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Emanuel List

Through the late 1920s as well as the 1930s, an interval remembered among the golden age range of Wagnerian performing, Emanuel List (blessed Emanuel Fleissig) was counted as among the best possible of basses and customized in the villain roles in the operas of Wagner among others. He was high and in physical form imposing, adding a commanding and harmful component to his wealthy, deep, and dark performing tone. He began his performing career being a guy soprano in the chorus plus some solo focus on the roster from the Movie theater an der Wein in Vienna. His family members moved to america, where he was a vaudeville vocalist while studying tone of voice with Josiah Zuro. He came back to Vienna in 1920 to get more training also to further his performing career, and shortly produced a debut on the Volksoper in 1922 in the main function of Mephistopheles. He transferred to Berlin in 1923 to simply accept an engagement as an associate from the Charlottenburg opera business, and joined the business from the Berlin Condition Opera (Staatsoper) in 1925. In the same yr, he produced a Covent Backyard debut as Pogner in Die Meistersinger. He continued to be a member from the roster from the Staatsoper, producing a niche of such Wagnerian tasks as King Tag (Tristan und Isolde), Hunding (Walküre) and Hagen (Götterdämmerung), as the implacable high priest Ramfis in Verdi’s Aida, and in his most well-known part, Baron Ochs in Richard Strauss’ Der Rosenkavalier. He started performing in the Salzburg Event in Austria, acquiring the Mozart tasks of Osmin (Abduction through the Seraglio), as well as the Commendatore (Don Giovanni), and Rocco in Beethoven’s Fidelio, furthermore to King Tag. He made an appearance in the 1933 Bayreuth Event as Hunding and Hagen, furthermore to Fafner as the huge in Rheingold so that as the tone of voice of Fafner’s changed form of the Dragon in Siegfried. Like a Jew, he prudently remaining German in 1933 and produced his debut that yr in the Metropolitan Opera in NY as the Landgrave in Tannhäconsumer. He was an associate from the Met business from that yr until 1950, and in addition sang regularly in the opera homes of SAN FRANCISCO BAY AREA, Chicago, and Buenos Aires, and became a naturalized American resident. Soon before retiring, he produced his 1st appearance in almost twenty years in Berlin in 1950. Among his popular recordings are shows as Hunding in the slicing of the entire first work of Die Walküre, so that as King Tag in the similarly popular 1936 Melchior-Flagstad Tristan und Isolde.

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