We all know and love The Sound of Music. The hills are alive with music, a heartwarming tale of a singing family, and a daring escape from Nazi-occupied Austria. As children, many of us were captivated by Maria’s kindness and the family’s harmonious voices. However, as we grow and learn more about history, particularly the somber realities of World War II, the movie’s portrayal of the von Trapp family can feel somewhat… sanitized. The 1960s hairstyles and costumes aside, the historical accuracy of the beloved film comes into question. “That’s not how it really happened!” It’s a common refrain for anyone delving into the true story. Before Julie Andrews graced the screen as Maria, the real Maria von Trapp appeared on Dinah Shore’s television show in the 1970s, presenting a stark contrast to the Hollywood version. This real Maria was not just kind; she was a force of nature. Comparing the fictionalized Maria to the genuine article reveals a story far more nuanced and human, and ultimately, more compelling than the movie ever suggested.
The authentic narrative of the von Trapp family is partly preserved within the records of the National Archives. Their journey fleeing the Nazi regime and seeking refuge in America, including their entry into the United States and their pursuit of citizenship, is meticulously documented in the holdings of the National Archives and Records Administration. These records help us separate fact from the beloved fiction.
Fact vs. Fiction: Decoding The Sound of Music
While The Sound of Music draws inspiration from the first part of Maria von Trapp’s book, The Story of the Trapp Family Singers, published in 1949, significant creative liberties were taken, altering and omitting crucial details. Let’s explore the key discrepancies between the cinematic portrayal and the reality of the von Trapp family’s life:
- Maria’s Arrival: In reality, Maria arrived at the von Trapp household in 1926, not as a governess for all the children, but specifically as a tutor for young Maria, who was recovering from scarlet fever. The movie depicts her as becoming governess to all seven children immediately.
- Marriage Timeline: Maria and Georg von Trapp were married in 1927, a full eleven years before the family’s departure from Austria, not in the immediate lead-up to the Nazi annexation as depicted in the film.
- Love and Marriage: The movie romanticizes Maria and Georg’s marriage as a love story from the start. However, Maria herself admitted in her autobiography, Maria, that her initial affection was for the children, not Georg. She felt a calling to religious life and was uncertain about marrying. It was upon the advice of nuns, who encouraged her to see marriage to Georg as God’s will, that she agreed. As Maria poignantly stated, “I really and truly was not in love. I liked him but didn’t love him. However, I loved the children, so in a way I really married the children. . . . [B]y and by I learned to love him more than I have ever loved before or after.”
- Family Size: The iconic image of seven von Trapp children is inaccurate. In reality, there were ten children in total.
- Children’s Details: The names, ages, and even genders of the children were changed for the movie adaptation.
- Musical Background: The movie suggests Maria introduced music to a previously unmusical family. In truth, the von Trapp family was already musically inclined before Maria’s arrival, although she did introduce them to madrigal singing.
- Georg von Trapp’s Character: The film portrays Captain von Trapp as a stern, emotionally distant patriarch initially opposed to music, who is softened by Maria’s influence. The real Georg von Trapp was quite different. He was a warm, gentle, and loving father who actively participated in musical activities with his family. This dramatic alteration, while perhaps serving the movie’s narrative arc, deeply upset the von Trapp family.
- The Dramatic Escape: The climactic scene of the von Trapps escaping over the Alps to Switzerland with suitcases and instruments is pure Hollywood fiction. Daughter Maria clarified in a 2003 Opera News interview, “We did tell people that we were going to America to sing. And we did not climb over mountains with all our heavy suitcases and instruments. We left by train, pretending nothing.”
Maria von Trapp’s Declaration of Intention for US citizenship, 1944, highlighting her legal immigration process.
- Route of Escape: They didn’t flee to Switzerland, but to Italy. Georg von Trapp was born in Zadar (present-day Croatia), which was then part of the Austro-Hungarian Empire. In 1920, Zadar became part of Italy, making Georg an Italian citizen, a status extended to his wife and children. They leveraged this Italian citizenship to leave Austria. Furthermore, they already had a contract with an American booking agent and contacted him from Italy to arrange passage to the United States.
- Max Detweiler’s Fictional Counterpart: The movie features Max Detweiler, a flamboyant and opportunistic music promoter. In reality, their musical director for over two decades was their family priest, Reverend Franz Wasner, a far cry from the fictional Max.
