Antonia Laucher

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Antonia Laucher before 1808

Antonia Juliana Laucher (also Antonie Laucher or Laucher the elder ; born June 20, 1786 in Dillingen an der Donau , † August 22, 1871 in Penzing ) was a German soprano . The daughter of a church musician in Dillingen was first engaged as a court opera singer in Munich and then in Vienna .

Life

Training and career as an opera singer and briefly as an actress

Antonia Laucher was the first of six children of the choirmaster, composer and music teacher Joseph Anton Laucher and his second wife Maria Kunigunda Laucher, née. Butcher. She received her first singing lessons from her father in Dillingen, and her further musical training with Johann Baptist Lasser (1751–1805) in Munich. Its complete guide to the art of singing, both for the soprano and for the alto, documents that this training also included practical and music-theoretical instruction in addition to the actual singing lessons.

On August 6, 1802 she made in Franz Xaver Süssmayr's opera Der Spiegel von Arkadien “[...] with the role of Philania, her first theatrical attempts and with great luck.” On April 4, 1803 she was approved by decree of the Bavarian Elector Maximilian Joseph together with her younger sister Cäcilia Laucher into the ensemble of the Munich Court Opera. A note on the theater slips of the Viennese court theaters of December 20 and 21, 1803 says that Antonia Laucher was moving from Munich to Vienna: “Mlle. Laucher, a newly engaged member of the Churfürstlichen Hoftheater in Munich, will [...] have the honor of performing for the first time. ”Cäcilia Laucher, who largely shared her career and life with her older sister, was born on January 7, 1804 in employed by the Vienna Court Opera. From then on, the sisters preferred the name forms "Antonie" and "Cäcilie" and were often called "Laucher the elder" and "Laucher the younger" in the press and on theater slips.

In his memoirs, Johann Gänsbacher reported on a charity concert on November 15, 1804 in the Vienna Redoutensaal , in which Antonia Laucher participated, and claimed to have taught Antonia Laucher singing for two years.

Antonia Laucher's career as a court opera singer and actress can be traced between 1805 and 1822 on the basis of the theater slips published by the Viennese court theaters and newspaper reports, especially in the Wiener Theater-Zeitung (Bäuerle's theater newspaper) , with the theater slips listing the planned performance and cast that Newspapers, on the other hand, report on performances that have actually taken place.

Joseph Carl Rosenbaum (1770–1829) - husband of the court opera singer Therese Rosenbaum, née Gaßmann - frequented the theater world in Vienna and had lively dealings with the Leek Sisters. In his diary he mentioned Antonia Laucher more than 130 times between September 21, 1803 and November 14, 1822, recording private and business matters in roughly equal proportions. He noted that Antonia Laucher could not play on April 23, 1807 "because of rheumatism" and on June 8, 1808 "because of her pregnancy". She left on June 15 and appeared for the first time on November 12, 1808 after giving birth. Nothing is known about the identity of the father and child. Documents from 1825 and 1831 listed below and their evaluation in the Nestroy literature suggest that Antonia Laucher gave birth to two more children between this birth and around 1816/1817. During this time, however, she remained single. With a marriage she would have lost her independent legal status and would have had to fear that she would no longer be able to perform on the theater stage. Then she would only have been able to perform in concerts.

Antonia Laucher's sister Cäcilia also had an illegitimate child. Antonia Laucher was godmother when the girl - Johann Nestroy's future partner Marie Weiler - was baptized on November 13, 1809 in St. Rochus in Vienna under the name Maria Antonia Cäcilia.

