Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 The Legacy of Fritz Wunderlich: One Performer's Perceptions of Selected Discography Daniel Jon Gerdes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE LEGACY OF FRITZ WUNDERLICH: ONE PERFORMER’S PERCEPTIONS OF SELECTED DISCOGRAPHY By DANIEL JON GERDES A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2011 The members of the committee approve the treatise of Daniel Jon Gerdes defended on March 22, 2011. __________________________________ Douglas Fisher Professor Directing Treatise __________________________________ Seth Beckman University Representative __________________________________ Matthew Lata Committee Member The Graduate School has verified and approved the above-named committee members. ii I would like to dedicate this treatise to my family. To my mother and sister who always reminded me to keep the train on the tracks. To my father, who never left my side, holding my hand to pick me up even when I could no longer run. You provided the strength to start this journey and go after my dreams. With adoration, I thank my wife and son. Born through your love, you keep me steady. You gave me the strength to finish. Thank you for showing me the road not taken. “I just want to initiate you in the unfathomable secret that is genuine music, good, great music.” Fritz Wunderlich iii ACKNOWLEDGEMENTS I would like to thank Douglas Fisher for his guidance, support and patience throughout the process of writing this treatise. I never would have made it without your mentoring. I would also like to thank Matthew Lata and Dr. Seth Beckman, for graciously serving on my committee, and for being so accommodating with your time and energy. Finally to Jerrold Pope who gave me the tools to sing. iv TABLE OF CONTENTS List of Figures ................................................................................................................................ vi List of Audio Examples ................................................................................................................ vii Abstract ........................................................................................................................................ viii 1. INTRODUCTION ......................................................................................................................1 2. OPERA .....................................................................................................................................11 3. CONCERT REPERTOIRE .......................................................................................................31 4. LIEDER .....................................................................................................................................47 CONCLUSION ..............................................................................................................................59 BIBLIOGRAPHY ..........................................................................................................................60 BIOGRAPHICAL SKETCH…………………………………………………………………… 63 v LIST OF FIGURES 1. Fig. 1.1 Fritz Wunderlich Schedule …………………………………………………… 8 2. Fig. 2.1 Excerpt Act I: Die Zauberflöte ……………………………………………….. 14 3. Fig. 2.2 Excerpt Act I: Die Zauberflöte ……………………………………………….. 14 4. Fig. 2.3 Fritz Wunderlich as Tamino Die Zauberflöte ……………………………….... 17 5. Fig. 2.4 Excerpt Act III: Die Entführung aus dem Serail ……………………………... 19 6. Fig. 2.5 Excerpt Act III: Die Entführung aus dem Serail……………………………… 20 7. Fig. 2.6 Excerpt Act II: Don Giovanni ………………………………………………... 24 8. Fig. 3.1 Excerpt Part I: Johannes-Passion …………………………………………….. 33 9. Fig. 3.2 Excerpt Part I: Johannes-Passion …………………………………………….. 37 10. Fig. 3.3 Excerpt Part II: Johannes-Passion …………………………………………… 40 11. Fig. 3.4 Excerpt Part II: Johannes-Passion …………………………………………… 41 12. Fig. 3.5 Excerpt Part I: Das Lied von der Erde ……………………………………….. 43 13. Fig. 4.1 Fritz Wunderlich with Hubert Giesen ……………………………………….. 48 vi LIST OF AUDIO EXAMPLES 1. Audio Example A2.1: SOUND CLIP OF “Dies Bildnis ist bezaubernd schön”……… 13 2. Audio Example A2.2: SOUND CLIP OF “Ich baue ganz”…………………………… 18 3. Audio Example A2.3: SOUND CLIP OF “Il mio tesoro” Sung in German ………….. 23 4. Audio Example A2.4: SOUND CLIP OF “Il mio tesoro” Sung in Italian …………… 23 5. Audio Example A2.5: SOUND CLIP OF “Lensky’s Act II Aria” Sung in German …. 25 6. Audio Example A3.1: SOUND CLIP OF “Johannes-Passion” ……………………… 32 7. Audio Example A3.2: SOUND CLIP OF “Johannes-Passion” ……………………… 36 8. Audio Example A3.3: SOUND CLIP OF “Johannes-Passion” ……………………… 39 9. Audio Example A3.4: SOUND CLIP OF “Johannes-Passion” ……………………… 41 10. Audio Example A4.1: SOUND CLIP OF “Ich grolle nicht” …………………………. 