Siegfried Jerusalem

Been trained in Essen like a bassoonist, Siegfried Jerusalem researched to become singer and quickly worked well his way through lyric roles into dramatic and, eventually, heroic parts. He grew in to the heaviest Wagner protagonist just like the problem was becoming eager; the lack of viable performers for these challenging roles was diminishing the ability from the world’s main opera homes to attach the functions of the fundamental Wagner canon. Attractive, slender, youthful to look at, and an extremely credible acting professional, Jerusalem filled the necessity having a tone of voice that was company and accurate, if somewhat dried out and lacking best heldentenor thrust. Therefore important was he to Wagner shows, however, that he was involved not merely for as much house shows as he could manage, also for several recordings. If any vocalist was indispensable through the many years of Jerusalem’s excellent, it had been he. After 17 years as an effective orchestral bassoonist, Jerusalem became confident that he wanted to retrain and be a professional vocalist. He examined performing at Stuttgart, originally being a baritone, prior to making his debut at Stuttgart in 1975 as the Initial Prisoner in Fidelio. After performing there in several small assignments, he recognized an engagement in Aachen and sang in Hamburg. His initial Wagner function, Lohengrin, was noticed in a number of German theaters, including Berlin. While still performing Mozart and various other medium-weight assignments, Jerusalem produced his initial appearance at Bayreuth in 1977, performing Froh in the next calendar year of Patrice Chéreau’s hotly debated Band. He also sang the part from the youthful sailor in Tristan. In 1978, Jerusalem became a member of the Berlin Deutsche Opera. The entire year pursuing, he was back again at Bayreuth for the name tasks in Parsifal and Lohengrin and Walter in Die Meistersinger. His carrying on involvement using the Bayreuth Event found him improving to Siegmund in 1983, to Siegfried in 1988, also to Tristan in 1993. He provided his wily, well-sung Loge there for the very first time in 1994. In the meantime, the tenor’s debut in the Metropolitan Opera occurred on January 10, 1980, as Lohengrin. His profession there remained relatively quiescent until he came back as Loge in 1987. His Siegfried in the Metropolitan Band through the 1990 and 1991 months was broadcast on tv, but had not been area of the Deutsche Grammophon documenting under Levine as he had been taping the Band with Haitink and, just slightly later on, with Barenboim. Covent Backyard experienced beckoned in 1986 and Jerusalem produced his debut there as Erik. Chicago involved him because of its Band routine in the middle-1990s. The tenor’s famous Lohengrin was focused on disk in 1991 with Claudio Abbado as well as the Vienna Philharmonic. Furthermore to such regular non-Wagnerian fare as Die Zauberflöte (Tamino), operas such as for example Korngold’s Violanta and Die Königen von Saba had been documented with Jerusalem in the best tenor functions. Operetta, as well, was an appeal and Jerusalem was presented in Willi Boskovsky’s documenting of Lehár’s Die Property des Lächelns (Property of Smiles). Apart from his steadfast function in the opera home, Jerusalem offers sung both recitals and several concert shows with orchestra. He offers made highly achieved recordings of Mahler’s Das Lied von der Erde with both Barenboim and Levine, Haydn’s Die Jahreszeiten with Marriner, Schoenberg’s Gurrelieder with Chailly, and Mozart’s Requiem with Helmuth Rilling.