Hans Hotter

Biography

Born: January 19, 1909   Died: December 6, 2003   Country: Germany  
Hans Hotter was one of the twentieth century's greatest singing actors. Indeed, he was often compared to the Russian bass-baritone Feodor Chaliapin in histrionic ability as well as vocal endowment. Like the Russian, he was tall, able to bring the authority of his six feet four inch frame to the Wagnerian roles in which he came to specialize. After the retirement of Friedrich Schorr in 1943, Hotter came to be considered the supreme Wotan in Read more Wagner's Ring of the Nibelung tetrology.

Hotter trained as an organist and choirmaster, but found his vocal gifts pushing him in the direction of a singing career. He made his debut as the Speaker in Mozart's Die Zauberflöte at the age of 20 in the small theatre at Opava. Following contracts in Prague, Breslau, and Hamburg, he was invited to Munich in 1938 and remained associated with that company for much of his subsequent career. In Munich, he came in close contact with composer Richard Strauss who, much impressed with Hotter's singing and acting, composed three roles specifically for him, beginning with the Commandant in Friedenstag (Freedom's Day) which had its premiere in Munich in 1938. Following that, Strauss wrote for Hotter the part of Jupiter in Die Liebe der Danae (The Love of Danae). Hotter sang the dress rehearsal for a much-delayed production at Salzburg just before all theatres were closed in 1944. In Capriccio, Strauss' final opera, Hotter appeared as Olivier at the 1942 premiere.

With the cessation of World War II hostilities, Hotter's career took him abroad, first to London in 1947 where, among other roles, he performed Wotan in stagings given in English; he remained a revered artist in England for as long as his long career continued. In 1950, he made an impressive debut at New York's Metropolitan Opera as the protagonist in Wagner's Fliegende Holländer. His immense voice and baleful appearance made a profound effect upon both critics and audiences as yet more comparisons to Chaliapin were invoked. After only a few seasons, however, his Met career came to a halt when general manager Rudolf Bing sought to steer him in the direction of secondary parts. The rest of the opera world was only too happy to hear him perform the great Wagnerian and Strauss roles in which he was incomparable and he was a welcome guest in San Francisco and Chicago.

Vienna was one of several European venues to benefit from his appearances in roles he seldom undertook in the United States. Roles such as Don Basilio in Barbiere di Siviglia and King Phillip in Verdi's Don Carlo were two especially memorable interpretations.

Throughout the 1950s and on through the last of his public appearances in 1972, Hotter's voice was increasingly prone to unsteadiness at full volume. Acute hay fever bedeviled him during summer engagements such as those at the Bayreuth Festival. Still, his performances remained riveting even in vocal decline and Georg Solti chose him for his Ring recording even after he was significantly past his prime.

While better known as an operatic personality, Hotter was a magnificent interpreter of German lieder (he in fact enjoyed performing this music more than opera) and made many recordings of the repertory over a three-decade span. His interpretive genius and ability to scale back his huge voice suited this kind of singing superbly, and the reissue on CD of his best song recordings has won the enthusiasm of a new generation of followers. Read less

