs as Rubinstein's "Es blinkt der Thau.""
- Washington Evening Star
Like many German immigrants, he was accused of disloyalty to the United States on several occasions during the First World War. Although none of the accusations turned out to be true, an interrogation in February 1918, Chicago, IL mentioned that he was forbidden to sing despite his profession.
Ads of him offering French lessons were found in the Chicago Daily News in January 1919.
It was reported in the 1920s that the focus of his work increasingly gravitated towards teaching, managing and directing.
On February 25th as well as March 1st, 1925 on WGN and November 30th, 1925 on WLS "De Cortez Opera Company" from Chicago aired on radio.
In an exclusive program on KFSD San Diego the station broadcasted "Albert De Cortez vocalists in special recital" on May 27th, 1930 and October 17th the same year. Both events were advertised in several articles in local newspapers.
As claimed in an article from the San Diego Union from September 22nd, 1929, he was frustrated by the little opportunities young singers in the U.S. got, in contrast to European stages to enter a musical career. According to him he established a concept, in which the cast was almost entirely filled by local, well trained amateur singers and only the leading roles by professionals, providing new talents the chance to be seen in public.
Lessons and memberships usually seemed to be affordable in price. At times scholarships were offered. Not few of the concerts and opera performances were dedicated to charitable purposes.
During his time in the USA, he had opened studios for vocal teaching, such as the "First Philadelphia Grand Opera School" in 1901 and Grand Opera Choruses in Buffalo 1906, Washington, DC in 1912, Milwaukee 1922, "The Cortez Opera Company" around 1925 among countless smaller projects and arrangements in at least 8 states and more than 15 cities: Philadelphia, Buffalo, Pittsburgh, Dunkirk, Washington DC, Indianapolis, Atlanta, Chicago, Green Bay, Sheboygan, Milwaukee, Detroit, Los Angeles, Santa Barbara, and San Diego, to name a few in which he also lived.
In contrast to his professional persona, matters of his private life were barely ever mentioned.
Albert never married and assumedly left no children. However, long-term friendships had formed with some of his former students with whom he spent several summers at country resorts. It is unknown if he was in a relationship.
On May 27th, 1931, at the age of 66, he died at the General Hospital in Los Angeles, CA.
The services were held on May 29th, 1931 at Pierce Brother's Chapel, Los Angeles, CA.
—--------------------------------------------------------------------------------------------------------------
I want to thank BJW, who mapped Albert's grave and cared for it so diligently for all those years and of course the very nice contact and support!
Also so many thanks to Charles A. for his scanlations and publishing Albert's photograph, which lead to the research in the first place,
and of course to FamilyHistMom for her fantastic and experienced work creating the Wolfes' family tree, to which Albert eventually could be rejoined after such a long time. Great thanks to Mr. Eller, who is probably the best possible person to staff the Hungen town archives, and who helps processing the Jewish history of the town with great empathy. Many thanks are also due to Mrs Thomas of the Landesarchiv Berlin, the Stadtmuseum Berlin, The Bundesarchiv and the University of Iowa Libraries and the Princeton University Libraries for their dedicated and kind services!
And in all this, a very special thanks to Pascal Krause, who helped me in too many ways with the research to mention here, but for example in correcting the spelling and grammar of this biography.
Albert was born on March 9, 1865 to Bertha and Seligmann Wolf. He grew up in a Jewish family in Hungen, Hesse, Germany where he was the 4th out of 9 children.
Instead of staying in his hometown, he left the small village in 1885 as part of the compulsory military service for which he relocated to Berlin.
It is likely that his operatic career started in the early 1890s.
In January 1893 he made his first so far documented appearance at the Kroll Opera in Berlin, Germany under the direction of Oskar Eichberg and later in October of the same year starred as guest in the opera "Martha" for the role of the "Lyonel" in Heidelberg, Germany. Earlier appearances are mentioned in interviews, however couldn't be confirmed yet.
In the early 1890s he already started going by the name of "Albert Wolffungen". Wolffungen in stark contrast to "Wolf" was a pretty rare name in 19th century Germany. It also might be a possible pun meaning Albert Wolf(from)Hungen and/or refer to the "Wolfungen" from the "Nibelungen" Saga.
During the time in his home country, according to his own words, he spent most of his time in Berlin, but evidently toured throughout many German cities, such as Dortmund in 1898/99 as well as Jever in 1899.
At the Royal Opera of Dresden he gained high endorsements from chief conductor Ernst von Schuch. It also must have been there where he took lessons from the famous and highly respected Giovanni Battista Lamperti. However, the exact year and duration of this stay is still unknown.
Another well known teacher he took lessons from in Berlin, Germany was Julius Stockhausen.