From the beginning of January 1815 to September 28, 1815 "Demoiselle Laucher" was not engaged. While her departure in January was only reported without comment in Bäuerle's theater newspaper , her new debut in September as Agnes Sorel was extensively recognized: “Your masterly portrayal of this character is well known. Her finely nuanced game has long received the award. Her voice seems [...] to have increased in tone and strength, it was evoked enthusiastically. "

Antonia Laucher's last appearance as a kk court operist in Vienna

On November 30, 1821, Antonia Laucher's career as a court opera singer came to an end. The singer, popular with the audience, got caught up in the wave of resignations and retirement, which hit some veteran members of the previous ensemble when Domenico Barbaja leased the theater next to the Kärnthnerthore . Vocal problems had also contributed to Antonia Laucher's retirement. “[T] he had lost her beautiful voice (especially in the high altitude) at an early stage due to a small, neglected cold.” Critics from 1809 and 1813 also regretted that her voice had suffered. In the general musical newspaper of January 25, 1809 it says: “Bey Dem. Laucher d. elder (Iphigenie) is to be regretted that she seems to lose her otherwise so pleasant voice more and more. ”In the Wiener Theaterzeitung of September 16, 1813 it is a shame that Demoiselle L has already lost so much in her height, because f sharp , g, a sound very forced in the two-part 8tave. As an opera singer, she has a nice game, but that shouldn't go well with the acting. "

Antonia Laucher's first appearance as a kk court actress in Vienna

On October 12, 1822, Antonia Laucher made her debut as a court actress. Joseph Carl Rosenbaum commented: “The Laucher was too monotonous, spoke too high; was called, but no luck. Spoke of participation on her previous track, promised everyone to work hard, etc. “During this time she lived in the corner building at Neuer Markt / Klostergasse 1055, next to the Capuchin Church. Although she received a decree as a court actress, the director of the theater next to the kk castle managed to prevent her permanent employment for fiscal and artistic reasons. Antonia Laucher therefore initially moved to Graz , where she made several guest appearances. In May 1823 she renewed her request for employment as a court actress, "[d] a undersigned cannot possibly live with the quiescient salary that had been approved so far". In the event of failure, she asked for her pension to be paid out in Bavaria because she was convinced that she could still get some engagements there, "which would certainly provide her with the necessary maintenance as an aid to the pension". The latter was granted to her. But she still remained without a job in Vienna.

Life after the stage career, family relationships

For a "marriage with H. Count Colloredo" planned after her stage career, but which did not materialize, she was given a baptismal certificate in the summer of 1824 by the Dillingen parish office. In 1825, Antonia Laucher and her sister Cäcilia Laucher, known as the “Handelmannswittwe Weiler”, were listed as residents on a conscription sheet of the Stadt 322 rental and commercial building, which was built around 1819. The children are Cäcilia Laucher's (Weiler's) daughter Maria (Marie) Weiler and Antonia Laucher's son Alexander, who is listed here with the surname “Woina” as born in 1817 and in 1825 in the [Regimental Boys] “Educational House in Korneuburg “Was trained. Before that, like Ludwig van Beethoven's nephew Karl , he was housed in Joseph Blöchlinger's educational institute, where - according to a note in a conversation booklet by Ludwig van Beethoven - he called himself "Woyna", "because his mother created him with Count Woyna". There it was also noted that the count was married to her, "but not in public", for which there is no evidence to date. The mentioned Count Woyna may have been Count Felix Woyna (1788–1857), who was mentioned in Rosenbaum's 1807, who enjoyed singing, or his brother Count Moriz Woyna (1784–1839). “Woyna - Beloved from the Laucher” wrote Rosenbaum in his diary in 1812, without naming either of them exactly. The third child on the conscription sheet, Maria Laucher, is called "niece of the above", which can mean that this Maria, as the niece of Cäcilia Lauchers (Weilers), was another child of Antonia Laucher.

Antonia Laucher's attachment to her sister's family was also evident when she acted as godmother at the baptism of Karl Johann Anton, the first son of Marie Weiler, her niece, and Johann Nestroy , who was born on October 3, 1831 . The child was born in the parents' apartment in what was later to be the Alland Foundation House, today Vienna 1 Spiegelgasse 7 / Seilergasse 8, then City 1090. Antonia Laucher is said to have stayed there in 1831 with her son Alexander, born around 1816, who had meanwhile become a cadet in the 3rd Jäger Battalion, and her “foster son Adolf Wagner (born 1809)”, whose identity is unclear.

