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The 81st Birthday of Micaëla, Dowager Countess of Paris

Henri and Micaëla

Today, HRH Princess Micaëla d'Orléans, Dowager Countess of Paris, marks her eighty-first birthday.

The Dowager Countess of Paris was born doña Micaëla Ana María Cousiño y Quiñones de León on 30 April 1938 at Vichy, France. Her parents were Luis Maximiliano Cousiño y Sébire (1895-1970) and his wife doña Antonia Quiñones de Léon y Bañuelos (1895-1982), 4th Marquesa of San Carlos and Grandee of Spain; the couple had married at Paris on 9 June 1922. The Marquesa of San Carlos and her husband were divorced in the late 1940s after having had seven children. Nearly fifteen years separated their first child, don Juan Luis (1923-2017), from their last, doña Micaëla (b.1938).

doña Antonia Quiñones de Léon y Bañuelos, IV marquesa de San Carlos, in 1929

Doña Micaëla Cousiño y Quiñones de León married firstly in a civil ceremony on 12 June 1961 at Saint-Cloud to Jean Marie Maurice Bœuf (b.1934). The couple had one son, Alexis Francis-Bœuf (b.1964). The marriage of Micaëla and Jean ended in divorce in 1966.

Alexis Francis-Bœf with his stepfather and mother, the Count and Countess of Paris, in 2017

Micaëla began her career on the radio in France. Her first husband Jean Bœuf was an employee of Télévision Française. Later, Micaëla worked for an advertising group both in Madrid and in Paris. From 1978 until May 1981, she was responsible for the communications of the minister and the senior directors at the cabinet of minister Raymond Barre.

The Count of Clermont and the Princess of Joinville

On 21 January 1973, Micaëla Cousiño met Prince Henri d'Orléans, Count of Clermont, the eldest son of the Count and Countess of Paris. Henri had been married since 1957 to Duchess Marie-Thérèse of Württemberg and they had five children; however, the couple's union had deteriorated over time. When Henri and Micaëla encountered one another, it was love at first sight. Their devotion to one another was to stand the test of adversity and time. 

Henri and Micaëla

In 1984, the Count of Clermont and his wife Marie-Thérèse, who was granted the title Duchess of Montpensier by her father-in-law, were civilly divorced. Prince Henri d'Orléans and doña Micaëla Cousiño y Quiñones de León contracted a civil marriage at Bordeaux on 31 October 1984; this action greatly displeased the groom's father, who sought to disinherit his son for a number of years. However, the Count of Paris and the Count of Clermont were reconciled in 1991; at this time, the Count of Paris granted his daughter-in-law Micaëla the title Princess of Joinville.  

The civil marriage of Prince Henri d'Orléans and doña Micaëla Cousiño in 1984

Point de Vue covers the reconciliation of father and son in 1991

In 1999, the Count of Paris died and was succeeded by his eldest son Henri as Head of House France. Henri assumed the title Count of Paris; however, Micaëla chose to remain titled as Princess of Joinville from 1999 until 2003, when her mother-in-law passed away. The "new" Count of Paris and his first wife the Duchess of Montpensier received a religious annulment in 2008 from the Vatican. In light of this, Henri and Micaëla, the Count and Countess of Paris, were joined in a Roman Catholic ceremony on 26 September 2009 at Biarritz.

The Count and Countess of Paris after their religious wedding in 2009
Photograph (c) Alamy

The Count and Countess of Paris with Empress Farah of Iran

After thirty-four years of marriage to his second wife, the Count of Paris died on 21 January 2019 in Paris. His death came exactly forty-six years after he crossed paths with the woman who was to be his partner for the rest of his life. The Countess of Paris was unable to attend the funeral of her husband due to poor health; however, Princess Micaëla did attend a recent requiem mass in memory of her spouse.

The Dowager Countess of Paris


A Look Back: Balkan Royals Interviewed When The Cambridges Wed in 2011

The Duke and Duchess of Cambridge in 2011 after their wedding

Yesterday, 29 April, the Duke and Duchess of Cambridge (née Catherine Middleton) celebrated eight years of marriage: The Queen made the Duchess of Cambridge a Dame Grand Cross of the Royal Victorian Order on the occasion of the anniversary. The Duke and Duchess were married on 29 April 2011 at Westminster Abbey. Since then, they have become the parents of three children: Prince George (b.2013), Princess Charlotte (b.2015), and Prince Louis (b.2018).

When the Cambridges married eight years ago, a series of interviews were given by their relatives. Some of the most interesting of these were given by members of the Greek and Serbian royal families. The King and Queen of Greece, the Crown Prince of Serbia, and his cousin Princess Elizabeth (Elisaveta) were all guests at the Cambridge wedding.

One of the most fascinating interviews was granted by King Constantine II and Queen Anne-Marie of the Hellenes. The couple recounted their close connections to the British royal family, as well as their hopes for the couple. The king is the godfather of the Duke of Cambridge, and the Duke of Cambridge is the godfather of Prince Constantine-Alexios, the royal couple's grandson. King Constantine and the Duke of Cambridge are second cousins once removed through their mutual descent from King George I of Greece and his wife Queen Olga (née Russia). Queen Anne-Marie and the Duke of Cambridge are third cousins once removed through their mutual descent from King Christian IX of Denmark and his wife Queen Louise (née Hesse-Kassel).





