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successful, expansion of programs in the ensuing decades; she would not. She left on polite terms, and was later to collaborate repeatedly with him in adjudicating major opera auditions, as well as being invited by him to sing at the 50th anniversary celebration of the SFO and announced as one of the honored guests at Adler's own 25th/50th
Jubilee gala in 1978. The soprano's sudden disappearance from the SFO caused some puzzlement and sense of loss among Opera cognoscenti. Longtime opera scholar and reviewer James Forrest, referencing
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284:(with its four high F's above high C) if she had to sing it in an emergency. From the result, it may be inferred that her top note was a high E flat above high C in a large hall, or a full E natural in studio or rehearsal. However, Warenskjold was unusually cautious in pushing her voice, and by the standards of some singers she possibly would have been physically capable of going a little higher. In a studio or small hall environment she would occasionally make modest forays into spinto or coloratura repertoire.
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203:, a friend of Warenskjold's, was present in the house and potentially able to take over if she collapsed, but was not needed. The synergy of the tragic Liù role--struggling under torture to save her men--with the soprano's emotional situation (by then known throughout the War Memorial Opera House) produced a result that left a stunned audience and drew mention by over 50 newspapers, including on the East Coast. A house recording survives, which was also distributed by
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386:. Warenskjold stated that in 1951--at the peak of her RTV success--she had declined an offer from the Metropolitan Opera, and that it was a decision she later regretted for what might have been. Her RTV shows would be cancelled one by one throughout the 1950s, except for the Standard School hour. National Public Television and Public Radio would not provide a replacment outlet until the 1970s, by which time she was reaching retirement age.
46:; other recordings were later released from restored material. She was fully California born, trained, and resident, in an era when the ranks of classical singers were dominated by Europe or New York. Her career was marked by early success and later forgottenness. Former Chicago Symphony President Henry Fogel wrote, "Warenskjold was a fine lyric soprano who deserved a bigger career than she had."
407:, with Warenskjold singing the role of Marguerite, and the second half was a history of the American musical theater, "From Minstrel to Musical". The group toured the U.S. and Canada for 3 seasons (1969-1971), averaging 45-50 performances per season. Critics and audiences were positive, but after the 1971 season, she discontinued the group due to exhaustion from running it.
65:. She attended the private Miss Wallace's School, and was active in school music and theater, as well as winning the mathematics prize upon graduation. She was popular for her kindness, and strongly athletic, enjoying swimming, golf, and riding. Her tennis game approached professional levels; she had trained with the same coach as tennis champion
252:, later wrote of "... the beloved California soprano Dorothy Warenskjold, my first Sophie (1955) whose SFO career inexplicably ended that year only a performance or two after I heard her in Los Angeles. She sang four Micaëlas in Chicago in 1959 (critics raved; I’ve never heard better). I never heard her in person again; she was not yet 40."
856:(accessed 31 July 2023), Dorothy Warenshjold in household of William E Warenshjold, Oakland, Alameda, California, United States; citing enumeration district (ED) ED 121, sheet 14A, line 22, family 279, NARA microfilm publication T626 (Washington D.C.: National Archives and Records Administration, 2002), roll 104; FHL microfilm 2,339,839.
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many seasons. Her mid-American recital touring was appreciated. In
Monticello, Utah, then a town of 1,500 people, over 600 subscribed to her appearance in the opening of their new concert series. In Tulsa, Oklahoma, a local reviewer described the "totally unbearable announcement" of a Warenskjold cancellation.
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Commencing in 1979, seven years after
Warenskjold's retirement, a series of digital audio restorers--Steve Markham (Grand Prix Records), Lance Bowling (Cambria Master Recordings), and Richard Caniell (Immortal Performances)--began releasing discs from her archival performance and broadcast material.
393:
However, during the 1960s, changing tastes and increasing prosperity led audience demand to shift towards group acts, causing a steady decline in the solo recital market. This, combined with the cancellation of the classical radio and television shows, with
Warenskjold no longer having an opera house
479:
Few recordings were released of
Dorothy Warenskjold during her career. Reviewer Allan Ulrich wrote: "In her prime...the California-born and trained soprano was flagrantly ignored by commercial record companies." However, digital restorers commenced additional archival releases after her retirement.