Biography

Born: January 19, 1909   Died: December 6, 2003   Country: Germany  
Hans Hotter was one of the twentieth century's greatest singing actors. Indeed, he was often compared to the Russian bass-baritone Feodor Chaliapin in histrionic ability as well as vocal endowment. Like the Russian, he was tall, able to bring the authority of his six feet four inch frame to the Wagnerian roles in which he came to specialize. After the retirement of Friedrich Schorr in 1943, Hotter came to be considered the supreme Wotan in Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Act I: Prelude
Act I: Wes Herd dies auch sei (Siegmund)
Act I: Dies Haus und dies Weib sind Hundings Eigen (Sieglinde)
Act I: Einen Unseligen labtest du (Siegmund)
Act I: Mud' am Herd fand ich den Mann (Sieglinde)
Act I: Friedmund darf ich nicht heissen (Siegmund)
Act I: Ein starkes Jagen auf uns (Siegmund)
Act I: Ein trauriges Kind rief mich zum Trutz (Siegmund)
Act I: Ich weiss ein wildes Geschlecht (Hunding)
Act I: Ein Schwert verhiess mir der Vater (Siegmund)
Act I: Schlafst du, Gast? (Sieglinde)
Act I: Der Manner Sippe sass hier im Saal (Sieglinde)
Act I: Dich selige Frau halt nun der Freund (Siegmund)
Act I: Wintersturme wichen dem Wonnemond (Siegmund)
Act I: Du bist der Lenz, nach dem ich verlange (Sieglinde)
Act I: Wehwalt heisst du furwahr? (Sieglinde)
Act I: Siegmund heiss ich und Siegmund bin ich! (Siegmund)
Act II: Prelude
Act II: Nun zaume dein Ross, reisige Maid! (Wotan)
Act II: Der alte Sturm, die alte Muh'! (Wotan)
Act II: So ist es denn aus mit den ewigen Gottern (Fricka)
Act II: Dass nach Lust und Laune nu walter (Fricka)
Act II: Nichts lerntest du, wollt' ich dich lehren (Wotan)
Act II: Mit tiefem Sinne wilst du micht tauschen! (Fricka)
Act II: Was verlangst du? (Wotan)
Act II: Deiner ew'gen Gattin heilige Ehre (Wotan)
Act II: Schlimm, furcht' ich, schloss der Streit (Brunnhilde)
Act II: Als junger Liebe Lust mir verblich (Wotan)
Act II: Ein and'res ist's, achte es wohl (Wotan)
Act II: Wild durschweift' ich mit ihm die Walder (Wotan)
Act II: O sag, Kunde! Was soll nun dein Kind?? (Brunnhilde)
Act II: So sah ich Siegvater nie (Brunnhilde)
Act II: Raste nun hier, gonne dir Ruh'! (Siegmund)
Act II: Hinweg! Hinweg! Flieh' die Entweihte! (Sieglinde)
Act II: Was je Schande dir schuf (Siegmund)
Act II: Siegmund! Sieh auf mich! (Brunnhilde)
Act II: Der dir nun folgt, wohin fuhrst du den Helden? (Siegmund)
Act II: Du sahst der Walkure sehrenden Blick (Brunnhilde)
Act II: So wenig achtest du ewige Wonne? (Brunnhilde)
Act II: Zauberfest bezahmt ein Schlaf (Siegmund)
Act II: Kehrte der Vater nur heim! (Sieglinde)
Act II: Zu Ross, dass ich dich rette! (Brunnhilde)
Act II: Geh' hin, Knecht! (Wotan)
Act III: Hojotoho! hojotoho! Heiaha! (Walkyries)
Act III: Schutzt mich und helft in hochster Not! (Brunnhilde)
Act III: Nicht sehre dich Sorge um mich (Sieglinde)
Act III: Fort denn eile, nach Osten gewandt! (Brunnhilde)
Act III: Wo ist Brunnhild', wo die Verbrecherin? (Wotan)
Act III: Hier bin ich, Vater, gebiete die Strafe! (Brunnhilde)
Act III: Nicht send' ich dich mehr aus Walhall (Wotan)
Act III: Hortet ihr nicht, was ich verhangt? (Wotan)
Act III: War es so schmahlich, was ich verbrach (Brunnhilde)
Act III: Frag' deine Tat (Wotan)
Act III: Der diese Liebe mir ins Herz gelegt (Brunnhilde)
Act III: Wohl taugte dir nicht die tor'ge Maid (Brunnhilde)
Act III: Du folgtest selig der Liebe Macht (Wotan)
Act III: In festen Schlaf verschliess' ich dich (Wotan)
Act III: Leb' wohl, du kuhnes, herrliches Kind! (Wotan)
Act III: Der Augen leuchtendes Paar (Wotan)
Act III: Loge hor! Lausche hieher (Wotan)
Potpourri
Ei, die Ehre, die Ehre!
Da eine in deine Takelage
"Ah! Mein Stock!" - "Gnädiger Herr!"
O Gott, war das ein saurer Empfang!
Nicht an mich, Geliebter, denke
Sehr rechtschaffen gedacht, junger Herr
"Seid ihr bereit?" - Finale
Den Paraderock mit den versilberten Schnüren!
Euer Gnaden gehorsamster Diener!
Werte Damen, seid willkommen!
Sir Morosus wird Euch dankbar sein
So stumm, mein Kind
Anhiero gestatte ich mir
Potz Deubel, so hat die alte Hur'
Nehmt's nicht so streng
Du bist so still
Was geht hier vor?
Du süssester Engel
Einleitung
Hier die Spiegel, die Konsolen
Sento un certo non so che
Seine illustre Lordschaft
Willst du wirklich mich nicht kennen?
