Ute Vinzing

from Wikipedia, the free encyclopedia

Ute Vinzing (born September 9, 1936 in Wuppertal ) is a German opera singer ( soprano ) and chamber singer .

Life

Training and artistic beginnings

Vinzing first learned to be a seamstress . She then took private singing lessons, initially with Elisabeth Boeker in Lüdenscheid . Without the knowledge of her family, she then continued her studies with Francesco Carrino in Düsseldorf . After completing her training, she sang Wilhelm Pitz , the choir director of the Bayreuth Festival at the time, in the early summer of 1966 in order to get an engagement in the Bayreuth Festival Choir. However, Pitz rejected her voice as too big for the choir and advised her to pursue a career as a soloist.

In December 1966 she won first prize in the first ever Berlin singing competition with Josef Greindl and Elisabeth Grümmer as jury members. She then received an audition with Wieland Wagner , who recommended her to Bernhard Klee , the then general music director at the Lübeck Municipal Theaters , who then engaged her permanently in the Lübeck ensemble.

In 1967 she made her debut at the Lübeck Theater with the youthful-dramatic role of Marie in the opera The Bartered Bride . In the following three years of her engagement in Lübeck (until 1970) she worked there a total of 14 leading roles. At first she was mainly used in the Italian subject, but sang these roles, as was still common at the time, all in German. Her Lübeck roles included u. a. Mimì in La Bohème , the title role in Madame Butterfly , Desdemona in Otello , the Forza -Leonore and roles in the contemporary repertoire, as in the resurrection of Ján Cikker and the bride in Fortner's Blood Wedding . During the latter production she met Martha Mödl , where she received lessons in voice training and speech treatment. In Lübeck she also took on her first Wagner roles: Elisabeth in Tannhäuser and Senta in Der Fliegende Holländer .

From 1971 to 1976 Vinzing was under the direction of Kurt Horres the Wuppertal Opera House is committed where she expanded her dramatic role compartment. In the Italian subject, she added Abigail in Nabucco , Elisabeth von Valois in Don Carlos and the title role in Tosca to her repertoire. In 1974 she also sang Brünnhilde for the first time in Wagner's Der Ring des Nibelungen in Wuppertal . Her parting role in Wuppertal was the Kundry in Parsifal in 1976 . Since 1976 Vinzing has worked exclusively as a freelance singer.

Guest performances in Germany, the GDR and Austria

Since 1972, Vinzing has made extensive guest appearances on German theaters. During her engagement in Lübeck she made several guest appearances at the Deutsche Oper am Rhein . There she was particularly successful with the role of Senta, which she sang in over 100 performances in the course of her career. In 1972 she sang Isolde in Tristan und Isolde for the first time at the Hagen Theater . In 1973 she took over the empress in Die Frau ohne Schatten at the Nuremberg Opera House (director: Hans-Peter Lehmann , conductor: Hans Gierster ) with Karl-Heinz Thiemann (emperor) and Astrid Varnay (wet nurse) as partners.

In 1976 she sang the title role in Elektra for the first time at the State Theater in Hanover with Anny Schlemm as Klytämnestra. In the further course of her career she performed repeatedly and regularly at the Hanover State Opera. In the 1981/82 season she took over Kundry in a new production of Parsifal at the Staatstheater Hannover (premiere: September 1981) with Siegfried Jerusalem (Parsifal) and Bent Norup (Klingsor) as partners; "She impressed with the intense presentation and the sure mastery of her powerful soprano with full timbres in all registers with profound depth and clear highs". In March / April 1981, April 1982 and again in March 1983 she appeared in Hanover at gala performances and in repertoire performances as Elektra (conductors: Heinz Fricke , George Alexander Albrecht , Ralf Weikert and Ferdinand Leitner ). Her Elektra in April 1981 (instead of the dyer's wife in a planned but unusual woman without a shadow performance) "exuded intensity even in the last few moments" and was recognized by the critics as a "really great achievement". In April 1981 she took over the dyer's wife in a woman without a shadow repertoire performance; she was “outstanding in every respect” and “delighted both the performance and the perfect guidance of her powerful voice” audience and critics. In June 1981 Vinzing sang Siegfried Brünnhilde at the Hanover State Theater "with a shining voice that vibrates in wide arcs, superior and reliable"; "She developed a tremendous power and also got a lot out of the role in terms of performance."

