{{Short description|American soprano and composer (1880–1970)}} {{Use mdy dates|date=June 2021}} {{Infobox person | name = Estelle Liebling | image = File:Estelle Liebling (Newberry Library, Milward Adams Coll) crop2.jpg | image_upright = | alt = | caption = Estelle Liebling, c. 1904 (Newberry Library, Chicago) | birth_date = {{birth date|1880|04|21}} | birth_place = New York City, U.S. | death_date = {{death date and age|1970|09|25|1880|04|21}} | death_place = New York City, U.S. | education = {{plainlist| * Stern Conservatory<br> Hunter College }} | occupation = {{plainlist| * Soprano * Composer * Arranger * Music editor * Voice teacher * Vocal coach }} | organization = {{plainlist| * Metropolitan Opera * G. Schirmer, Inc. * John Philip Sousa's band }} | awards = | parents = Max Liebling<br> Matilde Liebling (née de Perkiewicz) }} '''Estelle Liebling''' (April 21, 1880 – September 25, 1970) was an American soprano, composer, arranger, music editor, and celebrated voice teacher and vocal coach.
Born into the Liebling family of musicians, she began her professional opera career in Dresden as a leading coloratura soprano in 1898 when she was just 18 years old. She sang with several important opera houses in Europe, including the Opéra-Comique, the Semperoper, and the Staatsoper Stuttgart. From 1902 to 1904 she was committed to the Metropolitan Opera, and from 1902 to 1905 she toured internationally in more than 1,600 concerts with John Philip Sousa and his band. After her marriage in 1906, she performed only occasionally in the succeeding two decades.
Liebling began her teaching career in the 1910s, not stopping until her death more than 50 years later. Her pedagogy was rooted in the tradition of her teacher Mathilde Marchesi. She mainly taught out of her private studio in New York City, with the exception of three years working on the faculty of the Curtis Institute of Music in the 1930s. During her career she was the vocal coach or voice teacher of 78 principal singers at the Met.
Many of her students were famous singers and entertainers or other public figures, including sopranos Beverly Sills, Amelita Galli-Curci, Maria Jeritza, Kitty Carlisle, and Margaret Truman; baritones Titta Ruffo and Alexander Sved; Wagnerian tenor Max Lorenz; dancer Adele Astaire; actresses Joan Crawford, Gertrude Lawrence, and Meryl Streep; socialite Irene Mayer Selznick; and Hollywood gossip queen Louella Parsons.<ref name="women"/><ref name="Eaton"/><ref name="Dean Fowler"/><ref name="obit"/>
Liebling composed, edited, and arranged music for singers, most often for coloratura sopranos, but also for other voices. A prolific arranger and editor of vocal music for the music publisher G. Schirmer, Inc. and the author of several influential vocal pedagogy texts, she is considered one of the most influential voice instructors and vocal pedagogy authors of the 20th century.<ref name="women"/><ref name="Eaton"/><ref name="Dean Fowler"/><ref name="Parr"/><ref name="obit"/>
In particular, her influence on the interpretation of coloratura soprano repertoire has had a lasting impact, with musicologist Sean M. Parr stating that Liebling "codified many traditional coloratura cadenzas".<ref name="Parr"/>
==Early life and opera career== thumb|upright=.8|left|Estelle Liebling, 1901 Born into a Jewish family on 57th Street in New York City, Liebling was the daughter of composer Max Liebling (1845–1927) and Matilde Liebling (née de Perkiewicz).<ref name="Eaton">{{cite journal|title=First Lady of Voice|journal=Opera News|date=March 1, 1969|pages=26–28|author=Quaintance Eaton}}</ref><ref name="women">{{cite encyclopedia|url=https://jwa.org/encyclopedia/article/liebling-estelle|title=Estelle Liebling: 1880 – 1970|encyclopedia=The Encyclopedia of Jewish Women|author=Charlotte Greenspan|year=2009|access-date=May 12, 2021|archive-date=May 12, 2021|archive-url=https://web.archive.org/web/20210512060116/https://jwa.org/encyclopedia/article/liebling-estelle|url-status=live}}</ref> Her father and his three brothers, George, Emil, and Solly Liebling, were all pupils of Franz Liszt and had successful careers as pianists and composers.<ref name="women"/> Two of her three brothers, James and Leonard Liebling, also worked professionally as musicians.<ref name="women"/> Leonard was the editor of the ''Musical Courier'' for many years and had trained as a pianist with Leopold Godowsky.