Another interview of note took place with Crown Prince Alexander II of Serbia. The crown prince is the godson of The Queen. Crown Prince Alexander and the Duke of Cambridge are third cousins through their mutual descent from King George I of Greece and his wife Queen Olga (née Russia).


Princess Elizabeth of Yugoslavia also gave her insight into this happy event in the British royal family. The princess is a close friend of the Prince of Wales. Princess Elizabeth and the Duke of Cambridge are second cousins once removed through their mutual descent from King George I of Greece and his wife Queen Olga (née Russia).

Eurohistory Royal Archive...Who am I?


Who am I?

I was born in what is now modern-day Poland...a land that had been taking by my country nearly 2 centuries before it was given independence after the Great War.

My maternal family suffered from early deaths, while some of my cousins were brutally murdered by revolutionary wretches.

My father's family were considered parvenus by some of the much older dynasties of our land. They were also down for their military obsession. My father's mother was a uniquely talented woman, a revolutionary for her times, who liked to live without convention. In fact, she even had an illegitimate child and had no issue with raising him openly at her home, a large riverside palace that my family owned for several generations. In a family that dreaded divorce, my grandparents were so unhappy with each other, that dissolving their marriage was their only option to seek happiness as far away from each other as possible.

Although I was the youngest son of my father, I was the only one who left dynastic descendants, yet before my death, I could not secure an heir for our dying branch. My wife, whose dynasty enjoyed birth equality with our dynasty, dod not belong to the same section of the Almanach de Gotha where you can find me. She, survived me for more than three decades and was tasked with raising our children in difficult circumstances, especially after 1945, when most of our Eastern properties were lost to a red wave. Of our children, only one married royalty, but this marriage did not last long as my child's spouse died during war.

Ray Chen exploring what makes a violin's sound
















Ray Chen is looking for violins to be played by the finalists of his Play with Ray competition. Here he pays a visit to the New York offices of Tarisio to try out some instruments.

He writes: "In this video I go and explore the question ‘What is sound?’ by interviewing different people in the business. I've always held a fascination, almost an obsession with comparing instruments and their sounds, being able to describe in words (which can be very difficult!) and processing that information into useful information for the concert hall.

The violins we compare are also simultaneously being vetted to be loaned to the finalists of this year's Play with Ray: Hollywood Bowl competition where the winner will perform Bach Double Violin Concerto with me and the LA Phil in front of 18,000 people on August 8th, 2019. Entries close May 1st!"

Source: thestrad.com, April 24, 2019



Ray Chen exploring what makes a violin's sound

Video by Daniel Jang


Ray Chen and Los Angeles Philharmonic are running a new competition that will see one lucky violinist perform on stage with the Australian virtuoso. Play With Ray is open to nonprofessional musicians from all over the world, and concludes with a concert at the Hollywood Bowl on 8 August.

"I want to provide people around the world a fun, once-in-a-lifetime opportunity", said Chen. "People who have a dream to perform on stage, this project is for you. I couldn't think of a better partnership to help realise everyone's passion for music than the LA Phil at the Hollywood Bowl."

To enter, violinists have to make a video recording of themselves playing the first movement of Bach's Double Violin Concerto along to a backing track provided by Chen and the LA Phil. The competition website includes bowing and fingering tips from Chen as well as sheet music.

The top three finalists will be flown to Los Angeles to rehearse with Chen, using violins provided by Tarisio. They will also attend concerts and take part in masterclasses. One lucky winner will then perform the Double Violin Concerto with Chen and the LA Phil.

The concert will be live streamed on Facebook and YouTube.

Source: Andrew Anderson, March 28, 2019 (internationalartsmanager.com)















More photos


See also

Jean Sibelius: Violin Concerto in D minor – Ray Chen, Gothenburg Symphony Orchestra, Kent Nagano

Felix Mendelssohn: Violin Concerto in E minor – Ray Chen, Gothenburg Symphony Orchestra, Kent Nagano

Hamilton Elzie Waters

In 1835, Hamilton Elzie Waters, secured himself and his mother, Lovey Waters, a Certificate of Freedom. Waters had been partially blinded during his years as a slave, possibly due to injuries received during punishment after being caught with a book.

Waters and his mother migrated from Maryland to Ithaca, New York, where he would meet his wife Lucinda who had been in the household of Governor Throop Governor of New York in 1829. After marrying the couple moved to Michigan and started a family. Their first child was Elizabeth Waters in 1838, soon after her birth the family moved to Erie, where they would remain for generations.

In Erie, Hamilton Waters worked as a town crier and lamplighter and owned his own home. Hamilton and Luncinda believed highly in education and instilled the belief in their children and grandchild that no dream of achievement was unattainable.

Hamilton Waters was an agent of the Underground Railroad, gaining information about people of all classes from his work as a clothes cleaner. Water’s Underground Railroad responsibilities involved passing individuals to Frank Hemmings at a settlement on Four Mile Creek in Harborcreek, for the last leg of the journey over Lake Erie by skiff to Longwood, Ontario.

In 1895, Waters co-founded the Wesleyan Methodist Church in the New Jerusalem section of the city. In 1898, Waters established the Benevolent United Equal Rights Society, a brotherhood that backed fugitive slaves.

Waters's believed in his entitlement to full citizenship as well as a knowledge of the distinctive cultural heritage through which those who were enslaved transcended the pain and the limitations of their captivity.