Since the late 1970s she has appeared regularly at the Deutsche Oper Berlin . She sang here several times the dyer in Die Frau ohne Schatten , with which she had a “sensational success” in September 1978. In February 1981 “Vinzing fully met the high expectations placed in her, both vocally and dramatically; she revealed with convincing intensity the change of the dyer's wife from the unfulfilled quarrelsome woman to the loving wife ”. In February 1981 she also sang Elektra in Berlin. Your text interpretation was “both understandable and well thought-out”, the presentation “gripping”, without the “slightest vocal fatigue”. Vinzing was compared in vocal and playing intensity by critics with the soprano Ursula Schröder-Feinen, who was previously unsurpassed in this role in Berlin . In June 1988 she was “sovereign” Brünnhilde in the Götterdämmerung gala performance for the 75th birthday of the conductor Heinrich Hollreiser . In September 1988 Vinzing also sang Elektra in Ruth Hesse's role debut as Klytämnestra. In February 1990 Vinzing took over the title role again, "which you hardly ever sing about among today's singers"; Vinzing sang “with a strong voice”, although “not without problems in the register transition”. In September 1990 Vinzing appeared again as Elektra as part of the Berliner Festwochen in a guest performance by the Dresden State Opera at the DOB.

In the 1982/83 season she took over Brünnhilde in the Götterdämmerung at the Augsburg Theater in the resumption of the last part of the Wagnerian Ring cycle. Vinzing sang “an excellent Brünnhilde, despite unnecessary forcing in the depths; her voice has sufficient volume and the necessary stamina to get through the whole opera without symptoms of fatigue ”.

She also made guest appearances at the Hamburg State Opera (inter alia as Leonore in Fidelio , in the 1982/83 season as Kundry, later in the 1989/90 season as a dyer in the revival of Frau ohne Schatten ), at the Bavarian State Opera in Munich (inter alia as Isolde, Brünnhilde and in April 1985 as Kundry in Parsifal ), at the Staatstheater Karlsruhe (season 1984/85; in November 1984 as Isolde in Tristan und Isolde , in April 1985 as Brünnhilde in the Ring cycle, in June 1985 as Ortrud, briefly as Jump in, in July 1985 then as a dyer, in May 1987 as Fidelio- Leonore), at the Stuttgart State Opera (1984/85 season; as Isolde), at the Cologne Opera (1986 as Isolde), at the Kassel State Theater , at the Dresden State Opera (as Elektra) and at the Bonn Opera House (season 1986/87 as Elektra; season 1990/91 as dyer). In June 1988 she sang the Walküren -Brünnhilde in a concert performance in the Cologne Philharmonic with the Gürzenich Orchestra (conductor: Marek Janowski ); she convinced with “the size and volume of her apparently effortlessly employed magnificent soprano”. In November 1988 the Siegfried Brünnhilde followed, also in concert, and in June 1989 the Brünnhilde in Götterdämmerung .

In the 1983/84 season she appeared as Isolde at the State Opera Unter den Linden in East Berlin (conductor: Heinz Fricke ; Tristan: Spas Wenkoff ).

Vinzing also appeared in over 30 performances at the Vienna State Opera between 1976 and 1991 (including as Fidelio-Leonore, Elektra, Färberin in Die Frau ohne Schatten , Kundry, Brünnhilde and Isolde). She made her debut there in September 1976 as Senta; her last role at the Vienna State Opera was the dyer in June 1991. In February 1981 she sang Isolde in Vienna under the musical direction of Heinrich Hollreiser ; she was a "beautiful stage appearance" and used her "glorious, gold-shining, safe, inspired voice material in all positions". In May 1985 she sang the role of Brünnhilde in the third act of Siegfried and in the final scene of Die Walküre in a Wagner concert in Vienna under the musical direction of Leonard Bernstein , with James King and Thomas Stewart as partners.

In 1983 she was a guest at the Bruckner Festival in Linz in a concert performance of Tristan as Isolde (with René Kollo as partner). In 1988 she sang the Valkyrie Brünnhilde at the International Bruckner Festival Linz in a concert performance with the Bruckner Orchestra Linz (conductor: Bruno Moretti).

International guest performances

In 1977 she appeared at the Grand Opéra Paris as Walküren-Brünnhilde in the Ring cycle. In February 1985 she sang Isolde with René Kollo (Tristan) as a partner under the musical direction of Marek Janowski .

In June 1983 she was one of the three soprano soloists in a performance of the 8th Symphony ("Symphony of a Thousand") by Gustav Mahler at the Basilica dei Santi Giovanni e Paolo in Venice , under the musical direction of Eliahu Inbal . In the 1983/84 season she sang Isolde in a new production of Tristan at the Teatro Comunale di Bologna, directed by Yuri Lyubimow . In the summer of 1984 she sang Brünnhilde at the Ring performances in Seattle, North America, in a production by George London . In April 1984 she appeared as Brünnhilde in Die Walküre with the ensemble of the Metropolitan Opera in two guest appearances at the Kennedy Center for the Performing Arts in Washington, DC ; her actual MET debut took place in December 1984 at the Metropolitan Opera House with the title role in Elektra .

