1959 THE WINNERS

GREAT PRIZE OF THE CITY DEN BOSCH

Arthur Loosli

‘Arthur Loosli from Bern, Switzerland, started his performance with Händel, sang with much panache an aria from Mozart, even though he exaggerated it a bit, and he finished with a sublime rendition of a Mussorgsky song. His is a very extensive instrument and a most beautiful vocal color.’ (Johan van Dongen, Brabants Dagblad, September 1959)

Arthur Loosli brought the audience on his side with a vey funny rendition of Leporello’s ‘Catalogue aria’ from Don Giovanni.’ (FV, unidentified newspaper cutting, September 1959)

‘The winner’s strongest points are not his volume, but he does have a beautiful, warm timbred voice, noble in expression, and sustained by a secure technique. In arias by Händel and Mozart as well as in a Schubert song he proved to be an immaculate artist, of whom we will certainly hear more in the years to come’ (Bertus van Lier, Unidentified newspaper cutting, September 11, 1959)

‘A highlight during the finals was Arthur Loosli’s Osmin aria.’ (‘Eerste prijzen naar Zwitserland, België en Polen,’ Eindhovens Dagblad, September 1959)

Arthur Loosli emerged as the hero of the day with a First prize among basses, on top of which he was elected Best Singer in the Competition. There could be no doubt as to whether he deserved his prizes. Loosli is a ‘Spiel-baritone’ with rare gifts’ (Leo Hanekroot, De Tijd, September 11, 1959)

Arthur Loosli gave a war, broad rendition of Mozart’s Concert aria ‘Io ti lascia.’ Leporello’s register aria from Don Giovanni was sung entirely in German, and although the aria doesn’t sound as good in German as in Italian, the Swiss bass-baritone proved here again his talent for comical opera.’ (F.V., IVC Gala Concert review, Unidentified newspaper cutting, September 15, 1959)

The Swiss bass-baritone Arthur Loosli (February, 23, 1926, La Chaux-d'Abel, Berne, Switzerland) first studied painting and history of art in Berne, Paris and Florence between 1946 and 1950. He was rather successful as a carver and a draughtsman, having international exhibitions in European cities as well as in the USA. He also worked for many years as an art teacher at the high school of Thun. Regardless, once discovered his vocal gifts could not be denied and from 1952 onwards he trained his voice with Felix Loeffel at the Conservatory of Berne. Further studies followed with the famous bass Mariano Stabile in Venice (1958) and with Arne Sunnegaard in Stockholm (1958-1959). Following the completion of his studies, Loosli went to test his ground in the International Vocal Competition (IVC) Den Bosch, where he literally came, saw and conquered, emerging there not only as First prize winner in the bass/baritones category, but also taking with him the Great Prize of the City of Den Bosch as best Vocalist in the Competition.

Othmar Schoeck: Lieder (medley of excerpts) Arthur Loosli (bass-baritone) Berner Kammerensemble – Theo Hug (conductor), 1967 (CD Jecklin JD 510-2)

Although just graduated, he did not arrive to Den Bosch without experience, since he had started his important concert career as of 1958. Over the years, he proved himself on the one hand as oratorio soloist of high rank, on the other hand as talented Lieder interpreter, which is of course in line with the reviews of his IVC appearances in 1959, where his intelligence and his musicality were acknowledged in line with his limitations in terms of volume. Although he did not appear in staged opera, he did appear in concert opera performances. He sang in important music centers in Switzerland, in Rome, Bergamo, Bari, Brescia, in Genoa, Lucca, Mantua, Parma, Padua and Ravenna, in Amsterdam, Brussels, Besançon, in Stuttgart, Mannheim, Nürnberg, in Stockholm and at the Festival of Wroclaw (Breslau). He mastered a broadly varied repertoire, which began with compositions from the Baroque period (Bach, Händel) and reached up to works of contemporary composers (Schoeck, Willy Burkhard, Honegger, Martin, Britten, Tippett). Bach-Canatas list him in recordings of Bach: Johannes-Passion (HMV, as Christus), Othmar Schoeck: Lieder (HMV), Schubert: ‘Winterreise’ and ‘Schwanengesang’ (Akzent; with personal designs of the artist); Zelenka: ‘Messe,’ ‘Böhmische Pastorellen’ (Swiss Pan).

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FIRST PRIZE WINNERS

Zofia Janukowicz-Pobłocka

‘Zofia Janukowicz delivered an excellent performance in an aria by Tchaikovski.’ (‘Eerste prijzen naar Zwitserland, België en Polen,’ Eindhovens Dagblad, September 11, 1959)

‘Her Tchaikovsky is conquering. She emanates the music as a force of nature.’ (Leo Hanekroot, De Tijd, September 11, 1959)

‘The Polish soprano Zofia Janukowicz gave a very stylish performance of an aria from ‘Jerusalem’ from Mendelssohn’s Paulus, while her interpretation of Lisa’s aria from Pique Dame was impressive.’ With her metallic, melancholic voice she imbued this aria with dramatic impact.’ (F.V., IVC Gala Concert review, Unidentified newspaper clipping, September 15, 1959)

Zofia Janukowicz-Pobłocka (February 19, 1928 ,Vilnius) was born in Vilnius, Lithuania. In 1946, following the War, she and her family were repatriated from Kimstacz to Elk, where she went to music school. Onwards, she followed the Stanisław Moniuszko Music School in Gdansk, where she studied with Janiny Cygańskiej and Maurycego Janowskiego. From 1950 to 1958 she moved to Zopot. In 1955 she won First Prize at the National Singing Competition Moniuszko in Warsaw. She obtained her teaching degree in 1957 and her soloist diploma in 1958, in the class of professor Barbara Iglikowskiej, both diplomas obtained with honors. She was then approved to compete abroad, and she achieved a major success when she won the First Prize in the 1959 edition of the International Vocal Competition (IVC) Den Bosch, in The Netherlands.

