Marta Fuchs

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Marta Fuchs in rehearsal for Der Rosenkavalier at the Staatsoper (1937) Bundesarchiv Bild 183-2008-0326-500, Martha Fuchs.jpg
Marta Fuchs in rehearsal for Der Rosenkavalier at the Staatsoper (1937)
Marta Fuchs with Heinz Tietjen and Ivar Andresen at the Bayreuther Festspielen, 1936 Bundesarchiv Bild 183-1989-0609-543, Bayreuth, Martha Fuchs, Tietjen, Andresen.jpg
Marta Fuchs with Heinz Tietjen and Ivar Andresen at the Bayreuther Festspielen, 1936

Marta Fuchs (January 1, 1898 - September 22, 1974) was a German concert and operatic soprano.

Germans are a Germanic ethnic group native to Central Europe, who share a common German ancestry, culture and history. German is the shared mother tongue of a substantial majority of ethnic Germans.

Opera artform combining sung text and musical score in a theatrical setting

Opera is a form of theatre in which music has a leading role and the parts are taken by singers, but is distinct from musical theater. Such a "work" is typically a collaboration between a composer and a librettist and incorporates a number of the performing arts, such as acting, scenery, costume, and sometimes dance or ballet. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble, which since the early 19th century has been led by a conductor.

A soprano[soˈpraːno] is a type of classical female singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C4) = 261 Hz to "high A" (A5) =880 Hz in choral music, or to "soprano C" (C6, two octaves above middle C) =1046 Hz or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which often encompasses the melody. The soprano voice type is generally divided into the coloratura, soubrette, lyric, spinto, and dramatic soprano.

Marta Fuchs grew up in an artistic family, her father being a painter, member of the board of the guild and a city councillor. In later years he put his efforts into managing his daughter's career. Marta attended the Königin-Katharina-Stift High School in Stuttgart and studied at the Hochschule für Musik und Darstellende Kunst, the College of Music in Stuttgart. In 1923 at the age of 25, she began her career as a soprano singing concerts and oratories. After undergoing further voice and drama training in Stuttgart, she made her debut as an operatic soprano at the state theatre in Aachen in 1928 with Gluck's Orpheus, Azucena in Verdi's Troubadour and with Carmen.

Aachen Place in North Rhine-Westphalia, Germany

Aachen, also known as Bad Aachen, and in French and traditional English as Aix-la-Chapelle, is a spa and border city in North Rhine-Westphalia, Germany. Aachen developed from a Roman settlement and spa, subsequently becoming the preferred medieval Imperial residence of Charlemagne, and, from 936 to 1531, the place where 31 Holy Roman Emperors were crowned Kings of the Germans.

<i>Orfeo ed Euridice</i> opera by Christoph Willibald Gluck

Orfeo ed Euridice is an opera composed by Christoph Willibald Gluck, based on the myth of Orpheus and set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the azione teatrale, meaning an opera on a mythological subject with choruses and dancing. The piece was first performed at the Burgtheater in Vienna on 5 October 1762, in the presence of Empress Maria Theresa. Orfeo ed Euridice is the first of Gluck's "reform" operas, in which he attempted to replace the abstruse plots and overly complex music of opera seria with a "noble simplicity" in both the music and the drama.

<i>Il trovatore</i> opera by Giuseppe Verdi

Il trovatore is an opera in four acts by Giuseppe Verdi to an Italian libretto largely written by Salvadore Cammarano, based on the play El trovador (1836) by Antonio García Gutiérrez. It was Gutiérrez's most successful play, one which Verdi scholar Julian Budden describes as "a high flown, sprawling melodrama flamboyantly defiant of the Aristotelian unities, packed with all manner of fantastic and bizarre incident."

Marta Fuchs became an active member of the Christian Community and from 1924 a member of the Anthroposophical Society. [1]

Anthroposophical Society

The General Anthroposophical Society is an "association of people whose will it is to nurture the life of the soul, both in the individual and in human society, on the basis of a true knowledge of the spiritual world." As an organization, it is dedicated to supporting the community of those interested in the inner path of schooling known as anthroposophy, developed by Rudolf Steiner.