Internationally she also appeared at the Grand Théâtre de Genève (as Brünnhilde), at the Royal Copenhagen Opera House (as Isolde), several times at the Teatro Colón (1977 as Isolde with Jess Thomas as partner; 1980 as Ortrud in Lohengrin with Jess Thomas in the title role; 1987 as Elektra with "vocal strength and unconditional commitment, especially in the orgiastic finale"; also there as Brünnhilde), at the Teatro Comunale di Firenze (October 1988; as Isolde) and at the Marseille Opera House (1989 as Elektra; 1992 as dyer). In October 1992 she sang in Marseille in October 1992, “vocally fully sufficient for the demands of her exposed role”, also for the last time the dyer, who she embodied as “an energetic, strong-willed woman without hysteria and misplaced emphasis”.

Honor and stage farewell

Ute Vinzing was awarded the title of chamber singer . In October 1993 she ended her stage career as part of a gala concert in Lübeck's Holstentorhalle . She sang excerpts from the operas Die Walküre and Götterdämmerung , in which her long-time stage colleagues Donald McIntyre (Wotan) and Spas Wenkoff (Siegfried) were her partners.

Private

Vinzing was married to the musician and music professor Claus Rößner (1936-2016), whom she had met during her engagement in Lübeck. Rößner was Karl Böhm's musical assistant in Bayreuth from 1961 to 1971 , later first conductor in Lübeck and professor of accompaniment at the Berlin University of the Arts .

repertoire

Vinzing made a name for herself as a representative of the youthful-dramatic, but especially the highly dramatic repertoire, and as a Wagner singer. She was considered one of the few “real, highly dramatic singers” in the German-speaking area. She sang around 50 different roles over the course of her career. Later in her career she reduced her repertoire to around ten to twelve core roles, mainly in Wagner and Strauss (including Brünnhilde, Isolde, Ortrud, Kundry, Elektra, Färberin). Vinzing limited their appearances due to the difficulty of their roles to about 35-40 evenings per year.

Between 1974 and 1987 Vinzing sang the role of Brünnhilde in over 10 different complete ring cycles, including a. in Wuppertal (1974), Hanover (February 1983; in Die Walküre and Siegfried ), Karlsruhe (April 1985, June / July 1988 in Götterdämmerung ), Düsseldorf , Hamburg , Berlin (March 1986 in the complete Ring cycle, in Die Walküre with “ great musical security and representational maturity "; there" every note fits, you can hear the thoughtfulness and experience of every phrase ", in November 1986 again in Götterdämmerung ; also in March 1989 and May 1990), Cologne (June / November 1988 and June 1989 ; in the concertante ring under Marek Janowski), Vienna , Geneva , Seattle (June and August 1984), Barcelona (March 1985; as Siegfried -Brünnhilde), Buenos Aires , Paris (1977, February 1986), Munich (May / June 1987, January 1988 with “victorious top notes”, but also partly “breaking out voice”) and Orange (July 1988).

In July 1981 she was "very committed" at the Deutsche Oper Berlin (DOB) in the Götterdämmerung performance and partner of Hans Beirer , in which Beirer appeared again as Siegfried in the Ring cycle on the occasion of his 70th birthday.

Audio documents

Ute Vinzing's operatic works are inadequately documented on records, as Vinzing was not tied to any record company in the course of her career. There are only two official audio documents.

In 1984, a live recording of a concert performance of the opera Elektra , in which she sang the title role, was released, first on record and later on CD . The recording was made in Paris in 1984 with the Orchester Nationale de France under the musical direction of Christof Prick ; her partners were Leonie Rysanek (Chrysothemis), Maureen Forrester (Klytämnestra) and Bent Norup (Orest). In 1987 EMI released an unabridged complete studio recording of the opera Die Frau ohne Schatten with Wolfgang Sawallisch as conductor, in which Vinzing sings the role of the dyer's wife .

