man Johannes Hendrikus Feltkamp‏‎ #121393‎

Gehuwd ‎1 okt 1930 (9 Tishrei 5691) Amsterdam, Noord-Holland, Nederland, bron: Archiefkaart Amsterdam E (persoonskaart), bron: Archiefkaart Amsterdam E (persoonskaart), bron: Archiefkaart Amsterdam E (persoonskaart)
Gescheiden ‎18 apr 1936 (26 Nisan 5696) Amsterdam, Noord-Holland, Nederland, bron: Archiefkaart Amsterdam E (persoonskaart), bron: Archiefkaart Amsterdam E (persoonskaart), bron: Archiefkaart Amsterdam E (persoonskaart) (5 jaar gehuwd) van:

woman Frieda Belinfante‏‎ #121392‎, dochter van Aron Belinfante en Georgine Antoinette Hesse‏.
Geboren ‎10 mei 1904 (25 Iyar 5664) Amsterdam, Noord-Holland, Nederland‎, bron: Gezinskaart Amsterdam E, overleden ‎26 apr 1995 (26 Nisan 5755) Santa Fe, New Mexico, USA‎, 90 jaar
Frieda Belinfante is in 1948 naar Corona Del Mar in USA vertrokken.
Onder http://www.bevrijdingintercultureel.nl/bi/eng/homoseksuelen.htmlelinfante staat het volgende over Frieda Belinfante vermeld:

Frieda Belinfante

Frieda Belinfante was born on 10 May 1904 in Amsterdam. She was the daughter of pianist Ari Belinfante and 'just a girl', a half-Jewish girl. She was openly lesbian and at the age of sixteen fell in love with the componiser Henriëtte Bosmans. They lived together for seven years, also when Bosmans temporarily had gentleman-friends. Belinfante herself, a cellist, was married for some years to the flutist Jo Veldkamp, who was also a conductor but did not excel at it. But Frieda was good at conducting. After studying with Herrmann Scherchen she won a conductor's contest with the Orchestre de la Suisse-Romande in Montreux. IN 1937 she performed in the Concertgebouw with the student orchestra J. Pzn. Sweelinck and the women's orchestra Aedon; thaat was when she was discovered by the outside world. During the late thirties she started Het Klein Orkest (The Small Orchestra) in Amsterdam, a chamber orchestra which had two succesfull seasons.


Frieda Belinfante (Source: www.xs4all.nl/~kmlink/06films/02frieda/contentfrieda.htm)

War
Belinfante refused to become a member of the nazi 'Kulturkammer' and therefore disbanded her orchestra at the beginning of the war. She joined the artist resistance. If necessary she dressed up as a man. With Willem Sandberg, Gerrit van der Veen and Willem Arondéus she planned the attack at the Amsterdam Population Registry (27 March 1943 – see Sjoerd Bakker).
In a film from the exposition 'Who can I still trust' by Klaus Müller, Frieda recalls Sandberg asked her one day for money. Because she knew quite a few wealthy people, she turned to Heineken (owner of the well-known beer brewery). He told her that he could not help, because the monetary flow was completely controlled by the Germans. Frieda then offered her valuable cello to Heineken; she could not use it anyway at the time. Heineken thought that this was a marvellous plan and so they concluded the sale an circumvented the supervision.
After the attack Frieda had an adventurous escape to Montreux in Switzerland, where she found herself among 160 other Dutch Jews. There, especially, she felt like an outcast and the subject of gossip.
Back in Holland where the reception, as in many cases, was 'quite cool’, she decided to emigrate to the United States in 1947. She worked in Hollywood in one of the big studio-orchestras and with a group of Hollywood musicians she formed a professional symphony orchestra in Orange County. She was the first woman in the world to become the permanent conductor of a professional orchestra. But the Los Angeles Philharmonic Orchestra did not tolerate any competition. And to make matters worse, she compromised herself because of her personal lifestyle. At a later age she gave music lessons to hundreds of children. Frieda died on 26 April 1995, in Santa Fe, New Mexico.
In 1998 and 2004 the Dutch National Broadcast showed the film But I was only a girl by director Toni Boumans. In this film Frieda tells the story of her life. Her elder sister Renee, ex-students and friends supplement her story. The scarce recordings that exist of Frieda as a cellist, and as a conducter of her Orange County Philharmonic Orchestra can be heard in the film.

