Eva-Maria Bundschuh

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Eva-Maria Bundschuh, 1987

Eva-Maria Bundschuh (born October 16, 1941 in Braunschweig ) is a German opera singer ( soprano ).

Life

The carpenter's daughter grew up with three siblings near Chemnitz , then Karl-Marx-Stadt. House music , the school choir and especially the church choir made her want to become a singer. Because she was not granted this, she secretly took singing lessons from Emmy Senff-Thieß in addition to her training as a textile master in Karl-Marx-Stadt. She did not reveal her disobedience until the head of the family died, but was encouraged to move on.

She qualified for the Aue Arbeiter-Musiktheater, where she took on the role of Dorabella in Mozart's Così fan tutte . Without the required professional training, it was usually not possible to take the stage maturity test, but it was still allowed to prove its suitability in front of a commission of leading directors and theater directors from the GDR in the Berlin artist club Die Möwe . Then she had the choice between three provincial theaters. In 1967 she made her debut at the Carl-Maria-von-Weber-Theater in Bernburg (Saale) as Hansel in Humperdinck's Hansel and Gretel . Until 1969 she stayed there as an alto .

In 1969 she moved to the opera house in Karl-Marx-Stadt. She reported on this phase of life in 1986 for the daily newspaper Der Morgen :

“I was the 3rd lady, the 7th woman and the waitress who carried a tray across the stage and sang a sentence. Everything was important to me, I tried to make something out of even the smallest tasks. But for a five-minute performance this big heart flutter for a whole evening - should that be all? "

The well-known singing teacher Helga Forner accepted her as a student in 1972 and in the same year she won the highest award in the GDR's national opera competition.

Her next stop was in 1974 at the Hans Otto Theater Potsdam. There she first worked as a mezzo-soprano . Under Peter Brähmig , she switched to the soprano subject as a result of various female colleagues . Her vocal range, which was expanded to three octaves , was not least due to the Forner, who would serve her for many years to come. During the three years as a mezzo-soprano, she played Carmen, Dorabella and Princess Eboli ( Giuseppe Verdi's Don Carlos ). As a youthful-dramatic soprano, she slipped into the costumes of the soprano figures in Jacques Offenbach's Hoffmann's stories along with Violetta in La traviata .

Guest performance contracts with the Deutsche Staatsoper had existed since 1976, but the decisive step forward was the resumption of Handel's Giulio Cesare in 1979 in Erhard Fischer's production, in which she performed Cleopatra. She also appeared as Marzelline ( The Barber of Seville ) and Freia ( Das Rheingold ). The latter opera , staged by Ruth Berghaus and musically directed by Otmar Suitner , premiered on September 23, 1979. Traveling to Japan with the ensemble crowned Bundschuh's elation.

With the 1981/1982 season she began working with the director Harry Kupfer , who was highly regarded beyond the borders of the GDR, at the Komische Oper Berlin . The engagement lasted until 1988. Your roles were u. a .: Regan ( Aribert Reimanns Lear ), Musette (Puccini's La Bohème ), Eva ( Wagner's Die Meistersinger von Nürnberg ) and - instead of Dorabella - Despina. In 1983 she appeared as Donna Anna in Don Giovanni at the Leipzig Opera House . In 1984 she was appointed chamber singer . On New Year's Eve 1984 she played the first serene role worth mentioning as Rosalinde in the classic operetta Die Fledermaus . Kupfer and chief conductor Rolf Reuter helped her with the world premiere of Siegfried Matthus ' opera Judith on September 28, 1985 for the special prize of the Ministry of Culture in the GDR opera performance comparison. At the end of her time at the Komische Oper she shone in the title role of Salome by Richard Strauss . In between were Jenůfa von Janáček in 1986 in the reconstructed Berlin State Opera, the nomination for the National Prize of the GDR III. Class for art and literature, the four-country tour with the Flying Dutchman and two years later the Gutrune incarnation in the Götterdämmerung at the Bayreuth Festival .

In 1988 Bundschuh became a permanent member of the German State Opera. As expected, she convinced there in the female lead of another Wagner work: Tristan und Isolde . In 1990 she sang the soprano part from Beethoven's 9th Symphony with the support of the Cleveland Orchestra under the direction of Christoph von Dohnanyi , thus paving the way for becoming a freelance singer.

From 1999 to 2004 she was on stage again in a Lear production by Willy Decker . This time as Goneril in the Saxon State Opera in Dresden . Most recently, she worked in Abu Dhabi ( United Arab Emirates ) in February 2007 at the founding event of the first Richard Wagner Association in the Arab world.

Eva-Maria Bundschuh lives near Potsdam .

Sound and image documents (selection)

Web links

Individual evidence

  1. ↑ In this regard, Anna Luise Zimmermann mentions her in her article Whether Judith or The Merry Widow: Eva-Maria Bundschuh fills all roles with her great ability / Her long path to success in The Morning of April 4, 1986 “an obsessive”.
  2. ↑ Anna-Luise Zimmermann: Whether Judith or The Merry Widow: Eva-Maria Bundschuh fills all roles with her great ability / Her long path to success , Der Morgen , Berlin, April 4, 1986
  3. ↑ The original production dates from 1977. It is difficult to determine whether Eva-Maria Bundschuh was involved, since the reference works only list the firsts and not the alternative casts.
  4. ↑ Zimmermann im Morgen : “[...] toured with the ensemble in Japan. That's more than ever expected. She is happy."
  5. ↑ KJ Kutsch and Leo Riemens noted in the Großes Sängerlexikon. Supplementary volume , KG Saur Verlag, Bern 1993, behind the term “brilliant” there are many more role examples.
personal data
SURNAME Bundschuh, Eva-Maria
BRIEF DESCRIPTION German opera singer (soprano)
DATE OF BIRTH October 16, 1941
PLACE OF BIRTH Braunschweig