<ref name="obit">{{cite news|date=September 26, 1970|title=Estelle Liebling Dies Here at 90; Was a Leading Operatic Coach|work=The New York Times|url=https://www.nytimes.com/1970/09/26/archives/estelle-liebling-dies-here-at-90-was-a-leading-operatic-coach.html|access-date=May 12, 2021|archive-date=April 19, 2021|archive-url=https://web.archive.org/web/20210419154350/https://www.nytimes.com/1970/09/26/archives/estelle-liebling-dies-here-at-90-was-a-leading-operatic-coach.html?searchResultPosition=5|url-status=live}}</ref> After initial studies as a pianist, she studied singing with soprano and vocal pedagogue Selma Nicklass-Kempner at the Stern Conservatory in Berlin.<ref name="women"/><ref>{{cite journal|title=Liebling, Estelle|work=International encyclopedia of women composers|year=1987|author=Aaron I. Cohen|url=https://rme.rilm.org/article?id=iew12974&v=1.0&rs=iew12974|access-date=May 20, 2021|archive-date=May 20, 2021|archive-url=https://web.archive.org/web/20210520031258/https://rme.rilm.org/article?id=iew12974&v=1.0&rs=iew12974|url-status=live}}</ref> Listening to advice from Nellie Melba, she continued further studies with Melba's teacher mezzo-soprano Mathilde Marchesi in Paris.<ref name="Eaton"/><ref name="women"/> She was a graduate of Hunter College.<ref name="obit"/>
Liebling made her professional opera debut in September 1900 at the Semperoper in Dresden as the title heroine in Gaetano Donizetti’s ''Lucia di Lammermoor''.<ref>{{cite news|title=Of Musical Interest|work=Brooklyn Life|date=December 14, 1901|page=12}}</ref> She performed other coloratura soprano roles at that opera house, including Rosina in Rossini's ''The Barber of Seville'' and the Queen of the Night in Mozart's ''The Magic Flute''.<ref name="women"/> Speaking of her early experiences in Dresden to Quaintance Eaton of ''Opera News'' in 1969, Liebling stated: <blockquote>"The entire company apparently joined in a cabal against me because of an injudicious item printed by Henry Krehbiel in the ''New York Tribune'' to the effect that I would replace Erika Wedekind in Dresden. Marcella Sembrich, who lived there, snubbed me cruelly, and the conductor and singers would hardly speak to me. It took all my grit to carry through my debut as Lucia and subsequent performances as Queen of the Night and Rosina."<ref name="Eaton"/></blockquote>
Liebling also performed leading roles with the Opéra-Comique and the Staatsoper Stuttgart before returning to the United States to make her debut at the Metropolitan Opera (Met) as Marguerite de Valois in Meyerbeer's ''Les Huguenots'' on February 24, 1902.<ref name="women"/> She returned to the Met in 1903 as Musetta in Puccini's ''La bohème'' with Marcella Sembrich as Mimì, Enrico Caruso as Rodolfo, Giuseppe Campanari as Marcello, and Arturo Vigna conducting.<ref name="MET"/> She was heard again at the Met in 1904 as a Flower Maiden in Richard Wagner's ''Parsifal'' and as the 2nd Genie in Mozart's ''The Magic Flute''.<ref name="MET">{{cite web|url=http://archives.metoperafamily.org/archives/frame.htm|title=Estelle Liebling|work=Metropolitan Opera Archives|accessdate=May 11, 2021|archive-date=August 12, 2018|archive-url=https://web.archive.org/web/20180812164001/http://archives.metoperafamily.org/archives/frame.htm|url-status=live}}</ref>
==Work with Sousa== Liebling became a favored soprano of John Philip Sousa after her manager, Henry Wolfsohn, managed to successfully promote her as an artist to him.<ref name="Dean Fowler"/> Wolfsohn convinced Sousa to buy another singer out of her contract in order to engage Liebling for his 1902 fall tour.<ref name="Dean Fowler">{{cite thesis|title=Estelle Liebling: An exploration of her pedagogical principles as an extension and elaboration of the Marchesi method, including a survey of her music and editing for coloratura soprano and other voices|first=Alandra|last=Dean Fowler|year=1994|type=PhD|publisher=University of Arizona}}</ref> She first sang with Sousa and his band in Atlantic City for matinee and evening performances on Saturday, August 9, 1902, in which she performed Benjamin Godard’s ''Chanson de Florian'', Alexander Alyabyev's ''Solovey'', and the mad scene from Donizetti's ''Lucia di Lammermoor''.<ref name="Kreitner">{{cite thesis|title="A Splendid Group of American Girls": The Women who Sang with the Sousa Band|first=Mona Bulpitt|last= Kreitner|type=PhD|publisher= University of Memphis|year=2007}}</ref> She traveled throughout the United States and Europe as a soprano soloist with Sousa's band from 1902 to 1905 in over sixteen hundred concerts in nine tours.