Internet Sources:
www.westerbork.nl
http://www.nrc.nl/W2/Nieuws/1998/11/23/Rtv/03.html (by Kasper Jansen)
http://elswhere.org/archief/2004_07.html
http://sites.nps.nl/jerome/index.cfm/site/uurvandewolf
http://www.kuleuven.ac.be/archief/studgen/nbr/2002_2/2002nb2web.pdf (about Sweelinck and Aedon)
Frieda Belinfante
From Wikipedia, the free encyclopedia see https://en.wikipedia.org/wiki/Frieda_Belinfante

Frieda Belinfante, left, and Henriëtte Hilda Bosmans
Frieda Belinfante (May 10, 1904 in Amsterdam – April 26, 1995 in Santa Fe, New Mexico) was a Dutch cellist, conductor, a prominent lesbian and a member of the Dutch Resistance during World War II. After the war, Belinfante immigrated to the United States and continued her career in music. She was the founding artistic director and conductor of the Orange County Philharmonic.

Genealogy
The daughter of Aron Belinfante and Georgine Antoinette Hesse, Frieda descended from a line of Portuguese Sephardic Jews who arrived in Holland in the 17th century and whose ancestry can be traced back to 16th-century Portugal.[1] Other well-known descendants include the writers Emmy Belinfante, Isaac Cohen Belinfante, Jewish theologian Moses Cohen Belinfante and the journalist Emilie Belinfante (the younger). Many of the Belinfante descendants perished during the Holocaust.[2

Early career
Belinfante was born into a musical family. Her father, Aron, was a prominent pianist and teacher in Amsterdam who held the distinction of being the first pianist to present the entire cycle of Beethoven piano sonatas during a single season in the Amsterdam Concertgebouw. Belinfante began the study of the cello at age 10. She graduated from the Amsterdam Conservatory and made her professional debut in the Kleine Zaal recital hall of the Concertgebouw at age 17, assisted at the piano by her father. Her father died a few months after. Following her debut, Belinfante studied intermittently with cellist Gérard Hekking in Paris, with whom she developed a close friendship.[3]

After directing high school, college and professional chamber ensembles for several years, Belinfante was invited by the management of the Concertgebouw to form Het Klein Orkest in 1937, a chamber orchestra for which she was to be artistic director and conductor.[4] Belinfante held this position until 1941, and it made her the first woman in Europe to be artistic director and conductor of an ongoing professional orchestral ensemble. Concurrently, Belinfante made weekly appearances as guest conductor on the Dutch National Radio, and appeared as guest conductor with orchestras in the Netherlands and in Northern Europe. In the summer of 1939, Belinfante attended the master class of Dr. Hermann Scherchen in Neuchâtel Switzerland to perfect her conducting skills. In recognition of her abilities, Scherchen awarded her first prize over 12 professional male conductors also enrolled in that class; the prize also included a debut engagement with the Orchestre de la Suisse Romande in Montreux.,[5]

The Nazi occupation interrupted Belinfante’s musical career, which she did not resume until after the war.

Wartime activities
Belinfante became a good friend of the artist Willem Arondeus, an openly gay man who was a leader of the Raad van Verzet (Resistance Council) in the Dutch resistance. She actively contributed to the resistance movement, mainly by forging personal documents for Jews. Together with Arondeus, she was part of the CKC resistance group that organised and executed the bombing of the population registry in Amsterdam on March 27, 1943, which destroyed thousands of files and hindered Nazi attempts to compare forged documents with documents in the registry.[6]

The CKC group came under scrutiny by the Gestapo after the bombing, forcing Belifante and other members into hiding. While in hiding, Belinfante learned of the arrests and executions of the other CKC members, including Arondeus.[7] Belinfante disguised herself as a man and lived with friends for 3 months [8] before being traced by the Nazis. The resistance helped her avoid capture and cross the border to Belgium and France, where the French Underground helped her make her way to Switzerland. When she and her travel partner arrived at the border in the winter of 1944, they were forced to cross the Alps on foot to reach safety. Her former teacher Hermann Scherchen saved her from being sent back over the border by verifying that she was a Dutch citizen and his former pupil. On arriving in Montreux, she was given refugee status and worked for a short time as a farm laborer. Belinfante was repatriated to the Netherlands as soon as the war ended.

Orange County Philharmonic
Belinfante emigrated to the United States in 1947, eventually settling in Laguna Beach, California and joining the music faculty of UCLA in 1949.[9] Desiring to continue her conducting activities, she formed an ad hoc group she named The Vine Street Players in 1953, an orchestral ensemble of colleagues from the local area universities as well as studio musicians from Hollywood.[10]

The formation of the Vine Street Players proved fortuitous for Belinfante. A successful performance in the Redlands Bowl by the ensemble under Belinfante’s direction prompted local civic and cultural leaders to invite Belinfante to form a permanent orchestral ensemble in Orange County. She subsequently became the founding artistic director and conductor of the inaugural Orange County Philharmonic Society, which incorporated as a tax-exempt nonprofit organization in 1954 and became the first such ensemble in Orange County. Belinfante continued to employ the musicians from The Vine Street Players in the new Philharmonic Society orchestra.[11]

