Hans Hotter

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Hans Hotter (1909 – 2003)

Hans Hotter (19 January 1909 – 6 December 2003) was a German operatic bass-baritone. He was extremely tall and his appearance was striking. His voice and diction were equally recognisable.

Biography[edit]

Born in Offenbach am Main, Hesse, Hotter studied with Matthäus Roemer in Munich. He worked as an organist and choirmaster before making his operatic debut in Opava in 1930.

He performed in Germany and Austria under the Nazi regime, avoiding pressure on performers to join the Nazi Party, and made some appearances outside the country, including concerts under the baton of Bruno Walter in Amsterdam, who advised him that if Hotter could not leave his family members he had little alternative but remain in Germany.[1] Hotter was unable to pursue an international career until his Covent Garden debut in 1947. After that, he sang in all the major opera houses of Europe. He made his Metropolitan Opera debut as the title role in The Flying Dutchman in 1950. In four seasons at the Met, he performed 35 times in 13 roles, almost all Wagnerian.

Probably Hotter's best known vocal achievement was his Wotan in Der Ring des Nibelungen, beginning with the Rheingold Wotan and ending with the Siegfried Wanderer ), which he first sang in the German provinces in his early 20s, and adding the Walküre shortly thereafter at the German theatre in Prague; he played the roles until the mid-1960s, by which time his voice underwent a brief crisis owing to severe asthma, causing him to miss the first season of the post-war Bayreuth Festival in 1951, but he sang there for several years starting in 1952. His interpretation of Wotan was first recorded in a 1930s studio version of Act II of Die Walküre. In Die Walküre and Siegfried he was recorded in Decca's famous Ring Cycle in the early 1960s, conducted by Georg Solti and produced by John Culshaw. His interpretation of the role of Wotan was also captured in live recordings at the Bayreuth Festival conducted by Clemens Krauss and Joseph Keilberth in the mid-1950s. He also directed a complete Ring at Covent Garden from 1961 to 1964. His portrayal of Gurnemanz in Parsifal was preserved on record in Hans Knappertsbusch's second live recording at Bayreuth.

An admired Hans Sachs in Die Meistersinger von Nürnberg, Hotter nevertheless preferred to sing the smaller and lower-pitched role of Pogner later in his career, because its tessitura was better suited to his voice. Similarly, he sang in Parsifal first as the low baritone Amfortas when he was younger and switched to the high bass Gurnemanz in later years. He was also celebrated for his Pizarro in Beethoven's Fidelio, of which a live 1960s recording from Covent Garden was issued for the first time in 2005 under the Testament label.

Although his international fame was almost entirely in the German repertoire, in Germany and Austria he was also known for performing Verdi in the vernacular and was, for example a popular Falstaff and a formidable Grand Inquisitor in Don Carlos, a role he also performed in Italian in several theatres, including the Metropolitan Opera in New York. He performed, and recorded, several non-German opera roles in German translation, including "Graf Almaviva" (Mozart), Boris Godunov (Musorgsky) and Don Basilio (Rossini).

Hotter was also known as a lieder singer.

A passionate anti-Nazi, Hotter used to make fun of Hitler at parties and refused to take part in the Bayreuth Festival during the Third Reich because of the Festival's association with Hitler and his politics.[2] According to Hotter's obituary in The Times, Hitler kept Hotter's records in his private collection. When Hotter was interrogated about this at a postwar denazification hearing, he answered that the Pope had some of them too.[3]

Hotter never completely retired from the stage, making his final public appearance in his nineties after several seasons singing such significant character roles as Schigolch in Alban Berg's twelve-tone opera Lulu. He was a notable narrator in Schoenberg's Gurre-Lieder, a role he continued to take well into his eighties.

References[edit]

  1. ^ Hans Hotter: memoirs Page 20 Hans Hotter, Donald Arthur - 2006 "And so these two influential Jewish artists had both advised me, despite my revulsion toward the malignant regime that had taken over my country, to continue my artistic career there and hope that things might somehow develop for the [better] ..."
  2. ^ Hotter, H. Hans Hotter: Memoirs (Edited and translated by Donald Arthur, with forewords by Dietrich Fischer-Dieskau and Zubin Mehta), UPNE, 2006. ISBN 1-55553-661-1.
  3. ^ The Times (13 December 2003)

Sources[edit]

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