Ruth-Margret Pütz

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Ruth-Margret Pütz
Margret Doerkes

(1930-02-26)26 February 1930
Died1 April 2019(2019-04-01) (aged 89)

Ruth-Margret Pütz (born Margret Doerkes, 26 February 1930 – 1 April 2019) was a German operatic coloratura soprano and an academic voice teacher. She was a member of the Staatsoper Stuttgart for many decades and a frequent guest at the Vienna State Opera, and appeared at other major international opera houses and festivals. One of her signature roles was Konstanze in Mozart's Die Entführung aus dem Serail . She is regarded as one of the leading coloratura sopranos of the 1960s. [1]

A coloratura soprano is a type of operatic soprano voice that specializes in music that is distinguished by agile runs, leaps and trills.

Staatsoper Stuttgart opera house in Stuttgart, Germany

The Staatsoper Stuttgart is a German opera company based in Stuttgart, Germany. The Staatsorchester Stuttgart serves in its pit.

Vienna State Opera Opera house in Vienna, Austria

The Vienna State Opera is an Austrian opera house and opera company based in Vienna, Austria. It was originally called the Vienna Court Opera. In 1920, with the replacement of the Habsburg Monarchy by the First Austrian Republic, it was renamed the Vienna State Opera. The members of the Vienna Philharmonic are recruited from its orchestra.



Born Margret Doerkes in Krefeld-Uerdingen on 26 February 1930, [1] [2] she took voice lessons with the baritone Berthold Pütz in her hometown. [2] In 1949 at age 18, she was engaged as a beginner (Anfängerin) at the Cologne Opera, where she made her debut as the Page in Verdi's Rigoletto . [3] In 1951, she appeared as Gretchen in Lortzing's Wildschütz and as Nuri in d’Albert's Tiefland . She married Johannes Pütz that year and took her stage name. [3] From 1951 to 1957, she was a member of the Staatsoper Hannover [2] as a coloratura soubrette, singing roles such as Blonde in Mozart's Die Entführung aus dem Serail , Marzelline in Beethoven's Fidelio , and Adele in Die Fledermaus by Johann Strauss. [3] She took further voice lessons with Otto Köhler  [ de ], who developed her voice to a coloratura soprano, [2] allowing her to perform as Susanna in Mozart's Le nozze di Figaro and Sophie in Der Rosenkavalier by Richard Strauss. [3]

Krefeld Place in North Rhine-Westphalia, Germany

Krefeld, also known as Crefeld until 1929, is a city in North Rhine-Westphalia, Germany. It is located northwest of Düsseldorf, its centre lying just a few kilometres to the west of the river Rhine; the borough of Uerdingen is situated directly on the Rhine. Krefeld is accessed by the autobahns A57 (Cologne–Nijmegen) and the A44 (Aachen–Düsseldorf–Dortmund–Kassel).

A baritone is a type of classical male singing voice whose vocal range lies between the bass and the tenor voice types. Originally from the Greek βαρύτονος (barýtonos), meaning heavy sounding, music for this voice is typically written 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 can be extended at either end. The baritone voice type is generally divided into the baryton-Martin baritone (light baritone), lyric baritone, Kavalierbariton, Verdi baritone, dramatic baritone, baryton-noble baritone, and the bass-baritone.

Cologne Opera

The Cologne Opera refers both to the main opera house in Cologne, Germany and to its resident opera company.

In 1957, she appeared as a guest at the Staatsoper Stuttgart as Gilda in Rigoletto. [2] She toured with the company to the Edinburgh Festival, where she appeared as Konstanze in Mozart's Die Entführung aus dem Serail , and became a member of the Stuttgart Opera. She was successful there as Zerbinetta in Ariadne auf Naxos by Richard Strauss, performed on 6 October 1962 for the reopening of the Kleines Haus of the Staatstheater, where the opera had received its world premiere 50 years earlier. The performance, conducted by Ferdinand Leitner and with Leonie Rysanek in the title role and Jess Thomas as Bacchus, was broadcast live. [4] She appeared in the title role of Donizetti's Lucia di Lammermoor , and as Norina in Donizetti's L'elisir d'amore , alongside Fritz Wunderlich as Nemorino and Raymond Wolansky  [ de ] as Malatesta. [5] In 1965, she took part in the world premiere of Antonio Bibalo's Das Lächeln am Fuße der Leiter at the Hamburg State Opera, and in 1966, she sang in Stuttgart in the world premiere of Werner Egk's 17 Tage und 4 Minuten, a revised version of Circe . [2] She was named a Kammersängerin at age 29, then the youngest Kammersängerin in Germany. She appeared at the Bayreuth Festival from 1959 as a Flower Maiden in Parsifal and in 1960 also as the Forest Bird in Siegfried . [6]

