Hermann Prey, Baritone (1929-1998) Mozart: DIE ZAUBERFLOETE "Der Vogelfaenger bin ich ja"* Rossini: IL BARBIERE DI SIVIGLIA "Largo al factotum"* 02:18 *Due to copyright restrictions, I had to avoid commercial audio material My personal opinion: There's an old joke: What is a baritone? Answer: A baritone is the missing link between a tenor and a human being. Hermann Prey, once incredibly popular in Germany because of his omnipresence in radio and TV shows, was for a long time the missing link between the favor of the general public and the so-called high art of classical music - of course not without consequences: Prey's turn towards light entertainment was often criticized by those maledicious reviewers and ardent purists, who have not understand that versatility was the main characteristic of the singers long lasting popularity. In 'Die Grossen Saenger', a multi-volume book with many factual errors, the often inaccurate author Juergen Kesting blamed Prey for selling 'music of soul and salemanship'. The baritone defended himself: "My repertoire stretches from Monteverdi, Telemann, Bach, Mozart, Rossini and Wagner to Berg and contemporary works - and from pop songs and operettas to virtually every known composer of Lieder. I feel that, if possible, a singer should strive to master all various styles, but with one important rule: Never singing beyond the natural vocal possibilities". It may be the case that constant grumbling is typically German, but it is also a fact, no singer ever was able to succeed in many different musical areas. Some well known crossovers were embarrassing, and to hear, for instance, tenor Peter Hofmann with rock songs from Elvis is, to put it mildly, really not neccessary... Spontaneity and immediacy were always characteristics of Prey's artistry. At an early stage of his career, obviously the baritone recognized the effects of his euphonious, warm and full-bodied voice on the audience. Many times, he took up the typical gallant and daring roles of a 'Kavaliersbariton'; roles we can find especially in the operas of Mozart and Strauss. Prey was clever enough to ignore the big dramatic parts of Verdi and Wagner, with which his great contemporary and competitor, Fischer-Dieskau, had disgraced himself. Both singers met on the field of art songs, and in my view it is just a matter of personal taste, which singer you prefer - the emotional, soulful and sometimes folklorish Hermann Prey or the academic, rational and undercooled Dietrich Fischer-Dieskau, who was always a narrator from the outside, a story-teller, an agent of music. Prey, by contrast, became the character he embodied - a perspective from within... "A tailor-made role for me", Prey said about Rossini's Figaro, the only Italian role he has performed all over the world, including at the Salzburg Festival, Covent Garden London, La Scala Milan, Met New York and, of course, in Vienna (17 times between 1957 and 1984). Legendary the 1959 performance with his close friend and colleague Fritz Wunderlich from the Cuvilliés Theatre, Munich (issued on DVD). Surprisingly, it is precisely the bel canto role of Figaro that has not convinced some critics. Indeed, if we have a closer look, we can notice some interesting facts. Compared with the recordings of the young Giuseppe Taddei, Sesto Bruscantini or Thomas Allen (in the marvelous 1981 Marriner production), Hermann Prey served especially in the breaknecking 'prestissimo' of "Largo al factotum" a skillful bluff package with weird falsetto tones and feigned coloraturas (as you can hear here). It is almost the caricature of belcanto virtues. Prey sang Figaro like a jolly figure from an operetta. Author Jens Malte Fischer wrote, that Prey's singing, with its mix of throat-pressure and vocal blurring, frequently was close to 'knoedeln' - a German term for 'singing with a lump in the throat'. Clearly, Hermann Prey was not a well-versed bel canto singer, and also the most of Italian verismo was beyond his possibilities. "To do justice to those difficult roles, you have to be a dramatic baritone like Gobbi or Taddei who can cut through heavy orchestrations", Prey explained. And indeed, Hermann Prey's operatic repertoire on records is small compared with his numerous recordings of Lieder by Schubert, Brahms, Wolf and Schumann. Also in my view, the baritone achieved more effect as a devoted interpreter of art songs. "WINTERREISE is closer to my heart than any other work. In my musical thoughts, the 24 songs have a very important place", Hermann Prey admitted in his memoires 'Premierenfieber'. Again: Which interpretation and singer you choose, Fischer-Dieskau or Prey, it is up to you. We have two perceptions: One for the mind, one for the heart...

• published: 05 Jun 2015
• views: 7