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Kurt Böhme on iTunes


Böhme Kurt
basso [ 1908 - 1989 ]

His vocal training was with Adolf Kluge at the Dresden Conservatory. After his debut, as the Hermit in Der Freischütz at the City Theater in Bautzen in 1930, he was hired on by the Dresden State Opera from 1930 until 1949 (debut role: Fafner in Rheingold). In Dresden, he sang Dominik in the first performance of Arabella on 1 July 1933. On 24 June 1935, he was in the first performance of Die schweigsame Frau. As early as 1932, he sang Vanuzzi in the first performance of d'Albert's unfinished work (completed by Leo Blech), Mister Wu. Other world premieries included the opera Münchhausen by Mark Lothar in 1933, Der Günstling by R.Wagner-Régeny in 1935, Othmar Schoeck's Massimilla Doni in 1937, Romeo und Julia and Die Zauberinsel by Sutermeister in1940 and 1942 respectively, and Joseph Haas' Die Hochzeit des Jobs in 1944. He was a member of the Munich Staatsoper starting in 1950, and at the Vienna State Opera from 1955 until 1966. He had great successes from 1941 through 1959 at the Salzburg Festival as Ochs, Osmin, Sarastro and as Bartolo in Le nozze di Figaro. He also participated in Salzburg world premieres of contemporary works (Liebermann's Penelope on 17 August 1954, von Egk's Irische Legende on 17 August 1955, Liebermann's Die Schule der Frauen on 17 August 1957). He also sang in the first performance there of Benjamin Britten's The Rape of Lucretia in 1950. For Covent Garden, he sang the Commendatore in Don Giovanni in 1936 and in 1956-70 Hunding, Hagen and Ochs. In Munich, he took part in the world premiere of the opera Das Spiel von Liebe und Tod by Ján Cikker on 1 August 1, 1969. He appeared at Bayreuth as Pogner in 1952 and 1963-64, Titurel in 1952, 1963 and 1966, and Fafner in 1952 and 1964-67. He made guest appearances at La Scala and during the period 1954-7 in New York (debut as Pogner), where he performed Wagner roles. He made guest appearances in 1952, 1953 and 1961 at the Teatro Colón in Buenos Aires, at the San Francisco Opera in 1960, at the Théâtre de la Monnaie in Brussels in 1960 (as Ochs) and 1967, at the Grand Opéra in Paris in 1951 (as Fafner) and 1966 (as Ochs), in Monte Carlo in 1954 (as Ochs) and 1961, at the Teatro San Carlo in Lisbon (again as Ochs, then in 1965 as Kezal in The Bartered Bride, as Tommaso in Tiefland and Ochs in1966), at the Vienna State Opera in 1970 (as Waldner in Arabella), at the Strassburg Opera in 1967 (as Ochs) and at the Zurich Opera in the same year (again as Ochs), at the Rome Opera ( Rocco in Fidelio in 1951), at the Teatro San Carlo in Naples (Pogner in 1964) and the Budapest National Opera. He undertook a successful tour of South Africa, but gave up his career after the sudden death of his wife in 1985. His full, deep bass was treasured, above all, for basso buffo parts, but also for his Wagner singing. He is considered the best interpreter of Baron Ochs in Rosenkavilier in his artistic generation (and he sang the role 550 times) and an all-around great performer. His stage repertoire encompassed an extraordinary range of over one hundred parts including the Speaker and Sarastro in Die Zauberflöte, Alfonso in Così fan tutte, the Landgraf, König Marke, Sparafucile, Ramfis in Aida, the Grand Inquisitor, Colline, Donizetti's Don Pasquale, Crespel, the Spirit-Messenger in Die Frau ohne Schatten, La Roche in Capriccio, Cuperus in Die Zaubergeige by W.Egk, Kreon in Stravinsky's Oedipus Rex and Timur in Puccini's Turandot . He was further known for his radio and television appearances. His first recordings appeared after the Second World War.

 

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