<i>Die Entführung aus dem Serail</i> opera by Wolfgang Amadeus Mozart

Die Entführung aus dem Serail is an opera Singspiel in three acts by Wolfgang Amadeus Mozart. The German libretto is by Gottlieb Stephanie, based on Christoph Friedrich Bretzner's Belmont und Constanze, oder Die Entführung aus dem Serail. The plot concerns the attempt of the hero Belmonte, assisted by his servant Pedrillo, to rescue his beloved Konstanze from the seraglio of Pasha Selim. The work premiered on 16 July 1782 at the Vienna Burgtheater, with the composer conducting.

<i>Ariadne auf Naxos</i> opera by Richard Strauss

Ariadne auf Naxos, Op. 60, is an opera by Richard Strauss with a German libretto by Hugo von Hofmannsthal. Combining slapstick comedy and consummately beautiful music, the opera's theme is the competition between high and low art for the public's attention.

Richard Strauss German composer and orchestra director

Richard Georg Strauss was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include Der Rosenkavalier, Elektra, Die Frau ohne Schatten and Salome; his Lieder, especially his Four Last Songs; his tone poems, including Don Juan, Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony; and other instrumental works such as Metamorphosen and his Oboe Concerto. Strauss was also a prominent conductor in Western Europe and the Americas, enjoying quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire.

She appeared at the Vienna State Opera from 1958, and later had a guest contract, performing nine roles until 1970, including Zerbinetta, Konstanze, Susanna, Marzelline, Pamina in Mozart's Die Zauberflöte , Gilda and Sophie. [7] At the Salzburg Festival, she performed in 1961 as Konstanze, conducted by István Kertész and again alongside Wunderlich. [8] She toured in Europe and to the Americas. [2] Pütz retired from the stage in Stuttgart in the 1994/95 season.

The Salzburg Festival is a prominent festival of music and drama established in 1920. It is held each summer in the Austrian town of Salzburg, the birthplace of Wolfgang Amadeus Mozart. One highlight is the annual performance of the play Jedermann (Everyman) by Hugo von Hofmannsthal.

István Kertész was an internationally acclaimed Jewish Hungarian orchestral and operatic conductor who, throughout his brief but distinguished career led many of the world's great orchestras, including the Cleveland, Chicago, Philadelphia, New York, Los Angeles, Pittsburgh, Detroit, San Francisco and Minnesota Orchestras in the United States, as well as the London Symphony, Vienna Philharmonic, Berlin Philharmonic, Royal Concertgebouw Orchestra, Israel Philharmonic, and L'Orchestre de la Suisse Romande. His orchestral repertoire numbered over 450 works from all periods, and was matched by a repertoire of some sixty operas ranging from Mozart, Verdi, Puccini and Wagner to the more contemporary Prokofiev, Bartók, Britten, Kodály, Poulenc and Janáček. Kertész was part of a rich musical tradition that produced fellow Hungarian conductors Fritz Reiner, Antal Doráti, János Ferencsik, Eugene Ormandy, George Szell, János Fürst, Ferenc Fricsay, and Sir Georg Solti.

As a concert singer, she recorded Bach's Magnificat with Hertha Töpper, Gerhard Unger and Theo Adam, conducted by Hans Grischkat c. 1957. [9] In 1968, she recorded Mozart's Requiem with Choir and Orchestra of the RAI Turin, conducted by Sergiu Celibidache, alongside Julia Hamari, Henrick Gritchnik and Ernst Gerold Schramm  [ de ]. [10]

Magnificat (Bach) musical composition by Johann Sebastian Bach

Johann Sebastian Bach's Magnificat, BWV 243.2, BWV 243, is a musical setting of the biblical canticle Magnificat. It is scored for five vocal parts, and a Baroque orchestra including trumpets and timpani. It is the first major liturgical composition on a Latin text by Bach.