Most peculiarly, her Polish biography mentions that her artistic aspirations gravitated towards the art of song, whereas she emerged from the IVC Finals as a hot-blooded opera diva. What was then still lacking in teems of refinement and interpretation was subsequently perfected with Clara Ebers and Janine Micheau, during two consecutive IVC Summer Courses in Vught, The Netherlands.

Her First Prize in s'-Hertogenbosch immediately landed her a concert tour through the German Democratic republic in 1960. In the season 1960-1961 she participated in several performances of Gluck’s Orfeo with the Gdansk State Opera. A scholarship of the Italian Government subsequently enabled her to complete her studies at the Accademia di Santa Cecilia in Rome from 1961 to 1962. She studied there with Giorgio Favaretto and Rachele Maragliano-Mori, while privately also studying with the renowned Ada Sari. Since then, she performed frequently in Italy, and she also returned to The Netherlands, where, among others, she recorded a recital with arias from Verdi and Mozart.

After returning to Poland, she became a national celebrity soprano, appearing all over the country, on radio and television. She was one of the first performers of the vocal works of Karol Szymanowski, whose ‘Silesian Triptych’ she recorded. In 1962 she gave recitals in Czechoslovakia, Europe and the Asian part of the Soviet Union. In seven years she gave at least ten further recitals in The Netherlands, where her IVC Victory was well remembered. She also appeared in Moscow.

Tchaikowski: ‘Njet, tolko tot, kto znal’ Zofia Janukowicz-Pobłocka (soprano), Ewa Pobłocka (piano), Gdansk, 1975

During her career she took part in nearly 1.300 symphony concerts, oratorios, chamber music performances and solo recitals. Polish radio and recording archives have over 130 recordings with her from Poland, Italy, The Netherlands, Denmark and the Soviet Union. From the start she combined her singing career with her activities as a teacher at the Gdansk Conservatory. In 1975 he went into early retirement as a soloist and concentrated herself on her teachings at the Academy of Music in Gdansk. In the years 1984 - 1987 was elected Dean of the Faculty of Vocal Music Academy in Gdansk. In 1987-1990 he was dean again for the second term. In the years 1985-1996 she served as the Head of the Voice Department. She ended her teaching career in 2005.

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Mariëtte Dierckx

‘Mariëtte Dierckx, well known in Eindhoven for her Joshua with the Christian Oratorio Federation en her Orfeo with Het Rozenknopje, sung marvelous in Bach’s ‘Erbarme dich,’ as well as in Rossini’s Il barbiere di Siviglia.’ (‘Eerste prijzen naar Zwitserland, België en Polen,’ Eindhovens Dagblad, September 11, 1959)

‘The Kathleen Ferrier Prize for altos went to the Belgian alto Mariëtte Dierckx, who has concerted several times in The Netherlands, among others under conductor Bertus van Lier. She was easily the best in her field, especially in the Schumann song and the coloratura aria from Rossini’s Il barbiere di Siviglia.’ (‘Vocalistenconcours met een hoeveelheid aan prijzen,’ Undentified newspaper cutting, September 11, 1959)

‘After the well played overture of Cherubini’s Anacreon, First Prize winner among altos Mariëtte Dierckx sang ‘Che faro’ from Gluck’s Orfeo . The orchestra started in a rather fast pace, but this was slowed down onwards, in order to give Dierckx the possibility to enfold the full range of her talents. She sang both the ‘Che faro’from Gluck and ‘Una voce poco fà’ from Rossini’s Il barbiere di Siviglia with a very controlled and pure voice, which brought her loud applause.’ (F.V., Unidentified newspaper clipping, September 15, 1959)

Immediately following her First Prize at the International Vocal Competition (IVC) Den Bosch, Mariëtte Dierckx was engaged at the Royal Flemish Opera Antwerp (KVOA), where she remained a member of the ensemble until 1963. From this period we present her here in a 401DutchDivas archive recording of Carmen:

Bizet: Carmen ‘Pres des remparts de Seville’ Mariëtte Dierckx (Carmen), early 1960’s.

We further know nothing about Mariëtte Dierckx. Should you have addition biographical info, photos and/or recordings of her, you are welcome to contact us at This email address is being protected from spambots. You need JavaScript enabled to view it.

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SECOND PRIZE WINNERS

Manya Breier

Manya Breier made a little glitch in Sarti’s ‘Miserère,’ yet she got herself together impressively. She was also the only vocalist who dared to come up with a modern song, by Reuter. An excellent aria from Die lustigen Weiber von Windsor landed her a place in the finals. ’ (FV, unidentified newspaper cutting, September 1959)

‘Manya Breier sang a touching version of Schubert’s ‘Am Spinnrade,’ and a delightful aria from Nicolai’s Die lustigen Weiber von Windsor, followed by a superbly sung Debussy song.’ (‘Eerste prijzen naar Zwitserland, België en Polen,’ Eindhovens Dagblad, September 11, 1959)

‘Manya Breier, Second Prize winner with the most beautiful timbre of all voices in the competition. ’ (‘Eerste prijzen naar Zwitserland, België en Polen,’ Eindhovens Dagblad, September 11, 1959)