<ref name="Sousa">{{cite book|url=https://books.google.com/books?id=J2gdCa_4d2gC&dq=%22Estelle+Liebling%22&pg=PA67|title=The Incredible Band of John Philip Sousa (Music in American Life)|page=67|author=Paul E. Bierley|year=2006|publisher=University of Illinois Press|isbn=9780252031472}}</ref><ref name="women"/><ref>{{cite journal|last1=Danner |first1=Phyllis |last2=Coppen |first2=David Peter |last3=Werner |first3=Ann Marie |title=Anatomy of a Preservation Project: The Sousa and Clarke Archives at UIUC |journal=Sonneck Society for American Music Bulletin |volume=XXIV |issue=2 |date=Spring 1998 |url=http://www.american-music.org/publications/bullarchive/Danner.htm |accessdate=October 23, 2003 |url-status=dead |archiveurl=https://web.archive.org/web/20110720042325/http://www.american-music.org/publications/bullarchive/Danner.htm |archivedate=July 20, 2011 }}</ref> Her first tour was in the fall of 1902 for performances in the Midwestern United States. One of the stops on that tour was at Tomlinson Hall in Indianapolis in which she performed "The Bell Song" from Delibes' ''Lakmé'', Sousa's ''The Snow Baby'', and ''Solovey'' on September 18, 1902.<ref name="Kreitner"/> The ''Indianapolis Sentinel'' review of the performance stated: <blockquote>"the audience had “save[d] its best applause for Miss Liebling” and that "Miss Liebling, who is vocal soloist this season for all of Sousa’s indoor concerts has the artistic temperament, is magnetic, is endowed with a pure soprano voice of exceptional range and adequate power, and is blessed with a most attractive stage presence. [She] displayed warmth, refinement, and finesse. No singer who has appeared in Indianapolis for many seasons has more easily and completely captivated her audience."<ref>{{cite journal|journal=Indianapolis Sentinel|date=September 19, 1902|page=19|title=Tomlinson Hall}}</ref></blockquote>
From January through July 1903 Liebling toured Europe with Sousa, performing much of the same repertoire she had performed earlier with the band.<ref name="Kreitner"/> She was particularly admired for her performances of one new aria, "Charmant oiseau" from Felicien David’s ''La Perle du Brésil'' which was a showpiece for both her coloratura soprano and Sousa band flutist Marshall Lufsky.<ref name="Kreitner"/> The tour began with performances at the Queen's Hall in London from January 2 to 11.<ref name="Kreitner"/> This was proceeded by performances in Brighton, Reading, Swindon, Stratford-on-Avon, and Leamington over the next five days.<ref name="Kreitner"/> On January 17 a private performance was given at Warwick Castle for Francis Greville, 5th Earl of Warwick and Daisy Greville, Countess of Warwick and their guests.<ref name="Kreitner"/> On January 31 they performed for King Edward VII at Windsor Castle.<ref name="Kreitner"/> Speaking of that experience, Liebling stated, <blockquote> " A command performance at Windsor Castle for King Edward VII was the thrill of my young life. We were punctual of course, but His Majesty dawdled over a pinochle game and didn't show up for what seemed hours. It was an all-American program except for our solos - my 'Charmant Oiseau' from David's ''Perle de Bresil'' and Maud Powell's 'Zigeunerweisen'. Maud was already considered the leading woman violin virtuoso in the world. The King asked for encores. Naturally the band played 'The Stars and Stripes Forever' - they were never allowed to get away without it. I used to stand in the wings and warm up by singing along with the flutes. Sousa always seemed amused."<ref name="Dean Fowler"/> </blockquote>
Liebling and the Sousa band continued to perform in Britain through the middle of April and then proceeded to Paris where they performed a series of concerts beginning on April 19, 1903.<ref name="Kreitner"/> This was followed by performances in other European cities in Austria, Belgium, Germany, Holland, Poland, and Russia over the next few months.<ref name="Kreitner"/> They returned to Britain in July 1903 for performances in England, Ireland, and Wales for the conclusion of the European tour.<ref name="Kreitner"/> A reviewer in the ''Burton Mail'' of Liebling's performance on her British tour stated: <blockquote>"[She] possesses a soprano voice of unusual brilliancy and flexibility, and with a very wide compass...clear flute-like quality...and she tripped up and down the chromatic scales and gave the trying staccato passages with no more apparent difficulty than the brilliant bird she was supposed to imitate."<ref>{{cite journal|title=Music In Review|journal=Burton Mail|date=January 20, 1903|page=15}}</ref></blockquote>