- Maria’s Temperament: While portrayed as endlessly sweet and patient in The Sound of Music, the real Maria had a fiery temper. She was prone to outbursts, yelling, throwing objects, and door-slamming. However, these fits were usually short-lived, and she would quickly return to her cheerful disposition. Other family members, particularly her husband, found it harder to recover from these episodes. Her daughter Maria recounted in the 2003 interview, “She had a terrible temper. . . . And from one moment to the next, you didn’t know what hit her. We were not used to this. But we took it like a thunderstorm that would pass, because the next minute she could be very nice.”
The Real Von Trapp Family Story: Beyond the Myth
Georg von Trapp, born in 1880, was a distinguished Austrian naval officer and a national hero of World War I. His valor in commanding submarines earned him the title “Ritter” (knight), later elevated to baron, as recognition for his wartime service. In 1912, Georg married Agathe Whitehead, granddaughter of Robert Whitehead, the inventor of the torpedo. Together, they had seven children: Rupert, Agathe, Maria, Werner, Hedwig, Johanna, and Martina.
Following Austria’s loss of its seaports after World War I, Georg retired from the navy. Tragedy struck in 1922 when Agathe succumbed to scarlet fever. The family was deeply affected by her death, and the memories associated with their home in Pola (now Pula, Croatia) became too painful. Georg made the decision to sell their Pola property and relocate the family to an estate in Salzburg, seeking a fresh start.
Photographs from von Trapp Family’s Declaration of Intention Documents
Agathe von Trapp’s formal portrait from her Declaration of Intention, showcasing her Austrian heritage.
Maria von Trapp’s official photo in her Declaration of Intention, capturing her serious demeanor.
Hedwig von Trapp’s formal photograph from her Declaration of Intention, reflecting the era’s portrait style.
Johanna von Trapp’s portrait in her Declaration of Intention, a glimpse into her youthful appearance.
Martina von Trapp’s photograph from Declaration of Intention, revealing her individual personality.
Maria Augusta Kutschera, born in Vienna in 1905, had a challenging early life. Orphaned at a young age, she was raised by an abusive relative who instilled in her atheistic and socialist beliefs. While studying at the State Teachers’ College of Progressive Education in Vienna, a chance encounter dramatically altered her life’s course. Mistaking a Palm Sunday service for a Bach concert, she attended and was profoundly moved by the priest’s sermon. Years later, in her autobiography Maria, she recalled, “Now I had heard from my uncle that all of these Bible stories were inventions and old legends, and that there wasn’t a word of truth in them. But the way this man talked just swept me off my feet. I was completely overwhelmed.” This experience sparked a religious awakening. Soon after graduating, Maria entered the Benedictine Abbey of Nonnberg in Salzburg as a novice. Despite struggling with the strict rules and discipline, she recognized the transformative effect of this period, stating, “These . . . two years were really necessary to get my twisted character and my overgrown self-will cut down to size.”
However, the cloistered life took a toll on Maria’s health. Her lack of accustomed exercise and fresh air led to health issues. Simultaneously, Georg von Trapp approached the Abbey’s Reverend Mother, seeking a tutor for his daughter Maria, who was ill. Maria Kutschera was chosen for the position, not only because of her teaching qualifications but also due to concerns about her health. The initial arrangement was for her to stay with the von Trapp family for ten months, after which she was expected to formally commit to the convent.
As Maria tutored young Maria, she developed a deep affection for all the von Trapp children. She introduced them to singing and outdoor activities, fostering a warm and loving environment. During this period, Georg fell in love with Maria and proposed marriage, asking her to stay permanently as a second mother to his children. Maria later recounted that Georg’s wording of his proposal was crucial to her acceptance: “God must have made him word it that way because if he had only asked me to marry him I might not have said yes.” Maria Kutschera and Georg von Trapp married in 1927 and went on to have three children of their own: Rosmarie, Eleonore, and Johannes.
The global Great Depression in the early 1930s brought financial hardship to the von Trapp family when their bank collapsed, resulting in the loss of most of their wealth. Maria responded by implementing strict economies, dismissing most of the household staff and taking in boarders. It was during this time that the family began to consider turning their hobby of singing into a professional career. Georg was initially hesitant about public performances. However, as his daughter Eleonore explained in a 1978 Washington Post interview, he “accepted it as God’s will that they sing for others. It almost hurt him to have his family onstage, not from a snobbish view, but more from a protective one.” As depicted, albeit loosely, in The Sound of Music, the von Trapp Family Singers gained recognition by winning first prize at the Salzburg Music Festival in 1936. They went on to tour Europe, performing Renaissance and Baroque music, madrigals, and folk songs, achieving considerable success.
