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Karl Formes
Karl Johann Franz Formes (b. Mülheim am Rhein, 7 August 1815; d. San Francisco, 15 December 1889), also called Charles John Formes, was a German bass opera and oratorio singer who had a long international career especially in Germany, London and New York.〔( Minnesota Historical Society photo of Karl Formes ).〕 At one time extremely famous and in the forefront of his profession, several roles were composed for his voice, most notably that of Plunkett in Flotow's opera ''Martha.
Formes's own ''Memoirs'', first published in 1888,〔Wilhelm Koch (Editor), ''Aus meinem Kunst- und Bühnenleben. Erinnerungen des Bassisten Karl Formes'' (Köln 1888). The English version was published privately by Formes's third wife, Pauline Formes, as: ''My Memoirs. Autobiography of Karl Formes. Published in his Memory'', (James H. Barry (printer), San Francisco 1891) See (Internet Archive, ''Karl Formes Autobiography'' to read online )〕 may not be entirely trustworthy.〔H.A. Lier, 'Formes, Karl Johann' in ''Allgemeine Deutsche Biographie'', in German Wikisource ().〕 Charles Santley recorded that Formes was a great teller of stories, 'much after the style of Baron Munchausen'.〔Charles Santley, ''Student and Singer'', 3rd Edn (Edward Arnold, London 1892), 265-67.〕
==Origins, training and début==
Karl Formes derived from the Spanish family of Formes-de-Varaz, settled in Germany since the 16th century.〔''Memoirs'', 169-70.〕 His father was sacristan of the Roman Catholic church at Mülheim, and Karl was eldest of seven sons and one daughter. He began by singing in the church choir, received keyboard (spinet) lessons and became adept at the organ and the guitar. For three years he served as church organist before, aged 14, he made a journey as far as Switzerland to earn money by itinerant singing.〔''Memoirs'', 11-12.〕 Although financially successful, his father would not permit him to make a career in music: instead he was apprenticed to a brewer in Cologne, a relative of his mother's, and there he remained until he was twenty. He got training in fencing and pistol shooting. There followed two years' military service in the 25 Regiment, then stationed at Coblenz. Here he first met Karl Anschütz, a musician whose career became linked to his own.〔''Memoirs'', 17.〕 After Coblenz he returned to the brewery at Cologne. In 1838 he went back to Mülheim to support his father and worked both as brewer and sacristan, while also singing when the chance arose and serving as choirmaster. At about this time he married and had children.〔This paragraph, ''Memoirs'' 1-23: ''Allgemeine Deutsche Biographie''.〕
Around 1840, he decided to attempt a musical career, encouraged by Franz Liszt who heard him sing.〔This paragraph, ''Memoirs'' 33-41.〕 An actor Ferdinand Gumbert tutored him in bass roles from ''Die Zauberflöte'' (Sarastro), ''Norma'' (Oroveso) and Boieldieu's ''La dame blanche'' (Gaston).〔''Memoirs'', 32-34.〕 He made his debut as Sarastro at Cologne Stadt-Theater in January 1842, with such success that the Director, Spielberger, immediately engaged him on a salary, and he was able to understudy other roles. Liszt declared his prophecy fulfilled, and Formes devoted himself fully to the stage. At Cologne the bass Josef Staudigl (of the Vienna Hofoper) made guest appearances which Formes studied closely, especially his Bertram in ''Robert le diable'' and his Marcel in ''Les Huguenots''. Staudigl, returning from London in 1843, heard Formes perform Bertram with his own modifications, and paid him a broad compliment. They sang together once in ''I puritani'', as Riccardo (Staudigl) and Giorgio (Formes).〔''Memoirs'', 35-37.〕 After two years (including a season at Düsseldorf), Formes broke his contract with Spielberger and escaped to Mannheim, where he joined the Grand-Ducal Opera and befriended Vinzenz Lachner. In February 1845 he was singing Marcel there.〔''Memoirs'' 37-41.〕
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