Making his earnings as a lamplighter, Waters would take his grandson, Harry, along with him and they would sing the slave song. These plantation melodies would profoundly shape Harry’s musical sensibilities as he grew to become famous soloist, composer, and America’s first black concert artist, Harry T. Burleigh.

Hamilton Elzie Waters seated in the middle with two unidentified children
Hamilton Elzie Waters seated in the middle with two unidentified children.

The Real Story of the Huston-Springer Houses

The James Springer House
Author's Note: I apologize for this post running a bit longer than most. However, I felt that these two houses needed to be dealt with together, as their histories are inextricably linked. This is one of those cases where you really can't understand one property without understanding the other, and I didn't see any good place to divide it up into two posts.

There are many reasons why I enjoy researching and writing these posts (the pay not being one of them). Obviously I enjoy the history -- uncovering and giving voice to stories that have either never been told or which have been largely forgotten. I like trying to better understand the past and the people who inhabited it. But there is also the mystery and informational "treasure hunt" aspect to it. I really like starting with just a bare bones amount of information, and seeing how much of the story I can end up filling in. But as with any investigation, my ability to reconstruct the story is limited by the resources I have and the amount of data I can collect. Luckily, sometimes those limits expand over time. With more resources comes more information, and sometimes with more information comes different conclusions.

Yes, this is all going somewhere. A little more than six years ago, I did two posts about the Springers of Northern Mill Creek Hundred. It wasn't until halfway through the second post that I finally got to the two houses I had originally set out to explore. These were what I had called the Stephen Springer, Sr. and Stephen Springer, Jr. Houses, both located in Mendenhall Village, on the south side of Mendenhall Mill Road. At the time, all I had to go on was a misleading passage from Runk, some not-so-helpful censuses, and the usual maps.

From all that, I surmised that Stephen Springer moved sometime in the 1820's from his family's home in Hockessin to the westernmost of the two Mendenhall-area houses, the one off of Village Drive. I stated that this house later went to his son James, while Stephen, Jr. built the eastern house (near Pump House Circle) in 1843, after being given a portion of the family farm. I had no information on what became of either property after the ownerships of Stephen, Jr. and James.

Recently, though, I received an email from the current owners of the western home, which I had labeled the Stephen Springer, Sr. House. After looking back to see how little information I had about it the last time, I decided to take another look, this time armed with, among other things, access to historic deeds and land transfers. And wow, I'm glad I did. It turns out, some of what I wrote was correct, some of it was sort of correct, and some of it was just flat out wrong. I'm here now to correct the record, as best as I can. It's still not crystal clear, but I'll lay out the situation as I now understand it.

I do still believe that Stephen Springer moved to the area in the 1820's, and I even did get the reason right (there's a reason why I usually attempt to figure out why someone moved to a given area). His wife was the former Margaret Huston, and it was in fact her family's farm to which they moved. In June 1763, Margaret's grandfather Hugh Huston purchased about 195 acres in three tracts from John Brackin, who had acquired them through various transactions. (The 1763 deed does a fantastic job of documenting all the sales, back to John Evans buying 100 of the acres from William Penn in 1707.) When Hugh died in 1789, the property went to his son Samuel. Samuel Huston died in 1815, but his will dated two years earlier did something interesting, and ultimately important for us.

At least part of this was probably Alexander Huston's home

Besides giving money to various children and providing for his widow, Samuel devised most of his land to his son James. However, his will states, "Also I give and devise to my son Alexander Huston fifty acres of my land and plantation I now live on to be run off of the westernmost end thereof.." So, James got about 150 acres and Alexander got 50, on the western end. The end where the formerly-called Stephen Springer, Sr. House is. Alexander was born in 1783, so he was already 32 by the time his father passed. It's possible that he was already living on and farming the western end of his father's land, or he may have broken off his own farm in 1815. I'm unsure of the age of the house that stands there now, but it's entirely possible that it was built by or for Alexander Huston.

The other 152 acres stayed in James Huston's possession until 1826, when he died "intestate and without issue" (meaning he had no will and no children). His siblings became his heirs, and they sold their shares of the land in 1827 to their sister Margaret and her husband, Stephen Springer. At some point after 1832, Springer must have acquired Alexander Huston's 50 acres as well. (Huston mortgaged it to David Justis in 1832.) I know this because of Springer's 1842 will. It's also how I know that my initial assumptions about the houses were wrong.

If you'll recall, in the original post I pointed out the Runk stated of Stephen, Jr, " After assisting his parents on the farm until he was twenty-one years old, a portion of the homestead was given to him, upon which he lived until within a few years of his death." That is both technically correct and somewhat misleading. What happened when young Stephen was 21 was that his father died. Runk makes it sound like he was carved out a portion, more along the lines of what happened with Alexander Huston. What actually happened makes more sense and completely flips the history of the two houses, at least as far as I had understood it.

Stephen, Jr. wasn't just given a portion of the homestead, it was divided evenly between himself and his brother James. The will states, "[...] Bequeath to my son James Springer all that house and tenement together with the fifty acres of land that formerly belonged to Alexander Huston with all and singular the appertainences thereon together with so much off of the upper end of the mansion farm as mite make fifty acres so as the two mite make one hundred acres of land in the whole..." Later it states, "I do will and bequeath to my son Stephen Springer the house and tenements on the farm where I now live together with the house near the creek with about one hundred and three acres of land..."

