Thoroughly Viennese, bass-baritone Erich Kunz excelled in serious roles (although he sang rather few), comic parts and in operetta characterizations. An essential participant in documenting maker Walter Legge’s Champagne Operetta series in the first 1950s, Kunz, as well as Elisabeth Schwarzkopf, described Viennese operetta design — its lightness, elegance, and elegance. With a wealthy, masculine tone of voice, he was a definitive Figaro, Leporello, and Papageno within the custom of Mozart overall performance that sprang from your Vienna Opera soon after WWII. An matchless Beckmesser, his interpretation was maintained on two live recordings, and he remaining several wonderful recordings of Viennese café and university or college songs. Kunz analyzed in his indigenous Vienna, mainly with Theodore Lierhammer in the Vienna Academy. His debut occurred at Tropau in 1933 as Osmin (a component for deep bass) in Mozart’s Die Entführung aus dem Serail. Pursuing that, he sang with several smaller sized German theaters before becoming engaged from the Breslau Opera for 3 years. Kunz produced his 1st acquaintance with Britain when he was provided a chance to understudy in the Glyndebourne Event in 1936. He was quickly thereafter assigned many smaller functions. In 1941, Kunz became an integral part of the company in the Vienna Staatsoper where he continued to be throughout his profession; he was presented with the name of Kammersänger in 1948. Through the battle years, he sang throughout Austria and Germany, mainly in Mozart and Wagner. He produced his debut in the Salzburg Event in 1942 as Guglielmo in Così lover tutte and in 1943 became the youngest designer ever to get appeared in a significant role in the Bayreuth Event when he sang Beckmesser in Die Meistersinger. After the hostilities finished, Kunz’s profession assumed a still even more international taste. Opera performances required him to Florence, Rome, Naples, Paris, Brussels, Budapest, and Buenos Aires. His part in the Salzburg Festival grew and he was an integral part of the Vienna Staatsoper troupe touring Britain and France in 1947. The next 12 months brought his debut in the Edinburgh Festival. A Metropolitan Opera debut waited until 1952, but Kunz’s appearance as Leporello on November 26 brought a warm response from your audience and reviews that are positive from your critics. Both regional and national authors commented upon his attractive voice and refined comic abilities. Many could recall just a few equivalent artists in a job often immersed in slapstick regular. The Metropolitan Opera liked his presence for two years. Furthermore to Leporello, Kunz made an appearance as Mozart’s Figaro, Beckmesser, and Faninal in Rosenkavalier. Chicago noticed his treasurable Harlequin in Ariadne auf Naxos and Leporello, both in 1964 and, two periods afterwards, his wily, however innocent Papageno in Die Zauberflöte. While musical preferences had moved through the elegant Mozart design of post-war Vienna for an earthier, better quality Italianate approach with the 1960s, Kunz’s inimitable stage persona dropped nothing at all of its strength. Nor do his tone of voice; he continuing to sing well also in his sixties and continuing to undertake little roles (memorable cameos, all) to the finish of an extended career. Furthermore to opera home performances, Kunz graced the stage from the Vienna Volksoper every once in awhile, offering lessons to both viewers and fellow performers in operetta design and singing. One of the recordings of long lasting value Kunz produced during his leading years are, besides Meistersinger (two live from Bayreuth), Le Nozze di Figaro, Die Zauberflöte and every single one of his operetta discs on Angel Information/EMI.