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Wiktoria Kawecka (Victoria Kavetskaya) with Piano, Sung in Russian – La Serenata (Tosti), Recorded in Sankt Petersburg 1911; re-pressed by E.M.I. London, date unknown NOTE: This 78 rpm record was pressed from the original Russian matrix recorded in St. Petersburg on 20.09. 1911 by E.M.I. in London (unknown year) and released in the series Historic Masters This re-edition brings back to us forgotten voices of many masters from the era of acoustical recordings. Polish operetta soprano Wiktoria KAWECKA (her name spelled on the label as: Victoria Kavetskaya) was born in Warsaw in 1875 as daughter of Wincenty Kawecki, who was the administrator of Warsaw Theatres. Yet in her teen years she had professional singing lessons by maestra Bronisława Dowiakowska & Honorata Majeranowska, who prepared her to a successful stage debut in 1891 in Carl Millöcker’s operetta Student żebrak (The Beggar Student). Beside singing, Kawecka was also able to do whistling, yodelling and something called the “artistic purring”. Her strong, bright soprano and excellent stage conditions quickly made her primadonna of the Warsaw Operetta. In 1898 she married Polish nobility man Bolesław Wielogłowski, to whom she remained happily married until the end of her life and who took care on her finances. In 1909 her immovable throne of Queen of the Polish Operetta was however endangered by the appearance of the younger and equally talented Lucyna Messal. The new diva – a confident and outgoing daughter of a railwayman - was nimbly rising up the ladder of her career, to become in one season one more darling of the Warsaw’s musical audience. Wiktoria was too proud to get into war with her rival and she accepted contract with the Sankt Petersburg theatre Buffo, to withdraw for some years from Warsaw’s artistic life. In Russia she immediately became a star and during several years until the outbreak of the Bolshevic Revolution in1917, Kawecka – called by the Russians “Kavetskaya” - gathered a fortune, which made her the richest Polish actress in history of acting. Beaming with the fame of one of the brightest sopranos in Tzarist Russia, Kawecka sung also in London, yet outbreak of the revolution made her return to Russia, in attempt of rescuing at least a part of her fortune, with which she managed to return to Warsaw. Rapturously greeted by her Polish fans, she continued her career singing as usually in the Warsaw Operetta but also taking main roles in the Grand Theatre of Warsaw, in Verdi’s Rigoletto or in Traviata. Occassionally, she sung on stages of Opera Houses in other Polish cities, like Cracow, Wilno, or Lwów, she appeared also abroad in Bucurest, Riga and in Nizza. Social parties she threw for the Warsaw’s upper class monde were famous, mostly because of Kawecka’s legendary jewels which on such occasions she would put on (on the stage, she wore imitations). Her love for precious stones earned her a nickname Queen of Diamonds. Often, she would be seen at the jewelry merchants, making deal of exchanging the new set of several smaller diamonds into one large piece. Her famous necklace consisting of 13 diamonds – each of a size of Walnut - was so heavy, a smaller lady would not be able to stand up straight because of its weight. Also her diamond earrings were too heavy to wear and only her closest friends had privilege to see the Kawecka’s legendary butterfly made of dozens of diamonds, emeralds, carbuncles and sapphires, which shone in the light as if it was a little sun. Kawecka often emphasised, her treasury was just a small part of what she had to leave behind, while fleeing from the Bolshevik Russia. As one of the richest European actresses of her time, she belonged to that international French-chattering society, who had their incessant holidays on the seaside promenades and by the gambling tables in Monte Carlo, Nizza or Ostende and nobody knew, whether she spent a larger part of her life on the stage or in Monte Carlo’s Grand Casino. Unfortunately, the chronic disease finally made its job and in 1929 Wiktoria Kawecka died in Warsaw of uraemia, leaving behind her loving husband, who erected for her a magnificent tomb in Powązki Cemetery, and a crowd of inconsolable fans. How strange is the fact, that she was so quickly forgotten thereafter and when a dozen of new Csardas Princesses and Merry Widows appeared again on the stages of Warsaw, only the white marble temple with Kawecka’s figure of her natural size, remembers who lays beneath.