Marriage, widowhood and death

On February 16, 1832, 45-year-old Antonia Laucher married Gabriel Edlen von Nespern, who was 13 years younger than him and was the son of Ferdinand von Nespern, who was ennobled in 1787 and was the former director of the Vienna Aerarial Freight Office. According to the marriage register, the couple lived at Himmelpfortgasse 966.

On November 30, 1836, Antonia von Nespern asked the management of the theater next to the Imperial and Royal Castle for a free ticket for performances on this stage. The reasons she cited were her many years of employment as a court operist, her “decree in hand” for employment as a court actress and the special circumstances when this appointment failed. Her pension is "of such a moderate nature that [...] the expenses for the pleasure of a theater [...] have to be painfully reduced".

Gabriel von Nespern died on April 16, 1839 as a "private married man" in the Landstrasse district, house no. 324, to "lung addiction". In 1845 the widow applied for a pension allowance. In addition to her small pension of 700 florins, she received a support contribution of 312 florins.

In old age Antonia Laucher lived as “Antonia Edle v [on] Nespern, retired] court opera singer” from 1859 to 1870 on the western edge of Hietzing in house no. 230 - “known in quiet seclusion by only a few, but most of them already forgotten, only living in memory ”.

On August 22, 1871 at 2 am, “Antonia Edle von Nespern, née Laucher, pens. kk court opera singer, widow, born: von Dillingen in Baiern ”in Penzing in“ Hietzingergaße No. 17 ”at the age of 85 to“ degeneration of the abdominal organs ”.

Act

Successful and popular opera singer with a large repertoire

The theater next to the Kärnthnerthore during Antonia Laucher's lifetime
The exam of Adalbert Gyrowetz; “To the advantage of the dale. Antonie Laucher. For the first meal. "
The theater next to the kk castle

After appearances in Munich, where she attracted attention through the combination of "lovely singing with a lot of talent for acting", Antonia Laucher gained a foothold in Vienna in 1803 in the theater next to the Kärnthnerthore and in the theater next to the kk Burg , which were at that time Singing and speaking performances took place. With an annual salary of 4000 florins, she was “employed as the first young lover, with a gaming fee of 50 florins for Italian and 20 florins for German operas. Instead of the 14-day vacation that was customary at the time, she was also allowed a month's vacation ”.

She made her Viennese debut on December 20, 1803 in a new production of Mozart's Don Juan in the role of Zerlina . Over 70 other roles followed by the end of 1821. In addition to Zerlina she sang Agnes Sorel in the opera of the same name by Adalbert Gyrowetz , Julie in Mädchenentreue , as Così fan tutte was called at the time, Emmeline in Die Schweizer Familie by Joseph Weigl , the Princess of Navarra in Johann von Paris by François-Adrien Boieldieu , Marie in The Eye Doctor and Nanette in Robert or, The Examination , both by Gyrowetz. At the premiere of the examination on Thursday, July 15, 1813, and many repetitions, she sang the main female part. "Beethoven received the greatest applause for this opera and has attended every performance of it."

Coloratura from Agnes' Cavatina on the word "ribbon". In addition to such coloratura, the part also required a “gentle, elegiac singing”, which was Antonia Laucher's main strength.

Antonia Laucher was particularly celebrated as Agnes Sorel at a performance on February 5, 1807, in which Cäcilia Laucher also played a trouser role:

“Excerpt from a letter from Vienna, February 6th.