Concerts by the Orange County Philharmonic Orchestra were free to the public, funded entirely by donations from sponsors and memberships. The orchestral musicians agreed to donate their time for rehearsals free of charge with the permission of their union local stewards, while receiving a fee for the performances as Belinfante herself did. Belinfante insisted on this arrangement with sponsors, and that all concerts remain free of charge for all future attendees. The founding board of directors adopted Belinfante’s suggestions as their business plan with the stated mission of maintaining a resident professional orchestra in the county.[12]

Under Belinfante’s direction, the orchestra grew into a “B”-class musical institution taking into account its budget, programming and geographical penetration in the ensuing years. Its activities usually included a 4- to 6-program season in all major concert venues throughout the region, as well as youth concerts, cultural development programs and chamber music recitals in the community with principals of the orchestra and Belinfante assisting in several capacities. Soloists who were engaged to appear with the orchestra during the inaugural period included Lili Kraus, Leonard Pennario, Marni Nixon, Dorothy Warenskjold, and Mischa Elman. Belinfante appeared as soloist with the orchestra in the 1958-59 season, performing the Haydn Cello Concerto in C-major, Hob. VIIb/1. Throughout this period, she also appeared in numerous recitals locally and as guest conductor in engagements with European orchestras.[13]

Belinfante’s involvement with the Orange County Philharmonic came to an abrupt end in 1962 when her contract was not renewed. Financial pressures had been mounting because the musicians' union wanted the players to be paid for rehearsals. Additionally, board members and supporters from the community felt a male conductor would raise the stature of the orchestra and increase revenue.[14] In a 1994 interview, Belinfante said she believed that gossip about her sexual orientation was used to quell the objections to her removal.[15] Belinfante left her position as artistic director and conductor, but she continued to direct the Symphonies for Youth program for two subsequent seasons. The orchestra was disbanded and board president, Clifford Hakes, announced in local newspapers that “The Orange County Philharmonic Society will continue to operate entirely independent of any artists and orchestras we may represent...”[16] The organization became an impresario presenter starting with the 1962-63 season.

Critical reception
Belinfante's recorded output was sparse and poorly maintained. None of the pre-war recorded radio performances survive, and only the very last recording of her American career is preserved in archive.[17] However, more than three decades of critical reviews exist internationally that document Belinfante's superlative musical gifts.[18] Her conducting technique was noted for her command of period style, cohesive ensemble, clear and decisive baton technique, transparent ensemble textures, buoyant and propulsive rhythms, and conducting all performances without a score. As a soloist on the cello and viola da gamba, she was noted for her particular insight into the music of Johannes Brahms and Johann Sebastian Bach, especially the Suites for Unaccompanied Cello BWV 1007-1012. Belinfante’s solo, concerto and chamber performances were characterized by a singular beauty of tone, faultless intonation and legato, complete technique, profound involvement with the music, and an expressive interpretation free of mannerism. Her repertoire spanned all periods and media including works from the Baroque to contemporary living composers of the period, especially those working in the Netherlands and France and in particular her close association with Dutch composer Henriëtte Bosmans.[19]

Later years
Belinfante continued her musical activities on a limited scale after her dismissal from the Orange County Philharmonic. Belinfante established a private studio in Laguna Beach that trained numerous musicians. She also joined the board of directors of the Laguna Beach Chamber Music Society, acting as booking agent and artistic advisor to that group for more than 20 years.[20]

Belinfante summed up her career in a Los Angeles Times interview: "It was just too early for me. I should be born again. I could have done more, that's what saddens me. But I'm not an unhappy person. I look for the next thing to do. There's always something still to do."[21]

In later years she earned recognition for her accomplishments. In 1987, the Orange County Board of Supervisors and the City of Laguna Beach both declared February 19 ‘Frieda Belinfante Day”, honoring her contributions to musical culture in the region.[22] Belinfante's life became the subject of the documentary, "But I Was a Girl" (1999).[23] Her story was also featured in an exhibition, funded by the Dutch government, about the persecution of gays and lesbians during the Second World War.[24] In 1994, The United States Holocaust Memorial Museum officially recognized Belinfante's contribution to the Dutch Resistance in World War II.[25]

She died in 1995 from cancer, aged 90, in Santa Fe, New Mexico.

External links
Her obituary in the Los Angeles Times
A detailed description of her Dutch resistance group and her participation in it
Archival photographs of Frieda Belinfante in the collection of the United States Holocaust Museum
Access a PDF transcript of her official oral history video interview conducted by the United States Holocaust Museum
But I Was a Girl : The Story of Frieda Belinfante, Documentary, Let's Come Out: Gay & Lesbian, Season 1 Episode 3, SND Films, 1998
, bron: Archiefkaart Amsterdam E (persoonskaart), bron: ...

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