Karl Hill (9 May 1831 – 12 January 1893) was a German baritone opera singer.
Hill was born in Idstein im Taunus, near mountains north of Wiesbaden, but he lived and worked for most of his life in Schwerin, where he died. He studied in Frankfurt, and made his debut at Schwerin in 1868 as Jacob in Étienne Méhul's Joseph .
He sang the role of Alberich in the first performance of Richard Wagner's Der Ring des Nibelungen at Bayreuth in 1876. Also at Bayreuth, he sang the role of Klingsor in the premiere of Parsifal in 1882. In 1890, mental illness caused him to retire from the stage.
His Wagnerian roles also included The Dutchman in Der fliegende Holländer , and Hans Sachs in Die Meistersinger von Nürnberg . Non-Wagnerian roles included Mozart's Count Almaviva in The Marriage of Figaro , and Don Giovanni and Leporello in Don Giovanni .
A baritone is a type of classical male singing voice whose vocal range lies between the bass and the tenor voice-types. The term originates from the Greek βαρύτονος (barýtonos), meaning "heavy sounding". Composers typically write music for this voice in the range from the second F below middle C to the F above middle C (i.e. F2–F4) in choral music, and from the second A below middle C to the A above middle C (A2 to A4) in operatic music, but the range can extend at either end. Subtypes of baritone include the baryton-Martin baritone (light baritone), lyric baritone, Kavalierbariton, Verdi baritone, dramatic baritone, baryton-noble baritone, and the bass-baritone.
Theo Adam was a German operatic bass-baritone and bass singer who had an international career in opera, concert and recital from 1949. He was a member of the Staatsoper Dresden for his entire career, and sang at the Bayreuth Festival from 1952 to 1980. He particularly excelled in portraying roles by Richard Wagner, especially Wotan in Der Ring des Nibelungen, which he also performed at the Metropolitan Opera, among others. In concert, he was a much admired Bach singer and also drew acclaim for his interpretation of the title character of Mendelssohn's Elijah. He was a voice teacher at the Musikhochschule Dresden.
William Johns is an American tenor who sang leading roles in the opera houses of Europe and the United States in a career spanning more than 25 years. Several of his live performances in Germany and Italy during the 1970s have been preserved on CD, including the title roles in Alfano's Cyrano de Bergerac and Mercadante's Il bravo.
Thomas Stewart was an American bass-baritone who sang an unusually wide range of roles, earning global acclaim particularly for his performances in Wagner's operas.
Anna Bellschan von Mildenburg was an eminent Wagnerian soprano of Austrian nationality. Known as Anna Bahr-Mildenburg after her 1909 marriage, she had been a protégé of the composer/conductor Gustav Mahler during his musical directorship at the Hamburg State Opera. In 1898, Mahler took her to the Vienna Opera, where she established herself as one of the great stars during his celebrated tenure there as music director.
Antonio Pini-Corsi was an Italian operatic baritone of international renown. He possessed a ripe-toned voice of great flexibility and displayed tremendous skill at patter singing. Pini-Corsi participated in numerous operatic premieres, portraying on stage such characters as Ford in Giuseppe Verdi's Falstaff and Schaunard in Giacomo Puccini's La bohème. Part of the first generation of recorded musicians, Pini-Corsi was one of the finest buffo singers of his era.
Pauline Maria de Ahna (also known as Pauline Strauss was a German operatic soprano and the wife of composer Richard Strauss. Her singing career was closely tied to her husband's career as a conductor and composer. From 1890-1894 she was committed to the Staatskapelle Weimar and from 1894-1897 she was committed to the Bavarian State Opera, during which times her husband was the principal conductor of those theaters. She also sang under her husband's baton at the Bayreuth Festival and in the world premiere of his first opera Guntram. Other houses at which performed included the Berlin State Opera, La Monnaie, and the Liceu. Her repertoire included leading roles in the operas of Beethoven, Humperdinck, Mozart, von Weber, and Wagner. After she gave birth to their son, Franz Strauss in 1897, she retired from the opera stage. She thereafter continued to periodically perform in concerts of her husband's music, particularly lieder. Strauss credited her as his muse for many of his compositions, including the title role in Salome, the Countess Madeleine in Capriccio, and the Four Last Songs among others.
Ernest Van Dyck was a Belgian dramatic tenor who was closely identified with the Wagnerian repertoire.
Karl Ridderbusch was a German operatic bass, associated in particular with the music of Wagner. He was recognised as a notable exponent of the role of Hans Sachs.
Marie Wittich was a German operatic soprano. She was a Kammersängerin of the Dresden Royal Opera where she sang for 25 years and was known for the power, vibrancy and dramatic quality of her voice. She created the leading female roles in the world premieres of several operas, most famously, the title role in Salome by Richard Strauss. The novelist E. M. Forster, who saw her 1905 Dresden performance as Brünnhilde in Der Ring des Nibelungen, wrote: "She towered. She soared. Force, weight, majesty! She seemed to make history."
Karl Perron, born Karl Pergamenter and also known as Carl Perron, was a German bass-baritone. A Kammersänger of the Dresden State Opera, he created leading roles in three operas by Richard Strauss – Jochanaan in Salome, Orest in Elektra, and Baron Ochs in Der Rosenkavalier.
Gustav Hölzel was an Austro-Hungarian bass-baritone and composer who sang in the opera-houses of Austria, Germany and elsewhere for nearly fifty years. He is principally remembered as the first Beckmesser in Richard Wagner's Die Meistersinger von Nürnberg.
Hans Tobias Erl was a German operatic bass.
Max Karl Schlosser was a German opera singer.
Frederick Dalberg was an English-born South African opera bass. As an ensemble member of the Leipzig Opera, Bavarian State Opera, Covent Garden and Mannheim National Theatre, he excelled in German romantic operas, especially those by Richard Wagner, but also took part in several premieres of contemporary compositions.
Francisco Augusto D'Andrade, or De Andrade, was a Portuguese baritone who sang leading roles in opera houses throughout Europe, including five years as the principal baritone at the Royal Italian Opera in London and thirteen years at the Berlin Hofoper. Considered a "very elegant and cultured singer," he was particularly admired for his portrayal of the title role in Mozart's Don Giovanni. In his native city of Lisbon, D'Andrade created the role of Adaour in the 1888 world premiere of Alfredo Keil's Donna Bianca, appearing with his elder brother, the tenor António D'Andrade.
Marie Lehmann was a German operatic soprano. She had a coloratura soprano voice, but also appeared in Wagner operas, including the first complete performance of his Der Ring des Nibelungen at the inaugural Bayreuth Festival in 1876, playing one of the Rhinemaidens.
Siegfried Vogel is a German operatic bass. Based at the Staatsoper Berlin, he performed internationally at major opera houses and festivals, including the Salzburg Festival and the Bayreuth Festival. He began in Mozart roles, but expanded his repertoire, including world premieres of operas.
Johanna André was a German soprano in opera and concert and a voice teacher. A long-term member of the Braunschweig court theatre, she appeared at major German opera houses, especially in dramatic roles such as Beethoven's Fidelio, and Wagner's Senta, Isolde and Brünnhilde. She took part in the world premiere of Wagner's Parsifal at the Bayreuth Festival.
Theodor Bertram was a German bass-baritone prominent in the operas of Richard Wagner. A regular performer at the Bayreuth Festival from 1901 to 1906, he was greatly admired for his portrayals of Wagnerian heroes and particularly Wotan. Bertram was born in Stuttgart and died by suicide in Bayreuth following the death of his second wife, Lotte Wetterling. His first wife was the soprano Fanny Moran-Olden who was also a prominent Wagnerian singer.