‘Among sopranos there were two who could claim to have more right to the First Prize than the Polish winner, among them the German Manya Breier, who may well think of herself as the greatest artist in this competition. Hers is a great artistic personality that is in danger of blowing up too soon precisely because of its greatness: she has difficulty to control her greatest weapon, her intense emotionality. This emotional impact is not caused by lack of restraint or by sentimentality, on the contrary: her inspiration, or better, her ability to bring emotions to life is at times more intense than a human being can handle. This renders her nervous, which in turn affects her vocals, and causes mistakes. In Frau Fluth’s aria from Die lustigen Weiber von Windsor she compensated her mistake with her intensity, which resulted in a fascinating tour de force In ‘Gretchen am Spinnrade’ something happened that eluded human scales. This song fulfilled the entire promise of German song proper. The song has this inside, and Manya Breier brought it out to full light. She will have to do less in the future, in order to survive in a professional sense of the word Art is a compromise between vision and matter in the broadest sense of the word: man proper. So, Manya Breier must retreat to lower grounds in order to survive, but she had certainly deserved the First Prize in her league. ’ (Leo Hanekroot, De Tijd, September 11, 1959)

With all critics overwhelmed by both the emotional intensity and the sheer beauty of Manya Breier’s voice, one is drawn to listening and drinks in the same intense experience. Fortunately, her jubilated Frau Fluth aria from the Gala Concert on September 14, 1959 was preserved in our IVC recordings archive

Nicolai Die lustigen Weiber von Windsor ‘Nun eilt herbei’ Manya Breier (Frau Fluth), Brabants Orkest – Hein Jordans (conductor), Casino Theatre Den Bosch, September 14, 1959.

Nothing further is know to us about Manya Breier, except that she was from the German town of Remscheid. Should you have addition biographical info, photos and/or recordings of her, you are welcome to contact us at This email address is being protected from spambots. You need JavaScript enabled to view it.

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Djurdjevka Čakarević

‘She impressed with her aria from Il trovatore, ‘Stride la vampa,’ even though her voice was not always completely under control’ (F.V., IVC Gala Concert review, Unidentified newspaper clipping, September 15, 1959)

Djurdjevka Čakarević (April 8, 1923, Gaj, Kovina - 2 January, 2006, Belgrade) graduated in singing from the Belgrade Conservatory in 1957, In the class of Professor Jelke Stamatović-Nikolić. In 1957 she debuted in the comic opera in Belgrade 1957. By 1959 she won the Second Prize in the Kathleen Ferrier category in the International Vocal Competition (IVC) ‘s-Hertogenbosch. In 1961 she added the First Prize in the vocal competition in Verviers. During her career, she sang both soprano and mezzo-soprano roles, until she was well over sixty years old. She was renowned for her Italian opera interpretations in works by Verdi (Amneris in Aida, Princess Eboli in Don Carlo and others.), and then also the works of Janacek, Prokofiev, and Tchaikovsky. Her luscious voice and theatrical temperament, combined with a powerful volume and a beautiful timbre’ captivated the audience and the critics of Belgrade, and then also Munich, Wiesbaden, Venice, Lausanne, Prague, Turin, Budapest, Milan, Rome, Moscow, Cologne, Kiev, Leningrad, Cairo, and Buenos Aires. In addition to opera she was also a renowned concert singer. Her singing was once described as ‘distinguished by stylistic purity, musical sophistication and interpretive skill.’ Since 1975 she also worked as a voice teacher in Belgrade, but also in Torino, Cologne, and Basel. She has worked with singers formed exclusively on improving their vocal technique and interpretation.

Verdi: Il trovatore ‘Stride la vampa’ (in Czech language) Djurdjevka Čakarević (Azucena), Brabants Orkest – Hein Jordans (conductor), Casino Theatre Den Bosch, September 14, 1959.

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Jualianna (Julia) Falk

‘Julianna Falk achieved her place in the finals on the grounds her excellent interpretation of a Kodaly song. Impressive were also her performance and her voice control, even though she made a little slip in the aria from La Gioconda.’

‘Very stylish in the aria ‘Piangero la mia sorte’ from Händel’s Giulio Cesare.’ (F.V., IVC Gala Concert review, Unidentified newspaper clipping, September 15, 1959)

Although Hungarian alto Julia Falk is a familiar name due to a number of reissued 1960’s recordings, often made with fellow International Vocal Competition winners such as Max van Egmond, Jacques Villisech, Károly Schmidt, and others, surprisingly little is known about her in terms of biographical data. Kutsch-Riemens doesn’t feature her, and neither is she featured in the ‘Whose who in Opera’ volumes that we have in our library. What we do is that her name first appears as Second Prize winner of the ARD Vocal Competition, Germany. She is present on the 1962 recording of Haydn’s Schöpfungsmesse (LP Musica Sacra AMS 35). That she was a name that counted for something in the world of oratorio is clear from her appearance in the 1963 live recording of Händel’s Judas Maccabeus with Frits Wunderlich under Rafael Kubelik (although she was just the Messenger there). Likewise from 1963 is the recording of Bach’s Actus Tragicus with the Leonhardt Consort, made for Teldec along with a few other Bach cantatas. In addition there is an EMI vinyl record of Schubert’s ‘Deutsche Messe,’ conducted by Wolfgang Sawallisch.

Bach: Himmelskönig sei wilkommen ‘Leget euch den Heiland unter, Herzen’ Julia Falk (alto), Leonhardt Consort, 1963 (CD Teldec Das Alte Werk)

Her last appearance known to us was a 2008 appearance in Franz Xaver Richter’s ‘Missa Pastorale’ from München. Nothing further is know to us about Julia Falk, except that she was from the German town of Remscheid. Should you have addition biographical info, photos and/or recordings of her, you are welcome to contact us at This email address is being protected from spambots. You need JavaScript enabled to view it.