After a month off, Liebling rejoined Sousa and his band for another fall tour in the United States which began in Willow Grove, Pennsylvania, on August 30, 1903.<ref name="Kreitner"/> Stops along this tour included appearances at the Cincinnati Fall Festival, the Indiana State Fair, and a concluding run at the Pittsburgh Exposition from September 29 through October 3, 1903.<ref name="Kreitner"/> New performance repertoire sung by Liebling during this tour included Sousa’s ''Maid of the Meadow'', ''Voices of Spring'' by Johann Strauss, the aria "A vos jeux, mes amis" from Thomas's ''Hamlet'', the aria "Legere hirondelle" from Gounod's ''Mireille'', Ethelbert Nevin's "Mighty Lak' a Rose", and "Go To Sleep, Slumber Deep" from Victor Herbert's ''Babes in Toyland''.<ref name="Kreitner"/>
After half a year off, Liebling resumed touring with Sousa and his band in April 1904 for a nine-month-long tour of the United States.<ref name="Kreitner"/> Some of the stops on this tour included the Parsons Theatre in Hartford, Connecticut; the Lyric Theatre in Baltimore; the Peck Theatre in Buffalo, New York; the St. Louis World's Fair; the Pittsburgh Exposition; the Corn Palace in Mitchell, South Dakota; the Grand Theatre in Sioux City Iowa; Convention Hall in Kansas City, Missouri; the Hazard's Pavilion in Los Angeles; and Carnegie Hall in New York City.<ref name="Kreitner"/> Some new repertoire from the tour included Sousa's "Will You Love When the Lilies are Dead?"; a Sousa arrangement of the aria "O rianle nature" from Gounod's ''Philémon et Baucis''; the aria "Una voce poco fa" from Rossini's ''The Barber of Seville''; and the aria "Air du rossignol" from Victor Massé's ''Les noces de Jeannette''.<ref name="Kreitner"/> Reviews from this tour were mixed, with some reviewers highly complimentary and others commenting on Liebling's voice sounding tired and worn, or overpowered by Sousa's instrumentalists.<ref name="Kreitner"/>
From January 6 through May 3, 1905, Liebling toured the British Isles with Sousa and his band. The tour commenced at the Philharmonic Hall, Liverpool, and featured Liebling performing Isabella's aria from Ferdinand Hérold’s ''Le pre aux clercs'' with an added flute obbligato by Marshall Lufsky and a band arrangement by Herbert L. Clarke.<ref name="Kreitner"/> Some of the other stops on this tour included the Queen’s Hall in London and County Hall in Salisbury.<ref name="Kreitner"/> After returning to the United States, Sousa's band performed at the Metropolitan Opera House on May 21, 1905, with Liebling singing "Where is Love?" from Sousa's operetta ''Chris and the Wonderful Lamp''.<ref name="Kreitner"/> Her final appearances with Sousa's band in 1905 were at the New York Hippodrome on June 11 and 18; the same month in which her engagement to A. R. Mosler was announced.<ref name="Kreitner"/> After this point, Liebling no longer toured with Sousa, but did occasionally perform with his band in singular guest appearances through 1908.<ref name="Kreitner"/>
==Later life and teaching career== thumb|Estelle Liebling (c. 1920–1925) In 1905 Liebling married the engineer Arthur Rembrandt Mosler, the son of painter Henry Mosler whose family owned the Mosler Safe Company.<ref name="obit"/><ref name="women"/> Mosler was wealthy, and the couple resided for many years in a luxurious penthouse at 145W 55th Street in the same building where Liebling later established her private voice studio on a lower floor.<ref name="Dean Fowler"/>
After her marriage Liebling's performances became less frequent, but she continued to perform periodically for the next two decades.<ref name="women"/> She served as the music director of her own ensemble, the Liebling Singers, with whom she toured the United States. She also toured as a recitalist and lecturer in addition to performing in concert literature with orchestras and working as an arranger and composer.<ref name="Sousa"/> Several encyclopedia publications name her as a soloist in concerts with prominent orchestras, although no dates are given or details of repertoire.<ref name="Dean Fowler"/> These ensembles include the Berlin Philharmonic, Boston Symphony, Detroit Symphony, Leipzig Gewandhaus Orchestra, New York Philharmonic, New York Symphony, and Philadelphia Orchestra.<ref name="Dean Fowler"/><ref>{{cite book|chapter=Liebling, Estelle|title=ASCAP Biographical Dictionary, 4th edition|publisher=R. R. Bowker|year=1980}}</ref><ref>{{cite book|chapter=Liebling, Estelle|title= The International Encyclopedia of Music and Musicians|editor=Oscar Thompson|publisher=Dodd, Mead & Co.|year=1964}}</ref>