Finale "Teurer Ohm! Nicht länger kann ich"
Alles Frohe, alles Schöne
Wie schön ist doch die Musik
Vier Ernste Gesänge, Op. 121 (2004 - Remaster): I. Denn es gehet dem Menschen
Vier Ernste Gesänge, Op. 121 (2004 - Remaster): II. Ich wandte mich und sahe an alle
Vier Ernste Gesänge, Op. 121 (2004 - Remaster): III. O Tod, o Tod, wie bitter bist du
Vier Ernste Gesänge, Op. 121 (2004 - Remaster): IV. Wenn ich mit Menschen -und mit Engelszungen redete
Winterreise, D.911 (1999 - Remaster): Der stürmische Morgen
Winterreise, D.911 (1999 - Remaster): Täuschung
Winterreise, D.911 (1999 - Remaster): Der Wegweiser
Winterreise, D.911 (1999 - Remaster): Die Wirthaus
Winterreise, D.911 (1999 - Remaster): Mut
Winterreise, D.911 (1999 - Remaster): Die Nebensonnen
Winterreise, D.911 (1999 - Remaster): Der Leiermann
Schwanengesang D957 (1994 Digital Remaster): Liebesbotschaft
Schwanengesang D957 (1994 Digital Remaster): Kriegers Ahnung
Schwanengesang D957 (1994 Digital Remaster): Frühlingssehnsucht
Schwanengesang D957 (1994 Digital Remaster): Ständchen
Schwanengesang D957 (1994 Digital Remaster): Aufenthalt
Schwanengesang D957 (1994 Digital Remaster): In der Ferne
Schwanengesang D957 (1994 Digital Remaster): Abschied
Schwanengesang D957 (1994 Digital Remaster): Der Atlas
Schwanengesang D957 (1994 Digital Remaster): Ihr Bild
Schwanengesang D957 (1994 Digital Remaster): Das Fischermädchen
Schwanengesang D957 (1994 Digital Remaster): Die Stadt
Schwanengesang D957 (1994 Digital Remaster): Am Meer
Schwanengesang D957 (1994 Digital Remaster): Der Doppelgänger
Schwanengesang D957 (1994 Digital Remaster): Die Taubenpost
Lulu - Prologue : Hereinspaziert in die Menagerie
Lulu - Acte I : Darf ich eintreten?
Lulu - Acte I : Machen Sie auf !
Lulu - Acte I : Eva ! Befehlen ?
Lulu - Acte I : Den hab'ich mir auch ganz anders vorgestellt
Lulu - Acte I : Was tut denn Ihr Vater da ?
Lulu - Acte I : Nun ? Du hast eine habe Million geheiratet
Lulu - Acte I : Ich darf mich jetz hier nicht sehen lassen
Lulu - Acte I : Verwandlungsmusik
Lulu - Acte I : Seit ich für die Bühne arbeite
Lulu - Acte I : Uber die liesse sich freilich eine interessante Oper schreiben
Lulu - Acte I : Wie kannst du die Szene gegen mich ausspielen ?
Symphony No. 9 in D Minor, Op.125 'Choral' (1988 - Remaster): I. Allegro ma non troppo, un poco maestoso
Symphony No. 9 in D Minor, Op.125 'Choral' (1988 - Remaster): II. Molto vivace - Presto - Molto vivace- Presto
Symphony No. 9 in D Minor, Op.125 'Choral' (1988 - Remaster): III. Adagio molto e cantabile
Symphony No. 9 in D Minor, Op.125 'Choral' (1988 - Remaster): - Andante moderato - Tempo I - Andante moderato - Adagio
Symphony No. 9 in D Minor, Op.125 'Choral' (1988 - Remaster): IV. Presto - Allegro ma non troppo - Tempo I
Symphony No. 9 in D Minor, Op.125 'Choral' (1988 - Remaster): - Presto - Recitativo - Allegro assai
Symphony No. 9 in D Minor, Op.125 'Choral' (1988 - Remaster): - Allegro assai vivace. Alla marcia
Symphony No. 9 in D Minor, Op.125 'Choral' (1988 - Remaster): - Andante maestoso - Adagio ma non troppo, ma divoto
Symphony No. 9 in D Minor, Op.125 'Choral' (1988 - Remaster): - Allegro energico, sempre ben marcato
Symphony No. 9 in D Minor, Op.125 'Choral' (1988 - Remaster): - Allegro ma non tanto - Poco adagio - Tempo I - Poco adagio
Symphony No. 9 in D Minor, Op.125 'Choral' (1988 - Remaster): - Poco allegro, stringendo il tempo, sempre più allegro - Prestissimo - Maestoso - Prestissimo
No. 29. Anakreons Grab
No. 29. Anakreons Grab
Bach, JS: Cantata: 'Ich habe genug', BWV 82: Aria: Ich habe genug
Kantate: 'Ich habe genug', BWV82 (2004 - Remaster): Recit: Ich habe genug
Kantate: 'Ich habe genug', BWV82 (2004 - Remaster): Aria: Schlummert ein
Kantate: 'Ich habe genug', BWV82 (2004 - Remaster): Recit: Mein Gott! wann kommt das Schöne Nun!
Kantate: 'Ich habe genug', BWV82 (2004 - Remaster): Aria: Ich freue mich auf meinen Tod
Vier Ernste Gesänge, Op. 121 (2004 - Remaster): I. Denn es gehet dem Menschen
Vier Ernste Gesänge, Op. 121 (2004 - Remaster): II. Ich wandte mich und sahe an alle
Vier Ernste Gesänge, Op. 121 (2004 - Remaster): III. O Tod, o Tod, wie bitter bist du
Vier Ernste Gesänge, Op. 121 (2004 - Remaster): IV. Wenn ich mit Menschen -und mit Engelszungen redete


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