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Harold Gray

The baritone Harold Gray received a standing ovation for his rendition of Schubert’s ‘Der Wanderer.’ Excellent further performances of ‘O Isis und Osiris’ and an aria from ‘The Messiah labeled him a favorite for the Prizes. ’ (FV, unidentified newspaper cutting, September 1959)

‘There should have been two First Prizes in this competition in the Jos Orelio category, on top of which I would like to stress that is unacceptable that basses and baritones are just thrown together here.’ (Leo Hanekroot,’ De Tijd, September 11, 1959)

‘To me, the very young Irish bass Harold Gray was more of a discovery than his winning colleague. Both sang the Messiah aria, Gray in English, while he also sang a Brahms song and a Verdi aria. In technical sense, Loosli was superior, which is not surprising, since Gray has only been studying since one year and still has to learn a lot. Regardless, his talent was evident.’ (Vocalistenconcours met hoeveelheid aan prijzen,’ unidentified newspaper cutting, September 11, 1959)

‘The self confident English bass Harold Gray gave a fine, traditional interpretation of Händel’s Messiah, which aria had previously garnered him his Second prize in the competition.’ (F.V., IVC Gala Concert review, Unidentified newspaper clipping, September 15, 1959)

‘During the Gala Concert the best impression was made by the Irish bass Harold Gray, whose Messiah aria was noble and worthy, sung with a full voice that over the years will gain in amplitude. I am convinced that he will eventually have the greatest career of the 1959 IVC finalists.’ (Leo Riemens, IVC Gala Concert review, De Telegraaf, September 15, 1959)

‘In my opinion (and those of many others), the best male vocalist in the competition was the phenomenal Irish bass Harold Gray. His is a unique sounding voice, with a technical security that made the most dazzling coloraturas of Händel’s arias sound as if they were sung by a soprano leggiero.’ (Leo Riemens, De Telegraaf, September 1960)

After years where former Second Prizewinners successfully reentered the IVC in order to obtain a First prize, the 1960’s mainly saw a sequence of les successful attempts to upgrade previous results there. English bass Harold Gray had won Second Prize in the Jos Orelio category in 1959, but amidst an exceptionally competitive field of the 1960 event, especially in the bass and baritone section, he was given no more than an Honorary Diploma. An ill advised choice for Sarastro’s aria ‘O Isis und Osiris,’ which didn’t fit his vocal range very well, almost prevented him from reaching the finals, but he made up for that with fine performances of Händel and Schubert.

Händel: The Messiah ‘Thus said the Lord… But who may abide the day’ Harold Gray (bass), Brabants Orkest – Hein Jordans (conductor), Casino Theatre Den Bosch, September 14, 1959.

All we know about English bass Harold Gray is that, according to Johan van Dongen, ‘he approached perfection in Osmin’s aria fromDie Entführung aus dem Serail.’ More information on, as well as photos and recordings of Harold Gray are welcome at This email address is being protected from spambots. You need JavaScript enabled to view it.

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Lia Rottier

‘Lia Rottier sang an elaborate rendition of Mozart’s ‘Et incarnates est.’ (‘Eerste prijzen naar Zwitserland, België en Polen,’ Eindhovens Dagblad, September 11, 1959)

‘Belgian soprano Lia Rottier from Ghent excelled in an aria from Massenet’s Manon, and her Chausson song was beautiful.’ (Johan van Dongen, Brabants Dagblad, September 1959)

‘Among sopranos there were two who could claim to have more right to the First Prize than the Polish winner, and these were the German Manya Breier and the Belgian Lia Rottier, the latter perhaps a shade over-intellectual and formal, but with perfect emanation and clear diction.’ (Leo Hanekroot, De Tijd, September 11, 1959)

‘Many thought with me that the First Prize among sopranos should have been awarded to Lia Rottier from Belgium, whom I also though to be the best vocalist of the competition. She sang an aria of Manon , a Debussy song and Mozart’s ‘Incarnatus est’ with exceptionally rich voice, controlled and with impeccable style, for which she then received the Second prize.

‘During the IVC Gala Concert Lia Rottier repeated her aria from Massenet’s Manon , regrettably again without the ‘Gavotte.’ She was in my mind the only artist in this competition who reached the required level in all three disciplines of opera, oratorio and song. This brief aria did not give her the possibility to demonstrate her considerable talents.’ (Leo Riemens, IVC Gala Concert review, De Telegraaf, September 15, 1959)

‘Last but not least there was Lia Rottier, who gave a glorious rendition of Manon’s ‘Je marche sous tous les chemins’ by Massenet.’ (F.V., IVC Gala Concert review, Unidentified newspaper clipping, September 15, 1959)

Simultaneously with her celebrated appearance at the 1959 International Vocal Competition (IVC) Den Bosch, Belgian soprano Lia Rottier (October 10, 1936, Semmerzake-Deinze) studied voice at the Conservatory Ghent, Belgium. Most peculiarly her biography spells that she graduated there for her master in 1963, while she debuted at the Ghent Opera as early as 1957, as Micaëla in Bizet’s Carmen. Thus, she arrived to the 1959 edition of the International Vocal Competition (IVC) ‘s-Hertogenbosch with two years stage experience. As can be judged from the press quotations above, she came close to winning a First Prize, and Leo Hanekroot even thought her the best singer in all. With a First Prize for her alto compatriot Mariëtte Dierckx, and an Honorary Diploma for Kamiel Lampaert, Rottier made the 6^th IVC a resounding success for Belgium.