The Springer brothers' properties in 1849

So, what does all this mean for us? Well, by using the descriptions, the 1849 map, and a little common sense, we can infer that Stephen Springer, Sr.'s home was not the one to the west near Village Drive, but was in fact the eastern house near Pump House Circle. He gave James the western house and its 50 acres, which had been Alexander Huston's, and another 50 acres off the main farm. It was Stephen, Jr. who got his father's house, the remaining 103 acres, and another house down near Mill Creek, seen on the 1868 map below. This second house was located across from the foot of Graves Road, where Camp Wright is now.

The Springer brothers in 1868

Since the elder Stephen moved his family onto his wife's family's farm, it raises an interesting question: Did he also move them into the old Huston house? I don't know the age of the eastern house, which I now feel comfortable calling the Stephen Springer House, but it seems possible that at least part of it could date back to James, Samuel, or even Hugh Huston. What I have been able to determine to a much greater degree than before is the later history of the Stephen Springer House. As noted before, the house went to the younger Stephen, who was married to Mary Love, the daughter of long-time area minister Thomas Love.

Stephen Springer, Jr.

The couple and their five children seem to have split time between this house, which they called Hillside, and Mary's father's home on Lancaster Pike in Loveville. In the original post, I surmised that the house probably left the family soon after 1900. It turns out that I was more right than I knew. What actually happened is that Stephen sold the 103 acre farm to his son Robert in 1892. Robert was a carpenter by trade, so he probably didn't live at Hillside (he's listed in Wilmington in 1900). And whatever the reason, Robert seems to have had money problems soon thereafter. In January 1900, NCC Sheriff John E. Taylor sold the eastern Springer farm at auction to George Klair, who in turn sold it a few months later to Irvin V. Gregg. Gregg sold 16 acres to Rebecca Malin in 1903, but held on the the remainder for a few more years.

Ad for the sale of the Stephen Springer farm, then
owned by Robert Springer

In 1909, Irvin Gregg sold the remaining land to Edna Sharpless Wilson, the widow of David H. Wilson. David had grown up just north of the area in question, and had died in 1906. Edna and her family, which included four sons in their late teens/early twenties, farmed the land for more than a decade. In 1920, though, she sold the property (103 acres minus the 16 sold to Malin) to the Associated Charities of Wilmington. This social welfare group had been founded in 1884 by Emalea Pusey Warner, and was looking for a site for a country camp for children. Two years later, funds from the very first Wilmington Flower Market were used to construct buildings for what would become Camp Wright. Since the group didn't need as much land as they had, in 1924 they sold about 80 acres to two Polish immigrant couples, John and Annie Redecki and Lawrence and Mary Wozniak. What's neat is that the numbers do add up. The land that's now the Camp Wright Acquisition owned by the county is 7 acres. 80+16+7=103

A few months later the Wozniaks sold their half to the Redeckis, who then sold the entire farm in 1926 to another Polish couple, William and Florence Czarnecki. The Czarneckis sold in 1928 to John and Annie Waibel. The Waibels only owned the property for two years as well, as they sold in 1930 to something called the Renappi Corporation. For an explanation as to what that was, we first have to circle back and pick up the story of the western Springer farm, last seen willed to James Springer by his father Stephen.

The death of James Springer, March 1882

As noted in the original post, James Springer didn't remain on the farm long, as he soon moved to Newark. There, he became involved in business, social, and political pursuits. A recap of his endeavours can be seen in the obituary above, published at his death in March 1882. Later that year, the family attempted to sell the farm, as shown in the ad below. This ad also gives us a piece of information we often do not have -- the name of the tenant. In this case, it was James Shakespeare. However, it appears that they were unsuccessful in selling the farm at that time, since it didn't actually sell until 1888, to Hervey Walker.

Sale ad for the James Springer Farm, November 23, 1882

One of the biggest yet-to-be-solved mysteries in this story is exactly how old the house was that the Springers sold to Walker. I recently had the great pleasure of touring the house, and I'm convinced that what's there today dates at least back to Alexander Huston more than 200 years ago. The current owners added a section to the back that fits seamlessly with the rest from the outside. There are two older sections -- a larger south-facing one and a smaller west-facing one. Which is the oldest is a topic of debate. However, I will say that there are reasons to believe that part of the house could long-predate Alexander Huston. It's quite possible that he moved into and possibly enlarged a home that had already stood for the better part of a century. This house certainly still holds secrets.

The Hervey Walker who bought it in 1888 was the son of Robert Walker, and grew up on the family farm located off of Skyline Drive behind the Pike Creek Shopping Center. The barn Hervey toiled in as a boy still stands by the pool at Linden Knoll Condominiums. In '88, the 30 year old Walker purchased the 100 acres left to James Springer by his father, as well as another 9 willed to James by William Moore in 1866. Hervey, wife Joanna, and son Robert lived on the farm through at least 1910. By 1918 they resided in Wilmington though, and in 1921 sold the 109 acres to John Napolski. (Why the area was so attractive to Poles at the time is perhaps an investigation for another day.)

The Napolskis remained through the death of John in 1927. In early 1929, the tracts were briefly sold by the sheriff to Clara Davis, who sold them right back to John's widow Mary. I don't know if they tried to make it work but couldn't, but for whatever reason Mary sold the farm in October of that year to Daniel Cauffiel, which, along with the 1930 sale of the eastern farm to the Renappi Corporation, marked the end of an era for the former Huston-Springer farms.