The famous local conductor Gyrowez has composed an excellent opera, Agnes Sorel, in which Mademoiselle Laucher, the darling of the local audience, is so distinguished as Agnes by her charming singing, skilful, apt play, and masterful declamation that at the third performance a lot of epithets composed for their glory have been thrown out. Nature seems to have created the Demoiselle Laucher for the role of the noble, gentle, charming Sorel, as it were. Voltaire says of this: Never has a woman been more perfect than she. Everyone agrees with the assertion of the French with pleasure as soon as he sees the excellent Laucher play that part. "

Johann Friedrich Reichardt , who had attended a performance of Agnes Sorel on March 11, 1809 , wrote in his confidante letters , admittedly, but also critically: “Demoiselle Laucher [...] played with exceptional grace and grace, and sang the pleasing one , music appropriate to her somewhat weak voice, but also very pretty and lovely. "

As noted by Reichardt and explained above, Antonia Laucher had increasing difficulties with high games over the years. Consequently, it was also used for old parts. On November 3, 1818, for example, she sang the Third Lady in the Magic Flute on the Empress's name day . In the Allgemeine Musikischen Zeitung it was said: “The three women [...] were excellently rehearsed; [...] The alto voice of Dlle. Laucher worked extremely well. ”On September 17, 1821, about two months before her retirement, she also appeared as the third lady in the theater next to the Kärnthnerthore . Her last role there was Emma in Gaspare Spontinis Milton on November 23, 1821 .

Performances at academies and evening entertainment

Like other members of the court theater ensemble, Antonia Laucher took part in major musical academies and musical and declamatory evening entertainments that were held in the court theaters. Most of the proceeds went to those in need. Antonia Laucher's contributions ranged from individual arias and participation in ensemble lectures to roles in major oratorios such as Joseph Haydn's The Creation and The Seasons and Georg Friedrich Handel's Judas Maccabaeus .

Working with famous singers

Antonia and Cäcilia Laucher in the ensemble of the Theater am Kärnthnerthore 1811

Antonia Laucher appeared on the opera stage with famous singers such as Schubert's confidante Johann Michael Vogl and bassist Carl Friedrich Weinmüller , who had been tutored by her father in Dillingen, as well as with singers such as the soprano Elisabeth Röckel and the highly esteemed Anna Milder . In a contemporary review it was emphasized that she was listed as Iphigenie alongside “Demois. Milder “than Clytemnestra should not be overlooked. That is why it is “a duty to especially praise the truth of the sensation which gives irresistible charms to her singing and playing”. A special feature is the joint appearance of the two singers in Mozart's Magic Flute in the opera season 1812/1813: Anna Milder sang Tamino , Antonia Laucher sang Pamina . Ignaz Franz von Mosel took into account the vocal abilities of Anna Milder and Antonia Laucher when composing his opera Salem, which premiered on March 5, 1813 in the theater next to the Kärnthnerthore . This was particularly evident in an acclaimed duet between the two, which Antonia Laucher's limited vocal range used effectively.

Performances in Vienna outside the court theater

Aria No. 11 by Amor from Tree of Diana (L'arbore di Diana) by Vicente Martín y Soler (piano reduction), performed in Schönbrunn in German.

Antonia Laucher and her sister Cäcilia not only appeared in the court theaters at the Kärntnerthor and at the castle, but also in the palaces of Prince Schwarzenberg and Lobkowitz , Beethoven's main patron. In 1809, Antonia Laucher sang one of the leading roles alongside Anna Milder in the presence of Beethoven, other composers and “Vienna's finest connoisseur” at the concert premiere of Johann Friedrich Reichardt's opera Bradamante in Palais Lobkowitz , with the prince himself singing along with some musical numbers. Antonia Laucher's contemporaries noticed that Emperor Napoleon I talked to her for a long time on October 20, 1809, after a performance of Diana’s opera by Vicente Martín y Soler , which was held in his honor at the Schönbrunn Palace Theater . Antonia Laucher had sung the role of Cupid . On December 15, 1811, she sang alongside Johann Michael Vogl at a funeral ceremony in honor of Heinrich Joseph von Collins in the Vienna University Hall, one of the solo voices in a lament for the death of HJ Edlen von Collin composed by Moritz von Dietrichstein based on a text by Caroline Pichler .