Another biography mentions a 1959 debut at the Munt Opera in Brussels, where she for seven seasons, from 1959 until 1966. Following her IVC victory, she also appeared with the Royal Flemish Opera Antwerp, where she sang from 1960 until 1963. There she recreated the legendary 1903 opera Prinses Zonneschijn (Princess Sunshine) of the Flemish composer Paul Gilson, an absolute masterpiece with a shimmering orchestration that combines that balances the best of the French school with the late romantic, Post Wagnerian schools of Germany (which at times makes it foreshadow the orchestration and lyricism of Zandonai’s Francesca da Rimini). Since this opera deserves to be heard again, we present here Rottier’s aria with great pride:

Paul Gilson: Prinses Zonneschijn ‘Weg, alles weg… Uit welke droomen…’’ Lia Rottier (Prinses Zonenschijn), Royal Flemish Opera – Serveer van den Broeck (conductor), 1983.

Little known is that she created the Spanish premiere of Gilson’s masterpiece in the Liceu Barcelona, 1965, in a series of 3 guest performances of the Flemish Opera. In the National Opera Brussels she performed also the 9^th Symphony of Beethoven. Post the 1970’s, she appeared in numerous opera and concert performances in Germany, The Netherlands, France (Paris and Nice), and Luxemburg. Of her further roles we mention Mélisande in Debussy’s Pelléas et Mélisande. Rttier also sang in The Netherlands, with Opera Forum, where she debuted as Bess in the 1972 run of Porgy & (a lilly white) Bess. In 1975 she gave concert performances of Die Fledermaus (as Rosalinde) and Don Giovanni (as Donna Anna) with the Limburg Symphony Orchestra under André Rieu senior, in Heerlen. These were followed in 1977 by performances in Sittard as Violetta Valéry in La traviata. Apart from her operatic work, she became a renowned concert and oratorio artists. Summarizing, Rottier was quite a celebrity at the time, and appeared in numerous Flemisch radio broadcasts until at least the 1980’s, yet very little remains of her career today other than a handful of recordings – even specialized Belgian websites currently lack photographs of her. Her recordings include François-Joseph Gossec’s ‘Grande Messe des Morts,’ and his ‘Missa pro defunctis.’ Arguably her best memento in all is an LP with her Eudoxie from a 1964 production of Halévy’s La Juive from Ghent, with Tony Poncet as Eléazar, and IVC 1955 participant Géry Brunin as Rachel!

Halévy: La juive ‘Mon doux seigneur et maître’ Lia Rottier (Eudoxie), Orchestra and chorus of the Royal Opera House Gent – Robert Ledent (conductor), 1964.

We further know nothing about Lia Rottier. Should you have addition biographical info, photos and/or recordings of her, you are welcome to contact us at This email address is being protected from spambots. You need JavaScript enabled to view it.

HONARY DIPLOMA

Judith Heller

We further know nothing about Judith Heller. Should you have additional biographical info, photos and/or recordings of her, you are welcome to contact us at This email address is being protected from spambots. You need JavaScript enabled to view it.

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Kamiel Lampaert

‘He rose above his competitors in the tenor section, and his rendition of ‘Und Gott schuf die Mensch’ from Die Schöpfung was impeccable, as was ‘Il mio tesoro’ from Mozart’s Don Giovanni , and the one failed coloratura passage there was easily forgiven.’ (FV, unidentified newspaper cutting, September 1959)

‘The Belgian tenor Kamiel Lampaert obtained an Honorary Diploma but one would have wished for him to win a Second Prize. His voice may not be an ‘important’ one, but it is well developed, and he is a serious musician, whose career one can imagine in the world of endless oratorios.’ (Leo Hanekroot, De Tijd, September 11, 1959)

All we know about Kamiel Lampaert is that he appeared n a 1950’s (?) vinyl pressing of Armand Preud’homme’s folk-musical Heidegalmen, along with the famous Belgian baritone Renaat Verbruggen and soprano Angèle Geerts. Our tenor has two solo songs, composed in a crossover style between art song and folklore, and one duet wit Geerts. Regrettably, the sleeve has no notes and therefore also no biographical information on the tenor. What we do know is that Lampaert sang for over a decade as a member of the Royal Flemish Opera ensemble Antwerp. He appeared there as Monsieur Courtois in the world premiere of Peter Welffens opera Reinaert de Vos. On May 6, 1966, he repeated this creation in the City Theatre Eindhoven in The Netherlands. Judging from a second guest performance in The Netherlands with the Royal Flemish Opera Antwerp (now in Arnhem, as Goro in Puccini’s Madama Butterfly), he was at least active with the company until the mid 1970’s, after which we have no more information about his career.

Armand Preud’homme: Heidegalmen ‘Op ieder huisje’ Kamiel Lampaert (tenor), Orchestra – Gaston Nuyts (RCLP 9)

We further know nothing about Kamiel Lampaert. Should you have addition biographical info, photos and/or recordings of him, you are welcome to contact us at This email address is being protected from spambots. You need JavaScript enabled to view it.

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Giuseppina Schettino

We know nothing about Giuseppina Schettino. Should you have biographical info, photos and/or recordings of her, you are welcome to contact us at This email address is being protected from spambots. You need JavaScript enabled to view it.