If the name Cauffiel sounds familiar, it may be from hearing of the Cauffiel House overlooking the Delaware River off of Philadelphia Pike south of Claymont. That was the home built by the same Daniel Cauffiel, who worked as the primary real estate manager for the duPont family. And as a true real estate agent, Cauffiel sold the tracts on October 29, 1929 to the same Renappi Corporation. Incidentally, if the date sounds familiar, October 29, 1929 was the last and busiest day of the Stock Market Crash of 1929, which kicked off the Great Depression. Cauffiel was obviously unconcerned about the financial situation, as was the man for whom the Renappi Corporation acted as a holding company -- Donald P. Ross.

Donald Peabody Ross was an executive with Wilmington Trust (founded by the du Ponts), and also (not at all coincidentally) the husband of Wilhelmina H. du Pont, daughter of William Kemble du Pont. Ross had a great love of horseracing and, with his brother-in-law William du Pont, Jr. built Delaware Park. He also bought up several farms along Limestone Road in the early 1930's and created a large estate for himself which he called -- you guessed it -- Renappi Farm. Renappi was the Swedish term for the local Native Americans, what we would now call Lenni Lenapi. The farm was full of horses, both for public riding and for higher level training. The 1962 Preakness Stakes champion Greek Money was trained at Renappi.

Donald P. Ross died in 1973 and the many acres of the Ross Farm were slowly sold off to developers. In 1977, the DiSabatino Company bought sections of the Ross Farm that included the old Springer properties, and in early 1978 the first homes of Mendenhall Village were on the market. Thankfully for us, the two old Huston-Springer homes were spared the wrecking ball and continue to serve as beautiful family homes today, easily more than 200 years after they first overlooked the Mill Creek Valley.

Le Trung Chinh

Le Trung Chinh
Selfies Spring 2019








Mehmet Aksoy'un son sergisi “Şamanlar ve Mitler Dünyasında”





Mimar Sinan Güzel Sanatlar Üniversitesi, Tophane-i
Âmire Kültür ve Sanat Merkezi yine harika bir sergiye ev sahipliği yapıyor. Tarihi mekânda, usta heykeltıraş Mehmet Aksoy’un eserlerine yer verileceği haberini duyar duymaz, merakla serginin sanatseverlerle buluşacağı anı beklemiş ve ilk fırsatta bu sergiye gitmeliyim demiştim. Ve bu hafta sonu, pırıl pırıl güneşli bir bahar havasını da

Samuel Hasselhorn, First Prize at Queen Elisabeth International Music Competition 2018 – Interview by Emilie Vanderhulst
















27-year-old German baritone Samuel Hasselhorn has won the 2018 Queen Elisabeth Competition in Brussels. He studied at the Hanover and Paris conservatories and is currently working with Patricia McCaffrey in New York. He was awarded the 2018 Emmerich Smola Prize, First Prize in the 2017 Das Lied International Song Competition in Heidelberg, Second Prize at the 2015 Wigmore Hall Song Competition in London, and Third Prize in the Hugo Wolf Competition in Stuttgart in 2016. He is also First Prize winner of the 2015 Young Concert Artists International Auditions in New York, captured First Prize in the 2013 International Schubert Competition in Dortmund, and the "Prix de Lied" in the 2013 Nadia and Lili Boulanger Competition in Paris.


Queen Elisabeth International Music Competition 2018:

Second Prize: Eva Zaïcik (30, mezzo-soprano) France
Third Prize: Ao Li (30, bass) China
Fourth Prize: Rocío Pérez (27, soprano) Spain
Fifth Prize: Héloïse Mas (30, mezzo-soprano) France
Sixth Prize: Marianne Croux (27, soprano) Belgium – France

Source: pizzicato.lu


Photo by Christian Steiner
Interview by Emilie Vanderhulst

Samuel Hasselhorn has just been awarded First Prize at the Queen Elisabeth International Music Competition, Voice, 2018. The 27-year-old German baritone graduated from the Hochschule für Musik, Theater und Medien in Hanover (Opera singing) and from CNSMD in Paris (Voice), and is currently working in New York under the supervision of Patricia McCaffrey. He had already won many awards at various prestigious international competitions. He specializes in both German and French song repertoire, in which he brings us fresh, brilliant, and intense performances but in our opinion, he should also sing more opera in the future.


“In Belgium, almost everyone watches the Queen Elisabeth International Music Competition

Emilie Vanderhulst: Hello, and thank you for taking the time to answer some of our questions. How do you feel after this great Queen Elisabeth International Music Competition (QEIMC) Final evening?

Samuel Hasselhorn: It's strange, because someone recognized me after the semi-final, on my way to rehearsals and then there was this lady who said, «Félicitations». I thought she was talking to someone else. Then she said, «C'est bien, c'est bien, félicitations» and then I realised that people were really watching the QEIMC! In Germany, we don't have any competition that is shown on TV. It's really amazing; I've never experienced this before. So, it's great, but it's something new to me.

EV: But the QEIMC is really popular in Belgium; didn’t you know that?

SH: Yes, yes, I knew because I have a good friend who's a pianist. He'll be the official pianist next year for the violin competition and he told me that even the taxi driver knows about the QEIMC. He said that it's a huge thing. And it's crazy, because in Belgium, almost everyone watches the QEIMC. I know there's the Cardiff Singer of the World Competition and they have everything on TV but I didn't know anything like it. And we don't have such contests in Germany.

