Christel Goltz

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Christel Goltz , real name Christine Schenk, (born July 8, 1912 in Dortmund , † November 14, 2008 in Baden near Vienna ) was an Austrian opera singer ( soprano ).

Life

Christel Goltz spent her youth in Mengede . She comes from a family of high wire artists . The parents and a relative of the family appeared as the “Goltz Trio”. Goltz, who originally wanted to be a dancer, initially received training with ballet lessons in Munich . At the same time, her vocal talents were discovered and promoted; a sound vocal training followed, u. a. with the Paul Hindemith student Theodor Schenk (1907–1967), whom she later married. Their son Theo Schenk was born in Dresden in 1942 .

At the age of 23 she got her first engagement as a dancer, choir singer and for small solo roles at the Stadttheater Fürth. A few months later she switched to her first solo engagement at the Stadttheater Plauen. There Christel Goltz was discovered by Karl Böhm , the director of the Semperoper , and engaged at the Dresden State Opera , where she was part of the ensemble from 1936 to 1950. Even before her permanent engagement, Goltz jumped in for the sick Margarete Teschemacher in Rienzi in Dresden . In Dresden she made her debut as Cherubino in Figaro's wedding ; Later there followed Siebel in Margarethe , and in addition to other smaller roles (including in Feuersnot , Norn in Götterdämmerung ), also, under Karl Böhm, Zdenka in Arabella and Clairon in Capriccio , alongside Margarete Teschemacher as a countess. In the 1939/40 season she also sang her first Salome in Dresden , as a second cast for Margarete Teschemacher, who was then the “first female singer” of the house. She studied the role with Alice Werden (dialogue), Mary Wigman (dance) and her husband Theodor Schenk (vocals). In 1944 Goltz sang Agathe in the opera Der Freischütz in the last performance before the Semperoper was destroyed . In 1946 she was appointed "Saxon Chamber Singer ".

In the 1943/44 season, shortly before all theaters in Germany and Austria were closed due to the war, Karl Böhm brought Christel Goltz to the Vienna State Opera . There she sang the title role in Salome under Karl Böhm and in 1944, even without a full orchestral rehearsal, the dyer in Die Frau ohne Schatten . After the Second World War , she was also one of the "first singers" in Vienna, brought to Vienna by Egon Hilbert . In post-war Vienna she made her debut on October 16, 1950 at the Theater an der Wien as Leonore in Beethoven's Fidelio . In 1951 she also took over the Capriccio Countess in Vienna, and later (1960) she returned to Clairon. In 1952 she was appointed "Austrian Chamber Singer ". In 1955 she sang Dyer's Wife and Marie in Wozzeck at the Opera Festival for the reopening of the Vienna State Opera . The Vienna State Opera, "one of whose most prominent artists she has since been" (Kutsch / Riemens 1987, Sp. 1120), she was a member of the ensemble until the end of the 1969/70 season. Her last role there was Adelaide in Arabella by Richard Strauss in April 1970 in a repertoire performance ; Goltz had not previously publicly announced her stage farewell. In total she was heard in 28 roles at the Vienna State Opera on 430 evenings. In 1959 she received the Austrian Decoration of Honor for Art and Science .

Her varied repertoire included the highly dramatic and the youthful-dramatic subject, initially also lyrical roles (such as Mimì in La Bohème ). She sang Isolde, Senta, Elsa, Elisabeth in Tannhäuser and Brünnhilde in ( Die Walküre , under Georg Solti in Frankfurt), Salome, Elektra, again and again the dyer, Fidelio- Leonore and Wozzeck- Marie . Her repertoire also included the Italian subject (such as Tosca, Turandot, Abigaille, Aida, Elisabetta, Amelia, Desdemona, Leonora in The Troubadour ) as well as many Mozart roles (including Donna Anna).

Christel Goltz sang on the big stages and under all the renowned conductors in the world at the time (for example under Karl Böhm, Ferenc Fricsay , Joseph Keilberth , Erich Kleiber , Otto Klemperer , Clemens Krauss , Dimitri Mitropoulos , Georg Solti, Otmar Suitner , George Szell ) in Dresden , Munich, Berlin (among others as Arabella), Salzburg, Paris, Brussels, Rome, at the Teatro della Scala di Milano (Elektra in Italian with Leonie Rysanek as Chrysothemis, also Salome under Herbert von Karajan in German), at the Teatro Colón in Buenos Aires (1951 as Elektra under Karl Böhm; there also as Salome, Elsa and Jenůfa ), at the Metropolitan Opera in New York (1954, as Salome) and at Covent Garden in London (Salome, Elektra, Wozzeck -Marie) . She also sang the first Salome in Asia at the Osaka Festival in 1962.

