Synonyms for greindl or Related words with greindl

hawlata              dermota              protschka              ridderbusch              weikl              scharinger              schmeckenbecher              nimsgern              windgassen              patzak              dorfer              thomalla              bierbichler              oppitz              lucieer              equiluz              fassbaender              cospicuo              hainz              aschenbrenner              cziffra              uppman              rydl              lehnhoff              poell              czerwenka              mitterer              holzmair              mazura              poltera              bockelmann              paryla              heltau              unterkircher              hellmer              kirchschlager              knispel              rebner              oelze              fuchsberger              goerne              cavelti              strohbach              schwabl              sterzenbach              giering              pointner              vallentin              borchmeyer              wimberger             

Examples of "greindl"
He can be seen on DVD as Don Pizarro, opposite Ludwig, James King, and Josef Greindl; also as Leporello opposite Dietrich Fischer-Dieskau and Josef Greindl, in a German translation performance of "Don Giovanni".
Her live performance as Donna Anna under Wilhelm Furtwängler, opposite Elisabeth Schwarzkopf, Tito Gobbi, and Josef Greindl, from Salzburg, 1950, is also available.
Josef Greindl (23 December 1912 - 16 April 1993) was a German operatic bass, remembered mainly for his performances of Wagnerian roles at Bayreuth beginning in 1943.
In 1973, he became a professor at the Vienna Hochschule and later died in that city. His daughter Gudrun Greindl Rosner is also a singer.
He was born in Brussels, the son of Edouard Woeste, who was of Prussian descent who became a naturalized Belgian on 15 January 1841. Edouard Woeste was consul for Prussia from 1843 to 1853 and married Constance Vauthier on 24 September 1834. In August 1855 Charles converted form Lutheranism, Prussian aristocracy's religion, to Catholicism, under the influence of his mother and father Delcourt. On 4 January 1866, he married Marie Greindl, daughter of lieutenant-general Léonard Greindl, who had been minister of war in the government of Pierre de Decker (1855).
She can be seen on black-and-white video in the role of Rosina in a complete German performance of "The Barber of Seville" with Fritz Wunderlich, Hermann Prey, and Hans Hotter, and in a German performance of "Don Giovanni", with Dietrich Fischer-Dieskau, Donald Grobe, Walter Berry, and Josef Greindl.
In the 1980s and 1990s he interviewed a great many famous opera singers on German television, including Hans Hotter, Carlo Bergonzi, Otto Edelmann, Anja Silja, Astrid Varnay, Gundula Janowitz, Karl Ridderbusch, Birgit Nilsson, Irmgard Seefried, Martha Mödl, Gustav Neidlinger, Hans Hopf, Hans Sotin, Franz Crass and Josef Greindl. Many of these interviews can now be viewed on YouTube, in German.
Singers who sang under his baton included: Peter Anders, Erna Berger, Walter Berry, Kim Borg, Maria Cebotari, Dietrich Fischer-Dieskau, Josef Greindl, Hans Hotter, James King, Margarete Klose, Tiana Lemnitz, Max Lorenz, Christa Ludwig, Walther Ludwig, Martha Mödl, Helge Rosvaenge, Heinrich Schlusnus, Karl Schmitt-Walter, Rita Streich, Ludwig Suthaus, Wolfgang Windgassen and Fritz Wunderlich,
She can be seen on black-and-white video in German translation performances from the "Deutsche Oper" of "Don Giovanni" (as Donna Elvira) and "Don Carlos" (as Elizabeth). In both of these performances, she shares the stage with Dietrich Fischer-Dieskau and Josef Greindl.
Originally Katarina Beyron, she was born in Stockholm, the daughter of the soprano and the tenor . She studied at the University of Music and Performing Arts, Vienna, then from 1959 to 1963, at the Hochschule für Musik Würzburg, and finally with Josef Greindl at the Hochschule für Musik Saar.
Several recordings of Loewe's ballads and other lieder are available on CD, sung by vocalists such as Josef Greindl, Hermann Prey, Dietrich Fischer-Dieskau, and Kurt Moll. Additional recordings can be found on YouTube. Female singers rarely sing, or record, his music.
His voice was instantly recognizable by its dark, evil-sounding, almost reptilian timbre, and was aptly described by Wilhelm Furtwängler as 'the blackest bass in Germany' ("der schwärzeste Bass in Deutschland"). This made up for the fact that it was somewhat smaller than others such as those of Josef Greindl, Ludwig Weber and Kurt Boehme.
