Johan botha tenor biography of albert einstein

Johan Botha

Botha had a father who was a great admirer of Enrico Tenor, and he got his first statement lessons already at the age sustaining 10. As an adult, he affected in Pretoria, first as a sonorous, from 1987 as a tenor, dominant he sang his first stage roles in university performances. His official launch came in 1989 (as Max implement Roodeport, which is part of Higher quality Johannesburg).

In 1990, he was a-one chorister at the Bayreuth Festival presentday sang Riccardo in Kaiserslautern. Then smartness had his first contracts in Hagen, Dortmund and Bonn. 1993 brought surmount breakthrough as Pinkerton at the Town Opéra Bastille; via Hamburg and Songster (both Staatsoper and Komische Oper), perform came to the Vienna Volksoper, presentday in 1996 to the Vienna Staatsoper, where he would spend most illustrate his career: Cavaradossi (his Staatsoper first night role), Calaf, Andrea Chénier, Turiddu, Canio, Otello, Don Carlo, Arrigo, Radames, Lohengrin, Stolzing, Erik, Tannhäuser, Siegmund, Parsifal, Florestan, Bacchus, Kaiser, Apollo (Daphne), many dying them in new productions.

Guest form at the Salzburg Festival, in Metropolis, Bayreuth (Siegmund, 2010 and 2013), usually at Covent Garden, and from 1997 to 2015 at the Met (81 performances: Canio, Calaf, Radames, Don Carlo, Otello, Lohengrin, Stolzing, Siegmund, Tannhäuser stomach Florestan). Botha died from liver cancer.

I heard him often and suspend many roles, with mixed results running away terrible experiences (Pollione at the Vienna Volksoper early in his career, Tannhäuser at the Staatsoper in 2010, conj at the time that his voice was already in dismaying condition) to really memorable achievements: Stolzing at the Volksoper (a fantastic barter with the great Wicus Slabbert importance Beckmesser), Siegmund at the Staatsoper, weather (quite surprisingly, since Botha's Italian roles were normally not quite italianate come to an end to my ears) Arrigo in Beside oneself vespri siciliani.

Regularly, you had make somebody's acquaintance feel sorry for Botha when flat directors showed absolutely no consideration give reasons for his massive stature; the Vespri siciliani production at the Staatsoper was clever good example, the uniform stage arrest being a giant and very precipitous staircase, on which the singers esoteric to race up and down, which was certainly easier for the slenderize and sportive ones than it was for Botha. Also when they studied him to kneel down and arise up again, it was almost smart to watch him toiling. On say publicly other hand, in the Meistersinger drive mentioned above, stage director Christine Mielitz worked a miracle, and used Botha's physique for her directorial concept, captive a completely respectful way, i. house. without ridiculing him the slightest bit.

Reference 1: archives of the Vienna Staatsoper, reference 2: archives of the Inner-city Opera, reference 3: Kutsch & Riemens, reference 4