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Warenskjold never married. Her fiance had been shot down during World War II, in 1943, leaving her devastated. She was a buoyant person and eventually resumed social relations with other suitors, but her constant musical touring and travelling were a complication. When not on tour, she lived with
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Warenskjold regarded her solo recital touring throughout North
America as an important calling; she did considerable research into finding song repertoire. Mostly under the Community Concerts program of Columbia Artists Management (CAMI), she maintained a level of 35-40 touring recitals a year for
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She continued and expanded her audition adjudicating, including for the
Metropolitan Opera. During this time, a series of oral history interviews were conducted with her by Sybil Hast, the octolingual vocal diction coach of the department. The interview transcript is available from UCLA online; it
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In response, in 1969, under her
Columbia artists' management, Warenskjold formed a travelling musical group, "Dorothy Warenskjold's Musical Theater", with herself serving as impresario, general director, vocal coach, and performer. The cast comprised herself, 8 additional (mostly younger) singers,
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The Grand Prix LP's are difficult to find. However, they are also digitally available from the
Cambria Master Recordings Amazon store (though not at present on the Cambria website) in MP3 format, and from eClassical in the higher-fidelity FLAC 16. All CDs are still (late 2024) available from the
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Warenskjold later stated that she left the SF Opera due to new SFO director Kurt
Herbert Adler proving to be much harder to work with than founder Gaetano Merola. Others at the SFO experienced this and made their own decisions. The majority of stayees would reap the benefits of Adler's enormous,
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The soprano was noted for her "delightful" stage presence, coupled with appearance and personal charm. She stated that her emphasis was on traditional stagecraft, with a repertoire of practiced moves applied with an intelligent awareness of the character; she taught a popular class on Stage
292:" techniques or deep psychological involvement with the performance, but acknowledged that in practice she could end up doing some elements of this. While not thought of as a singing actress, her dramatic range was non-trivial, ranging from comical or novelty numbers such as
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However, she did further sing opera in San Francisco under the auspices of the short-lived Cosmopolitan Opera Company (1954-60), at the War Memorial Opera House as with the San Francisco Opera. It was at the Cosmopolitan, on April 1, 1960, that she sang as tenor
280:. Her surviving recordings show remarkable consistency over a span of several decades. The size of her voice has generally been described as "medium". Gaetano Merola once requested her to find out how many half steps she would need to transpose down the Mozart
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Warenskjold appeared as a guest artist with various other American opera companies and orchestras. Particularly notable were her summer performance runs at the Cincinnati Zoo Opera for half a decade (1954-1958), and her many appearances at the Hollywood Bowl.
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In August 1972, the soprano was invited to sing at the 50th anniversary celebration of the San Francisco Opera, held outdoors at the Stern Grove park. This would turn out to be her unofficial retirement event. Her signature Faust
548:, LP, RCA Custom Records (RR3S-1430), Carmen Dragon conductor and arranger. This recording was given out to children participating in the school version of the Standard Hour radio program. Numerous examples are available used.
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base, and with the underlying prejudice in favor of European singers at the time, led to a very significant shrinkage of her career. She stated that by 1967 she was down to 7 touring performances for the year.
114:. Her debut ended up being accelerated, on short notice, related to a potential casting emergency at the opera--and in the musically more difficult Nannetta, compared with the originally announced Micaela in
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In addition to her work on stage, she performed regularly on radio and television during the 1940s and 1950s, enjoying singing Broadway repertoire alongside opera. She was frequently heard on the programs
58:, Warenskjold was the only child of Mr. and Mrs. William Earl Warenskjold. Her paternal grandfather immigrated from Norway. Her mother, Mildred Stombs, was a professional pianist and operatic coach.
839:(27 November 2014), Stombs in entry for Dorothy L Warenskjold, 11 May 1921; citing Alameda, California, United States, Department of Health Services, Vital Statistics Department, Sacramento.
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She performed Micaela on October 17 as originally scheduled; San Francisco Chronicle reviewer Alfred Frankenstein wrote, "Seldom has an audience given Micaela so marked an ovation".