Performances in Salzburg and Brno

In Salzburg, Antonia and Cäcilia Laucher worked partly together, partly individually in academies, such as Antonia in Joseph Haydn's oratorios and Cäcilia in Johann Nepomuk Hummel's cantata Endimione e Diana . During her engagement at the court theaters, Antonia Laucher was also invited to guest performances at theaters outside Vienna, for example on September 3, 1813 at the Brno City Theater. There, at a performance by Der Regimentarzt, she received her “zum Beste” 800 guilders. In the same year she sang in Gyrowetz ' Agnes Sorel and Der Augenarzt as well as in Mozart's Don Juan in Brno . In the summer of 1814 she sang five different roles in seven performances in Brno within seventeen days: Agnes in Agnes Sorel , Julie in Mädchenentreue , Emmeline in Die Schweizer Familie , Princess von Navarra in Johann von Paris and Marie in Der Augenarzt .

Brief attempt to survive on stage as an actress

Antonia Laucher's attempt to survive as an actress after her career as a singer, which ended in 1821, was unsuccessful. Only in October 1822 did she appear in the theater next to the kk Burg in August Wilhelm Iffland's Elise von Valberg and Der Hausfriede and in November 1822 as Jenny in the drama of the same name based on Benoît Pelletier-Volméranges in Franz August von Kurländer's adaptation and in the Theater an der Wien im Comedy The Friend in Need by Adolf Bäuerle . This was reported critically in the local press in a friendly and cautious manner. But already in the repetition of Elise von Valberg on December 7, 1822, it was no longer used. Apart from a few guest performances in Graz, no other artistic activities are known from the time after that.

