Franziska Martienssen-Lohmann (1887–1971) was a pivotal influence in 20th-century singing voice pedagogy, integrating her expertise as a performer into her teaching, research, and writing. After training in Leipzig and Berlin with Johannes Messchaert, in 1914, Martienssen-Lohmann began her professional work as a singer of German Lieder, performing across Germany and abroad. By the end of her career, she transitioned from performance to teaching, becoming one of the most prominent singing voice pedagogues in the country. Although her performance career was successful, teaching was her priority, and her work contributed to science-informed singing pedagogy of the day, evident in both her numerous publications and the successful careers of her students. 

Martienssen-Lohmann’s teaching philosophy was grounded in 19th-century classical tradition, though she adapted her practices in light of 20th-century scientific discoveries. She was particularly known for integrating traditional bel canto ideals with the structural demands of the German language and for advocating a student-centred approach to singing voice pedagogy. The technical ideals that she emphasised in her teaching would not be out of place in contemporary singing voice training and included breath control, precise intonation and clean onset, command of dynamics (including messa di voce), clear articulation, balanced resonance, unity of registers, evenness of tone, flexibility and agility for coloratura, and technical command of phrasing (legato, martellato, staccato).     

Actively contributing to practical and academic vocal pedagogy throughout her career, Martienssen-Lohmann taught at institutions such as the Weimar Academy of Music and the Robert Schumann Conservatory, and she held a professorship in Munich from 1927 to 1930. Alongside her husband, Paul Lohmann, she led masterclasses throughout the country and mentored notable singers including Hildegard Hillebrecht, Judith Beckmann, and Ingrid Bjoner. The impact of her teaching was far-reaching, and her students populated major opera houses and conservatories. According to historical commentators, Martienssen-Lohmann viewed singing as a human art requiring both a deep connection to the source material and infallible technique. She believed that the vitality of opera was inextricably linked to the quality of its singers, who play an active role in shaping the art form. 

Record of Martienssen-Lohmann’s pedagogical philosophies still exist in her numerous publications—including The Development of the Human Voice and Der Opernsänger—which remain relevant to singing voice teaching today. As Norbert Meyn notes in the 2010 documentary series, History of Vocal Teaching—An Exploration of a Vocal Lineage, Martienssen-Lohmann had a gift for capturing the human aspects of the singing tradition. Her writing didn’t just explain how to sing but why singing matters. She retired from teaching in 1969 after helping to define classical singing voice pedagogy as an art form that balances advancements in scientific discovery with the holistic needs of the performer and the demands of tradition. 

References

Hoos de Jokisch, D. (n.d.). The estates of Franziska Martienssen-Lohmann (1887–1971) and Paul Lohmann (1894–1981). Staatsbibliothek zu Berlin. https://staatsbibliothek-berlin.de/die-staatsbibliothek/abteilungen/musik/sammlungen/bestaende/nachlaesse/martienssen-lohmann-franziska-und-lohmann-paul

Kelly, J., & Meyn, N. (2010, December 9). Franziska Martienssen-Lohmann, History of vocal teaching – An exploration of a vocal lineage [Video]. Vimeo. https://vimeo.com/17634919

Martienssen-Lohmann, F. (n.d.). Der Opernsänger: Berufung und Bewährung. Schott Music.

Operissimo. (n.d.). Martienssen-Lohmann Franziska. Operissimo. https://web.operissimo.com/triboni/exec?method=com.operissimo.artist.webDisplay&xsl=webDisplay&id=ffcyoieagxaaaaabdbek