Hertha Töpper is an Austrian contralto opera singer.

Gerhard Unger was a German lyric tenor. Born in Bad Salzungen, he studied in Berlin and began singing concerts and oratorios in 1945, once the war was over.

She taught from 1989 to 1992 at the Musikhochschule Trossingen  [ de ]. She died in Stuttgart [11] on 1 April 2019. [4]


Pütz recorded complete operas, with roles including Konstanze, Zerbinetta, Amor in Gluck's Orfeo ed Euridice , The Queen of the Night in Mozart's Die Zauberflöte , Bertalda in Lortzing's Undine , and Frau Fluth in Nicolai's Die lustigen Weiber von Windsor . [2]

Her recordings were archived by the Hamburger Archiv für Gesangskunst in 2011, grouped by the genres opera, spieloper and operetta, concert and oratorio, and lied.

A 2018 CD, Recital, provides an overview of her singing: [1] [3] Gilda's aria, Norina's aria, Frau Fluth's aria, a concert aria by Mozart, K. 416, and three excerpts from Die Entführung, and Zerbinetta's aria. All opera arias are sung in German in the custom of the time. [3] A reviewer noted the perfect accuracy and purity of her singing, and her embellishments in repeats which were not customary at the time. [1] Another reviewer wrote about her controlled voice in all registers, rich in overtones and with exquisite legato , in dynamic flexibility and with freely floating top notes. [16] A third reviewer described her "fluid delivery", with an "extraordinary projection of her brilliant high notes", and noted her intelligible diction in all registers, and her "ability to communicate a wide range of emotion", especially a "tender expressive quality". [3]

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  1. 1 2 3 4 Käther, Matthias (1 June 2018). "Ruth-Margret Pütz: Recital" (in German). Kulturradio rbb. Retrieved 5 April 2019.
  2. 1 2 3 4 5 6 7 8 Kutsch, K. J.; Riemens, Leo (2012). Pütz, Ruth-Margret. Großes Sängerlexikon (in German) (4 ed.). Walter de Gruyter. p. 3784. ISBN   978-3-59-844088-5.
  3. 1 2 3 4 5 6 7 Cookson, Michael (December 2018). "Ruth-Margret Pütz (soprano) / Recital". (in German). Retrieved 5 April 2019.
  4. 1 2 Winter, Rüdiger. "Zum Tode von Ruth-Margret Pütz" (in German). Retrieved 5 April 2019.
  5. Pfister, Werner (2015). Fritz Wunderlich: Eine Biografie (in German). Schott Music. p. 241. ISBN   978-3-79-578612-0.
  6. "Ruth-Margret Pütz" (in German). Bayreuth Festival . Retrieved 5 April 2019.
  7. "Vorstellungen mit Ruth-Margret Pütz" (in German). Vienna State Opera . Retrieved 5 April 2019.
  8. "Wolfgang A. Mozart: Die Entführung aus dem Serail" (in German). Salzburg Festival . Retrieved 5 April 2019.
  9. "Hans Grischkat & Stuttgart Choral Society & Bach Orchestra / Bach Cantatas & Other Vocal Works / Recordings - Part 2". Bach Cantatas Website. Retrieved 5 April 2019.
  10. "Requiem KV 626". Library of Congress . Retrieved 7 April 2019.
  11. "Ruth-Margret Pütz". (in German). 6 April 2019. Retrieved 5 April 2019.
  12. "Ruth-Margret Pütz - Vol. 1 (3 CD)". (in German). Retrieved 5 April 2019.
  13. "Ruth-Margret Pütz - Vol. 2 (2 CD)". (in German). Retrieved 5 April 2019.
  14. "Ruth-Margret Pütz - Vol. 3 (2 CD)". (in German). Retrieved 5 April 2019.
  15. "Ruth-Margret Pütz - Vol. 4 (2 CD)". (in German). Retrieved 5 April 2019.
  16. Waltenberger, Ingobert (27 March 2019). "Ruth-Margret Pütz: Arien und Ensembles aus Opern von Mozart, Nicolai, Donizetti, Verdi und Strauss / "La Stupenda" aus Krefeld" (in German). Online Merker. Retrieved 7 April 2019.

Further reading