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YOUNG TALENT PRIZE ‘TOONKUNST’

Max van Egmond

‘Max van Egmond puts notes on display in a near exhibitionist manner, and still has to learn how to sing from the heart. Give it a little more edge in the high register and he will be there.’ (Leo Hanekroot, De Tijd, September 11, 1959)

The admired Dutch bass-baritone Max (Rudolf) van Egmond (February 1, 1936, Semarang, Java, Indonesia (the former Dutch East Indies)) completed his schooling and musical education in Holland after the war. He studied in Amsterdam with pedagogue Tine van Willigen-de Lorme during a period of more as 25 year. He became a member of the Nederlandse Bach Vereniging (Dutch Bach Society) at the age of eighteen. In 1959 he participated in the International Vocal Competition (IVC) Den Bosch, where he won the 'Toonkunst' Encouragement Prize, three years after his friend and compatriot, Elly Ameling had won her glorious First Prize there.

For those merely familiar with the impressive international career of Van Egmond in song and oratorio, it may come as a surprise to see that his ‘Toonkunst’ Young Talent Prize was mildly disputed by the press of the day. Indeed, most critics thought the Prize should have been given to the only other candidate, Wilhelmina Driessen. Normally, we could look back in time and simply tell right from wrong, but the truth here seems rather that both deserved this new IVC Prize (reserved for Dutch talents, hence Driessen and Van Egmond were the only candidates), given their exceptional later careers. One should at the same time bear in mind that both arrived to the International Vocal Competition Den Bosch at a very early age; Van Egmond was only 23. Which is not to say that the Press misinterpreted Van Egmond’s talent, which was duly recognized, as were his future strong points. Whereas in 1959 he was still considered ‘over intellectual,’ and needed to work out his technique a little more. Once that was galvanized, it was precisely his vocal intelligence that helped him to set standards in interpretation in Lieder and oratorio that still makes his name count for something today. In short, his surprise victory was at that age a coup that Van Egmond is rightfully still proud of to date.

Van Egmond won prizes also in the Brussels (1959) and Munich (1964) competitions, and all these marked the beginning of his distinguished career as a singer of oratorio, lieder and baroque opera. He achieved his greatest fame as an interpreter of J. S. Bach's cantatas, masses and passions and from 1965 participated in complete recordings and performances of these masterpieces with conductors Gustav Leonhardt, Nikolaus Harnoncourt and Frans Brüggen (Teldec, Deutsche Harmonia Mundi, Seon). One of Holland's most beloved artists, he has received numerous awards and honors including a special decoration from Queen Beatrix of the Netherlands for his decades of service to Dutch musical life. His forty-year career has taken him throughout Europe, Canada, the USA, Israel and Asia.

Händel: Admeto ‘Signor, lo credi a me’ Max van Egmond (Meraspe), Complesso Barocco – Alan Curtis, 1978 (LP Electrola/ CD Reader’s Digest)

For many years a professor at Amsterdam's Sweelinck Conservatory, Max van Egmond continues to give master classes throughout the world. His recordings with the Belgian-based Ricercar Consort have explored the extensive seventeenth-century German cantata repertory in a highly successful ongoing series of recordings (Deutsche Barock Kantaten - Ricercar). From the early 21^st Century onwards Van Egmond concentrated on performing lieder and French art songs, and has produced highly acclaimed recordings (with the Belgian pianist, Jos van Immerseel) of Schubert's 'Winterreise' and chansons of Gabriel Fauré (Channel Classics). His concerts, recordings and many prominent students all provide eloquent testimony not only to his expertise in all areas of the vocal repertoire, but also to his great kindness and humanity in the service of music. In addition to the many LP’s and CD’ recordings, Reader’s Digest released a fascinating 3CD portrait of the artist in their French ‘Les plus grandes voix du Monde’ series, which is divided in ‘Splendeurs baroques,’ ‘L’art dela mélodie,’ and ‘Fêtons Noël!’

Richard Strauss: ‘Die Nacht’ Max van Egmond (Bass-baritone), Wim Matse (pinao), 1980, Oldezaal (CD Reader’s Digest)

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THOSE WHO CAME TO DEN BOSCH TOO SOON…

Wilhelmina [Wilma] Driessen

‘Although Wilhelmina Driessen did not win the ‘Toonkunst’ prize for Youg talent, she is the born artist that I wrote about yesterday. During the IVC 1959 Finals, she surpassed herself. All she still needs is a teacher who can make her voice more full and round than it currently is and she will arrive, since hers is a musical instinct such as I’ve seldom seen.’ (Leo Hanekroot, De Tijd, September 11, 1959)

‘The 20 Years young Wilhelmna Driessen from den Haag was as much a talent as it gets. Her voice is exceedingly fresh, almost child-like. With her aria from La sonnambula she proved to have future possibilities as a lyrical coloratura soprano, with chances in opera. Her good looks will further help her there. While one was handing out Honorary Diplomas likes bonbons, I would have wished her to at least receive one such a distinction too, if not an extra Encouragement Prize for Young Talent. I console myself with the knowledge that career wise First prize winners aren’t always the most lucky ones.’ (Vocalistenconcours met een veelheid aan prijzen,’ Unidentified newspaper cutting, Spetember 11, 1959)

For more info about Wilhelmina (Wilma) Driessen we refer you to her page 401DutchDivas.nl

Helga Dernesch

‘The first soprano in the semi finals was Helga Dernesch from Vienna, who seems to have arrived a little too early here. In fact, I wonder how she even made it to these semi finals: voice and musicality were completely insufficient.’ (Johan van Dongen, Brabants Dagblad, September 1959)

1959 THE PRESS ON THE VOCAL COMPETITION

Leo Hanekroot readily acknowledged that the International Vocal Competition (IVC) Den Bosch was a happening with a decided fun factor, although he continued to take his task dead earnest: his review of the semi finals started with the notion that it was all rather ‘mediocre.’ Still, he did have a favorite for the First Prize among sopranos in the German candidate Manya Breier:

‘That she made one glitch in a coloratura should not be judged to harshly. That would be silly, and it would rob the competition of it’s most promising candidate.’ (Leo Hanekroot, De Tijd, September 1959)

Johan van Dongen also though hers the most beautiful voice in the field, and he followed Hanekroot in his hope that her glitch would not be the end of her, since:

‘… Her daring ‘Zigeuner romance’ of Hermann Reuter, a modern song and her aria from Die lustigen Weiber von Windsor were outstanding.’ (Johan van Dongen, Brabants Dagblad, September 1959)

For the rest he spotted at best Second Prize sopranos. Van Dongen was more balanced in his lengthy review. He thought last year’s Second Prize winner Doris Sutton excellent in her Händel aria, although her rendition of Elsa’s dream from Lohengrin was less fine. Belgian soprano Lia Rottier from Gent excelled in an aria from Massenet’s Manon, and her Chausson song was beautiful. One of the soprano stars in Den Bosch proved Giuseppina Schettino from Naples, who excelled in her Fauré song, while her coloraturas in Vivaldi were immaculate. Another star was the Hungarian soprano Judith Heller, who made a great impression with her arias from Verdi’s Otello and Debussy’s L’enfent prodigue. Van Dongen’s favorite for the First Prize was Zofia Janukowicz from Gdansk, Poland, who combined a voluminous voice with sheer musicality in a Mussorgsky song, and arias from Madama Butterfly, and Mendelssohn’s Paulus. Good in song but lacking in opera and oratorio was Giovanna Pizzi Revenssi from Florence, while Hannelotte Schnappauf from Neu-Isenburg, Germany, had a since operetta voice, which was not the right weapon to take to war in Den Bosch, said Van Dongen.

Among Dutch participants, Van Dongen though Marie-Cécile Moerdijk from Amsterdam to have excelled in the coloratura section in a Donizetti aria, although her aria from Mendelssohn’s Elias was still a bit formal. If she picked up on Van Dongen’s words o if she achieved her progress otherwise, but Moerdijk eventually became the Dutch national muse of light music, and a phenomenal radio host for the span of the next thirty years or so. She became a great promoter also for Dutch and other art song up to traditional and less traditional folk song by means of her long running radio show Singing with Cécilia.

Her Dutch compatriot Tiny de Bree from Nederhorst den Berg also made a distinct impression, although the critic recommended both to pay more attention to their stage presence. The least impression of the three Dutch vocalists made Wilhelmina Driessen, whose voice was not yet mature, although Van Dongen did noticed the great musical gifts and the charming stage presence that would eventually make her the most successful of the Dutch soprano trio in terms of opera. Driessen was also the soprano that Hanekroot hinted at when he referred to an unidentified Dutch candidate that he thought to be a ‘born soprano:

‘… With innate musicality, very intelligent, lively and cleverly juggling with her limited volume. A great artist in the germ, or to remain in the metaphor: in the heart of her voice, in that very small center which makes her entire instrument. What will the Jury do with her? Perhaps it is only a problem for us, but not so much for the Jury, since they just count the scores and get an outcome. Do the points accumulate to a plus, the candidate passes, if not, it is over. That is a very different approach from those among the audiences, who count with their hearts, and then such a singer can become an endearing charm, that one can’t easily part with.’ (Leo Hanekroot, De Tijd, September 1959)

Speaking of arriving to Den Bosch to soon in one’s development, Driessen was in good company, given Van Dongens opinion on a certain… Helga Dernesch:

‘The first soprano in the semi finals was Helga Dernesch from Vienna, who seems to have arrived a little too early here. In fact, I wonder how she even made it to these semi finals: voice and musicality were completely insufficient.’ (Johan van Dongen, Brabants Dagblad, September 1959)

None of the other critics even took notice of Dernesch and she seems a fine example of a singer who used competitions early on merely to gain experience. We all know how that worked out for her, since she became one of the most celebrated sopranos of the late 1960’s, the 1970’s and ‘80’s, excelling in the lyric-dramatic Wagner parts (Senta, Isolde) and Richard Strauss’ Salomé. She recorded among others Isolde and the Siegfried and Götterdämmerung Brünnhildes under Herbert von Karajan in his legendary DGG Ring production. both of which she recorded under Herbert von Karajan.

Semi finals | Altos

Among altos, Hanekroot spotted nothing interesting. Van Dongen agreed, although Caroline Foster from the United Kingdom had started promising if still a bit scholarly. Mariette Dierckx, who reappeared after having competed also last year was the better one, although Van Dongen thought her timbre a bit too ‘dark;’ a stunning comment given that that is precisely the quality one would be looking for in an alto, and we suspect it was also this quality that made Dierckx land a great Belgian career. Still summing up the disappointing alto contesters, he then praised also Djurdjevka Čakarević’s performances to the rafters:

‘More a mezzo-soprano than an alto, who sang a gorgeous Mussorksky song, with much temperament, if with a sharp edged timbre. She also sang a beautiful aria from Bach’s Johannes Passion. The Kodaly song should be mentioned because of her excellent diction.’ (Johan van Dongen, Brabants Dagblad, September 1959)

Čakarević also impressed critic F.V., starting with an impressive rendition of Mussorgsky’s ‘Goyah,’ then by her rounded interpretation of an aria from Monteverdi’s Arianna, although her reading of an excerpt from Bach’s ‘Magnificat’ was not on a par. FV then pondered on the success of Slavic voices in Den Bosch, which he retraced to the fact that almost only arrived to the IVC while already well into their careers at home, which gave them a decided advantage in stage experience.