Liebling began teaching singing and coaching singers in the 1910s, and continued to do so for over 50 years.<ref name="obit"/> She mainly taught out of a private studio in New York City, with the exception of three years teaching as a member of the voice faculty at the Curtis Institute for Music from 1936 to 1938.<ref name="women"/> She coached 78 leading singers while they were working at the Met in addition to a busy teaching load of her own students.<ref name="obit"/> Many of her pupils were famous, including opera singers, Broadway stars, movie stars, radio performers, and other entertainers.<ref name="obit"/><ref name="Dean Fowler"/>
In 1963 Liebling was awarded an honorary degree from Fairleigh Dickinson University.<ref name="obit"/> Having never retired, she died on September 25, 1970, at the Hampshire House, 150 Central Park South, in New York City at the age of 90.<ref name="obit"/> Her husband and their son, Arthur Jr., both predeceased her in 1953.<ref name="obit"/> Her only living family at the time of her death was her grandson, Henry Arthur Mosler, and her great-granddaughter, Alisa Beth Mosler.<ref name="Dean Fowler"/>
==Vocal pedagogy== Liebling's pedagogy was rooted in the tradition of her teacher Mathilde Marchesi, and continued in the tradition of Marchesi's teacher Manuel García.<ref>{{cite book|title=The Singing Voice|author=Robert Rushmore|year=1984|page=246|publisher=Dembner Books}}</ref> She published several influential vocal pedagogy texts, including the four-volume method book ''The Estelle Liebling Vocal Course'' (1956) with each volume focusing on a different voice type and following a vocal course divided into three parts: "vocal mechanism", "vocal studies", and "diction".<ref name="Dean Fowler"/><ref name="women"/> She utilized a three vocal register understanding of the voice mechanism: chest, medium, and head.<ref>{{cite book|url=https://books.google.com/books?id=Cv3Bddq9ht4C&dq=Estelle+Liebling+three+register&pg=PA13|title=The Estelle Liebling Vocal Course for Mezzo-soprano and Contralto|year=1956|editor=Bernard Whitefield|author=Estelle Liebling|page=13|publisher=Chappell & Co.|isbn=9780793506354}}</ref> Much of the pedagogy espoused by Liebling in these volumes is comparable to the pedagogy articulated by Marchesi in her ''Méthode de chant théorique et pratique'' (1887), and provides a written record of Liebling's continuation of Marchesi's pedagogical approach.<ref name="Dean Fowler"/>
Other influential texts included ''The Estelle Liebling Coloratura Digest'' and a 1941 revised edition of the vocalises written by Marchesi (titled ''Thirty Vocalises'').<ref name="women"/> Columbia University musicologist Sean M. Parr stated her publications and teachings "codified many traditional coloratura cadenzas".<ref name="Parr">{{cite book|url=https://books.google.com/books?id=7P4hEAAAQBAJ&dq=%22Estelle+Liebling%22+codified&pg=PA247|title=Vocal Virtuosity: The Origins of the Coloratura Soprano in Nineteenth Century Opera|page=247|author=Sean M. Parr|year=2021|publisher=Oxford University Press|isbn=978-0-19-754264-4}}</ref>
Beverly Sills, her most famous opera student, began her studies with Liebling in 1936 when she was just 7 years old.<ref name="Dean Fowler"/> She stated "Miss Liebling was the last surviving pupil of Mathilde Marchesi, one of the great vocal teachers of all time. Because I was so young, Miss Liebling put me through the entire Marchesi school of singing."<ref name="Bubbles">{{cite book|title=Bubbles - A Self-Portrait|author=Beverly Sills|publisher=Bobbs-Merrill Company|year=1976|page=21}}</ref> Sills continued to study with her up until Liebling's death 34 years later, and she described her as a demanding teacher who was strict and formal in lessons, but could also be incredibly kind and maintained an excellent sense of humor.<ref name="Bubbles"/> Liebling would often come hear Sills perform at the New York City Opera, and critique what she was hearing.