Individual evidence

  1. ↑ a b c d e f g Wilhelm Kisch: Antonie Laucher (Ein Nekrolog). In: Vienna Art Hall. Weekly for art and industry . No. 1, 1st year, Vienna, October 1, 1871, p. 7 f.
  2. ↑ Hans-Bruno Ernst: "... yes, my descendants themselves will bless Your Grace as the greatest benefactor beyond the grave." New research results on the life, work and family of the Dillingen choir regent Joseph Anton Laucher . In: Yearbook of the historical association Dillingen an der Donau . 101st year 2000. Dillingen: Verlag des Verein, 2000, family tree after p. 198.
  3. ↑ Hans-Bruno Ernst: Laucher, Josephus Antonius . In: MGG . Second, revised edition, Person Part 10, Kassel u. a .: Bärenreiter, 2003, column 1325 f.
  4. ↑ a b c d e Hans-Bruno Ernst: "... yes, my descendants themselves will bless your grace as the greatest benefactor beyond the grave." New research results on the life, work and family of the Dillingen choir director Joseph Anton Laucher . In: Yearbook of the historical association Dillingen an der Donau . 101st year 2000. Dillingen: Verlag des Verein, 2000, p. 194 f.
  5. ↑ digitized version . Retrieved October 7, 2017.
  6. ↑ Joseph Zängl (ed.): Münchner Tagblatt. Munich 1802, p. 366.
  7. ^ Adolf Layer: Joseph Anton Laucher (1737-1813). In: Götz Freiherr von Pöllnitz (Hrsg.): Life pictures from Bavarian Swabia . Vol. 8, Munich: Max Hueber 1961, p. 317 f.
  8. ^ Michael Jahn: The Vienna Court Opera from 1794 to 1810 [...] . Vienna: Verlag Der Apfel 2011. p. 227.
  9. ^ A b Carol Padgham Albrecht: Music in public life: Viennese reports from the Allgemeine Musikische Zeitung. Kent, 2008, p. 201, footnote 56.
  10. ^ Adolf Layer: Joseph Anton Laucher (1737-1813). In: Götz Freiherr von Pöllnitz (Hrsg.): Life pictures from Bavarian Swabia . Vol. 8, Munich: Max Hueber 1961, p. 317.
  11. ↑ Joseph Richter: 2. The Eipeldauer letters. 1799 - 1813. Munich 1918 (= Memories from Old Austria . Volume 18). P. 438.
  12. ↑ August Schmidt: Denksteine. Vienna: Mechitharist Congregation,! 848, p. 121. Online . Retrieved October 17, 2017.
  13. ↑ Opera list of court theater online at the Austrian National Library. Retrieved October 13, 2017.
  14. ↑ Newspaper reports about Antonia Laucher and Laucher the older one online at the Austrian National Library. Retrieved October 13, 2017.
  15. ↑ The time before 1805 is also recorded in Michael Jahn: The Vienna Court Opera from 1794 to 1810 [...] . Vienna: Verlag Der Apfel 2011.
  16. ^ Michael Jahn: The Vienna Court Opera from 1794 to 1810 [...] . Vienna: Verlag Der Apfel 2011. p. 19.
  17. ↑ Peter Prokop: The Diaries of Joseph Carl Rosenbaum (ÖNB SN 194-204) - a working transcription . Adapted to modern spelling and published in the online database of the Heraldisch-Genealogische Gesellschaft "Adler", Vienna
  18. ↑ a b Peter Prokop: The Diaries of Joseph Carl Rosenbaum (ÖNB SN 194-204) - a working transcription . Volume 06 (VI.), Page 37r, and Volume 06 (VI.), Page 85v. Adapted to modern spelling and published in the online database of the Heraldisch-Genealogische Gesellschaft "Adler", Vienna
  19. ↑ Peter Prokop: The Diaries of Joseph Carl Rosenbaum (ÖNB SN 194-204) - a working transcription. Volume 06 (VI.), Page 185r. Adapted to modern spelling and published in the online database of the Heraldisch-Genealogische Gesellschaft "Adler", Vienna
  20. ↑ a b c d e f Michael Lorenz : "An Unknown Child of Johann Nestroy" (Vienna, 2015), accessed on October 7, 2017.
  21. ^ Johann Nestroy: Complete Works. Documents, Munich 2009, p. 53 f.
  22. ^ Walter, Michael: Opera: History of an Institution . Stuttgart: JB Metzler 2016, p. 275 f.
  23. ↑ St. Rochus baptismal register, call number 01-05, image 02-Baptism_0-160 . Retrieved December 11, 2017.
  24. ^ Bäuerle's theater newspaper of January 3 and October 3, 1815. Online
