At a time when all the top-class tenors had left Germany, he was one of the few remaining singers in the thirties and forties who …
Max Lichtegg: The Universal Tenor (3.)
Continued from part two In 1949 Max Lichtegg celebrated a kind of “return to Vienna” – to the city where his musical career had begun. …
Max Lichtegg: The Ambassador of Music (2.)
Continued from part one One might think that Max Lichtegg had also been a celebrated recording star by now: However, that was not the case. …
Max Lichtegg: The Charmingboy (1.)
Part one Looking back on her career, Maria Callas once said that the art of opera was dead and must be rejuvenated. This radical statement …
Joseph Schmidt: A Radio Tenor Finds His Way to the Stage
Continued from part one At the end of 1935, a radio broadcast with Joseph Schmidt was broadcast to the United States: sitting in front of …
Joseph Schmidt: The Microphone Was His Concert Hall
Part one Early in his career, Joseph Schmidt sang roles that pushed other tenors to the limits of their vocal abilities at the height of …
Christa Ludwig: It Takes More Than Only Primadonnas
The philosopher Theodor W. Adorno once said that a person’s musical education begins nine months before birth. Christa Ludwig proves Adorno right: In her memoirs, …
Kurt Weill: The New Opera
He had a major influence on the development of modern American stage music: Kurt Weill was one of the most important composers of the first …
Franco Corelli: He saw notes in his dreams
The name Franco Corelli is often mentioned in the same breath as Fritz Wunderlich: Both are considered the most important tenors of the 20th century …
Montserrat Caballé: The Spanish Opera Diva (2.)
Continued from part one At the beginning of the seventies, Montserrat Caballé was faced with probably the greatest artistic challenge of her career: opera connoisseurs …