In the years between your perfect of Ludwig Weber as well as the emergence of Kurt Moll, Gottlob Frick reigned as the primary bass in the Austro-German repertory, wielding a robust, compact black bass of unchallenged cutting power. An instant and continuous vibrato established his voice aside from various other bass instruments, that have been softer in timbre, providing lumbering oscillations instead of spin. Sir Thomas Beecham, having lengthy delayed documenting his charming interpretation of Mozart’s Pass away Entführung aus dem Serail, within Frick a deep bass with the capacity of performing Osmin’s operates cleanly and handling handily the essential trills. Frick’s documented interpretations produced his name a familiar one across the world, despite the fact that he confined the majority of his function to Europe. Through the 10 years from the first ’50s onward, Frick was a peripatetic visitor towards the documenting studio, protecting some assignments on multiple pieces. After studies on the Musikhochschule in Stuttgart, Frick became a member of the Stuttgart Staatstheater as an associate from the chorus from 1927 to 1931. In 1934, he was involved by Coburg, producing his debut as Daland in Wagner’s Fliegende Holländer. Pursuing agreements with Freiburg and Königsberg, Frick joined up with the Dresden Staatsoper in 1938, staying with this firm until 1952 and progressively evolving through the Wagnerian bass assignments and various other specialties, such as for example Falstaff in Nicolai’s Die Lustigen Weiber von Windsor and Prince Gremin. In 1942, he made the function of Caliban in Heinrich Sutermeister’s ill-fated Die Zauberinsel and, 2 yrs afterwards, the Carpenter in Die Hochzeit des Careers by Joseph Haas. In Dresden, Frick continued to be beyond your centers of worldwide activity found somewhere else in post-WWII European countries; it was not really until he became a member of the Berlin Stadtische Oper in 1950 that his function began to entice widespread interest. In 1953, when he was involved at both Munich and Vienna, he had been 46, however in perfect voice. Covent Backyard noticed him for the very first time in 1951, when his Hunding, Fafner, and Hagen had been hailed as “somber and magnificent-voiced.” London’s dedication to develop a home-theater crop of performers limited further looks for a while, but Frick was to come back between 1957 and 1967 and once again in 1971, actually after his standard pension, to sing a unforgettable Gurnemanz. Arranging and contract problems kept Frick from your Metropolitan Opera until 1961. In his solitary time of year there, he made an appearance 1st as Fafner in Das Rheingold, after that sang Hunding, the Siegfried Fafner, and Hagen. In the mean time, he had produced his Salzburg debut in 1955 (as Sarastro and in the premiere of Werner Egk’s Irische Legende) and experienced made an appearance at Bayreuth as Pogner in 1957, coming back there for Band shows from 1960 to 1964. Officially, Frick retired from your stage in 1970, but he continuing to undertake periodic guest looks in Vienna and Munich (apart from his 1971 London Gurnemanz). To enjoy his 70th birthday, Stuttgart installed Expire Lustigen Weiber for him in 1976. Frick’s documented legacy is significant enough to make sure his continuing popularity. Furthermore to Osmin and Rocco, his Commendatore in Giulini’s Don Giovanni, his Hunding, and Hagen in the Solti Band had been all captured in great form and audio. His Sarastro for Klemperer and Keèal for Kempe discover him in rougher tone of voice, although his Gurnemanz for Solti, documented when he was 66, is definitely a remarkable overall performance.