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Bernd Weikl

This Austrian singer, whose career trajectory has taken him from lyric to dramatic baritone, has generated himself as a solid and reliable artist. At his initial appearance in Bayreuth as Wolfram, Weikl uncovered a linear, small instrument with an instant vibrato. While in no way a bass baritone, his lower tone of voice provides obtained in amplitude over time, enabling him to complete the deeper gets to of such assignments as Wagner’s Dutchman and Hans Sachs, and Strauss’ Barak and Mandryka. Certainly, his good-looking, burly appearance is currently matched with the audio and consistency of his extended voice. In no way a penetrating acting professional, Weikl still brings earnest purpose and solid art to his stage shows. As well as the heavier German repertory, Weikl shows consistent fascination with Italian tasks, at one stage recording an achieved Rigoletto. Following research at Mainz and Hanover, Weikl produced his stage debut in the second option town in 1968, performing Ottokar in Weber’s Der Freischütz. He became a member of the business at Düsseldorf in 1970, staying with that theatre for 3 years. Throughout that period, he was involved by Karajan for Melot in the 1971 Salzburg Event and, the entire year after, produced his debut in the Bayreuth Event as Wolfram. His first-season achievement led to additional engagements as the Herald, Amfortas, and later on, Hans Sachs. For his London debut, Rossini’s Figaro was the part — an interpretation mentioned as boisterous, but relatively Germanic. Weikl’s Metropolitan Opera debut on Dec 2, 1977, discovered him performing Wolfram once again, enjoying another achievement using the component. Subsequently, he provides returned towards the Metropolitan as Orest, Jochanaan, Amfortas, Mandryka, and Hans Sachs. Various other theaters throughout European countries were furthermore as quick to activate Weikl; he became a celebrated vocalist in his indigenous Vienna aswell such as Munich, Berlin, and Hamburg. Industrious in adding brand-new parts, the vocalist is now able to boast a lot more than 100 individuals in his inventory. Beyond the Continent, he’s best-known for his Wagner and Strauss assignments, however in Austria and Germany he provides just normally sung the Italian, Russian, and French repertories; included in these are such numbers as Verdi’s Posa, Count number di Luna, Ford and Simon Boccanegra, Mozart’s Don Giovanni (documented with Solti), Count number Almaviva, Guglielmo, Tchaikovsky’s Yevgeny Onegin (also documented with Solti), Tomsky, Morone in Pfitzner’s Palestrina, and Goloud. Although his major focus offers continued to be on opera, Weikl can be a positive existence for the concert stage, both like a soloist in choral functions so that as a recitalist. These actions have mainly been focused in European countries. Of Weikl’s many recordings, many deserve special interest. His Hans Sachs, documented with Cheryl Studer, Ben Heppner, and Kurt Moll beneath the mature and understanding path of Wolfgang Sawallisch will probably be worth looking away. His Dutchman with Sinopoli offers a lot of the essential torment and it is securely sung. His Eugene Onegin, documented with an excellent solid and lovingly led by Solti will probably be worth pursuing, as can be his Cardinal Morone in Kubelik’s documenting of Palestrina, captured in superb audio.

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