Max Lorenz

Dramatic tenor Max Lorenz usually produced the the majority of a hard-edged and frequently intractable voice in singing the heroic roles of Wagner as well as the high-lying lyric/dramatic kinds of Strauss. A riveting stage amount (cut and athletic to look at), he was, in his best, possibly the most reliable visible exponent of Siegmund and both Siegfrieds. His musicianship, furthermore, was more dependable than that of all other singers from the big German assignments. Yet his tone of voice was therefore unmalleable and his technique therefore unorthodox, that his shows required from the listener a significant period of modification. Once the lodging was designed to a vocal system that sounded as if its gentle palate have been constructed of cement, significant rewards anticipated. Following research in Berlin, Lorenz was honored a prize within a competition sponsored with a town paper. He was eventually involved by Fritz Busch for Dresden and produced his debut there in 1927, performing the secondary function of Walter in Tannhäconsumer. His functionality as Menelaus in Strauss’ Ägyptische Helena, premiered in Dresden in 1928, prompted the composer to suggest Lorenz to Berlin where these were searching for a tenor for the same function. Lorenz still left Dresden, signing up for the Berlin Staatsoper in 1933. On the other hand, he had produced his debut on the Metropolitan Opera in 1931. His Walter in Die Meistersinger was received as the task of the “serious musician and a smart musician,” though one suffering from a “hard and unyielding build quality” that transformed little through the ensuing 2 decades of Metropolitan performances. He was discovered a “reliable” Siegmund and an optimistic Siegfried, albeit using the tonal liabilities cited at his debut. A Lohengrin contrary Maria Jeritza was referred to as disagreeable in audio and unimpressive to look at, the common sense on Lorenz’s physical existence being at chances with modern accounts elsewhere. Evaluations of Lorenz’s postwar Metropolitan overall performance brought such expressions as “strained” and “dried out voiced,” although his Herodes in Salome was hailed as an excellent realization. Possibly the continuing existence of Lauritz Melchior managed to get impossible for NY audiences adjust fully to the significantly less gorgeous audio made by Lorenz. London noticed Lorenz for the very first time on-stage in 1934 when his Walter produced an excellent impression. He came back to Covent Backyard in 1937 for the name part in Siegfried and was discovered too light-weight for the arduous part, but an “eminently cultivated and musicianly vocalist” non-etheless. Bayreuth proved a far more hospitable location for Lorenz’s exclusive art. For ten years from 1933, the tenor sang Siegfried and Tristan to substantial acclaim and obtained a reputation like a performing actor of outstanding ability. Recordings from your theater protect his Siegfried, sung with uncommon strength and rhythmic springtime. From 1937, he was a normal in the Vienna Staatsoper, and a regular visitor to additional European homes. In the post-WWII period, he sang in Italy, carrying out both Wagner and Verdi, and made an appearance in both Mexico Town and Buenos Aires. Salzburg noticed him often, as did various other festivals such as for example those at Amsterdam, Florence, and Züwealthy. Furthermore to his dramatic leading jobs, Lorenz got on modern parts in the premieres of Gottfried Von Einem’s Der Prozess in 1953, Rolf Liebermann’s Penelope in 1954, so that as past due as 1961, of Rudolf Wagner-Régeny’s Das Bergwerk zu Falun.