Marcus Kellerman: American baritone

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Marcus Kellerman American Baritone
Internationally conceded to be one of America's greatest Oratorio Singers.

Available for Concerts, Recitals, Oratorios, Festivals, etc.

JULES DAIBER Exclusive Management
Concert Bureau, Aeolian Hall, 33 West 42nd Street, New York City.



By Way Of Introduction
In can be truthfully said of Mr. Marcus Kellerman, that he is a great artist with a wonderful personality.  Nature has endowed him with a fine physique, pleasing countenance and a magnificent voice, to which, in fairness, must be added, dramatic ability of the highest type.

Mr. Kellerman is a native American, having been born in Cincinnati, Ohio.  As a boy he showed great talent for music.  After studying violin for five years he took up the study of piano and pipe organ.  This however was just nature's way of building a firm foundation for the one who had been destined to wear the mantle of song.  After realizing that he possessed an uncommon voice, Mr. Kellerman began study with Tecla Vigna, who then sent him to Berlm, Germany.  After three years with the great Paul Knupfer, the royal court singer, he was engaged at the royal opera in Berlin, singing there two years; he then traveled, appearing in many cities of Germany, Austria, Holland and Switzerland.  In 1910 Mr. Kellerman returned to this country, being engaged for a transcontinental tour with the New York Symphony Orchestra (Walter Damrosch, conductor), and since has sung with practically every orchestra and singing society in America.  He was also engaged by Oscar Hammerstein as leading baritone for his new opera venture.

In many cities Mr. Kellerman has been engaged four and five times for appearances.  There is hardly a city in the United States and Canada in which he has not been heard.  He has made tours with the New York Symphony, Minneapolis Symphony and St. Paul Symphony Orchestras.  He was the first artist engaged by the Redpath Bureau to give individual song recitals for a five month's chautauqua tour.

Three years ago Mr. Kellerman was heard in New York City by a Mr. W. S. Forbes, a prominent citizen and chairman of the Music Committee of the First Baptist Church of Richmond, Va. Mr. Forbes was so impressed with his singing that he made him a flattering offer to come to Richmond as soloist in his church.  Mr. Kellerman accepted the offer and is now located there.

He is one of the highest paid church singers in America, and enjoys the hospitality of one of the most beautiful cities in the country.

It affords me pleasure to offer Mr. Kellerman to the public for a limited number of concert engagements.




Music Critics Unite in Saying that he is one of World's First Artists
When the press of a country unites in according to to an Artist such tribute as has been bestowed upon Marcus Kellerman, there is little doubt as to his supreme position.


H. E. KREHBIEL, OF THE NEW YORK TRIBUNE, SAYS:
Marcus Kellerman's voice is one of great beauty and has an especial merit of vital resonance.  His art is most admirable.


NEW YORK EVENING WORLD.
Mr. Kellerman sang with a rich effective voice and fine musicianship.


DENVER, COLO., NEWS.
The real sensational feature of the evening was the singing of Marcus Kellerman, the basso, and doubtless the star-soloist traveling with Damrosch's orchestra, for it would be hard to imagine that two such performers could be found traveling with one orchestra, however fine it may be.
Perhaps it would not be far wrong to call him the American Wullner, though Wullner in comparison has no such timber in his voice as Kellerman.  The man is an actor in body, face and tone, and he works on a magnificent six-foot commanding frame and a six-foot voice, if such an expression may be used without conveying the idea of grossness.
The audience would have recalled Kellerman all night, if he would have responded, judging from the applause.



MINNEAPOLIS TRIBUNE.
It is always a pleasure to record the appearance of Marcus Kellerman with the orchestra.  Kellerman is such a true artist, so totally devoid of personal or vocal affection, so sure in his conception and so confident in interpretation, and endowed with such a rich, luscious and tremendous voice, that to hear him is to want to hear him again.


SAN FRANCISCO CALL.
The surprise was the soloist, Marcus Kellerman.  Kellerman's voice is mellow, almost mellifluous, with the sensuous charm of the Italian, but it is also deeply expressive and powerful.