Christel Goltz also took part in important world premieres of modern opera works: 1940 in Dresden in Romeo and Juliet by Heinrich Sutermeister , 1950 in Dresden in Antigonae by Carl Orff and in 1954 at the Salzburg Festival in Penelope by Rolf Liebermann . Well-known singers like Max Lorenz , Rudolf Schock and Kurt Böhme were her colleagues in Salzburg .

Goltz was an honorary member of the Vienna State Opera (1967) and the Saxon State Opera Dresden (1996). There is a bust of the versatile soprano in the foyer. In addition, the Foundation for the Promotion of the Semperoper has been awarding the Christel Goltz Prize for Singing, currently endowed with € 5,000, every year since 1992 .

Many sound recordings with well-known singing colleagues complete her artistic activity.

Christel Goltz was laid to rest on December 1st, 2008 in the Ober Sankt Veiter Friedhof (group T, row 2, number 11) in Vienna in an honorary grave .

In 2013, the Christel-Goltz-Platz in Mengede was named after her.

theatre

criticism

  • “The voice of Christel Goltz did not work through a special beauty of the timbre, but through its crystal clear diction and its absolute security and sovereignty up to the highest registers. In Richard Strauss' work, her expressionistic singing style was matched not only by Salome but also by Elektra . In this part she kept the audience in breathless tension right up to the orgiastic final dance ”(Herrmann / Hollander 2007, p. 16 f).
  • "Large, voluminous soprano voice, whose expressive power developed excellent performances in the highly dramatic repertoire (Elektra, Salome, Fidelio, Marie in Wozzeck )." (Kutsch / Riemens 1987, Sp. 1121).

Discography (selection)

  • Antigonae (Bavarian State Opera, 1951, Orfeo d'Or 1993)
  • Elektra (Bavarian State Opera, 1955, K. Böhm, Walhall 2006)
  • Turandot (WDR, 1956, G. Solti, Gala 2001)
  • The Troubadour (WDR, 1953, F. Fricsay, Walhall 2004)
  • Arabella (Berlin State Opera, 1950, J. Keilberth, Walhall 2006)
  • Salome (J. Keilberth, Dresden 1947, Berlin Cla Bc edel, 1993)
  • Salome (Metropolitan Opera, 1955, D. Mitropoulos, Walhall 20064)
  • Salome (Cl.Krauss, Vienna 1954, Naxos Historical 2005)
  • Salome (O. Suitner, Dresden 1963, Berlin Classics 2005)
  • Fidelio (Salzburg Festival 1957, H. von Karajan, Orfeo 2008)
  • Penelope (Salzburg Festival 1954, G. Szell, Orfeo 1993)
  • Idomeneo (Salzburg Festival, 1956, K. Böhm, Walhall 2007)
  • Wozzeck (Vienna State Opera, 1955, K. Böhm, Andante 2004)
  • The woman without a shadow (Wiener Staatsoper 1955, K. Böhm, Orfeo d'Or 2005)
  • The Flying Dutchman (Vienna State Opera 1953, R. Moralt, Golden Melodrama 2008)
  • Conversations of the Carmelite Sisters (Vienna State Opera 1961, Berislav Klobučar , Ponto 2005)
  • Christel Goltz sings (Preiser Records 1992)
  • In Memoriam Christel Goltz 1912-2008 (Preiser Records)

literature

Web links

Individual evidence

  1. ^ Chronicle of the Vienna State Opera 1945–1995, Verlag Anton Schroll & Co., Vienna and Munich 1995.
  2. ↑ http://www.nmz.de/kiz/nachrichten/kammersaengerin-christel-goltz-gestorben
  3. ↑ https://www.lokalkompass.de/dortmund-west/c-ueberregionales/neuer-platz-in-mengede-erinnert-an-christel-goltz_a337792#gallery=default&pid=4490532
personal data
SURNAME Goltz, Christel
ALTERNATIVE NAMES Schenk, Christine (real name)
BRIEF DESCRIPTION Austrian opera singer (soprano)
DATE OF BIRTH July 8, 1912
PLACE OF BIRTH Dortmund
DATE OF DEATH November 14, 2008
Place of death Baden near Vienna