The Nazi annexation of Austria in 1938 cast a dark shadow over the von Trapp family’s lives. They recognized the grave danger posed by a regime they deeply opposed. Georg’s defiance was evident in his refusal to fly the Nazi flag at their home and his rejection of both a naval command and an invitation to perform at Hitler’s birthday celebration. The family became increasingly alarmed by the Nazis’ anti-religious propaganda and policies, the pervasive atmosphere of fear and suspicion, and the indoctrination of children against their parents. They faced a difficult choice: remain in Austria and potentially benefit from Nazi offers of increased fame, a medical position for Rupert, and a naval career reinstatement for Georg, or leave behind their home, friends, family, and possessions to uphold their principles. Ultimately, their commitment to their values prevailed, and they chose to leave.
Page 1 of the SS Bergensfjord passenger manifest from September 27, 1939, clearly listing the von Trapp family among the passengers embarking to America.
Page 2 of the SS Bergensfjord passenger manifest documenting additional details of the von Trapp family’s voyage to the United States.
Accompanied by their musical director, Reverend Franz Wasner, and their secretary, Martha Zochbauer, the von Trapps traveled by train to Italy in June 1938. From there, they journeyed to London, and by September, they boarded a ship to New York, embarking on a concert tour that began in Pennsylvania. Their youngest son, Johannes, was born in Philadelphia in January 1939.
Upon the expiration of their six-month visitor visas, the von Trapps undertook a brief tour of Scandinavia before returning to New York in October 1939. Upon re-entry, they were detained at Ellis Island for investigation by the Immigration and Naturalization Service. This was reportedly triggered by Maria’s enthusiastic response to an immigration official’s routine question about their intended stay. Instead of stating “six months” as stipulated on their visas, Maria exclaimed, “Oh, I am so glad to be here—I never want to leave again!” The Story of the Trapp Family Singers recounts their release after a few days, allowing them to proceed with their planned tour.
Record of aliens held for special inquiry, dated October 7, 1939, indicating the von Trapp family’s temporary detention to clarify their immigration status.
Maria von Trapp’s Certificate of Arrival, dated December 30, 1942, confirming her legal entry into the United States via Niagara Falls, NY.
In the early 1940s, the von Trapps found a permanent home in Stowe, Vermont, purchasing a farm. When not touring, they operated a music camp on their property. In 1944, Maria and her stepdaughters Johanna, Martina, Maria, Hedwig, and Agathe initiated the process of becoming U.S. citizens, filing declarations of intention at the U.S. District Court in Burlington, Vermont. Georg apparently never pursued citizenship. Rupert and Werner became naturalized citizens while serving in the U.S. armed forces during World War II. Rosmarie and Eleonore derived their citizenship from their mother, and Johannes, born in the United States, was a citizen by birthright.
Georg von Trapp passed away in 1947 and was laid to rest in the family cemetery on their Vermont property. In 1948, those who had applied for citizenship, including Maria and several of her stepdaughters, were granted U.S. citizenship. The Trapp Family Lodge, a testament to their enduring legacy, opened its doors to guests in 1950 and continues to operate today. While the Trapp Family Singers’ fame and success persisted, they made the decision to cease touring in 1955. By this time, the singing group had expanded beyond family members, with many of the von Trapp children seeking different paths. It was largely Maria’s strong will that had sustained the group for so many years.
In 1956, Maria, along with Johannes, Rosmarie, and daughter Maria, embarked on missionary work in New Guinea. Later in life, Maria returned to Vermont and managed the Trapp Family Lodge for many years. Among the von Trapp children, Rupert became a medical doctor; Agathe was a kindergarten teacher in Maryland; Maria dedicated 30 years to missionary work in New Guinea; Werner was a farmer; Hedwig taught music; Johanna married and eventually returned to live in Austria; Martina married but tragically died in childbirth; Rosmarie and Eleonore both settled in Vermont; and Johannes took on the management of the Trapp Family Lodge. Maria von Trapp died in 1987 and was buried alongside Georg and Martina, completing the circle of their family in their beloved Vermont.
The von Trapps and The Sound of Music: A Complicated Harmony
Maria von Trapp’s signed Declaration of Intention document, formalizing her application to become a citizen of the United States.
Ironically, the von Trapp family did not reap significant financial benefits from the immense success of The Sound of Music. Maria had sold the film rights to German producers, inadvertently relinquishing her rights in the process. The resulting German films, Die Trapp-Familie (1956) and Die Trapp-Familie in Amerika (1958), achieved considerable popularity in German-speaking countries. American rights were subsequently acquired from the German producers. However, the von Trapp family had minimal input into either the stage play or the Hollywood movie adaptation of The Sound of Music. As a gesture of goodwill, the play’s producers did consider some of Maria’s suggestions, but none of her substantial contributions were incorporated.
