Hilde Güden

Hilde Gueden (given birth to Hulda Geiringer) was among the amazing youthful Mozart/Strauss singers who emerged from Vienna soon after WWII and who dominated Mozart overall performance well in to the 1960s. Gueden’s substantial ease in the very best register destined her to sing the lighter tasks of Richard Strauss and she produced a tag in operetta aswell, achieving superstar in the functions of Johann Strauss, Lehár, among others. She was a cut, sparkling character on stage; being a Decca musician, she left many recordings of her greatest assignments. Of Austrian, Italian, and Hungarian ancestry, Gueden’s parents blended finance as well as the arts: Gueden’s dad was a banker, while her mom was an celebrity. Gueden started her musical schooling at age group seven with piano lessons, and begun to research tone of voice seven years afterwards. When she was just 16, she was taken to the interest of operetta composer Robert Stolz who provided her a component in his Servus, servus; Gueden’s functionality instantly endeared her towards the Viennese open public. During the functionality run the youthful soprano examined ballet privately and had taken courses in performing at the Potential Reinhardt Academy, all with an attention toward the operatic stage. Using the Anschluss, Gueden escaped to Switzerland where she auditioned for the Zurich Opera. Involved at that moment, Gueden produced her debut in 1939 as Cherubino in Le nozze di Figaro. Several additional roles arrived in the aftermath of her achievement and she continued to be in Zurich for just two years. Family issues called her back again to Vienna in 1941 and, selecting herself struggling to keep her home nation, she recognized an engagement in Munich where she made an appearance initial with conductor Clemens Krauss as Zerlina in Don Giovanni. Composer Richard Strauss went to a functionality of Così enthusiast tutte and, struck by the wonder and marvelous vocal sources of the youthful vocalist, urged Gueden to review the part of Sophie in his Der Rosenkavalier. After acquiring his suggestions, Gueden produced her Italian debut as Sophie in the Rome Opera in Dec 1942. Provided her extreme dislike for the Nazi regimes in both Austria and Germany, Gueden elected to stay in Italy. When the Nazis occupied that nation, she basically withdrew from carrying out throughout the war, looking for shelter 1st in Venice, after that inside a rural city near Milan. Following a summary of hostilities, Gueden came back to Austria and was asked towards the Salzburg Event in 1946 where she debuted in the personal part of Zerlina. That same yr, she was involved from the Vienna Staatsoper where she continued to be a treasured designer until 1973. In 1947, she sang at Covent Backyard for the very first time and, in 1951, she started a relationship using the Metropolitan Opera which lasted for nine months and embraced a lot more than 100 shows in 13 tasks. For the Metropolitan, she made the function of Anne Truelove in Stravinsky’s The Rake’s Improvement in a creation coming soon after the work’s Venice premiere. Among various other roles in NY, Gueden sang both Musetta and Mimì in La bohème, Zerlina, Susanna, Sophie, Zdenka, and Rosalinde. At Salzburg, Gueden provided a saucy functionality of the name function in Strauss’ Die Schweigsame Frau in 1959, and, in Vienna, a glowing Daphne in 1964, both productions captured on disk. Her cherishable Sophie was conserved on commercial documenting under Erich Kleiber.