<ref name="Bubbles"/> Sills stated, <blockquote>I remember one night when she came to hear me do Marguerite in ''Faust'', she was then ninety-one.{{refn|Liebling died at the age of 90,<ref name="Dean Fowler"/><ref name="women"/> and Sills made an error on the age of her teacher. Her performance annals indicate she was performing ''Faust'' from 1968-1970 at the New York City Opera, making Liebling's possible age between 88 and 90 at the time of this event.<ref>{{cite web|title=Beverly Sills Performance Annals|url=http://www.beverlysillsonline.com/annals/Sillslist.php|accessdate=May 25, 2021|archive-date=May 25, 2021|archive-url=https://web.archive.org/web/20210525235302/http://www.beverlysillsonline.com/annals/Sillslist.php|url-status=live}}</ref>|group= n}} Next morning at seven o'clock my telephone rang. It was Miss Liebling. 'Beverly,' she said sternly, 'that trill in the Jewel Song was very sloppy and slow. I expect you over here by ten o'clock.' I had to agree - the trill had been sloppy and slow. Exhausted as I was that morning after the performance, I got dressed, went to her studio, spent forty-five minutes with her trilling, and when I walked out I had a damned good trill.<ref name="Bubbles"/></blockquote>
==Pupils== ===Opera singers=== {{div col|colwidth=18em}} *Selma Amansky<ref name="Dean Fowler"/> * Grace Angelau<ref name="Dean Fowler"/> * Tilly Barmach<ref name="Dean Fowler"/> * Rosemarie Brancato<ref name="obit"/> * Yvonne D'Arle<ref name="Dean Fowler"/> * Stefano Ballarini<ref name="Dean Fowler"/> * Beatrice Belkin<ref name="Dean Fowler"/> * Josepha Chekova<ref name="Dean Fowler"/> * Colette D'Arville<ref name="Dean Fowler"/> * Mario Fiorella<ref name="Dean Fowler"/> * Amelita Galli-Curci<ref name="women"/> * Alfredo Gandolfi<ref name="Dean Fowler"/> * Rosario García Orellana<ref name="Dean Fowler"/> * Annunciata Garrotto<ref name="Dean Fowler"/> * Hope Hampton<ref name="Dean Fowler"/> * Frieda Hempel<ref name="women"/> * Gabrielle Hunt<ref name="Dean Fowler"/> * Maria Jeritza<ref name="obit"/> * Walter Kirchhoff<ref name="Dean Fowler"/> * Miliza Korjus<ref name="obit"/> * Göta Ljungberg<ref name="Dean Fowler"/> * Max Lorenz<ref name="obit"/> * Joseph Macaulay<ref name="Dean Fowler"/> * Elsie MacFarlane<ref name="Dean Fowler"/> * Virginia MacWatters<ref name="Dean Fowler"/> * Dorothee Manski<ref name="Dean Fowler"/> * William Martin<ref name="Dean Fowler"/> * Conrad Mayo<ref name="Dean Fowler"/> * Mary Mellish<ref name="Dean Fowler"/> * Lucy Monroe<ref name="Dean Fowler"/> * Maria Müller<ref name="Dean Fowler"/> * Devora Nadworney<ref name="Dean Fowler"/> * Verna Osborne<ref name="Dean Fowler"/> * Grace Panvini<ref name="Dean Fowler"/> * Julia Peters<ref name="Dean Fowler"/> * Irra Petina<ref name="Dean Fowler"/> * Marie Rappold<ref name="Dean Fowler"/> * Elisabeth Rethberg<ref name="Dean Fowler"/> * Anne Roselle<ref name="Dean Fowler"/> * Titta Ruffo<ref name="women"/> * Joan Ruth<ref name="Dean Fowler"/> *Jane Shoaff<ref name="Dean Fowler"/> * Beverly Sills<ref name="women"/> * Alexander Sved<ref name="Dean Fowler"/> * Charlotte Symons<ref name="Dean Fowler"/> * Jean Tennyson<ref name="Dean Fowler"/> * Barbara Thorne<ref name="Dean Fowler"/> * June Winters<ref name="Dean Fowler"/> {{div col end}}
===Entertainers outside opera and other famous pupils=== {{div col|colwidth=18em}} * Adele Astaire<ref name="women"/> * Ralph Blane<ref name="Dean Fowler"/> * Kitty Carlisle<ref name="women"/> * Betty Compton<ref name="Dean Fowler"/> * Joan Crawford<ref name="Dean Fowler"/> * Artells Dickson of The Rondoliers<ref name="Dean Fowler"/> * Jessica Dragonette<ref name="women"/> * Doris Duke<ref name="Dean Fowler"/> * Eleanor French, cafe singer<ref name="Dean Fowler"/> * Gertrude Lawrence<ref name="women"/> * Irene Mayer Selznick<ref name="Dean Fowler"/> * Louella Parsons<ref name="Dean Fowler"/> * Joan Roberts<ref>{{cite news|title=Joan Roberts Dies at 95; Original 'Oklahoma!' Star|author=Margalit Fox|work=The New York Times|date= August 16, 2012|page=A15}}</ref> * Vivienne Segal<ref name="Dean Fowler"/> * Robert Shafer, Broadway musical actor<ref name="Dean Fowler"/> * Meryl Streep<ref>{{cite news|url=https://latimesblogs.latimes.com/culturemonster/2012/02/meryl-streep-talks-opera-training-vocal-control.html|title=Meryl Streep explains how her opera training helps vocal control|work=Los Angeles Times|date=February 7, 2012|access-date=May 12, 2021|archive-date=May 12, 2021|archive-url=https://web.archive.org/web/20210512134426/https://latimesblogs.latimes.com/culturemonster/2012/02/meryl-streep-talks-opera-training-vocal-control.html|url-status=live}}</ref> * Garfield Swift<ref name="Dean Fowler"/> * Nina Tarasova<ref name="Dean Fowler"/> * Margaret Truman<ref name="Dean Fowler"/> * Iva Withers<ref name="Dean Fowler"/> {{div col end}}
