Marta Eggerth

Marta Eggerth, an effervescent force on both stage and screen, captured hearts across continents with her lyrical soprano and magnetic presence. Born on April 17, 1912, in Budapest, Hungary, she emerged as a starlet during a period of intense transformation and turmoil in Europe, leaving an indelible mark on the musical and operatic realms. Her story begins amidst the rich cultural tapestry of early 20th-century Budapest, where she was born Marta Maria Ilona Eggerth. Her mother, an accomplished amateur singer, nurtured her daughter's precocious talent from an early age. By age 11, Eggerth had already staged her debut concert, cementing her path toward the world of operetta. Her ascent was swift; her debut roles as a teenager in Budapest soon found her gracing stages in Vienna and Berlin, the epicenters of operatic and theatrical innovation at the time. Eggerth’s initial acclaim emerged from her work in operettas, a genre that flourished during the interwar years, offering escapism through its vividly emotional storytelling and musicality. With her radiant voice and charismatic stage presence, Eggerth became a beloved figure in numerous productions. Notably, she starred in many works by Franz Lehár, a giant of the operetta world. Her association with Lehár became a pivotal aspect of her European career, particularly in beloved classics such as "The Merry Widow," where her portrayal brought new vivacity to the beloved role of Hanna Glawari. Her vivacious allure and vocal skills soon caught the attention of the burgeoning film industry. Eggerth transitioned seamlessly onto the silver screen, becoming a staple in the popular music films of the 1930s. Her screen persona was the embodiment of elegance and sophistication; she possessed an ethereal quality that translated beautifully to film. Eggerth’s films, predominantly German and Austrian productions, were characterized by their lighthearted romance and comedic charm. However, as politically oppressive clouds darkened Europe, her career momentum required adaptation. The ascent of Nazism and its consequent anti-Semitic policies compelled Eggerth to navigate a rapidly changing cultural landscape. Despite not being Jewish herself, her marriage in 1936 to Polish-Jewish tenor Jan Kiepura—another luminous star in the operatic firmament—made remaining in Europe increasingly untenable. This partnership not only represented a fusion of artistic talents but also emerged as a profound personal alliance, lasting until Kiepura's death in 1966. The couple relocated to the United States, where Eggerth had to reestablish her career amidst new cultural sensibilities. Broadening her horizons, she performed on Broadway and in Hollywood, adjusting to the demands of different audiences while retaining her intrinsic charm and musical prowess. Her American debut occurred in the operetta "Great Lady" in 1938, where critics were notably captivated by her vocal brilliance. She transitioned into film roles though none would rival the influence she wielded in pre-war Europe. In Hollywood, Eggerth lent her talents to several film musicals, yet despite her efforts, she couldn’t replicate the monumental fame she held across the Atlantic. The tastes of American cinema were shifting towards a different brand of musical, arguably glossier and specifically English-speaking—a challenge some European stars faced during that era. Her prominent screen appearances in the United States were limited, yet she remained an active presence on stage, often sharing the limelight with Kiepura in concerts and operatic productions. After World War II, Eggerth and Kiepura divided their time between their homes in the United States and touring in Europe, where they found audiences receptive to their performances. Eggerth continued to sing classical and operatic pieces, which allowed her to showcase the depth and versatility of her voice even as global entertainment tastes evolved. Eggerth's later career was marked by a dedicated return to operetta, a genre she personified. Her performances became more sporadic after Kiepura’s passing, yet her legacy already cemented her status as a doyenne of operatic and musical theatre. Eggerth continued to sing into her nineties, her passion for the stage unwavering despite the passage of time. In many ways, Marta Eggerth’s life and career encapsulate the vicissitudes faced by artists entangled in the crosshairs of cultural and political upheaval. As a figure who traversed the glamorous expanse of operetta’s golden age, survived exile, and graced the stages of Broadway, Eggerth's journey underscores the resilience and adaptability that defined many performers of her generation. Her death in Rye, New York, on December 26, 2013, marked the end of a century-long life deeply entwined with music. Yet the echoes of her voice, captured in recordings, and the memories forged in her live performances endure, preserving the essence of a talent that once bridged the old world with the new.