EV: But it's strange, because there's a lively classical music environment in Germany, isn't there?

SH: Yes, that's true but there are many small competitions. You know, one of the biggest competitions that I won was Das Lied, the International Song Competition, with Thomas Quasthoff*, and BBC came to record a documentary about him and the competition, so there was a camera crew there. But here it was something completely different – way bigger. I don't know; even if you came to the first round of the competition, the hall was full! And in the other competitions, it's usually the jury and a few other people, like the host families. That's it... like ten other people. And here, you come in and "Wow, a full audience for the first round! OK!" I asked a pianist who plays almost every afternoon and evening, and he said it's like that every time. I've got friends who wanted to come for the first round and tried to get a ticket in advance. But they couldn't, because it had already been sold out... It's crazy; I had never experienced that before.

EV: Yes; when you reach the first step of the CMIREB**, that's a great achievement.

SH: Yes, it's like a concert. You get heard and you forget about the jury that's sitting in front of you. And you sing for the whole hall because there are so many people... and even if the jury doesn't like it, maybe they can appreciate it. It's a very nice thing to do for us.

EV: That was indeed one of my questions because you've been brilliantly rewarded in so many competitions. Why did you apply for the QEIMC?

SH: Two main things I have to say: first of all, I wanted to sing for this jury, because I really appreciate them. I appreciate all the artists that are there, the singers, but also the pianists and also the classical directors or intendants of opera houses because it's an audition for them, of course. And the other thing is that this competition is so open to various repertoires. So, you can sing art songs, concerts and opera. You could even do this whole competition while singing one opera aria or one art song. You could do that... It's very cool because you're so free and you can show what you do best and what kind of artist and singer you are. And, you know, there are so many competitions, big competitions that I saw: you just give them four arias and that's it. And I mean, I can do that, but it's not the kind of singer I am. I think I wouldn't be very successful in that kind of competition... So, I liked this one because I could do what I wanted and I believe, what I think is my strength, I think Queen Elisabeth was the perfect competition to do that. And, of course, I knew Queen Elisabeth because I have a friend who won the violin session in this competition. But I honestly hadn't really thought about the big deal that this is, with the TV and everything.

EV: Could you tell us something about your work with the orchestra? Yesterday, for the Final, it was quite interesting because from the audience, we had the feeling that at some moments, you almost guided the orchestra, at least towards some nuances...

SH: The thing is that we don't have much time for rehearsals because they have so many rehearsals and then the concerts; they're so busy. So, what I tried to do was to be as precise and quick as possible to show the best I could in rehearsal of what I wanted to do and, of course, I talked to Alain Altinoglu. And in the pieces that I know well, I know pretty quickly one or two things that make the difference in a piece, if you do it really well... or not. Because, of course, this is a very great and professional orchestra. Of course, they'll play in tune, of course they'll play in time but, still, sometimes you think, "Oh, if this could be a little slower or a little more piano, that would be great". So, I knew one or two things. I asked: "Could we make even less sound here? I think that could be very special. Then we go from the Mendelssohn*** to the aria dimension.

I think when it came to the performance, we were really listening to each other, I listened to the orchestra, the conductor; they were listening to me and I could feel during the performance that... not just the conductor, but also the concertmaster were really there. They'd seen me, they'd seen how I breathe, how I do things, they could probably see my face, and I thought that at some point they were really following me. That was a great experience, because that's when I think, singing and music are great. And it's not like a mechanical thing, like "OK one, two, three, here and now, you were late". That's not what my thing is about. My thing is not always being perfectly together, always matching every single detail. I think it's more about the whole picture of music-making, of something that matters somehow to the people.

EV: You worked with Alain Altinoglu, conductor of La Monnaie-De Lunt Symphony Orchestra. Had you already met him?

SH: No, we had a piano rehearsal, here, at the office. I think he realized that for a singer, I'd say I'm pretty musical, in a way. Then I could also follow him, and I always like to take advice from the direction of someone who's more experienced than I am and also, of course, has ideas. Because it's not all about what I want to do in certain things; I think I can adapt pretty quickly. So, it was a really intense time but I think we did our best basically in the limited time we had to rehearse. So, I knew him before but not personally. It was a great collaboration; I really liked it.

EV: May I ask you how you built your competition programs, because they were really consistent***. And it was really interesting in the Final the way you linked the end of the Mendelssohn with the beginning of the Verdi aria. We got the distinct impression that you were proposing a real concert.

SH: I really like that, because it's what I tried to do. Because, quite often, you go into a competition and you hear people and you say "Oh, this is a hard aria, this is a hard aria...". And, first of all, you've got to be a really good singer to sing all those bravura arias that no one can sing. You have to sing for twenty minutes, which is not too long, but you have to sing four, five arias; they are really hard and you've got to do them well.

I have always wanted to have a program that is a program. For this competition, you look for the list of the orchestra works, what the orchestra can play and what's on the list. So, you think: "I need something in this colour, in this mood..." but I also wanted to create something, and I was already thinking about the Mendelssohn and the Verdi aria.