In 1930 she was engaged by the Staatsoper in Dresden. After retraining from an alto to a high dramatic soprano, she sang, among other parts, Marschallin, Isolde, Brünnhilde, Arabella, and Fidelio. From 1935 onwards she was also part of the ensemble of the Berlin State Opera und des Deutsche Oper Berlin and appeared as guest in Amsterdam, Prague, Paris, London, Florence and Vienna.

Semperoper opera house.

The Semperoper is the opera house of the Sächsische Staatsoper Dresden and the concert hall of the Staatskapelle Dresden. It is also home to the Semperoper Ballett. The building is located near the Elbe River in the historic centre of Dresden, Germany.

Dresden Place in Saxony, Germany

Dresden is the capital city and, after Leipzig, the second-largest city of the Free State of Saxony in Germany. It is situated in a valley on the River Elbe, near the border with the Czech Republic.

A dramatic soprano is a type of operatic soprano with a powerful, rich, emotive voice that can sing over, or cut through, a full orchestra. Thicker vocal folds in dramatic voices usually (but not always) mean less agility than lighter voices but a sustained, fuller sound. Usually this voice has a lower tessitura than other sopranos, and a darker timbre. They are often used for heroic, often long-suffering, tragic women of opera. Dramatic sopranos have a range from approximately low A (A3) to "high C" (C6). Some dramatic sopranos, known as Wagnerian sopranos, have an exceptionally big voice that can assert itself over a large orchestra (of more than 80 or even 100 pieces). These voices are substantial, often denser in tone, extremely powerful and, ideally, evenly balanced throughout the vocal registers. Wagnerian sopranos usually play mythic heroines. Successful Wagnerian sopranos are rare and often Wagnerian roles are performed by Italianate dramatic sopranos.

From 1933 to 1942, she was a central figure at the Bayreuther Festspiele, where she played Isolde, Kundry and especially Brünnhilde. On February 20, 1935 she played the part of Maria Tudor in the premiere of Rudolf Wagner-Regeny's Der Günstling.

She remained distant from the National Socialist regime. In 1936, she told Hitler, "Mr Hitler, you are going to make war!" After Hitler's protestation, she replied, "I don't trust you." In May 1939 Hitler greeted her asking, "Now, have I made war?" Fuchs replied, "I still don't trust you!" [2] During the years of National Socialism, using her personal acquaintance with Hitler and Göring, she used her reputation in the petitions to allow the continuation of the anthroposophical work in Germany. On 25 June 1941 she used her influence on behalf of the Christian Community, whose priests had been interned, property confiscated and further work prohibited. [1] [3]

In 1941, she sang Fidelio-Leonore at the Rome Opera.

She gave guest performances at Bayreuth (e.g. Kundry in Parsifal , 1938), Amsterdam, Paris, London, Berlin, Wien and Salzburg. In 1935 she sang in the premiere of Strauss's Die schweigsame Frau .

After a performance of Leo Janáček’s Jenůfa in 1944, in which she sang the role of Kostelnička, the philosopher Fyodor Stepun wrote to her: “A true and ultimate unity unity between drama and song and through this a true fulfilment of the opera I have to date found realised only in the monumental comedy of the genius Schljapin and in your so completely different priestly, internalised art and if you have accomplished such a successful rendition, the cause lies not least in the fact that your playing moves not in the naturalistic-psychological but rather in the space of mystery-tragedy.” Wilhelm Furtwängler wrote after one of the Isoldes on 3 February 1944 in Berlin: Such a beautiful rendition and such a transfiguration in the death through love he had never experienced… [1]

After the destruction of Dresden on 13 February 1945, she fled to her house on the Tegernsee, then to Stuttgart where she gave guest appearances at the Stuttgart Opera, at conferences of the Christian Community and in 1948 at the conference for Waldorf teachers. [1]

She died in the old-age home in Stuttgart-Sonnenberg on 22 September 1974.


  1. 1 2 3 4 Marta Fuchs - Article by Johannes Lenz Forschungsstelle Kulturimpuls - Biographien Dokumentation
  2. Gottfried von Einem, Erinnerungen.
  3. Anthroposophen in der Zeit des Nationalsozialismus (1933-1945) Uwe Werner, Oldenbourg Wissenschaftsverlag 24. März 1999 ISBN   978-3486563627

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