Maria Jeritza (born Marie Jedličková; October 6, 1887 – July 10, 1982) was a prominent Czech operatic soprano who achieved international fame during the early to mid-20th century. She was particularly noted for her long associations with the Vienna State Opera and the Metropolitan Opera in New York City.
Jeritza began her professional career in 1910 at the Olomouc Opera and joined the Vienna Volksoper shortly thereafter. In 1912, she became a member of the Vienna State Opera (then the Hofoper), where she remained a leading figure for several decades. During her tenure in Vienna, she became a favored interpreter of the works of Richard Strauss, creating the title role in the revised version of Ariadne auf Naxos (1916) and the role of the Empress in the world premiere of Die Frau ohne Schatten (1919).
In 1921, Jeritza made her debut at the Metropolitan Opera as Marietta in the American premiere of Erich Wolfgang Korngold’s Die tote Stadt. She remained a star performer at the Metropolitan until 1932, known for her dramatic intensity and stage presence. Her repertoire was diverse, spanning Italian, German, and French roles, including the title roles in Tosca, Turandot, and Salome, as well as Wagnerian roles such as Elisabeth in Tannhäuser and Sieglinde in Die Walküre.
One of Jeritza’s most recognized contributions to operatic performance was her portrayal of Floria Tosca. She is historically credited with the innovation of singing the aria "Vissi d'arte" while lying prone on the stage, a tradition that has been adopted by many subsequent sopranos. Her career was also characterized by a high-profile professional rivalry with contemporary soprano Lotte Lehmann.
Following the annexation of Austria in 1938 and the subsequent onset of World War II, Jeritza primarily resided in the United States. She made occasional returns to the stage in the post-war era, notably participating in benefit performances for the reconstruction of the Vienna State Opera. Jeritza died in Orange, New Jersey, in 1982 at the age of 94. Her legacy remains defined by her contributions to the development of verismo acting styles and her association with the leading composers of her era.