==Publications by Liebling== ===As author=== *{{cite book|title=Music: Art Music and Literature Keep Memory Alive|author=Estelle Liebling and Laurence B. Ellert|publisher= Willis Music Company|year= 1940}}<ref name="Dean Fowler"/> *{{cite book|title=The Estelle Liebling Coloratura Digest|publisher=G. Schirmer, Inc.|author=Estelle Liebling|year=1943}}<ref name="Dean Fowler"/> *{{cite book|title=Fifteen Arias for Coloratura Soprano|publisher=G. Schirmer, Inc.|author=Estelle Liebling|year=1944}}<ref name="Dean Fowler"/> *{{cite book|title=The Estelle Liebling Vocal Course for Soprano: Coloratura, Lyric and Dramatic|author=Estelle Liebling|publisher=Chappell And Intersong Music Group|year=1956|editor=Bernard Whitefield}} *{{cite book|title=The Estelle Liebling Vocal Course for Mezzo-soprano and Contralto|author=Estelle Liebling|publisher=Chappell And Intersong Music Group|year=1956|editor=Bernard Whitefield}}<ref name="Dean Fowler"/> *{{cite book|title=The Estelle Liebing Vocal Course for Lyric Tenor and Dramatic Tenor|author=Estelle Liebling|publisher=Chappell And Intersong Music Group|year=1956|editor=Bernard Whitefield}}<ref name="Dean Fowler"/> *{{cite book|title=The Estelle Liebling Vocal Course for Baritone, Bass Baritone and Bass (basso)|author=Estelle Liebling|publisher=Chappell And Intersong Music Group|year=1956|editor=Bernard Whitefield}}<ref name="Dean Fowler"/> *{{cite book|title=The Aria: Renaissance and Baroque, from the Parisotti Collection, vol. 1 and 2|editor=Ruggero Vené|author=Estelle Liebling|publisher=Franco Colombo|year=1963}}<ref name="Dean Fowler"/> *{{cite book|title=Diva Bravura - Coloratura and Operatic Arias|publisher=G. Schirmer, Inc.|author=Estelle Liebling|year=1963}}<ref name="Dean Fowler"/>
===As composer=== *"Indian Love Song" (John Church Co., 1904)<ref name="Dean Fowler"/> *"Straussiana" on themes by Johann Strauss II for coloratura soprano and piano (Fisher, 1925)<ref name="Dean Fowler"/> * "Faustiana-a vocal fantasy based on ballet music from Gounod's ''Faust''" (G. Schirmer, Inc., 1950)<ref name="Dean Fowler"/> *"Philomel", text by William Shakespeare (Galaxy Music Corporation, 1950)<ref name="Dean Fowler"/> *"Hast Thou. O Night? - A Nocturne", poetry by Eugene Field (Galaxy Music Corporation, 1952)<ref name="Dean Fowler"/>
===As editor or arranger=== * "Je suis Titania" from the opera ''Mignon'' by Ambroise Thomas (G. Schirmer, Inc., 1901)<ref name="Dean Fowler"/> * "The Nightingale" by Aleksandr Alyabyev (G. Schirmer, Inc., 1928)<ref>{{cite journal|title=The Soprano and the Nightingale: Aleksandr Alyabyev's "Solovey"|journal=Journal of Musicological Research|author=Anne Marie Weaver|year=2016|volume=35|number=1|pages=23–44|doi=10.1080/01411896.2016.1116349 }}</ref> * "The Blue Danube", as sung by Mme. Amelita Galli-Curci" by composer Johann Strauss II (G. Schirmer, Inc., 1929)<ref name="Dean Fowler"/> *"Se saran rose" ("Springtime Waltz Song") by Luigi Arditi (G. Schirmer, Inc., 193?)<ref name="Dean Fowler"/> *"Ah! Je veux vivre" from the opera ''Romeo et Juliette'' by Charles Gounod (G. Schirmer, Inc., 1937)<ref name="Dean Fowler"/> *"II Bacio" by Luigi Arditi (G. Schirmer, Inc., 1937)<ref name="Dean Fowler"/> *"Les filles de Cadix" by Léo Delibes with English text by Alfred de Musset (G. Schirmer, Inc., 1938)<ref name="Dean Fowler"/> *"Ardon gli incensi" from the opera ''Lucia di Lammermoor'' by Gaetano Donizetti (G. Schirmer, Inc., 1938)<ref name="Dean Fowler"/> *"Nobles seigneurs, salut" from the opera ''Les Huguenots'' by Giacomo Meyerbeer (G. Schirmer, Inc., 1938)<ref name="Dean Fowler"/> *"None he loves but me - Swiss Echo Song" by Karl A.F. Eckert (G. Schirmer, Inc., 1938)<ref name="Dean Fowler"/> *"Una voce poco fa" from the opera ''The Barber of Seville'' by Rossini (G. Schirmer, Inc., 1938)<ref name="Dean Fowler"/> *"Caro nome che il mio cor" from the opera ''Rigoletto'' by Giuseppe Verdi (G. Schirmer, Inc., 1939)<ref name="Dean Fowler"/> * "Carnival of Venice" by Julius Benedict (G. Schirmer, Inc., 1939)<ref name="Dean