|
Josef Aloys〔The middle name is given as Anton, not Aloys, in the Braunauer genealogy page, see external link.〕 Tichatschek (11 July 1807 – 18 January 1886), originally Tichaček, was a Bohemian opera singer highly regarded by Richard Wagner. He created the title roles in Wagner's operas ''Rienzi'' and ''Tannhäuser''. As the first of the great Wagnerian tenors, he effectively was the original Heldentenor,〔However, Rosenthal and Warrack (1974) accord this title to Georg Unger.〕 although it is unlikely that his voice was as powerful as that of 20th-century Heldentenors such as Lauritz Melchior or Jon Vickers, given the smaller volume of sound produced by orchestras in his heyday. == Outline == Born in Weckelsdorf (now part of Teplice nad Metují, Náchod District, Bohemia), Tichatschek originally studied medicine, but he abandoned this career path for professional singing. He received voice lessons in Vienna from the Italian tenor Giuseppe Ciccimarra (1790–1836)〔Information from German Wikipedia.〕 and joined the chorus of the Kärntnertortheater in 1830. He advanced to chorus-inspector, and began to take small solo roles. Rising to the status of principal tenor, he worked first at Graz before returning to Vienna. In 1837, he became principal tenor at Dresden, a major music centre, where he remained until 1870. He sang in London, at Drury Lane, in 1841, performing the roles of Adolar in Weber's ''Euryanthe'' and as Meyerbeer's ''Robert le diable.'' At Dresden, he was coached by his famous colleague Wilhelmine Schröder-Devrient, and there created the roles of Rienzi in 1842 and of Tannhäuser in 1845.〔Rosenthal and Warrack 1974.〕 Wagner referred to his voice as "ein Wunder von männlich schönem Stimmorgan."〔Cited in Chamberlain 1923, 65.〕 Berlioz, referring to a Dresden concert in 1843, wrote: 'Tichatschek, the tenor, has a pure and touching voice, which becomes very powerful when animated by the dramatic action. His style of singing is simple and in good taste; he is a consummate reader and musician, and undertook the tenor solo in the Sanctus (from Berlioz's ''Requiem'') at first sight, without reserve, or affectation, or pretension.'〔Berlioz 1932, 287.〕 The singer's contemporary Sincerus emphasised that he was equally effective in works requiring romantic softness and sweetness of tone, having a very natural vocal production. His intonation and diction were above suspicion, but his 'coluratura' was imperfect and his acting sometimes a little awkward.〔Newman 1933, 335, note 1.〕 He was greatly admired by the basso Karl Formes, who sang ''Robert le diable'' and ''Les Huguenots'', and other roles, with him and Johanna Wagner at Dresden in 1848-49. 'His color of tone was almost unequaled, quite as perfect as Mario's... His "Florestan" in ''Fidelio'' I have never heard equaled. In the ''Freischütz'' his "Lives there no God" was almost appalling in its intensity.' In ''La Juive'', 'so terribly real in "the curse", so intense the pain and love' in "Recha, my daughter, wilt thou live...".〔Karl Formes, ''My Memoirs. Autobiography of Karl Formes'' (Pauline Formes (private edition), James H Barry, San Francisco 1891), p.106-08.〕 His repertoire is said to have included principal roles of Gluck, Mozart, Weber, Marschner, Méhul, Boieldieu, Auber, Nicolai, Meyerbeer, Spontini, Flotow and Spohr.〔(Neil Howlett article online )〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Josef Tichatschek」の詳細全文を読む スポンサード リンク
|