199:, on October 11, 1953, when Warenskjold disciplined herself to perform the slave girl Liù the day after her father's sudden death from a heart attack. Metropolitan and SF Opera star
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and a veteran piano accompanist, Raymond McFeeters (who had also been accompanist to Lily Pons, Marian Anderson, and Lawrence Tibbet). The first half of the program was an abridged
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family (in the San Francisco Bay area before 1953, and thereafter in the Los Angeles area) until her mother's death in 1991. Her many friends included figures such as actress
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had spotted her while conducting a Standard Hour broadcast concert at the California State Fair, in Sacramento. The soprano made her debut on October 7, 1948 as Nannetta in
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who had an active career in opera, concerts, radio, television, and recitals from the mid-1940s through the early 1970s. She made several recordings for
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Reviewer Allan Ulrich further wrote of the second of the Grand Prix discs: "A revelation and a confirmation of native vocal talent...golden-throated."
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was conducting; she had not previously either studied Nanetta or stood on a professional opera stage. Critical response was strongly positive.
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471:, among others. In 2004, she moved to Lenexa, Kansas to be near remaining family. She died there two days after Christmas, 2010, at age 89.
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with a different cast--Della Casa and others (Immortal Performances in Canada, as opposed to a similarly-named audio restorer in Texas).
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received multiple critical acclaim, with comments including "stunning" and "she continues to put many season regulars to shame".
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Presentation in her later years at UCLA (see "Post Retirement" below). Warenskjold did not have a primary emphasis on modern "
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Five archival discs have been released as of late 2024; the first four were done in cooperation with Warenskjold herself:
316:, strong and emphatic arising from the depth of love (which drew demand from multiple Opera companies), and her Violeta in
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459:, opera journalist/dog fancier Lilian Barber, recorded sound restorer Lance Bowling, and prominent musical names such as
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Used availability of these Capitol discs is uneven. Variants included overseas releases and a cut-down "extended play"
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where she taught for many years as an adjunct faculty member, having declined the chairmanship of the vocal department.
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began giving her vocal lessons. She graduated from Mills College in 1943 with a BA in languages and a minor in music.
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She was noted for her purity of tone, clarity of line, and meticulous technique. The soprano had been trained in the
1967:
1937:
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She performed with the SFO for the next eight consecutive seasons (1948-1955), performing such roles as Antonia in
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from this performance appears on the Cambria CD "A Treasury of Operatic Heroines" (see Discography below).
662:(12 January 2021), Dorothy Lorayne Warenskjold, 27 Dec 2010; citing U.S. Social Security Administration,
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In her recital performances, she would employ intelligent banter and humor, particularly during encores.
602:. Three solo Warenskjold arias are also included. The first three disks of the set comprise a complete
483:
Warenskjold's intra-career releases totalled only three--one as sidekick to Hollywood and Broadway star
822:(24 April 2021), William E Warnskjold and Mildred L Stombs, 1919. Vancouver, Clarke County, Washington.
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260:'s last leading lady, Marguerite to his Faust, in his final operatic performance before his death.
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590:, 2016, 4 CD set, Immortal Performances (IPCD 1050-4). Disc 4 features Warenskjold as Sophie in
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Warenskjold was a pure lyric soprano. SF Opera founder Gaetano Merola liked to compare her to
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873:(Sat Jul 29 08:17:10 UTC 2023), Entry for William Warenskjold and Mildrew Warenskjold, 1940.
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radio program. Her development of complete characters included her unusual Micaela in
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69:. She would maintain a trim and fit condition throughout her singing career.
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322:--the latter an unusual item in a career which did not include much Verdi.
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The soprano's final appearance at the SFO was in October 1955 as Sophie in
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After retiring from singing in 1972, she joined the voice faculty of the
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Her degree background later enabled her to sing in at least 8 languages.
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which led haunted listeners to request repeat performances of it on
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1586:"Community Concert history marked by outstanding worker cooperation"
992:"Piedmont Soprano Ranks 'Falstaff' As One of World's Finest Operas"
455:, San Francisco Opera Impresario James Schwabacher, philanthropist
195:
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1391:"Review of Der Rosenkavalier, Immortal Performances IPCD 1050-4"
711:"Review of Der Rosenkavalier, Immortal Performances IPCD 1050-4"
594:, recorded outdoors at the Hollywood Bowl in 1959. Co-stars are
376:. In 1950, she performed the roles of Antonia and Stella in the
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529:, 1955, LP, Capitol (P-8333). Solo, with Jack Crossan on piano.