Fowler"/> * "Mother Dear", Polish folk song with English words by Yvonne Ravell (G. Schirmer, Inc., 1939)<ref name="Dean Fowler"/> * "Souvenir Waltz", arrangement of Johann Strauss II's ''Souvenir de Nizza, Op. 200'' for coloratura soprano and piano with text by Vera Bloom<ref name="Dean Fowler"/> * "Bocherini, Liebling Minuet", an adaptation of the minuet from Luigi Boccherini's ''String Quintet in E major, Op. 11, No. 5'' for coloratura soprano (G. Schirmer, Inc., 1939)<ref name="Dean Fowler"/> *"Chant de l'almée" by Léo Delibes with English text by Philippe Gille (G. Schirmer, Inc., 1939)<ref name="Dean Fowler"/> *"Theme and Variations, Op. 164." by Heinrich Proch (G. Schirmer, Inc., 1940)<ref name="Dean Fowler"/> *''Bravura Variations'' by Adolphe Adam (G. Schirmer, Inc., 1941)<ref name="Dean Fowler"/> * "Ecstacy" by Luigi Arditi (G. Schirmer, Inc., 1941)<ref name="Dean Fowler"/> * "No quiero casarme" (No, I'd rather be single), Spanish Folk Song (G. Schirmer, Inc., 1941)<ref name="Dean Fowler"/> * "The Queen of Night's Vengeance Aria" ("Der Hölle Rache kocht in meinem Herzen") from Mozart's opera ''The Magic Flute'' (G. Schirmer, Inc., 1941)<ref name="Dean Fowler"/> * ''Thirty Vocalises for High or Medium Voice, op. 32'' by Mathilde Marchesi (G. Schirmer, Inc., 1941)<ref name="Dean Fowler"/> * "Ah! non credea mirarti ... Ah. non giunge" from the opera ''La Sonnambula'' by Vincenzo Bellini (G. Schirmer, Inc., 1942)<ref name="Dean Fowler"/> * "Allons vite ... Ombre légère" from the opera ''Dinorah'' by Meyerbeer (G. Schirmer, Inc., 1942)<ref name="Dean Fowler"/> * "Chacun le sait" from the opera from the opera ''La Fille du Régiment'' by Donizetti (G. Schirmer, Inc., 1942)<ref name="Dean Fowler"/> *"Par le rang et par l'opulence" from the opera ''La Fille du Régiment'' by Donizetti (G. Schirmer, Inc., 1942)<ref name="Dean Fowler"/> * "Ah! tardai troppo ... O luce di quest' anima" from the opera ''Linda di Chamounix'' by Donizetti (G. Schirmer, Inc., 1942)<ref name="Dean Fowler"/> * "Ah, fors' e lui che l'anima" from the opera ''La traviata'' by Verdi (G. Schirmer, Inc., 1942)<ref name="Dean Fowler"/> * "Vocal Studies in Bravura", six vocalises by Francesco Lamperti (G. Schirmer, Inc., 1942)<ref name="Dean Fowler"/> * "Sorta è la notte ... Ernani, involami!" from the opera ''Ernani'' by Verdi (G. Schirmer, Inc., 1943)<ref name="Dean Fowler"/> * "Qui la voce" from the opera ''I Puritani'' by Bellini (G. Schirmer, Inc., 1944)<ref name="Dean Fowler"/> * "Au bord du chemin ... Voix légère" from the opera ''Les noces de Jeannette'' by Victor Massé (G. Schirmer, Inc., 1944)<ref name="Dean Fowler"/> *"Should He Upbraid" by Henry Bishop (G. Schirmer, Inc., 1944)<ref name="Dean Fowler"/> *"Voci di Primavera - Waltz Song by Johann Strauss II (G. Schirmer, Inc., 1944)<ref name="Dean Fowler"/> *"Mercè, dilette amiche" from the opera ''I vespri siciliani'' by Verdi (G. Schirmer, Inc., 1946)<ref name="Dean Fowler"/> * "Son verain vezzosa" from the opera ''I Puritani'' Bellini (G. Schirmer, Inc., 1946)<ref name="Dean Fowler"/> * "O légère hirondelle" from the opera ''Mireille'' by Charles Gounod (G. Schirmer, Inc., 1947)<ref name="Dean Fowler"/> * "C'est bien l'air que chaque matin" from the opera ''L'étoile du nord'' by Meyerbeer (G. Schirmer, Inc., 1948)<ref name="Dean Fowler"/> *"Confiado Gilguerillo" from the opera ''Acis y Galatea'' by José de Cañizares (G. Schirmer, Inc., 1955)<ref name="Dean Fowler"/> * "I'll Be No Submissive Wife" by George Alexander Lee (G. Schirmer, Inc., 1955)<ref name="Dean Fowler"/> * "O riante nature" from the opera ''Philémon et Baucis'' by Charles Gounod (G. Schirmer, Inc., 1957)<ref name="Dean Fowler"/> * "The Legend of the Violin", an adaptation of Johannes Brahms's ''Hungarian Dance No. 5'' for voice and piano with English text by her pupil Ralph Blane (G. Schirmer, Inc., 1958)<ref name="Dean Fowler"/>
===Notes=== {{Reflist|group=n|40em}}
== References == {{Reflist}}
==External links== {{commons category-inline}}
{{Authority control}}
{{DEFAULTSORT:Liebling, Estelle}} Category:1880 births Category:1970 deaths Category:20th-century American singers Category:American operatic sopranos Category:American vocal coaches Category:Curtis Institute of Music faculty Category:Hunter College alumni Category:American people of German-Jewish descent Category:Singers from New York City Category:American voice teachers Category:20th-century American women