The scion of a long line of cantors,[1] Rosenblatt's devoutly religious upbringing prevented him from receiving formal musical training at any of the great academies of his day.

Quickly lauded as a "wunderkind", or child prodigy, Rosenblatt's solo career was launched.

Rosenblatt's stay in Vienna was followed by an extensive tour of the communities of the Austro-Hungarian empire including Budapest.

[3] At 18 he married Taube Kaufman and accepted his first full-time position at the Chasidic community of Munkacs, Hungary.

During the succeeding months, he traveled throughout the United States, leading services in cities such as Minneapolis, Seattle, Indianapolis, Columbus, Milwaukee, Philadelphia and Washington, D.C.

[1][4] In the early 1920s, Rosenblatt was approached by two men who wanted to start a new Jewish newspaper in New York – they asked him to be a part of the enterprise.

[8] He was known for his extraordinary technique, for the sweetness of his timbre, and for his unique ability to transition from normal voice to falsetto with hardly any noticeable break at all.

His fame spread so far that Toscanini appealed to him to sing the leading role in Fromental Halévy's La Juive, but Rosenblatt replied that he would only use his vocal gift for the glory of God, in service to his religion.

He led the transition from the more freestyling cadenza-laden approach prevalent before his era to a more structured, metered style.

These include his trademark krekhts, or sob, in which he would deliberately allow his voice to crack to convey the emotion of what he was singing.