Helge Rosvaenge

Helge Rosvaenge stood atop the heap of dramatic tenors in Central European countries for a lot more than 3 decades. A unique way of measuring vocal longevity suffered his reputation at a number of important locations (specifically in Vienna) and lent his name a renowned aura even while his career continued to be a dynamic one. With solidly focused lower and middle registers and a robust, blossoming best, he was well-suited for a wide repertory from Mozart to Verdi to Strauss. While recordings of arias from Wagner’s Die Meistersinger reveal an exemplary mixture of thrust and lyricism, Rosvaenge smartly limited his stage performances within this composer’s functions. Such caution probably allowed him to keep his tone of voice in such extraordinary order up to now into his performing years. Generally self-taught, Rosvaenge produced his operatic debut in 1921 as Rodolfo at Neustrelitz, the invitation having been prolonged in the wake of an effective recital; appearances adopted at Altenburg and Basle. Cologne involved him from 1927 to 1930 and, from 1930, he was an associate in the Berlin Staatsoper. In Berlin, he was appreciated for his shows from the Italian repertory, surpassing his co-workers in the correct shaping of arias and ensembles in functions by Verdi and Puccini. During this time period, he also launched himself to viewers in Munich and Vienna, quickly learning to be a preferred in each home. He first made an appearance in the 1933 Salzburg Event and continued to be there before starting of WWII in such assorted tasks as Tamino, Huon, and Florestan. Rosvaenge ventured Parsifal at Bayreuth in 1934 and 1936 and produced his debut at Covent Backyard inside a 1938 creation of Fidelio carried out by Sir Thomas Beecham. Using the Leonore of Rose Pauly as well as the Rocco of Ludwig Weber, Rosvaenge produced an optimistic impression, getting “expert and tenseness” to his overall performance. The Anschluss in Austria and outbreak of battle the next yr eliminate further looks. Rosvaenge’s Florestan had not been his only cooperation with Beecham. He previously been the conductor’s choice (which of maker Walter Legge) for any Berlin documenting of Die Zauberflöte the preceding yr. That his stentorian tenor was considered by two such particular people as an exemplary match for the lyric part of Tamino says very much about the tenor’s adaptability. As well as Tiana Lemnitz, Erna Berger, and Gerhard Hüsch, Rosvaenge was portion of a documenting task that was considered from your outset as historical. During WWII, Rosvaenge frequently sang for the Axis capabilities and bought at war’s end that his enthusiastic involvement had caused substantial political complications. When he was finally cleared with the Allies, nevertheless, he positively resumed his profession. He remained using the Vienna Staatsoper as a dynamic member until 1958. His just American appearances had been in recital. In his NY applications, sung when he was former his mid-sixties, he surprised audiences using the outstanding power he could still summon and his clarion best register. Rosvaenge documented thoroughly: arias, much longer excerpts from opera, periodic lighter functions (he was notably effective in operetta), and lieder. Furthermore to his Tamino, his Bacchus in the 1935 Berlin documenting of Ariadne auf Naxos with Viorica Ursuleac (opera just, not really the prologue) established a standard not really equaled since. The unwavering steadiness and heroic influence of his high range predestined him for Strauss’ awkwardly created tenor protagonists.