Finnish bass-baritone Tom Krause died Thursday. He was 79.
I am sorry to hear this. I always liked him.
Very sorry to read this. He was a great Lieder singer too. His complete Sibelius songs with Elisabeth Söderström will never be superseded.
My source says it was on Friday, not that it matters so much.
moi, did your source say *where* Mr. Krause died?
Finnish newspapers say he died in Hamburg:
Opera singer Tom Krause died on Independence Day in the early evening in his hometown of Hamburg, Germany , on his deathbed, had told a co-worker , pianist Matthias Veit late in the evening to STT . 79 -year-old Krause had been hospitalized for the past few days due to illness progressed rapidly .
Krause was one of Finland ‘s most successful singers. He appeared in his long career the world’s major opera houses and enjoyed a long career as a teacher.
Krause graduated as a doctor before studying at the Vienna Music Academy in 1956. His career began at the Deutsche Oper Berlin in the late 1950s and progressed rapidly in the 1960s.
Krause, baritone was a dark-colored , red-blooded soinniltaan and exceptionally handsome. Exceptional versatility and the broad nature of the reports that the Giuseppe Verdi’s Don Carlos, Krause made ??during his career , as well as Rodrigo’s baritone role that King Philip’s big bass part .
” Own the gifts it is difficult to talk about , but I had an incredible passion for singing and voice, which worked very well. When I listen to old ‘s recordings , I have to say that yes it was a very beautiful voice , Krause said STT’s 70th birthday interview in 2004.
Krause’s international breakthrough was Benjamin Britten’s War Requiem performances in London in 1963. After that, he made ??his debut as soon as La Scala in Milan and the Metropolitan in New York , where he sang in the years 1967-1973 a total of 48 screenings .
The extension to the Met and with it the real super star ‘s career was on offer, but his agent for the advice Krause did not sign the agreement. Soon after, the sound Krause went to the crisis , and after the change agent Met never been contacted .
Krause believed in re- birth , and thought that he had been in previous lives, as well as a singer and a doctor. Nine years ago, he got to answer the question of what he would like to reap the rewards of the next in their lives.
” I’d love to sticking around for a heavenly choir to sing, but if one had yet to come to life , we’ll see ,” when 70 -year-old Krause said .
Baritone Krause appeared in the New York Metropolitan Opera, among other things, in addition to La Scala , the Vienna , Munich and Paris operas , as well as a number of international music festivals. She sang in Berlin and New York Philharmonic, Chicago and Cleveland orchestras , Amsterdam Concertgebouw and the Orchestre de Paris, among others.
In Finland, Krause appeared in the Savonlinna Opera Festival and the National Opera. Krause made ??a long career of more than 80 recordings .
Krause also served as a professor at the Sibelius Academy, 1989 -- 1990 and during 1994 -- 2000 in Hamburg Academy of Music solo song as a professor .
Thanks- I had just found that. Neither English language paper in Finland mentioned it, so I write them reproving e-mails and then thought to find a Swedish-language one-- as long as something is Indo-European I can usually puzzle it out.
Many articles I found have quoted the info on Wikipedia ( since corrected) that he made his US debut in 1967 at the Met. Actually that was with the WAR REQUIEM in July 1963 at Tanglewood-- after Britten led him in it in London he recommended him to Leinsdorf. The BSO toured this concert around and Krause subsequently was booked for North American recital tours. When I spoke to him once he laughed, “I owe my North American career to Mr. Fischer-Dieskau!”-- as DFD had apparently pulled out of the BSO engagement.
Interesting, thanks. His Dutch debut was in 1963 as well (Liedrecital in The Hague, for the Union Bel Canto). In an interview he gave before this concert, he mentions that American tour coming up later in the year, and a Capriccio Count in Glyndebourne.
Review of the the Hague concert:
The Union Bel Canto Introduced in Diligentia Hague bass-baritone Tom Krause , who led by George van Renesse gave d eFinse a debauched evening . Since 1959, Krause made ??a rapid career in the German opera life and this is , heard his singing, perfectly understandable , because he has a magnificent warm voice with a huge volume, which predestined him, as it were, for the opera , a voice he additionally excellent control. Thus did this evening especially pure vocal very much agai he art . The interpretation of the songs gave us not completely satisfied . The art song indeed requires reduction of the volume and a reduction in this -- dynastic rich tapestry and flexibility of the voice. And these had this night often . Songs like those of Carissimi and Gluck require a more sophisticated sound than this voice , how beautiful she is. The songs of Schubert already donated much more satisfying , though she had one more repressive nuanced desired . But then came the songs of Strauss and it was the large volume , hauling and if they are of great pathos , to its best advantage . These performances were also an overwhelming experience . The very beautiful romantic songs of King Erik of Swedish composer Rangström if it were a voice like that of Krause written and hence it it made a strong impression . The program ended with a series of very beautiful songs by Sibelius , prouverend the versatility of this great composer . And it was as if Krause , singing in his own language came to more subtle expression. It was certainly an impressive final this evening . The singer , excellent though sometimes erratic accompanied by Van Renesse acquired an ovation applause , which he answered with three encores Sibelius and Strauss . One can see the union Bel Canto grateful for this introduction . v. d. V.
Sorry to hear this news. I saw him in several roles at the Met including his debut as the Count in LE NOZZE DI FIGARO with the pretty damn impressive cast of Siepi, Lorengar, Berganza, Corena & Freni.
He made many fine recordings (Orest and Almaviva for Solti and Pizarro for Maazel come to mind) but my favorite is his SCHWANENGESANG w/Irwin Gage:
Reissued on Belart with some arias.
Solti’s Almaviva is Fucking Brit Thomas Allen. Krause recorded the role with Karajan.
I like “fucking Brit Thomas Allen” ah! ah!
True enough. It’s 5:45 am over here!
Both are splendid. Krause recorded Guglielmo for Solti, also very good if not on the immortal plane of Sir Geraint backed by Our Own Philharmonia. Also for Ostman.
Underrated, that Ostman recording. Some of the casting is a little subpar but as well as Krause you get Yakar and Winbergh.
Exquisite and for this baritone (me), quite inspirational and aspirational.
I always admired his work. That Schwanengesang is indeed exceptional, and I find that Guglielmo with Solti a perfect fit for him, vocally and temperamentally. For Decca he was also part of their very fine “regular quartet” for the big Bach vocal works (along with Elly Ameling, Helen Watts, Werner Krenn).
I met him on a couple of occasions: I sang in the chorus for a concert presentation of Fidelio in which he provided an even more impressive Pizarro than for the Maazel recording. And in the 1980s he (and his wife Jeane) came to our university for a week for master classes and a recital, and I had the chance to drive and show him around at times. He was always extraordinarily gregarious and generous to everyone.
Not at all emblematic of his fantastic career, but I absolutely loved his Ping on the Mehta Turandot
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