A studio recording of the opera Elektra, already planned by EMI, with Vinzing in the title role and Klaus Tennstedt as conductor, did not materialize. However, there are some Vinzing radio recordings. The Gala label also released a CD box in 2006 with live recordings from 1972 to 1985.

literature

  • Karl-Josef Kutsch , Leo Riemens : Large singer lexicon . Fourth, enlarged and updated edition. Munich 2003. Volume 5: Seideman – Zysset, p. 4908. ISBN 3-598-11419-2 .
  • Wilhelm Kosch (Ed.): Deutsches Theater Lexikon. Volume V. Uber - Weisbach. Page 2789. De Gruyter, Berlin [et al.] December 2000, ISBN 978-3-907820-40-7 . (accessed via De Gruyter Online).
  • Gerhart Asche: Ute Vinzing . In: Opernwelt , June 1983 edition, pages 20/21.
  • Reinhold Rödl: Ute Vinzing. Star member in international ensembles . In: Orpheus , May 1984 edition, pages 324-327.
  • M. Rutkowski: Lübeck. Wagner concert . In: Opernglas , December 1993 edition, page 49.
  • Ruth Eberhardt: Ute Vinzing. Farewell to the artist on stage . In: Orpheus , January 1994 edition, pages 10-11.
  • Michael Arndt: "Goodbye, you bold, wonderful child!" . In: Orpheus , January 1994 edition, page 11.

Web links

Individual evidence

  1. ↑ a b c d e f Gerhard Asche: You never had to tremble about them: Living with Wagner and Strauss - for the 80th birthday of Ute Vinzing and Ruth Hesse . In: Opera world . Edition September / October 2016, page 98.
  2. ↑ Gerhard Eckels: PARSIFAL . Performance review. In: Orpheus . Edition 11/12. November / December 1981. Page 897/898.
  3. ↑ MM: ALSO . Performance review. In: Orpheus . Issue 7/8. July / August 1981, pp. 566/567; there to Vinzing on page 567.
  4. ↑ Ec: HANNOVER: REPERTOIREUMSCHAU . Performance review. In: Orpheus . Issue June 6, 1981. Page 452.
  5. ↑ Theo Rätisch : EXTRAORDINARY . Performance review. In: Orpheus . Issue 7/8. July / August 1981, p. 567.
  6. ^ A b Margot E. Hoffmann: REPERTOIRE PERFORMANCES OF THE GERMAN OPERA BERLIN . Performance review. In: Orpheus . Edition April 4, 1981. Page 264/265.
  7. ^ A b c Margot E. Hoffmann: REPERTOIRE-UMSCHAU . Performance review. In: Orpheus . Issue March 3, 1981, page 176.
  8. ↑ JG (= Jörg Graepel): BIRTHDAY GIFT . Performance review. In: Orpheus . Issue August 8, 1988. Page 623.
  9. ↑ Orpheus . Edition November 11, 1988. Page 856. Short editorial note with cast list and photo (with U.Vinzing and R.Hesse).
  10. ↑ GH (= Geerd Heinsen) / SL (= Stefan Lauter): GLOSSY LIGHTS . Performance review. In: Orpheus . Issue April 4, 1990. Page 18.
  11. ^ KU Groth: GERMAN OPERA: ELEKTRA . Performance review. In: Opera glasses . Issue November 11, 1990. Page 18/19.
  12. ↑ a b Jeffrey Alexander: AUGSBURG: SOLIDE GÖTTERDÄMMERUNG . Performance review. In: Orpheus . Issue June 6, 1983. Page 521.
  13. ↑ Claus Holz: WUNSCHMAIDEN . Performance review. In: Orpheus . Issue September 9, 1988. Page 711/712.
  14. ↑ Irene Marianne Kinne: ADDITION ... . Performance review. In: Orpheus . Issue April 4, 1981. Page 297.
  15. ↑ Gerardo Giminez / CS: TOP PERFORMANCE . Performance review. In: Orpheus . Issue February 2, 1988. Page 148.
  16. ↑ Jean-Luc Weil: QUARTET OF THE SUPERLATIVE . Performance review. In: Orpheus . Issue January 1, 1993. Page 58.
  17. ↑ Ingrid Wanja: DOB BEFORE ASBESTOS . Performance review. In: Orpheus . Issue May 5, 1989. Page 367.
  18. ↑ MZ / JG = Jörg Graepel: IN THE USED QUALITY . Performance reviews. Issue May 5, 1989. Pages 368–371.
  19. ↑ Marcello Santi: CURSED GOLD . Performance review. In: Orpheus . Issue March 4, 1988. Page 208/209.
  20. ↑ MEH: REPERTOIRE-UMSCHAU . Performance review. In: Orpheus . Issue 7/8. July / August 1981. page 540.
  21. ↑ Elektra . Details on the cast and publication. Retrieved December 22, 2016.
personal data
SURNAME Vinzing, Ute
BRIEF DESCRIPTION German opera singer (soprano) and chamber singer
DATE OF BIRTH September 9, 1936
PLACE OF BIRTH Wuppertal