When I checked the order of all I wanted to sing, I saw that the key, the harmony of the Mendelssohn to the Verdi aria, fits perfectly. You know, in the Mendelssohn oratorio, Elias says « It's enough, I want to give my soul to you; please take my soul. It's enough; I want to die..." and the Verdi begins and the character is dying there. So, these pieces have nothing to do with each other and are in different languages. They have different beginnings, different... whatever, but it's quite like a story going on... Then I thought it could be the same story in another language, another style, by another composer; but, if it was a German oratorio or if the first one was in French, it could almost be one piece. So, I thought I could show this. There are so many connections between music from different composers that we can show because the language is music and the poetry is still universal. Basically, I really wanted to do that and I'm glad that people appreciated it. And I didn't want anyone to clap between the two pieces so I talked to the technicians about the lights, asked them not to lower them and they did it really well. I was very happy. Because you can pick up the emotion from the first piece and take it to the next one, and that's special.


Photo by Christian Steiner
“Sometimes, singers forget to really work on their sound„

EV: I saw that you play the bassoon. Does it help you with your singing? Perhaps with the breath, the legato?

SH: I would say not too much for singing but I would say musically, yes, because you've got another background. I can't say that I could play the bassoon really well but I'm an amateur bassoon player, so I know how it works. It probably makes me understand how other instruments work and I know that an orchestra takes a little more time than the piano. The piano plays a chord and it's like "ping" right there; the orchestra is a little later so I understand this kind of thing. I also understand how to play, if it's chamber music, how to play a baseline and you know, how to take the intonation, if it's really high or low or something.

Technically, it can be tricky and I stopped playing the bassoon when I started to study singing and work at the Conservatoire, because the bassoon needs a lot of pressure and that's not really good for singing. But still, in the end, there are similarities, because we are kind of like a wind instrument; we need to breathe or play... I also like to watch cellists because I really admire how strongly they sit back really well. I like to watch them, part lying in their chairs, partly with their instrument, and in their sound. They sit there so strongly. I like to see that because I think that position affects the sound. Singers should see that and learn from it. I think it's also the same for the instrumentalists. I know instrumentalists who say: "Sometimes, my teacher tells me to sing the phrase and then I know how to do it". And it's important that we know how to "bow" our voice, how to play with breath, with melody and everything.

There are so many people who really work on their sound. Sometimes, singers forget to really work on their sound. They just work on... they know by heart how the piece should go but they don't really work on just the pure sound and get rid of the text, get rid of emotions, just work on really vocal technical singing one time! Because it's important and then the rest can come on top of that. But if you don't have that basis, you'll always have limits, I think I also really admire cello and bassoon because they are my voice; maybe it's the same for soprano and violin, I don't know.

EV: You are obviously brilliant in German song repertoire. Could you tell us how you came to those art songs?

SH: When I started to study singing, I was eighteen years old. And, for example, especially for the Verdi aria I sang yesterday, an eighteen-year-old can't sing this aria and I am still too young, vocally too young, to sing the role onstage, I think personally. It's different to sing a single aria than the whole opera... At that time, I was listening to the older singers and thought: "Oh, those beautiful arias!", and when I tried them, I was just screaming and didn't sang that well. So, I thought I need to sing... I wouldn't say something easier, because lieder are not vocally easier, but sometimes they're not as high, and you don't have to care about the orchestra. There's just the pianist. So, I thought, you know, what I'll do is concert arias: Bach (because it's hard enough to sing Bach) and then Schubert.

Schubert wrote nice, cute songs that are not very high and not very low. Let's try them! And you can work on a lot of things in those songs. And then I listened to Bryn Terfel and Malcolm Martineau, who recorded Schubert. I was just fascinated by this music-making and this music in general and I listened to "Erlköning" which, of course, I knew because it's famous, but at some points in this recording, I thought the father seemed to be so mean! The father, I mean, not the Erlköning! And it fascinated me that you can actually listen to a song and the interpretation is personally so different here, the father in some way can sound a little angry, not caring about his child. So I was fascinated by this mix of music and poetry coming together, building this great art of lied or French mélodie, or English art songs. And I always like them. It's cool, I've never been interested in literature so much but through art songs, I thought: "Oh, this is a beautiful poem". I think that's an important point, because we always have to use languages to express ourselves.

My opera singing can grow through my lieder because you actually use the words in a different way. Also, the lieder singing can be beneficial in a lot of opera, even just vocally. They all come together in singing and not in "Oh, this is an opera singer; this is a lied singer...". We all can do certain things better; we probably sing in a certain style. Schubert singers don't sing Bach in the same way. We don't sing them exactly alike. That's how I came to art song. I think the poetry makes them different because sometimes it's great poetry, sometimes it's bad poetry but beautiful music. In Schubert, you have some really bad poetry but it's such great music. And sometimes, you've got gorgeous poetry but the music could be somewhat better, and sometimes they just fit so well together.

EV: You also had a Debussy on your program, so we thought that you were a long-time poetry lover...

SH: Well I tried to show, I thought... if you bring the standard arias to a competition, it's always a little tricky because there might be twenty other people singing those arias, too. Then, if someone sings this aria better, you can still be good, but maybe someone thinks: "Ooh, this person sings it better". So, I think that it's important to sing songs of the repertoire because you know what is difficult about those arias and show "This is what I can do with it". But I thought, first of all, I really like the Pelléas et Mélisande. I like Debussy and I thought perhaps not many people can do it because for baritone it's sometimes very high... Probably no one else will do it and it fits my voice well. The jury is composed of sixteen people. I don't want to sing the same songs over and over again. That aria fits my voice and it fits my personality, the singer who I am.


