Heinrich Knote Video
cantante lirico
- tenore eroico
- Germania
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2024-04-28
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Heinrich Knote Tedesco Kirchner Lortzing 1870 1892 1908 1914 1953
DIE ZAUBERFLÖTE "Dies Bildnis ist Bezaubernd schön" - Disco acustico HMV Monaco 1908-1914 Tenore tedesco HEINRICH KNOTE (Monaco 20 novembre 1870 - Garmisch-Partcnkirchen 12 gennaio 1953) Studia a Monaco con l'Operkantor Kirchner. Debutta alla locale Opera nel 1892 in qualità di tenore lirico buffo. In breve tempo acquistò una grande popolarità nei Maestri Cantori (David), nel Ratto dal serraglio (Pedrillo) e nelle opere di Lortzing.
Modest Mussorgsky Bosch Kotcherga Knote Brugger Claudio Abbado Rundfunkchor Berlin Berliner Philharmoniker 1450 1516 1839 1881
Modest Mussorgsky +••.••(...)), St. John's Night on the Bare Mountain, Anatoli Kotcherga, bass-baritone, Rundfunkchor Berlin, Dietrich Knote, director, Südtiroler Kinderchor, Rudi Chizzali, Gretl Brugger, directors. Berliner Philharmoniker, Claudio Abbado. Segments taken from works by Hieronymus Bosch (ca. 1450- 1516). SONY Classical SK 62034
Heinrich Knote Richard Wagner Tedesco 1870 1929 1953
Richard Wagner - LOHENGRIN “In fernem Land” Tenore Tedesco HEINRICH KNOTE (Monaco 26.11.1870 - Garmisch-Partenkirchen 12.1.1953)
Heinrich Knote Kirschner Lortzing Wagner Saba Verdi Jean Reszke Caruso Johanna Gadski Covent Garden Odeon 1870 1901 1904 1905 1906 1907 1908 1913 1923 1929 1930 1932 1953
Heinrich Knote +••.••(...)) was a Munich born Heldentenor who enjoyed a four-decade long career on the major stages of the world. Following studies with Cantor Emmanuel Kirschner, the young singer began carving out a career as a tenor. His debut occurred just before his 22nd birthday as Georg in Lortzing’s opera Der Waffenschmied at the Munich Court Opera. Although he made appearances elsewhere, Munich remained Knote’s artistic home until the turn of the 20th century. During the first year of his career, the tenor concentrated on character roles such as Pedrillo in Die Entführung aus dem Serail, Jaquino in Fidelio and Monostatos in Die Zauberflöte but soon graduated to such lyric roles as Belmonte and Tamino. As he approached the age of 30, Knote began adding more dramatic roles to his repertoire, particularly Wagnerian parts. Knote’s international career took off in 1901 when he sang his first season at London’s Covent Garden. His debut there, in the title role of Wagner’s Siegfried, received a mixed response from critics and public. The London Times critic remarked that, “…his singing is extremely good, according to the German idea of what singing should be.” This may not have been the list of superlative an artist hopes for, but Knote made enough of an impression to be invited back to London for numerous subsequent seasons. His Met debut came about during a brand new production of Wagner’s Die Meistersinger on December 3, 1904. During his three seasons with the company (1904/05, 1905/06 and 1907/08) the tenor sang 71 performances of ten roles, plus three Sunday Night Concerts. Among the operas in Knote’s Met repertoire were Tristan und Isolde, Lohengrin, Tannhäuser, Götterdämmerung, Der Fliegende Holländer, Die Königin von Saba, Der Zigeunerbaron and Il Trovatore. Knote received generally positive reviews for his Wagnerian roles, although critics sometimes pointed out that his was simply not the heroic instrument expected for such parts. Surprisingly, it was his singing of Manrico in Verdi’s Il Trovatore that garnered the tenor some of the best reviews of his career! The critic for the New York Sun noted that, “Mr. Knote's Manrico was a most excellent incursion into new territory. It was manly and vigorous in appearance, action and vocal style…His success last night was pronounced.”, and The New York Post’s reviewer went a few steps further, remarking, “The sensation of the evening, however, was the Manrico of Mr. Knote…throughout the opera he seemed more like an Italian than like a German…Will he become a second Jean de Reszke? Is he a greater tenor than Caruso? Let Caruso sing Manrico, and Siegfried, and Tristan, and then we shall have an answer to that question, which contains much food for thought.” Following a February 3, 1908 Tristan, Knote left the Met, never to return. He appeared in Dresden but cancelled his contract following a dispute with management. Knote made his final appearances at Covent Garden 1913 and returned to Germany before WWI broke out. He appeared in Hamburg and Charlottenburg and found himself back in Munich after the war. Knote made his final appearances in New York as Tristan, Walther von Stolzing and Rienzi with Johanna Gadski’s German Opera Company during the 1923/24 season before returning to Germany for good. The veteran tenor worked steadily on the opera stage throughout the 1920s and managed to maintain his vocal resources despite a grueling schedule. On June 10, 1932, Knote, then in his 62nd year, sang one last Siegfried in the city of his debut, Munich, bringing the curtain down on an illustrious 40-year stage career. Following his retirement, Knote devoted his time to teaching and passed away in Garmisch in January of 1953 at the age of 82. Heinrich Knote left a legacy of dozens of recordings, made for G&T, Edison, the Gramophone Company, Anker and Odeon between 1906 and 1930. These discs show us a rather lyrical voice that darkened with the passage of years. Knote’s approach (an attention to tonal beauty and musical detail) is, perhaps, not what we have grown accustomed to hearing in Wagner singers of the last half century. After all, when is the last time you heard a trill from a Heldentenor? In this recording, Knote sings Rienzi's Prayer, "Allmächt'ger Vater" from Wagner's opera Rienzi. This was recorded in Berlin for the Odeon label in January of 1929.
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- cronologia: Cantanti lirici (Europa).
- Indici (per ordine alfabetico): K...