PORTLAND, OREGON, TELEGRAM.
In his first song, The Two Grenadieres, Mr. Kellerman proved that he is one of America's great bass-baritone singers, while his response to the encore caused folks to think he is one of the greatest.  The last song Danny Deever was given with all the spirit that could possibly be put into it.  David Bishpan sang this song during his last appearance here—well, Mr. Kellerman's rendering of it is so much superior that a comparison would be a waste of words.


PITTSBURGH DISPATCH.
Mr. Kellerman has a magnificent, well placed, armirably schooled and perfectly natural baritone.


BOSTON ADVERTISER.
Mr. Kellerman possesses a voice of good quality and considerable power, and he has excellent ideas of what constitute the dramatic style.


NEW YORK AMERICAN.
Mr. Kellerman's voice is far above the average, both in quality and range, and is very forceful in his interpretations.


PITTSBURGH POST.
The excellent work of Marcus Kellerman scored a distinct hit at the first Concert of Euterpean Choral last night in Carnegie Music Hall.  His voice is smooth, and powerful, and his diction finished in style.


PIONEER PRESS, ST. PAUL, MINN.
He has a beautiful, rich voice, well controlled and smooth, and sings with fine authority.


Press Notices—Continued


DENVER TIMES.
After the symphony came the vocal joy of the evening, Marcus Kellerman sang Schuman's Two Grenadieres in English.  It lacked the gutturel expression of a recent much-heralded doctor.  Kellerman didn't throw facial spasms, or indulge in trembling contortions which pass current for realistic emotion; but he gave the grand old song in proper fire, passion and vocal splendor.


NEW YORK STAATS.
(Translated from the German.)
Marcus Kellerman, late of the Berlin Royal Opera, sang a Wagnerian program.  He is an artist of the first class.  His voice has a wonderful range, and a marvelous sweetness.



BOSTON HERALD.
Mr. Kellerman, who sang the baritone role of Arminius, met with the favor of the audience.  His voice is adequately suited to the music and his conception of the ancient German leader earned authority.  His tones are deep and resonant and when exciting his followers to insurrection he rose admirably to the demands, giving a real dramatic touch that was especially convincing.


AUGUSTA, GA., CHRONICLE.
The superlative only must be employed in describing Mr. Kellerman's voice and style.  His is a baritone voice of great power, and sonority, broad, solid and superb.


MINNEAPOLIS JOURNAL.
Most interesting was Mr. Kellerman's singing of Schuman's Die Beiden Grenadiere.  This composition was recently sung in Minneapolis by Dr. Ludwig Wullner, but not with the fine interpretation accorded it by Mr. Kellerman.


GALVESTON, TEX., NEWS.
Mr. Kellerman, the basso soloist, created the greatest demonstration of the evening.  His voice is deep and resonant, and he sang with all the feeling in him.


KANSAS CITY JOURNAL.
Marcus Kellerman, a brilliant American bass-baritone, sang superbly Wotan's farewell and the magic fire scene from Die Walkure.


BOSTON GLOBE.
Mr. Kellerman, formerly a member of the Berlin Royal Opera, sang here for the first time.  His voice is a baritone of considerable power, a larger voice than the average, and he sings with breadth of style, with no little authority and enunciates English clearly.


ATLANTA, GA., CONSTITUTION.
Mr. Kellerman, the soloist, proved to be a finished artist, with the insight of artistic intelligence giving dignity and charm to his every interpretation, and he proved as well the knowledge of his own voice, thus putting full value into his every tone.


CHATTANOOGA, TENN., TIMES.
Kellerman's Two Grenadieres was sung here by David Bispham at his concert in the old Opera house.  Could Mr. Kellerman have been heard in the same place, there would have been no comparison to make, his perfect enunciation and clearness of delivery make of his work an artistic achievement.


OMAHA DAILY NEWS.
Marcus Kellerman is of striking personality, and his big voice is intensely dramatic, full of life and resonance.


BROOKLYN EAGLE.
Mr. Kellerman's fine voice, as well as his presence deserves a larger background than the pigmy stage the Carnegie Lyceum gave him.  In his dramatic work he is of the Wullner type and his half-voice effects were very artistic, especially coming from a big throated singer.