The von Trapp family held complex feelings about The Sound of Music. Maria expressed gratitude that her original story, as presented in The Story of the Trapp Family Singers, was not drastically altered and that her own character was portrayed reasonably accurately. However, even she remarked to the Washington Post in 1978 that Mary Martin and Julie Andrews “were too gentle-like girls out of Bryn Mawr,” suggesting a softening of her personality. The children’s reactions were varied but shared common threads: a sense of irritation at being depicted as performers of only lighthearted music, a simplification of their family’s complex story, and the inaccurate portrayal of their father, Georg von Trapp’s, personality. Johannes von Trapp, in a 1998 New York Times interview, articulated the family’s sentiment: “it’s not what my family was about. . . . [We were] about good taste, culture, all these wonderful upper-class standards that people make fun of in movies like ‘Titanic.’ We’re about environmental sensitivity, artistic sensitivity. ‘Sound of Music’ simplifies everything. I think perhaps reality is at the same time less glamorous but more interesting than the myth.”
Exploring the historical record is crucial to distinguishing fact from fiction, particularly when examining stories like that of the von Trapp family and The Sound of Music. In researching this article, reading Maria von Trapp’s autobiographical books, contemporary newspaper accounts, and original archival documents has been instrumental in illuminating the disparities between the von Trapps’ lived experiences and their fictionalized representations. My fleeting childhood impression of Maria from Dinah Shore’s show proved to be just a glimpse into a much more fascinating reality. Indeed, the true lives of real people invariably possess a depth and complexity that surpasses even the most compelling fictional narratives.
The von Trapp family’s story stands as a prominent example of the rich tapestry of immigrant experiences documented within the holdings of the National Archives and Records Administration. Countless other American families’ histories are also waiting to be discovered within census records, naturalization documents, court records, and a wealth of other archival sources.
Joan Gearin, is an archivist at the National Archives and Records Administration, Northeast Region–Boston. She holds a B.A. in International Relations and an M.S. in Library and Information Science from Simmons College in Boston, Massachusetts.
Note on Sources
The National Archives and Records Administration, Northeast Region–Boston in Waltham, Massachusetts, is the repository for the original records pertaining to the von Trapps’ naturalization as U.S. citizens. These records, including declarations of intention, petitions for naturalization, and certificates of arrival, are located within the Petitions and Records of Naturalization, U.S. District Court for the District of Vermont, Records of District Courts of the United States, Record Group (RG) 21. The passenger arrival list of the SS Bergensfjord and the Record of Aliens Held for Special Inquiry are part of the Passengers and Crew Lists of Vessels Arriving at New York, New York, 1897–1957 (National Archives Microfilm Publication T715), Records of the Immigration and Naturalization Service, RG 85, and are accessible at numerous National Archives facilities.
Page 1 of Maria von Trapp’s Petition for Naturalization, formally applying for US citizenship and detailing her personal history.
Page 2 of Maria von Trapp’s Petition for Naturalization, containing further official details and signatures relevant to her citizenship application.
For readers seeking firsthand accounts of the family’s story, Maria von Trapp’s books The Story of the Trapp Family Singers (Philadelphia: Lippincott, 1949) and her autobiography Maria (Carol Stream, IL: Creation House, 1972) are invaluable resources.
Interviews referenced in this article include: The Washington Post (Jennifer Small, “Apparently, Julie Andrews was too tame to do her justice”), February 26, 1978, p. A1; The New York Times (Alex Witchel, “As ‘The Sound of Music’ returns to Broadway, the von Trapps recall real lives”), February 1, 1998, p. AR9; and Opera News 67 (May 2003): 44.
[3/11/2016: The year of Rosmarie von Trapp’s birth has been corrected to 1929. The year 1928 in the original version of this article was based on a mistyped date on the naturalization record.]
[Updated 1/3/2017: Rupert died in 1992 in Vermont; Agathe died in 2010 in Maryland; daughter Maria died in 2014 in Vermont; Werner died in 2007 in Vermont; Hedwig died in 1972 in Zell am See, Austria; and Johanna von Trapp Winter died in 1994 in Vienna, Austria.]
[6/20/2017: Wording relating to Georg von Trapp’s title of “baron” was updated.]
[12/6/2022: Eleonore died in 2021; Rosmarie died in 2022 in Vermont.]
Articles published in Prologue do not necessarily represent the views of NARA or of any other agency of the United States Government.
