Julia Hamari

Julia Hamari, originally Hamari Júlia (born November 21, 1942), Hungarian mezzo-soprano and alto singer in opera and concert, appearing internationally. She is an academic voice teacher in Stuttgart. Original, vintage, pen and ink, "on-the-spot" illustration by George 'Georges' Krishizki. The hand drawn illustration has been signed by Hamari and additionally signed, dated and titled by Krishizki: "Georges / 1978 / Julia Hamari / Singing Coutralto Solo part in Mahler's "Das Lied von der Erde."

Her opera debut was the part of Mercedes in Bizet's Carmen at the Salzburg Festival of 1967, together with Grace Bumbry, Jon Vickers and Mirella Freni, Herbert von Karajan conducting; in 1987 she appeared in the title role herself at the Staatsoper Stuttgart with conductor Carlos Kleiber. Her early career soon included major roles such as Malcolm in a 1970 Turin revival of Rossini's La Donna del Lago, joining Franco Bonisolli as Uberto and Montserrat Caballé as Elena. In 1975, she sang the part of Magdalene in Georg Solti's first recording of Wagner's Die Meistersinger von Nürnbergwith the Vienna Philharmonic, Norman Bailey as Sachs and René Kollo as Stolzing. In 1979, she sang Celia in Haydn's La fedeltà premiata at the Glyndebourne Festival Opera, in 1980 Orfeo in Gluck's Orfeo ed Euridice at the Maggio Musicale Fiorentino, in 1984 Dorabella in Mozart's Così fan tutte at the Dallas Opera, and in 1986 Angelina in Rossini's La Cenerentola. In 1982 she made her Metropolitan Opera debut as Rosina in Rossini’s Il barbiere di Siviglia. At the Cologne Opera she sang Sesto in Mozart's La clemenza di Tito, and at the Covent Garden Opera Cherubino in his Le nozze di Figaro.

George 'Georges' Krishizki (March 22, 1924 – December 20, 2001), Russian-Polish-American illustrator who came to the U.S. in 1949. While he earned acclaim for his renderings of the city’s architectural landmarks, it was his on-the-spot drawings of musicians in performance that attracted an especially appreciative audience. In a 1973 article published in conjunction with two simultaneous exhibitions, Georges explained the genesis of his long-running engagement with the concert hall: “I’ve always enjoyed going to concerts, and one day I decided it would be fun to combine my interests in music and art and make sketches of musicians during performances.”  Indeed, the most remarkable feature of Georges’ oeuvre, apart from the astounding range of performers who gladly expressed their approval and appreciation by signing, is the skill with which the drawings are accomplished.

This original pen and ink illustration, measuring approximately 9 x 12, on heavy-weight sketch paper, is in fine condition with some light overall toning. Its verso is blank and clean.