  25. ^ Michael Jahn: The Vienna Court Opera from 1810 to 1836 [...]. Vienna: Verlag Der Apfel 2007, p. 21 u. 63.
  26. ^ Michael Jahn: The Vienna Court Opera from 1794 to 1810 [...] . Vienna: Verlag Der Apfel 2011. S. 278.
  27. ^ Wiener Theaterzeitung from September 16, 1813. P. 432 f. Retrieved November 19, 2017.
  28. ↑ Theater bill of October 12, 1822 and report in Bäuerle's theater newspaper of November 3, 1822.
  29. ↑ Peter Prokop: The Diaries of Joseph Carl Rosenbaum (ÖNB SN 194-204) - a working transcription . Volume 10 (X.), page 62r. Adapted to modern spelling and published in the online database of the Heraldisch-Genealogische Gesellschaft "Adler", Vienna
  30. ^ Franz Heinrich Böckh: Vienna's living writers, artists, and amateurs in the arts / Then books, art and natural treasures and other sights of this capital and residence city. A guide for locals and foreigners . Vienna 1822, p. 372.
  31. ^ A b Adolf Layer: Joseph Anton Laucher (1737–1813). In: Götz Freiherr von Pöllnitz (Hrsg.): Life pictures from Bavarian Swabia . Vol. 8, Munich: Max Hueber 1961, p. 319.
  32. ^ Adolf Layer: Joseph Anton Laucher (1737-1813). In: Götz Freiherr von Pöllnitz (Hrsg.): Life pictures from Bavarian Swabia . Vol. 8, Munich: Max Hueber 1961, p. 319 f.
  33. ↑ Schwäbische Forschungsgemeinschaft: Lebensbilder from Bavarian Swabia , In: Publications . Volume 8. Munich: Max Hueber Verlag 1961. p. 320.
  34. ↑ Today Vienna 1, Am Hof ​​5. See Anton Czapek and Eduard Scholz: The latest and most complete house book of the imperial capital and residence of Vienna and the surrounding area . Vienna 1871, p. 9.
  35. ↑ Illustration of the conscription sheet with Michael Lorenz: An Unknown Child of Johann Nestroy .
  36. ↑ a b Contradictory information on Alexander in the Nestroy documents p. 54 and in the registration sheet for the Stadt 322 house shown by Michael Lorenz . In the latter, the dates of birth of Antonia Laucher, her sister and her daughter are incorrect.
  37. ↑ Georg Schünemann (Ed.): Ludwig van Beethovens Konversationshefte. Volume III, booklets XXIII-XXXVII. Berlin: Hesses Verlag, 1941, p. 206.
  38. ↑ Kornelius Fleischmann: Biedermeier literature in and around Baden and Bad Vöslau . Baden: Verlag Grasl, 1983, p. 58. As well as: Countess Lulu Thürheim: My life . Second volume (in German translation). Munich: Georg Müller, 1913, p. 222. Online. Retrieved November 18, 2017.
  39. ↑ Peter Prokop: The Diaries of Joseph Carl Rosenbaum (ÖNB SN 194-204) - a working transcription . Volume 06 (VI.), Page 27r. Adapted to modern spelling and published in the online database of the Heraldisch-Genealogische Gesellschaft "Adler", Vienna
  40. ↑ Peter Prokop: The Diaries of Joseph Carl Rosenbaum (ÖNB SN 194-204) - a working transcription . Volume 07 (VII.), Page 108v. Adapted to modern spelling and published in the online database of the Heraldisch-Genealogische Gesellschaft "Adler", Vienna
  41. ^ Johann Nestroy: Complete Works. Documents, Munich 2009, p. 53 f. and p. 161.
  42. ^ Johann Nestroy: Complete Works. Documents, Munich 2009, p. 54.
  43. ↑ a b marriage register of the parish St. Augustin in Vienna . accessed on November 16, 2017
  44. ↑ Court and State Schematism of the Austrian Empire . Vienna 1811. p. 340. Digitized . Retrieved October 10, 2017.
  45. ^ W. Gustav Kopetz: Allgemeine Österreichische Gewerbs = legal studies. Volume 2, Vienna: Friedrich Volke 1830, p. 297. Accessed December 12, 2017.
  46. ^ Adolf Layer: Joseph Anton Laucher (1737-1813). In: Götz Freiherr von Pöllnitz (Hrsg.): Life pictures from Bavarian Swabia . Vol. 8, Munich: Max Hueber 1961, p. 320 f.
  47. ↑ Death register Landstrasse St. Rochus. Retrieved November 14, 2017.
  48. ↑ Yearbook d. Society for Vienna Theater Research, Volume 13, 1961 p. 104
  49. ↑ Adolph Lehmann's general housing indicator: together with trade and Business address book for dkk Reichshaupt- u. Residence city Vienna a. Environment . Vienna 1859 - 1922 annually, here 1859 to 1870.