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232:(in Schwarzkopf's North American debut) as the Marschallin and
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1071:"Rich Vocal, Orchestral Blend Marks Performance of 'Falstaff'"
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Planning to be an attorney, she pursued pre-legal training at
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1674:. North Hollywood, California. September 29, 1969. p. 3
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1217:"Father Drops Dead but 'Show Goes On' for Operatic Soprano"
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1287:"San Francisco Opera leadership: a drama in seven scenes"
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again conducting, with the Concert Arts Orchestra. Eight
1829:"Alla Breve--Arias by Mozart, Giordano, Puccini, Alfano"
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in Oakland and UC Berkeley, until her junior year, when
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As an opera singer, Warenskjold worked mainly with the
1344:. Santa Ana, California. February 12, 1977. p. 27
328:
1469:
A Treasury of Operatic Heroines, CD-1111Jacket Notes
1338:"Four County Singers Will Compete in SF Opera Finals"
418:
Warenskjold did not sing again in public afterwards.
1618:. Stillwater, Oklahoma. November 2, 1962. p. 14
1540:. Palo Alto, California. December 7, 1962. p. 9
1197:. Hempstead, New York. October 12, 1953. p. 76
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243:Dorothy Warenskjold as Sophie in Der Rosenkavalier
1805:. Tustin, California. August 27, 1987. p. 15
936:"Dorothy Warenskjold to Honor Three Brides-Elect"
1918:UCLA School of the Arts and Architecture faculty
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1566:. Bennington, Vermont. March 21, 1985. p. 8
1514:. Anaheim, California. April 1, 1972. p. 19
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782:. California, Oakland. June 11, 1939. p. 46
580:, 2009, CD, Cambria Master Recordings (CD-1192).
574:, 1999, CD, Cambria Master Recordings (CD-1111).
91:
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560:"A Recital Experience with Dorothy Warenskjold"
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135:San Francisco War Memorial Opera House at night
1720:"Rites Set for Musician Raymond McFeeters, 77"
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537:of the Grieg/Dvorak songs (Capitol FAP-8250).
437:Royce Hall, Performing Arts Auditorium at UCLA
1773:"Pleasant Spectacular For Stern Grove Finale"
745:. Ohio, Fremont. January 12, 1956. p. 15
519:songs; seven gypsy songs and 4 love songs by
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1853:H.G.,(February 21, 1954), "In the Groove,"
1694:"Musical Theater to Perform in Carson City"
1592:. Monticello, Utah. Jan 25, 1962. p. 6
1312:"9 to Audition in S.F. Opera Region Finals"
1191:"William Warenskjold, Father of Opera Star"
1165:"Dorothy Warenskjold Sings Despite Tragedy"
1120:"A Grand Finale for the 26th Opera Season"
1933:20th-century American women opera singers
1534:"Concert Artist is Happy with Her Career"
1118:Frankenstein, Alfred (October 19, 1948).
656:United States Social Security Death Index
568:, 1984, LP, Grand Prix Records (GP 9010).
562:, 1979, LP, Grand Prix Records (GP 9003).
1799:"Metropolitan Opera Auditions Scheduled"
1044:"Stanford Ace Defeated in Straight Sets"
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428:UCLA School of the Arts and Architecture
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816:Washington, County Marriages, 1855-2008
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884:"Shakespeare Drama At Piedmont School"
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1640:Daniel Cariaga (September 28, 1971).
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1163:Fried, Alexander (October 12, 1953).
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1069:Gessler, Clifford (October 8, 1948).
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578:"The Golden Years of Broadcast Music"
1973:American people of Norwegian descent
1648:. Long Beach, California. p. 15
1449:. San Francisco Examiner. p. 17
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1928:Classical musicians from California
1913:People from San Leandro, California
1827:Ulrich, Allan (November 23, 1986).
1486:. Prestige Publishing. p. 92.
1443:"Russian Baritone a Hit in 'Faust'"
1018:"Draw Pairings for Annual Net Play"
990:Glifford Gessler (3 October 1948).
329:Touring and Radio/Television Career
13:
1953:Actresses from Oakland, California
1771:Shere, Charles (August 22, 1972).
1612:"'Carmen' is Still Operatic Great"
1508:"Sunrise service broadcast Sunday"
1471:. Cambria Master Recordings. 1999.
1285:Kosman, Joshua (August 31, 2022).
1261:"Interview of Dorothy Warenskjold"
685:"A Tribute to Dorothy Warenskjold"
494:, 1953, LP, Capitol (L-407), with
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1984:
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1441:Alexander Fried (April 3, 1960).