Methods of both masters were later on included in his own repertoire as a vocal teacher.
After the death of his father in 1888, many of his siblings emigrated to the United States in the years after. In March 1900, he eventually followed his siblings after being scouted by Henry Wolfsohn, starting his U.S. career in Washington, DC and soon after in Philadelphia, PA. During this period the first mentionings of his music teaching career could be found.
Between 1904 and 1906 he returned to Germany, but eventually settled in the U.S., where he would stay for the rest of his life. His name was then again changed to "De Cortez Wolffungen" and finally changed to "Albert De Cortez" around 1918/ 1919.
At this point it is not entirely clear as to why he kept changing his name several times.
What makes it even more interesting is that an alteration was also made to his birthdate, likely with intention, from 9th to 8th of March 1865, as the Declaration of Intention from 1923 was signed by himself and the altered date remained unchanged until his death.
The at least ten years of operatic career - according to his own words - mostly starring leading roles in Germany, earned mixed, but as found so far mostly positive reviews. However, frequent health issues affecting his voice, among other things, contributed to some less enthusiastic reviews.
It appears that over the years that his constitution kept be prone to health issues, such which are common for singers, which did not stop him from performing and he tended to overwork himself.
In May 1912, under his direction and also taking the role of the "Valentine", the highly advertised Opera "Faust'' started with a delay of about one hour and was shortened after an extended break, about which it was reported that director Wolffungen had fainted due to the strains of him overworking himself for several months. Additionally, financial issues lead to the cancellation of the second show.
Nevertheless, the critiques for this opera were splendid, just like most of the reviews he received for his work in the U.S.
"Mr. Wolffungen who sang the leading role, has an excellent tenor voice of wide compass, fine musical quality and a method that combines virility and refinement. He has a good presence, a confident though modest manner, and it was evident that the score was entirely familiar to him. Whether in the solos or the concerted numbers, Mr. Wolffungen was equally at home and his clear, bell-like tones cut the air distinctly, yet without striving even with strong chorus for a background. He made an admirable impression."
- Public Ledger, Philadelphia.
"Mr. Wolffungen, who possesses a fine tenor voice of dramatic quality and a wonderful range, was heard in a number of selections, singing German, french, Italian and english, and was enthusiastically received, this being his first appearance before a Buffalo audience, "When the Dew is Shining," by Rubinstein; "The Lover's Pledge," by Richard Strauss, and Gounod's "Spring," where all sung with exquisite feeling while the heavier numbers from La Boheme and Lohengrin were splendid efforts, demonstrating his versatility and bringing out the full strength of his voice.
- The Buffalo Courier
"The Programme presented by Herr Wolffungen at his recital at Carroll Institute bore striking evidence of the breadth of his musical knowledge and his catholicity of taste. His selections sung in English, French, Italian and German were by the best composers of each nation -Schubert, Franz, Richard Strauss, Henschel, Wagner, Gounod and Leoncavallo- and he showed himself at home in the French chanson, the German lied and in Wagnerian and Italian opera. Herr Wolffungen's voice is a ringing tenor, robust in character, of unusual carrying power and ringing in its modulation, from the vigorous declamation of Wagner to the delicacy of expression required for such songs as Rubinstein's "Es blinkt der Thau.""
- Washington Evening Star
Like many German immigrants, he was accused of disloyalty to the United States on several occasions during the First World War. Although none of the accusations turned out to be true, an interrogation in February 1918, Chicago, IL mentioned that he was forbidden to sing despite his profession.
Ads of him offering French lessons were found in the Chicago Daily News in January 1919.
It was reported in the 1920s that the focus of his work increasingly gravitated towards teaching, managing and directing.
On February 25th as well as March 1st, 1925 on WGN and November 30th, 1925 on WLS "De Cortez Opera Company" from Chicago aired on radio.
In an exclusive program on KFSD San Diego the station broadcasted "Albert De Cortez vocalists in special recital" on May 27th, 1930 and October 17th the same year. Both events were advertised in several articles in local newspapers.
As claimed in an article from the San Diego Union from September 22nd, 1929, he was frustrated by the little opportunities young singers in the U.S. got, in contrast to European stages to enter a musical career. According to him he established a concept, in which the cast was almost entirely filled by local, well trained amateur singers and only the leading roles by professionals, providing new talents the chance to be seen in public.
Lessons and memberships usually seemed to be affordable in price. At times scholarships were offered. Not few of the concerts and opera performances were dedicated to charitable purposes.
