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Ferdinand Frantz

Ferdinand Frantz was among the final of this extraordinary course of singers in a position to realize with vocal authority the heroic tasks compiled by Richard Wagner for bass-baritone. Frantz’s sizeable device provided a weighty lower register to anchor a company and javelin-like best, precisely the characteristics demanded by Wagner for what amounted to a completely fresh vocal category. Frantz could traverse these exhausting tasks with vocal power and without exhausting. Many of his most significant tasks had been captured on both live and studio room recordings through the many years of his best. Following private research, Frantz produced his opera debut in his indigenous Kassel in 1927 performing the function of Hermann Ortel in Die Meistersinger. Originally, he focused on bass assignments through his engagements initial at Halle, after that at Chemnitz from 1932 to 1937, and with the Hamburg Staatsoper from 1937 to 1942. In 1943, Frantz became a member of the Munich Staatsoper and begun to concentrate on assignments in the bass-baritone register. He continued to be a member from the Munich ensemble until his loss of life in 1959. Frantz’s tone of voice and conscientious musicianship produced him a pleasant guest at several European homes and he sang using the Vienna Staatsoper, Dresden’s Semper Oper, Salzburg, La Scala, and, later on, at Covent Backyard. His Metropolitan Opera debut arrived on Dec 12, 1949, as Wotan in Die Walküre. While he moved into the business’s roster as a comparatively unknown designer, he produced an instantaneous impression for his commendable bearing, understanding of Wagner design, and a voluminous tone of voice well in a position to stay the program in the exhausting stretches from the role’s last act. Later on that same month, the Metropolitan got cause to be pleased that Frantz acquired traveled to NY along with his wife, dramatic soprano Helena Braun (1903 – 1990). When Helen Traubel was struggling to sing Brünnhilde on Dec 21 and Astrid Varnay was focused on a concert edition of Elektra with the brand new York Philharmonic, Braun was recruited to save lots of the performance. Couple portraying dad and little girl fascinated viewers and paper editors sufficiently to put the couple’s photo on leading pages of the brand new York press. Through the to begin three Metropolitan months, Frantz also sang his durable Kurwenal and a fledgling Hans Sachs. Although not used to the second option role at that time, Frantz grew in to the component sufficiently to ultimately be ranked one of the better from the role’s interpreters. Among the eight tasks sung by Frantz in his three NY months was an incisive Pizarro and many other Wagner personas, bass aswell as baritone. In 1953, Frantz produced his London debut using the going to Munich Staatsoper. His Jupiter in Strauss’ Die Liebe der Danae was considered commendable and imposing. Later on that time of year, Frantz sang Wotan in shows from the Band cycle, his involvement having been particularly requested by conductor Fritz Stiedry. Critics commented favorably on his dignity and musicianship, but experienced him slightly light-weight set alongside the magisterial Hans Hotter who got sung the part in previous months. Frantz worked frequently with Wilhelm Furtwängler, performing Wotan at La Scala in 1950 and with Italian Radio in 1953. Both these cycles were documented and are marvelous types of Frantz’s singing.

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