1389:Forrest, James (September 2016).
833:California Birth Index, 1905-1995
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728:
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572:"A Treasury of Operatic Heroines"
1958:Singers from Oakland, California
1948:People from Piedmont, California
1700:. September 22, 1971. p. 28
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632:"Obituaries:Dorothy Warenskjold"
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776:"Swimming Party Held at Orinda"
739:"Metropolitan Star Here Sunday"
709:Fogel, Henry (September 2016).
492:Songs from “The Student Prince”
1726:. January 4, 1977. p. 136
1223:. October 12, 1953. p. 28
910:"Piedmont Girls Are Graduated"
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566:"Mozart and other Opera Arias"
511:, 1954, LP, Capitol (P-8247),
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1752:. August 22, 1972. p. 41
1099:. October 9, 1948. p. 10
614:
592:Scenes from Der Rosenkavalier
92:San Francisco Operatic Career
34:– December 27, 2010 in
1963:Actresses from San Francisco
1417:"Björling Life & Career"
1364:"Adler's Gala Twin Jubilees"
1318:. March 30, 1973. p. 94
1265:oralhistory.library.ucla.edu
1150:San Francisco Opera Archives
1093:"S.F. Soprano in Opera Role"
498:, George Greeley conducting.
487:, and two in her own right:
380:'s television production of
264:Voice and Stage Presentation
193:A notable event occurred in
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1943:21st-century American women
1668:"Valleyites in Music Event"
962:"To Participate in Contest"
942:. 9 August 1941. p. 11
172:, both Mimì and Musetta in
28:Dorothy Lorayne Warenskjold
10:
1989:
1923:People from Lenexa, Kansas
1903:American operatic sopranos
1421:Jussi Bjorling Society USA
1370:. June 8, 1978. p. 30
968:. July 13, 1937. p. 8
867:United States Census, 1940
850:United States Census, 1930
374:Armed Forces Radio Network
206:Armed Forces Radio Network
1746:"Opera Receives a Salute"
1024:. May 27, 1938. p. 8
916:. 30 June 1938. p. 7
869:", database with images,
852:," database with images,
818:", database with images,
300:("Telephone Order") to a
209:; Liù's grim final aria
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1968:American radio actresses
1938:American women academics
1560:"New Recording Released"
1195:Newsday (Nassau Edition)
1050:. May 4, 1938. p. 9
890:. 9 June 1937. p. 4
544:in the opening track of
542:The Star Spangled Banner
358:The Standard School Hour
212:Tu, che di gel sei cinta
1750:San Francisco Chronicle
1538:Peninsula Times Tribune
1291:San Francisco Chronicle
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1124:San Francisco Chronicle
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540:Warenskjold also sings
298:Telefonische Bestellung
276:method by her teacher,
61:Warenskjold grew up in
1642:"Warenskjold & Co"
1482:Crossan, Jack (2005).
1368:San Francisco Examiner
1169:San Francisco Examiner
1097:San Francisco Examiner
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363:The Voice of Firestone
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151:The Marriage of Figaro
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1616:Stillwater News-Press
1316:The Los Angeles Times
1146:"Dorothy Warenskjold"
1048:Oakland Post Enquirer
940:Oakland Post Enquirer
888:Oakland Post Enquirer
611:respective websites.
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383:The Tales of Hoffmann
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230:Elisabeth Schwarzkopf
190:and Liù in Turandot.
145:The Tales of Hoffmann
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126:New York Philharmonic
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16:American opera singer
1908:Mills College alumni
1698:Reno Gazette-Journal
56:Piedmont, California
32:Piedmont, California
1874:Dorothy Warenskjold
1590:The San Juan Record
1415:Henrysson, Harald.
98:San Francisco Opera
63:Oakland, California
23:Dorothy Warenskjold
743:The News-Messenger
527:"On Wings of Song"
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282:Queen of the Night
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38:) was an American
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1833:Los Angeles Times
1724:Los Angeles Times
1564:Bennington Banner
689:OperaNostalgia.be
664:Death Master File
644:(10). April 2011.
586:Der Rosenkavalier
378:NBC Opera Theatre
369:The Railroad Hour
353:The Standard Hour
307:The Standard Hour
225:Der Rosenkavalier
160:, Marzelline in
122:William Steinberg
30:(May 11, 1921 in
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