During his time in the USA, he had opened studios for vocal teaching, such as the "First Philadelphia Grand Opera School" in 1901 and Grand Opera Choruses in Buffalo 1906, Washington, DC in 1912, Milwaukee 1922, "The Cortez Opera Company" around 1925 among countless smaller projects and arrangements in at least 8 states and more than 15 cities: Philadelphia, Buffalo, Pittsburgh, Dunkirk, Washington DC, Indianapolis, Atlanta, Chicago, Green Bay, Sheboygan, Milwaukee, Detroit, Los Angeles, Santa Barbara, and San Diego, to name a few in which he also lived.
In contrast to his professional persona, matters of his private life were barely ever mentioned.
Albert never married and assumedly left no children. However, long-term friendships had formed with some of his former students with whom he spent several summers at country resorts. It is unknown if he was in a relationship.
On May 27th, 1931, at the age of 66, he died at the General Hospital in Los Angeles, CA.
The services were held on May 29th, 1931 at Pierce Brother's Chapel, Los Angeles, CA.
—--------------------------------------------------------------------------------------------------------------
I want to thank BJW, who mapped Albert's grave and cared for it so diligently for all those years and of course the very nice contact and support!
Also so many thanks to Charles A. for his scanlations and publishing Albert's photograph, which lead to the research in the first place,
and of course to FamilyHistMom for her fantastic and experienced work creating the Wolfes' family tree, to which Albert eventually could be rejoined after such a long time. Great thanks to Mr. Eller, who is probably the best possible person to staff the Hungen town archives, and who helps processing the Jewish history of the town with great empathy. Many thanks are also due to Mrs Thomas of the Landesarchiv Berlin, the Stadtmuseum Berlin, The Bundesarchiv and the University of Iowa Libraries and the Princeton University Libraries for their dedicated and kind services!
And in all this, a very special thanks to Pascal Krause, who helped me in too many ways with the research to mention here, but for example in correcting the spelling and grammar of this biography.
Instead of staying in his hometown, he left the small village in 1885 as part of the compulsory military service for which he relocated to Berlin.
It is likely that his operatic career started in the early 1890s.
In January 1893 he made his first so far documented appearance at the Kroll Opera in Berlin, Germany under the direction of Oskar Eichberg and later in October of the same year starred as guest in the opera "Martha" for the role of the "Lyonel" in Heidelberg, Germany. Earlier appearances are mentioned in interviews, however couldn't be confirmed yet.
In the early 1890s he already started going by the name of "Albert Wolffungen". Wolffungen in stark contrast to "Wolf" was a pretty rare name in 19th century Germany. It also might be a possible pun meaning Albert Wolf(from)Hungen and/or refer to the "Wolfungen" from the "Nibelungen" Saga.
During the time in his home country, according to his own words, he spent most of his time in Berlin, but evidently toured throughout many German cities, such as Dortmund in 1898/99 as well as Jever in 1899.
At the Royal Opera of Dresden he gained high endorsements from chief conductor Ernst von Schuch. It also must have been there where he took lessons from the famous and highly respected Giovanni Battista Lamperti. However, the exact year and duration of this stay is still unknown.
Another well known teacher he took lessons from in Berlin, Germany was Julius Stockhausen.
Methods of both masters were later on included in his own repertoire as a vocal teacher.
After the death of his father in 1888, many of his siblings emigrated to the United States in the years after. In March 1900, he eventually followed his siblings after being scouted by Henry Wolfsohn, starting his U.S. career in Washington, DC and soon after in Philadelphia, PA. During this period the first mentionings of his music teaching career could be found.
Between 1904 and 1906 he returned to Germany, but eventually settled in the U.S., where he would stay for the rest of his life. His name was then again changed to "De Cortez Wolffungen" and finally changed to "Albert De Cortez" around 1918/ 1919.
At this point it is not entirely clear as to why he kept changing his name several times.
What makes it even more interesting is that an alteration was also made to his birthdate, likely with intention, from 9th to 8th of March 1865, as the Declaration of Intention from 1923 was signed by himself and the altered date remained unchanged until his death.
The at least ten years of operatic career - according to his own words - mostly starring leading roles in Germany, earned mixed, but as found so far mostly positive reviews. However, frequent health issues affecting his voice, among other things, contributed to some less enthusiastic reviews.
It appears that over the years that his constitution kept be prone to health issues, such which are common for singers, which did not stop him from performing and he tended to overwork himself.
In May 1912, under his direction and also taking the role of the "Valentine", the highly advertised Opera "Faust'' started with a delay of about one hour and was shortened after an extended break, about which it was reported that director Wolffungen had fainted due to the strains of him overworking himself for several months. Additionally, financial issues lead to the cancellation of the second show.
Nevertheless, the critiques for this opera were splendid, just like most of the reviews he received for his work in the U.S.