Photo by Nikolaj Lund
“Over-acting in art songs is a little disturbing because I think it takes away from the music and poetry„

EV: Could you say a word about your on-stage behaviour, your stage presence? Because we thought you show it in such a, let's say, Schubertian way; Schubert didn't want his music to be overplayed...

SH: I think it's important that you show what's going on in each piece of music. In "Erlköning" you have the son and the father, the narrator and the Erlköning. Even if some people don't understand the German words, they see that it's another person speaking and think: "Oh, this is so scary". Even if they don't understand the words, I think they get the story and are scared, and it's exciting. And it's not about what you have done to play the father and then the kid; I think it’s just enough if you look in a certain direction. For me, over-acting in art songs is a little disturbing because I think it takes away from the music and poetry. Even in Bach; Bach, Schubert, they knew what they were doing. There is so much strength in their written music that we should just do what they wrote. Try to do what they wrote because it's hard enough. Just to feel the emotion, I think, is enough and I don't necessarily need to see more. It might be different from opera but I still think that the real emotion is way stronger than anything. If I try to act when I sing a very sad song, and I try to be very sad or happy, it doesn't come across... It can be small but strong inside and everyone can get it.

EV: I wanted to know whether you've got an idea of your next projects. You already have a consistently very busy schedule with recitals and a "Stabat Mater" to come. Now, in addition, there are the great recitals QEIMC will plan for you...

SH: Yes. I want to say I'm busy all next year but my next season is full enough. But, of course, then I know there are the QEIMC concerts. There are always parts that are stressful but I have QEIMC concerts coming up, recitals coming up, one opera project... I like that, because it involves different places, different people and experiences that you learn from.

EV: It's really balanced...

SH: Yes, I like that. I wish right now I could do a little more opera. I need the time. I could say I want to sing right now in big halls... that can also be stressful and if you say "Oh, it's a big room" and you start screaming, that can be dangerous. Slow and steady is better than trying to force something quickly.

EV: Finally, could you just tell us if there is something you try to achieve through the music, for the music, or for some personal objectives?

SH: Well I think it's a hard question but I think I would be happy to sing in a concert, whatever it is, and I don't want to say that the way people are moved or touched is automatic but I want to reach people. I want them to take something from the performance, whatever that is. If it's something positive or negative, happy or sad, I want them to take away something personal. You don't know what they'll take away. When I go to a concert, sometimes I have days when I'm very receptive and I feel something very emotional and all of that really moves me. And if I go to the same concert but I've had a bad day, I'm just not open to anything. So you can't control that but the most important thing is to reach people, and that's what I want to do in a way. It's not always all perfect performing, perfect singing; of course, there are certain steps that you should learn and I think it's important to work technically every day but it's more about reaching the people, whatever the emotion may be.

* Samuel Hasselhorn has been awarded first prize at 2017 Das Lied Competition. Thomas Quasthoff was a juror at that competition.

** Concours musical international Reine Élisabeth de Belgique

*** Samuel Hasselhorn's programme during 2018 QEIMC Final: Gustav Mahler (1860-1911): Wo die schönen Trompeten blasen, Wer hat dies Leidlein erdacht? (Des Knaben Wunderhorn). Felix Mendelssohn (1809-1847): Es ist genug (Elias, Op.70 ). Giuseppe Verdi (1813-1901): Carlos écoute – Ah, je meurs (Don Carlos). Orchestre Symphonique de la Monnaie, dir. Alain Altinoglu.

Source: resmusica.com, May 22, 2018


Queen Mathilde and Samuel Hasselhorn


















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Royals RSVP to the Funeral of Grand Duke Jean of Luxembourg



The funeral of Grand Duke Jean of Luxembourg will take place on this Saturday, 4 May, at Notre-Dame Cathedral, Luxembourg.

Many royal houses have already announced that they will be present to pay tribute to the late grand duke, who was well-loved by his people and well-known for his bravery during World War II.

Below is a compilation of those foreign royals who have already established that they will be in attendance on Saturday for the funeral of Grand Duke Jean of Luxembourg.

Belgium:
TM The King and Queen
TM King Albert and Queen Paola
TI&RH Princess Astrid and Prince Lorenz, Archduchess and Archduke of Austria
HRH Prince Laurent
HRH Princess Léa
HRH Princess Elisabeth, Duchess of Brabant

Brazil:
HRH Prince Rafael of Orléans-Bragança
HRH The Princess of Ligne

Denmark:
HM The Queen

France:
HRH The Count of Paris

Greece:
HM Queen Anne-Marie

Liechtenstein:
HSH The Hereditary Prince and HRH The Hereditary Princess

Monaco:
HSH Prince Albert II

The Netherlands:
HRH Princess Beatrix

Norway:
TM The King and Queen
HH Princess Astrid

Parma:
TRH The Duke and Duchess of Parma and Piacenza

Portugal:
HRH The Duke of Bragança

Romania:
TRH Crown Princess Margarita and Prince Radu

Spain:
TM King Juan Carlos and Queen Sofía

From Sweden:
TM The King and Queen

United Kingdom:
HRH The Princess Royal
TRH The Duke and Duchess of Gloucester

Others:
don Luis Alfonso de Borbón y Martínez-Bordiú


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