REPETOIRE
Mr. Kellerman's repetoire consists of all the standard Operas and Oratorios, from the heaviest classics to the simplest songs and ballads that are familiar to and beloved by all.  His motto being America first, consequently he features the American composers in all his recitals, and such numbers as Danny Deever, by Walter Damrosch; On the Road to Mandalay, by Oley Speaks; The Ballad of the Bony Fiddler, by Wm. Hammond; Inter Nos, by MacFadyen, besides numerous other songs by well-known American composers, are generally found on his program.  However, his repetoire consists of most of the Schubert, Schuman, Strauss, Brahms, Wolf, Debussy, Tschaikowsky and Grieg songs, and he is especially fond of singing such numbers as Schubert's Earl King, Schuman's Two Grenadiers, Strauss's Devotion, and The Three Wanderers, by Hans Herman.

Mr. Kellerman since his return to this country has sung the following Oratorios and Cantatas in the United States and Canada:

Bach, Johannes S.—St. Matthew Passion.
Bach, Johannes S.—Magnificat.
Beethoven, Ludwig Van—Choral Symphony.
Beethoven, Ludwig Van—Missa Solemnis in D.
Bennett—May Queen.
Brahms—Requiem.
Bruch, Max—Armenius.
Bruch, Max—Fair Ellen.
Bruch, Max—Frithjof.
Bush, Carl—King Olaf.
Cown, Fred H.—Rose Maiden.
Damrosch, Leopold—Ruth and Naomi.
Elgar, Edward—Dream of Gerontius.
Elgar, Edward—King Olaf.
Elgar, Edward—Caractacus.
Dubois, Theodore—Seven Last Words of Christ.
Dubois, Theodore—Paradise Lost.
Gade, Nields W.—The Crusaders.
Gade, Nields W.—The Earl King's Daughter.
Gounod, Charles—The Redemption.
Gaul—The Holy City.
Haendel, C. F.—Messiah.
Haendal, C. F.—Judas Maceabeus.
Hadyn, Joseph—The Creation.
Haydn, Joseph—The Seasons.
Hammond, Wm. S.—Lochinvar.
Hadley, Henry H.—In Music's Praise.
Mendelsohn, Felix—Elijah.
Mendelsohn, Felix—The First Walpurgis Night.
Mendelsohn, Felix—St. Paul.
Liszt, Franz—St. Elisabeth.
Loveland, Benjamin W.—Raboni.
Rosini—Stabah Mater.
Saint-Saens—Samson and Delilah.
Saint-Saens—The Deluge.
Sullivan—The Golden Legend.
Taylor, S. Coleridge—Hiawatha.
Ware, Harriet—Sir Oluf.
Wolf-Ferrari—The New Life.
Verdi—Requiem.
Zuschneid—Herman the Liberator.




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FORMERLY MEMBER OF THE ROYAL OPERA, BERLIN, AND OSCAR HAMMERSTEIN MANHATTAN OPERA, NEW YORK CITY.

APPEARED AS SOLOIST AND ON TOUR:

NEW YORK SYM. ORCHESTRA.
BOSTON SYM. ORCHESTRA.
CHICAGO SYM. ORCHESTRA.
CINCINNATI SYM. ORCHESTRA.
MINNEAPOLIS SYM. ORCHESTRA.
ST. PAUL SYM. ORCHESTRA.
SAN FRANCISCO SYM. ORCHESTRA.
LOS ANGELES SYM. ORCHESTRA.
WASHINGTON SYM. ORCHESTRA.
CHICAGO APOLLO CLUB.
CINCINNATI MAY FESTIVAL.
NEW YORK ORATORIO.
BOSTON HANDEL AND HAYDN SOCIETY.
MILWAUKEE MUSIC VEREIN.
LOUISVILLE MAY FESTIVAL.
NEW YORK LIEDERKRANZ.
MCDOWELL CLUB, NEW YORK.
RUBENSTEIN CLUB, NEW YORK.
ATLANTA SYM. ORCHESTRA.
OMAHA SAENGERFEST.
ST. PAUL SAENGERFEST.