51 11. Audio Example A4.2: SOUND CLIP OF “Ungeduld” ………………………………. 54 12. Audio Example A4.3: SOUND CLIP OF “Die Böse Farbe” ………………………… 55 13. Audio Example A4.4: SOUND CLIP OF “Adelaide” ……………………………….. 57 vii ABSTRACT Tenor Fritz Wunderlich (1930-1966), one of Germany’s most famous lyric tenors, died in a tragic accident at the height of his career. Wunderlich’s professional career lasted only slightly more than ten years, but he left behind a vocal legacy through his numerous recordings, and he has had a lasting influence on the interpretation of many standard works in the tenor repertoire. In the years preceding his death, his success in Mozartian opera roles helped create this legacy that would make him internationally famous, particularly his performances of Tamino [Die Zauberflöte] and Belmonte [Die Entführung aus dem Serail]. His opera repertoire expanded into heavier roles, such as Alfredo [Verdi’s La traviata], Lenski [Tchaikovsky’s Eugene Onegin], and Palestrina [Hans Pfiztner’s Palestrina]. Wunderlich achieved equal success in oratorio and Lieder. His recordings and performances of the Evangelist and tenor soloist in Bach’s two great Passions, as well as his interpretation of the tenor solos in Mahler’s Das Lied von der Erde are revered. Wunderlich sang recital repertoire relatively late in his career. Many subsequent performers have modeled their interpretations of Schubert’s Die schöne Müllerin and Schumann’s Dichterliebe on his example. Fritz Wunderlich’s legacy as one of the greatest tenors of the twentieth century is confirmed through the many audio recordings he made. An exploration of these recordings makes it possible to experience his unique voice, and to gain insight into his influence on the tenors who came after him. viii CHAPTER ONE INTRODUCTION “Rare is the vocalist whose youthful exuberance yields to a solid technique that at career’s end retains a sound that is more than a reflection of the past. Rarer still is the singer who, in a professional life spanning less than a decade, is able to plumb unknown depths in human emotion to become a fixture in opera lore. Fritz Wunderlich was one such extraordinary tenor.”1 In October of 1966, Germany’s leading lyric tenor, Fritz Wunderlich, was scheduled to make his Metropolitan Opera debut as Don Ottavio in Mozart’s Don Giovanni. A month before this debut, which would surely have propelled him into the international spotlight, he died as a result of an accident, nine days before his thirty-sixth birthday. It is rare in the history of classical music that a singer makes a significant and lasting impact on the world in such a brief time. Wunderlich’s professional career lasted only slightly more than ten years, but his influence on the interpretation of many standard works in the tenor repertoire has been extensive. “It was after the decline of [Giuseppe] Di Stefano and before the rise of [Luciano] Pavarotti and the coming of [José] Carreras. When he awoke on the morning of September 17, 1966, Fritz Wunderlich was arguably the finest lyric tenor in the world.”2 Many people consider his performances of Tamino [Die Zauberflöte] and Belmonte [Die Entführung aus dem Serail] to be definitive. His success in Mozartian opera roles made him internationally famous in the years preceding his death. He made his Covent Garden debut and was scheduled for his Metropolitan Opera debut in the role of Don Ottavio [Don Giovanni] and recorded Tamino under conductor Karl Böhm. He was a regular member of the Staatsoper in Munich, Germany from 1960 until his death, and he expanded his repertoire in that company to include Alfredo [Verdi’s La traviata] and Lenski [Tchaikovsky’s Eugene Onegin]. He performed most of these roles, with the exception of a few productions, in German, as was the common practice at the time. His interpretations, however, achieved international fame. Duff Murphy. Fritz Wunderlich Recital. The Opera Quarterly. Vol. 6, No. 9, pp. 9‐50. Fritz Wunderlich Live!. Directed by (al Wilson. minutes. Bel Canto Society, 99. Videocassette. At the time of his death, he was beginning to expand his repertoire into heavier roles, had received offers to sing Rodolfo [Puccini’s La bohème] and was experimenting with Wagnerian roles. Wunderlich achieved equal success in oratorio and Lieder. Critics, singers and lovers of singing revere his recordings and performances of the Evangelist and tenor soloist in Bach’s two great Passions, as well as his interpretation of the tenor solos in Mahler’s Das Lied von der Erde. Although