  50. ↑ Penzing parish death register, call number 03-10, picture 03-Tod_0327.
  51. ^ Newspaper for the elegant world . Third year, Leipzig: Voss und Compagnie, 1803, Sp. 684.
  52. ^ Michael Jahn: The Vienna Court Opera from 1794 to 1810 [...] . Vienna: Verlag Der Apfel 2011, p. 619 f. And Michael Jahn: The Vienna Court Opera from 1810 to 1836 [...]. Vienna: Verlag Der Apfel 2007, p. 712.
  53. ^ Biography of Adalbert Gyrowetz . Vienna, 1848, p. 93. Online. Retrieved October 17, 2017.
  54. ↑ Theater ticket of the Hoftheater Vienna from February 5, 1807 digitized
  55. ↑ Augsburger Ordinari Postzeitung, February 20, 1807
  56. ^ Michael Jahn: The Vienna Court Opera from 1794 to 1810 [...] . Vienna: Verlag Der Apfel 2011, p. 189.
  57. ↑ a b Michael Jahn: The Vienna Court Opera from 1810 to 1836 [...]. Vienna: Verlag Der Apfel 2007, p. 348.
  58. ^ General musical newspaper November 1818, column 424. Retrieved December 12, 2017.
  59. ↑ Theater ticket of the Hoftheater Wien from November 23, 1821. Accessed on December 12, 2017.
  60. ^ Michael Jahn: The Vienna Court Opera from 1794 to 1810 [...] . Vienna: Verlag Der Apfel 2011, p. 620. As well as Michael Jahn: The Vienna Court Opera from 1810 to 1836 [...]. Vienna: Verlag Der Apfel 2007, p. 712.
  61. ↑ Hans-Bruno Ernst: Laucher, Josephus Antonius . In: MGG, Second, revised edition, Person Part 10, Kassel u. a .: Bärenreiterverlag, 2003, column 1325.
  62. ↑ Antonia Laucher's appearance together with Elisabeth Röckel, for example on October 1st, 1811 at the world premiere of Gyrowetz's Der Augenarzt
  63. ^ Morgenblatt for educated classes . Third year 1809. Cotta: Tübingen 1809. S. 284.
  64. ^ For example, January 10, 1813. Retrieved November 15, 2017.
  65. ↑ Wiener Theaterzeitung of March 9, 1913, pp. 113–115. Retrieved November 19, 2017.
  66. ^ General musical newspaper . Volume 15, 1813, Col. 367 f. Digitized . Retrieved November 19, 2017.
  67. ^ Carl Leeder: Beethoven's dedications . In: Bernhard Schuster (Ed.): The music . Illustrated bi-monthly publication. 4th year, 4th quarter volume, volume XVI, Berlin a. Leipzig: Schuster & Löffler, 1904–1905, p. 183. Online . Retrieved November 14, 2017.
  68. ^ Emil Karl Blümml (Ed.) Caroline Pichler: Memories from my life. Volume 1, Munich: Georg Müller, 1914, p. 619, note 645.
  69. ^ Ferdinand Laban: Heinrich Joseph Collin. Vienna: Carl Gerold's Sohn, 1879, p. 79.
  70. ↑ Carl F. Pohl: Memorandum on the occasion of the hundredth anniversary of the Tonkünstler-Societät [...] edited on the basis of the Societäts-Acten [...] Vienna 1871. S. 67 f.
  71. ↑ Hans Welzl: The Brno theater director Korntheuer. In: Journal of the Moravian National Museum . 5th volume. 1st issue, Brno 1905, pp. 22 and 25.
  72. ^ Ignaz Franz Ritter von Schönholz (Ed.): Wiener Allgemeine Musikische Zeitung . Book 40, Vienna 1813, Col. 615-17.
  73. ^ Friedrich Joseph Korntheuer: Brünner Theater-Taschenbuch on the year 1814 . Printed in 1814. p. 17.
  74. ↑ Peter Prokop: The Diaries of Joseph Carl Rosenbaum (ÖNB SN 194-204) - a working transcription. Volume 10 (X.), pp. 62r, 63v and 66r. Adapted to modern spelling and published in the online database of the Heraldisch-Genealogische Gesellschaft "Adler", Vienna . Retrieved November 24, 2017.
  75. ↑ So in the Viennese magazine for art, literature, theater and fashion of November 5, 1822 . Retrieved November 15, 2017.
  76. ↑ Theater bill of December 7, 1822 . Retrieved November 24, 2017.
personal data
SURNAME Laucher, Antonia
ALTERNATIVE NAMES Laucher, Antonie; Laucher the elder; Nespern, Antonia Edle from
BRIEF DESCRIPTION German opera singer
DATE OF BIRTH June 20, 1786
PLACE OF BIRTH Dillingen on the Danube
DATE OF DEATH August 22, 1871
Place of death Penzing (Vienna)