Thomas Stewart

Despite concerns that his attractive but small baritone cannot withstand the rigors of Wagner’s The Traveling Dutchman, Wotan or Hans Sachs, Thomas Stewart enjoyed an extended career in these leading jobs, creating in adherence to a company legato and sharp enunciation what he lacked in pure vocal weight. Although he intelligently maintained the lowest records of the long-ranged parts, he was a genuine baritone, not really a bass baritone; the excess freedom he possessed in his best range continued to be with him and helped him through one of the most fatiguing passages. Not really physically huge, Stewart transported himself with such specialist that he conveyed Wotan’s wrath and Vanderdecken’s torment with an increase of than enough power. He made an appearance frequently along with his wife, soprano Evelyn Lear, in recital and concert. Aside, these were each performers of great differentiation; together, they produced appealing musical companions, recognized and communicative. After research on the Juilliard College of Music, Stewart produced his 1954 stage debut in the American premiere of Richard Strauss’ Capriccio, performing theater movie director La Roche, a bass function. In the springtime of 1954, he became a member of the brand new York Town Opera, performing the Commendatore in Don Giovanni as well as the First Soldier in Salome (even more bass parts). Chicago’s Lyric Opera provided Stewart further possibilities for bass jobs when he became a member of the business in nov 1954. There he sang Baptista in Vittorio Giannini’s The Taming from the Shrew, Raimondo in Lucia di Lammermoor, and Angelotti in Tosca. European countries seemed to give even more guarantee in 1956; after smaller sized functions, Stewart graduated to bigger parts in the baritone and bass baritone registers. In 1958, he became a member of the Städtische Oper (right now Deutsche Oper) in Berlin, producing his debut as Escamillo. The Toreador was also the part for his Covent Backyard debut in 1960. Stewart’s 1st season in the Bayreuth Event was 1960 when he made an appearance as Donner, Gunther, and Vanderdecken. His achievement that year resulted in a close romantic relationship with the event on the ensuing 10 years . 5; he eventually required on the part of Wotan. In the Paris Opéra, he produced his debut in 1964 performing Gunther. SAN FRANCISCO BAY AREA played sponsor to Stewart for a number of seasons, from 1962 when he was held occupied with Rodrigo (Don Carlos), Valentin, Escamillo, and Ford. While his Toreador was discovered relatively small-scaled, his Rodrigo and Ford aroused great excitement. In the second option part, he performed against Geraint Evans’ feisty Falstaff and eloquently conveyed Ford’s disappointment and jealousy while performing handsomely. In 1981, Stewart sang the American premiere of Aribert Reimann’s Lear at SAN FRANCISCO BAY AREA. His Metropolitan Opera debut arrived on March 9, 1966, when he repeated his Ford, starting 14 months with the business. His functions there ranged from Wotan, Hans Sachs, and Amfortas through Jochanaan and Goloud to Balstrode in Peter Grimes. All had been sung with art and expressiveness, even though they fell brief to be definitive. In European countries, Stewart was Herbert von Karajan’s Wotan of preference for Walküre and Siegfried in his Band routine, both in saving and in live show at Salzburg. Through the 1960s and 1970s, lots of the baritone’s various other leading roles had been captured in live recordings, notably his Amfortas, Vanderdecken, Gunther, Telramund, and Orest. At Santa Fe in 1967, he portrayed Cardillac in the American premiere of Hindemith’s opera.