"Mr. Wolffungen who sang the leading role, has an excellent tenor voice of wide compass, fine musical quality and a method that combines virility and refinement. He has a good presence, a confident though modest manner, and it was evident that the score was entirely familiar to him. Whether in the solos or the concerted numbers, Mr. Wolffungen was equally at home and his clear, bell-like tones cut the air distinctly, yet without striving even with strong chorus for a background. He made an admirable impression."
- Public Ledger, Philadelphia.
"Mr. Wolffungen, who possesses a fine tenor voice of dramatic quality and a wonderful range, was heard in a number of selections, singing German, french, Italian and english, and was enthusiastically received, this being his first appearance before a Buffalo audience, "When the Dew is Shining," by Rubinstein; "The Lover's Pledge," by Richard Strauss, and Gounod's "Spring," where all sung with exquisite feeling while the heavier numbers from La Boheme and Lohengrin were splendid efforts, demonstrating his versatility and bringing out the full strength of his voice.
- The Buffalo Courier
"The Programme presented by Herr Wolffungen at his recital at Carroll Institute bore striking evidence of the breadth of his musical knowledge and his catholicity of taste. His selections sung in English, French, Italian and German were by the best composers of each nation -Schubert, Franz, Richard Strauss, Henschel, Wagner, Gounod and Leoncavallo- and he showed himself at home in the French chanson, the German lied and in Wagnerian and Italian opera. Herr Wolffungen's voice is a ringing tenor, robust in character, of unusual carrying power and ringing in its modulation, from the vigorous declamation of Wagner to the delicacy of expression required for such songs as Rubinstein's "Es blinkt der Thau.""
- Washington Evening Star
Like many German immigrants, he was accused of disloyalty to the United States on several occasions during the First World War. Although none of the accusations turned out to be true, an interrogation in February 1918, Chicago, IL mentioned that he was forbidden to sing despite his profession.
Ads of him offering French lessons were found in the Chicago Daily News in January 1919.
It was reported in the 1920s that the focus of his work increasingly gravitated towards teaching, managing and directing.
On February 25th as well as March 1st, 1925 on WGN and November 30th, 1925 on WLS "De Cortez Opera Company" from Chicago aired on radio.
In an exclusive program on KFSD San Diego the station broadcasted "Albert De Cortez vocalists in special recital" on May 27th, 1930 and October 17th the same year. Both events were advertised in several articles in local newspapers.
As claimed in an article from the San Diego Union from September 22nd, 1929, he was frustrated by the little opportunities young singers in the U.S. got, in contrast to European stages to enter a musical career. According to him he established a concept, in which the cast was almost entirely filled by local, well trained amateur singers and only the leading roles by professionals, providing new talents the chance to be seen in public.
Lessons and memberships usually seemed to be affordable in price. At times scholarships were offered. Not few of the concerts and opera performances were dedicated to charitable purposes.
During his time in the USA, he had opened studios for vocal teaching, such as the "First Philadelphia Grand Opera School" in 1901 and Grand Opera Choruses in Buffalo 1906, Washington, DC in 1912, Milwaukee 1922, "The Cortez Opera Company" around 1925 among countless smaller projects and arrangements in at least 8 states and more than 15 cities: Philadelphia, Buffalo, Pittsburgh, Dunkirk, Washington DC, Indianapolis, Atlanta, Chicago, Green Bay, Sheboygan, Milwaukee, Detroit, Los Angeles, Santa Barbara, and San Diego, to name a few in which he also lived.
In contrast to his professional persona, matters of his private life were barely ever mentioned.
Albert never married and assumedly left no children. However, long-term friendships had formed with some of his former students with whom he spent several summers at country resorts. It is unknown if he was in a relationship.
On May 27th, 1931, at the age of 66, he died at the General Hospital in Los Angeles, CA.
The services were held on May 29th, 1931 at Pierce Brother's Chapel, Los Angeles, CA.
—--------------------------------------------------------------------------------------------------------------
I want to thank BJW, who mapped Albert's grave and cared for it so diligently for all those years and of course the very nice contact and support!
Also so many thanks to Charles A. for his scanlations and publishing Albert's photograph, which lead to the research in the first place,
and of course to FamilyHistMom for her fantastic and experienced work creating the Wolfes' family tree, to which Albert eventually could be rejoined after such a long time. Great thanks to Mr. Eller, who is probably the best possible person to staff the Hungen town archives, and who helps processing the Jewish history of the town with great empathy. Many thanks are also due to Mrs Thomas of the Landesarchiv Berlin, the Stadtmuseum Berlin, The Bundesarchiv and the University of Iowa Libraries and the Princeton University Libraries for their dedicated and kind services!
And in all this, a very special thanks to Pascal Krause, who helped me in too many ways with the research to mention here, but for example in correcting the spelling and grammar of this biography.
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ALBERT WOLFE
DE CORTEZ
1865-1931
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