Josef Greindl had a voice like a gravel quarry—massive, wide, deep, rough, and ancient-sounding, grey-timbred rather than black. From the mid-1940s through the late 1960s he was one of the three or four leading performers of Wagner's and Mozart's big bass roles, possessing the size and strength for the former and the dexterity, brains, and extreme range for the latter. He frequently appeared as Fafner, Hunding, and Hagen in the same performance of the "Ring Cycle", which made him the only singer in the cast who had to perform all four nights. His earliest recorded singing was at Bayreuth, as Pogner the goldsmith, a character in his fifties or sixties, in 1943 when he (Greindl) was 31 years old. Although he was not as tall as some other big basses, his stage-presence was formidable.
Besides Theo Matjeko, he may name as his friends the German poets and writers Joachim Ringelnatz and Erich Kästner, the Austrian and German actresses Tilla Durieux (he portrayed her) and Adele Sandrock; later, during and after worldwar II operetta singer Käthe Dorsch as well as the actors Käthe Haak and Hans Söhnker. The last 15–20 years Simmerl was closest associated with the opera singer (bass-baritone) and college professor Josef Greindl, who died the same year 1993 as did his friend.
"Simmerl’s" paintings, which he always used to call his “kids” hung in the homes of Josef Greindl, Hans Söhnker and Käthe Haak. As a grumpy maverick, "Simmerl" only sold as many paintings as he needed to make a basic, humble and by no means luxurious living, which, however, during his long life accumulated to a significant number. But, after all, only his friends could share the privilege of owning his finest paintings.
McDaniel remained under contract with the Deutsche Oper from 1962 till 1999, appearing in productions of some of Germany's most distinguished stage directors such as , Götz Friedrich or Günther Rennert, in an ensemble that included names like Dietrich Fischer-Dieskau, Elisabeth Grümmer, Josef Greindl, Ernst Haefliger, James King, Pilar Lorengar and Edith Mathis. His stage repertoire of 98 roles encompassed Gluck and Mozart, Italian Bel canto and Richard Strauss as well as contemporary opera (many of these parts he performed for the first time on stage).
Among the other celebrated singers who worked with Wieland were Hans Hotter, George London, Dietrich Fischer-Dieskau, Eberhard Wächter, Thomas Stewart, Theo Adam, Josef Greindl, Jerome Hines, Wolfgang Windgassen, Ramón Vinay, Jess Thomas, Jon Vickers, Martha Mödl, Astrid Varnay, Régine Crespin, Rita Gorr, Leonie Rysanek, Birgit Nilsson, Jean Madeira, Grace Hoffman, Franz Crass, Victoria de los Ángeles, Grace Bumbry, Christa Ludwig, Martti Talvela, Carlos Alexander, Isabel Strauß, James King, Claude Heater, Ticho Parly, Dame Gwyneth Jones, and Fritz Wunderlich. Wieland wanted great actors, but he also wanted the singers to execute his plans faithfully.
After World War II the building served as Berlin's opera house called "", because the Deutsche Oper Berlin had been destroyed in 1943. On 4 September 1945 it was opened by a performance of Beethoven's "Fidelio". The General Manager was Michael Bohnen, succeeded by Heinz Tietjen. Ferenc Fricsay was the Musical Director from 1948 to 1952, singers included Dietrich Fischer-Dieskau, Elisabeth Grümmer, Josef Greindl and Ernst Haefliger. Operas by Werner Egk, Boris Blacher and Luigi Nono were premiered during this time, including Hans Werner Henze's "" on 23 September 1956.
There is a large signed painting by him depicting a "Landscape with flowers, fruit, vegetables with three putti" in the Stedelijke Musea Mechelen. The execution of this work is precise. Its tonality is representative of the period with brown, green and blue tones. Another signed painting was sold at l’Hôtel Rameau, Versailles, on 7 June 1967, as lot 224. In 2005 the National Trust acquired the large (175.3 × 269.2 cm) composition "An Extensive Landscape with Exotic Flowers, Fruit and Vegetables and a 'Noli me Tangere' in the Garden Beyond", which is on view at Rufford Old Hall. The composition combines a landscape, still life, animal painting with a religious scene in the background where there is a formal garden in which the risen Christ appears to Mary Magdalene. A landscape, very comparable to this painting, is recorded by E. Greindl in "Les Peintres Flamands de Nature Morte au XV11e Siecle", 1983 as in a private collection in Rio de Janeiro.
Schlusnus frequented German recording studios during the 1920s, '30s and '40s—committing to disc an impressive array of lieder and a panoply of standard German and Italian operatic arias and duets. Many of these recordings are available on CD, notably a complete "Rigoletto" sung in German opposite Erna Berger, Helge Rosvaenge, Margarete Klose and Josef Greindl. He was also heard often on German radio broadcasts made prior to, and during, World War II. The English music critic, J.B. Steane, writes highly of the baritone's legacy of recordings in his survey of classical singing on disc, "The Grand Tradition". Steane praises him for the fine-grained beauty of his tone, his musicality, and the smoothness of his legato.