Anna Maria Klemming (1864–1889) was a Swedish operatic soprano whose career spanned only two years. However, in that short period of time, she achieved great success, thanks to her clear, high-reaching voice and her attractive Nordic looks. Her debut performance was in April 1887 at the Royal Swedish Opera as Mathilde in Rossini’s William Tell.
Anna Klemmings Early life and education
Anna Maria Klemming was born in Solna on 6 February 1864, the daughter of the tinsmith Vilhelm Klemming and his wife Elisabet née Burman. She studied at the Stockholm Conservatory under Hjalmar Håkansson (1882–85) and later in Copenhagen under Fritz Arlberg (1885–87). Her first public appearance was at a concert in Malmö in 1886 while still a student in Denmark.
The Career of Klemming
Klemming made her stage debut on 24 April 1887 at the Royal Theatre in Stockholm as Mathilde in Rossini’s William Tell. She was more enthusiastically acclaimed on 13 June when she appeared as Julia in Gounod’s Roméo et Juliette. Her dramatic roles included Agathe in Weber’s Der Freischütz, Elsa in Wagner’s Lohengrin and Venus in Tannhäuser. She also appeared in leading lyrical roles such as Marguerite in Gounod’s Faust and the Marchesa in Verdi’s Un giorno di regno. She created the role of the Princess in the world premiere of Ivar Hallström’s Per Svinaherde (1887).
Success and Death
Klemming quickly rose to prominence, with her performance of Julia in Gounod’s Roméo et Juliette being particularly successful. One of her last appearances was the demanding role of Valentine in Meyerbeer’s Les Huguenots where she reached such high notes that she was immediately considered the prima donna of the company. Unfortunately, her career came to an abrupt end with her untimely death on August 1889.
The Klemming Legacy
Despite her brief career, Anna Maria Klemming left an enduring legacy. Her remarkable talent and passionate performances gave her a unique place among Swedish opera singers of her time, earning her immense public admiration and critical acclaim. Her impact on Swedish opera can still be felt today, making her an important figure in Sweden’s operatic history.