Semi finals | tenors

Among tenors there was the lionesque Heldentenor Stefano Mata, still young and immature, but a future Parsifal or Siegfried. Unfortunately he did not appear to be very intelligent either in the general meaning of the word, nor in musical sense, said Hanekroot… Van Dongen noticed the tenor’s enormous volume, but he added that he lacked in terms of interpretation. He thought the same of German tenor Siegfried Autenrieth, although he had a nice timbre. According to Hanekroot, the Hungarian tenor from Budapest, a doctor in economics, had a surplus of intelligence and great musicality, but he sang in the wrong trade, since this tenor was a light baritone in disguise. Van Dongen thought that this wannabe heldentenor forced his voice, and thought he could have done much better. The Belgian tenor Kamiel Lampaert had modest means, but was well trained and had fine lyrical possibilities wrote Hanekroot, which was confimed in Van Dongen’s report:

‘He sang with a beautiful color and in a very musical way his aria from Mozart’s Don Giovanni, and his Brahms song was equally fine.’ (Johan van Dongen, Brabants Dagblad, September 1959)

That left the baritones as the field where the competition was most forceful. Three out of six were of the highest caliber, among them Harold Gray, a black bass from the UK with a voice as a tuba; Hanekroot thought the light weight baritone from The Netherlands Max van Egmond a true virtuoso in all registers, with his greatest weakness being, an effeminate manner of performing, which made him miss out on moments where true emotions were required, Van Dongen thought Van Egmond’s Bach Cantate the most promising part of his semi finals appearance. The Swiss Spielbaritone Arthur Loosli had a voice as fine as the one of the famous Erich Kunz, while he nearly matched the famous example in expression, said Hanekroot. Van Dongen agreed:

‘He started his performance with Händel, sang with much panache an aria from Mozart, even though he exaggerated it a bit, and he finished with a sublime rendition of a Mussorgsky song. His is a very extensive instrument and a most beautiful vocal color.’ (Johan van Dongen, Brabants Dagblad, September 1959)

In short, Hanekroot proved ‘excited,’ especially since the Jury usually disappointed him. In this case however, most of his wished would be granted, since the Jury judged the following artists ripe for the finals: Mariette Dierckx, Djurdjevka Čakarević, Julianna Falk, Harold Gray, Arthur Loosli, Lia Rottier, Giuseppina Schettino, Judith Heller, Zofia Janukowicz, Loris Sutton, and Manya Breier. The Belgian hope for the finals was tenor Kamiel Lampaert, while the Dutch torch was carried by Max van Egmond and Wilhelmina Driessen, who had to appear before the Jury in a separate audition, in order to determine which one of them would receive the Young Talent prize ‘Toonkunst.’

The Finals

Post finals, the critics all agreed that it had been splendid competition, with a rich harvest of fine voices and genuine talents. According to Eindhovens Dagblad it was impossible to guess which soprano would win the First Prize, since all 6 were more or less equal and it was a matter of taste if one wanted to give it to the excellent but slightly dry English soprano Sutton, or to the spirited Italian Schettino, the large voiced Belgian Rottier, the temperamentfull Hungarian Heller, or the German Breier with the most gorgeous timbre, or the versatile Polish Janukowicz. Among basses/baritones, the critic had previously put his bets on the English bass Harold Gray, but after 52 arias and songs performed by the 14 finalists, the Swiss bass Arthur Loosli emerged as the undisputed winner of both the First Prize in the Jos Orelio category, and the Great Prize of the City of Den Bosch as best singer in the competition.

The Jury elected Swiss baritone Arthur Loosli for the Great Prize of the City of Den Bosch as best singer in the Competition. According to critic Bertus van Lier this was on the grounds of his beautiful voice, his warmth and his artistic performance in arias by Mozart, Händel and a Schubert song, although his voice was not a large instrument. Eindhovens Dagblad thought Loosli rose to great hights during the finals, whereas the semi finals had been a close call between him and Harold Gray, who received the Second Prize. While Leo Hanekroot agreed that Loosli had excelled, he thought gray still worthy of another First Prize, and then brought up the odd situation that basses and baritones had to compete in the same league. While he admitted that there was a problem with those ‘in between,’ the bass-baritones, he thought that with split categories, they might choose for themselves where to compete. He had of course a point here, although creating 6 categories (since between mezzo sopranos and altos the same situation applied) was hardly an option. The entire matter could also have been resolved by giving more shared First prizes in these categories, but Juries over the decades have been very selective when it came to First Prizes. Still, Hanekroot could follow the 1959 Jury well. Instead of disputing their choices, as he would onwards frequently do, he actually had wished for more Prizes! Among them for Belgian tenor Kamiel Lampaert, who now obtained an Honorary Diploma while Hanekroot had wished for him to win a Second Prize.

Van Lier thought that some might dispute the 1^st Prize among sopranos which was given to the Polish Zofia Janukowicz, who indeed excelled in her Tchaikovsky aria, although she was decidedly less up to Bach and her song. Hanekroot had the same feelng here, and thought she lacked a cultivated taste for more than a certain form of operatic grand standing, which rendered her one dimensional. In versatility, Van Lier thought Manya Breier and Giuseppina Schettino superior, although he admitted that Janukowicz was further in her development as a performer (on top of which she could sing in seven languages). Another critic, FV, was more positive about the Polish diva in the making, while Lia Rottier did her advantage with her Second Prize, which apparently resulted in an instant engagement with the Gent Opera.

Finally, Max van Egmond won the Young Talent Prize ‘Toonkunst,’ although most critics thought that one might have given the prize also to Wilhelmina Driessen.