Psychic Tea
In order to raise money for its emergency fund the National Opera Club, Mme Katharine Evans von Klenner, president, will give a psychic tea at the Pennsylvania Hotel on the afternoon of April 22. It will be a good fellowship part, with good music and talks on the latest developments in psychic progress. Tickets are $1.50 and may be obtained from Mrs. Owen Kildare, chairman, 570 Webster Avenue, New Rochelle, or Mme. von Klenner —“National Opera Club to Give Psychic Tea,” New York Herald, Sunday, April 2, 1922, p 38.
Psychic tea? Emergency fund? Opera Club?
How very curious.
I went to the American Society of Psychical Research on West 73rd Street right after 9/11 to find more information regarding Klenner’s exploits but left empty-handed. Either she was not a member, or they had lost a record of her.
Klenner was deeply involved in Spiritualism following the death of her husband, Rudolph Ferdinand von Klenner, Marquis di Patteri, in 1914. So deep that she published a book of automatic writings—The Greater Revelation—in 1924. Here is an extract:
Having spent many years under the tutelage of Mme. Pauline Viardot-Garcia, Desirée Artot de Padilla and her husband Mariano Padilla, the famous Escamillo in Carmen, the opera in which Artot was known as the incomparable heroine, also Manuel Garcia, it is natural that I should have been en rapport with each of these celebrities but the messages lose none of their importance from this fact. The first in French which I am giving in translation show much of the spirit of truth as learned by one towhee it must have been somewhat of a surprise:—
“Only the pure in heart and should are en rapport with the spiritual things of heaven and earth, and we have much to say for your (elements?) You have the divine fire, my dear ladies, and will do much in the world of music and letters with our assistance. We are with you in spirit and hope to see you in the great house of music with the great teachers of singing. You, dear lady, are a woman who lives only for the great things, I am your friend with the black beard (true). I am the husband of your well-beloved teacher, and she is writing for me. I do not know the world at present but hope always to advance in the spiritual world. De Padilla.”
As my early studies made under the tutelage of the famous artist Desirée Artot de Padilla were those which preeminently remained with me during my entire life, giving me the incentive to allow nothing to interfere with my purpose of availing myself of every opportunity possible for perfecting myself in my musical studies, especially the vocal art, it is not to be wondered at that early in our sessions many messages were received from her, my great musical inspiration. Also that her interest for my successes were but the continuation of the desires expressed so frequently to me in my students days in her studios in Berlin and Paris. Among the first was the following (translated)
“My dear:—I think of you and remember many things and trust that you are happy now. I hope to come to you and assist you in accomplishing many things in the field of music. You friend sings very well and I hope to see her in grand opera singing rôles of the great master Wagner. I continue to help in great affairs. Your husband tells me that you and your friends are doing many things in a spiritual way and that you have an important place in the world of music. America is the country, where German Opera is again possible before all other countries, is it not? When you write the new spiritual opera, the world will sit up. I hope the time is not far distant. I thank you for permitting me to come again, and I will make you very happy before long. Au revoir, my dear pupil, Desirée Artot de Padilla.
The last message which I shall here reproduce is simply of interest because it mentions an aria from an opera which I studied with my enthusiasm, and sang with success. I was perhaps my most successful opera. The quotation proves that even what might be considered small or unimportant while in the midst of earth detail sill leaves unforgettable impressions and is held in remembrance on the other side:—
“My dear little one, I am very happy for you.” Then follow some personal observations in regard to my achievements, when finishing she wrote—”You are my pupil and will always sing with my method. I am old but you are in the prime of life, and you will have time to do a great many things. What is greater than Opera? ‘Il va venir,’ the aria from ‘La Juive,’ which you sing very well is a fine aria for your pupil at present, is it not my dear? Au revoir, another time more. You old friend, Desirée Artot de Padilla.”
A characteristic message is one received from the world-renowned teacher and inventor of the laryngoscope, the instrument which has proven of untold benefit to all physicians through the knowledge divulged by its use of the vocal organs and their condition. On his one hundredth birthday hundreds of physicians, musicians, and even royalty united in paying homage to one who had been such a great benefactor to humanity through this invention, and its application for the alleviation of all vocal ailments. His message dated Feb. 29, 1921 reads:—
“I have lived so many years in London that I prefer to speak to you in English though I have many other tongues. Spread my methods throughout the world, you my pupil have been chosen by me. Sing as long as you can speak, is my motto. I want to come for many reasons. Do you know that I could sing when I had reacted the age of a centenarian? My method must never die. I will come again. Manuel Garcia.”
To those who have had the privilege of studying under the guidance of this great vocal master the three positive statements contained in this message must carry incontestable proof as to its authenticity. First—that he was more than a centenarian when he passed over. Secondly—that until his death at one hundred and one years he actually could sing, for his vigor until his death was remarkable. Thirdly—that his oft repeated slogan was, “As long as you can speak you can sing.” Also the fact that the renowned “Garcia Method” which was established by him and carried by hundreds of his pupils throughout the world during his life time is still a standard in the singing world.
—Baroness Katharine Evans von Klenner, The Greater Revelation, p 59-62.
[Find my previous post on the book here; find my other posts relating to Klenner here.]
Katharine Evans von Klenner (1856-1945) studied with Pauline Viardot-García to become a voice teacher—an unusual circumstance. That Viardot-Garcia recommended Klenner to the National Conservatory in New York City tells us something. In any case, Klenner advertised herself as Viardot-Garcia’s only representative in America until Anna Schoen-René came on the scene, the latter teaching at the Juilliard School of Music and having many students who appeared internationally and at the Metropolitan Opera.
Klenner was an advocate for standards and certification for voice teachers, a founding member of the National Association of Teachings of Singing in 1906 (which was renamed the New York Singing Teachers Association in 1917), and founded the National Opera Club which had meetings at the Waldorf Astoria Hotel in New York City.
Klenner lived and taught singing on West 57th Street—not far from my own apartment. Her memorial service was held at Christ and Saint Stephens Episcopal Church which is located on my street.
So close and yet so far: I think about Klenner between Halloween and All Soul’s Day, which, according to Spiritualists, is when the space between this world and the next becomes thin.
Curiously, I met and talked with soprano and voice teacher Carole O’Hara, who met Klenner on one occasion. I’ve never forgotten the look on O’Hara’s face when I mentioned Klenner’s name. Now both have crossed to the other side.
Photo: Baroness Katherine Evans von Klenner, circa the 1880s.
