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Alfred Piccaver

Born beneath the family members name of Peckover, dramatic tenor Alfred Piccaver was reared in america from age group seven and later on became among the stars from the Vienna Opera, experiencing the affections of the general public right now there as did few various other non-Austrian performers. He spent 27 years using the Vienna business, presenting two Puccini jobs to that movie theater: Dick Johnson in La fanciulla del western and Luigi in Il tabarro. When he resigned from Vienna in 1937, he came back to England to invest the WWII years there. Piccaver’s parents resettled in Albany, NY, where youthful Alfred sang within a cathedral choir and performed parlor tracks to his very own accompaniment. Studying consumer electronics, Piccaver became a member of the Edison Business as an engineer, but discovered that profession there cut brief by an commercial injury. Within the aftermath of this incident, Piccaver researched music and was taken to the eye of Metropolitan Opera movie director, Hans Conried. He was suggested for a scholarship or grant towards the Metropolitan Opera College and educated there until 1907. After travelling in Britain that season, he journeyed to Austria to become listed on some close friends from America who have been learning music there. Performing for them 1 day, he was urged to audition for impresario Angelo Neumann. The audition was duly organized and Piccaver was provided a agreement for Prague’s Neues Deutsches Movie theater. He produced his debut there on Sept 25, 1907, as Romeo in Gounod’s Romeo and Juliet. Piccaver spent another two years performing leading functions in Prague before shifting to Italy for even more research. When Piccaver finished his extra vocal trained in 1910, he was involved from the Vienna Opera, producing his 1st appearance there as Fenton in Nicolai’s Die lustigen Weiber von Windsor. He quickly became a popular with Viennese viewers and pursued a multitude of functions, both lyric and dramatic, embracing a big gallery of Verdi portraits among others within the German and French repertories. Using the outbreak of hostilities in 1914, Piccaver double attempted to get away from Austria and was halted in both situations. Finally, he was recommended that he’d be permitted to keep unhindered in his capability as a respected artist in the Vienna Opera as long as he produced no further efforts to flee. Therefore, he remained in the theatre for the period. Within the years after WWI, his popularity grew and he achieved a amount of superstar reserved for Vienna’s most revered performers. His likeness within the part of Florestan made an appearance on the plaque positioned on the Theater-an-der-Wien in 1927, an honor accorded just two other performers. Chicago was the website of his American debut on New Year’s Eve, 1923. His Duke in Rigoletto was well-received as was his Turiddu, and he was involved for another time of year when he added Cavaradossi (towards the Tosca of Claudia Muzio), but his achievement was not from the mind-boggling sort provided him in Vienna. In 1924, he sang at Covent Backyard, again with an identical result, although both his Duke and his Cavaradossi had been well-reviewed, the second option part displaying Piccaver’s “tenore robusto tone of voice of power and quality.” This is Piccaver’s 1st and last time of year at Covent Backyard. In 1937, Piccaver resigned from your Vienna Opera, shifting 1st to Switzerland, after that to Britain. Among his additional signature roles had been Andrea Chénier, Canio, Don José, Lensky, Lohengrin, and Radames. Piccaver’s huge, however supple tenor continued to be a viable device in to the singer’s fifties.

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