For many from the record-buying open public, their impression of German dramatic tenor Hans Hopf was formed upon viewing the wretched photograph that was displayed over the cover of his 1960 EMI saving of Tannhäuser. Showing up bloated and dim-witted, the tenor was sorely misrepresented with a portrait which should do not have been released. While his tone of voice had by that point grown up beefier and much less pliant, Hopf was as well serious an musician to have already been subjected to such a pr disaster. For the truer picture, in physical form and aurally, use his Walter in EMI’s live saving of Bayreuth’s 1951 Die Meistersinger with Schwarzkopf, Edelmann, and Karajan. Right here, before the stress of way too many heroic assignments had taken their toll, his performing was solid and extremely agreeable, achieved if somewhat lacking poetic. Hopf examined with bass Paul Bender in Munich prior to making his debut in 1936 performing Pinkerton using the Bavarian Regional Opera. Affiliations with Augsburg, Dresden, Oslo, and Berlin preceded his prolonged membership in the Bavarian Staatsoper from 1949. Furthermore to his Bayreuth debut, the 1950 — 1951 time of year held an initial appearance at Covent Backyard, where Hopf sang his German-language Radames within an in any other case English-language Aida. He was also noticed as Walter, satisfying the critics and viewers even more for his durable performing than for his subtlety. Hopf continued to be using the Royal Opera through the 1952 — 1953 time of year, providing his Walter all 3 years. At Bayreuth, Hopf worked well his method to Parsifal, Tannhäconsumer, and Siegfried from the 1960s. In 1952, he produced his Metropolitan Opera debut as Walter. He continuing to seem for five even more years, ultimately amassing a complete of 34 shows in the Wagnerian repertory. At Salzburg in 1954, Hopf produced his debut as Utmost in Weber’s Der Freischütz. Although the majority of his profession was spent in European countries, Hopf produced two further looks in American opera homes performing Herodes in both Chicago (1968) and SAN FRANCISCO BAY AREA (1974) and both instances with Astrid Varnay as his consort. Even though the latter production captured him rather past due in your day, he was still an arresting Herod, dissolute and obviously not quite steady. In Germany, Hopf acquired achieved a significant popularity as Verdi’s Otello.