FRITZ WUNDERLICH, TENOR, SEPTEMBER 26, 1930

On 26th September 1930, Friedrich ‘Fritz’ Karl Otto Wunderlich was born in Kusel Germany. It was just short of his thirty sixth birthday when tragically, he was found dead after falling down a stone staircase whilst staying at a friend’s castle on a hunting trip. The world had lost one of its brightest stars in the tenor repertoire and now we must rely on the recordings of his vocal brilliance, which were thankfully many, in his brief ten year career to wonder at the talent of this great Opera and Concert artist. His untimely demise sent shock waves throughout the music world and is still difficult to comprehend to this day.

Both Fritz’s parents were musical. They ran an inn which needed major repairs to be able to keep the building from being condemned. On the day of his birth his father posted a sign on the pub ‘Fritzchen (Little Fritz) has arrived today, Pub Closed.’ Eventually the family had to move out and soon after this move, he lost his father. It was then left to his mother to make ends meet. Both he and his sister helped out. Fritz learned to play the accordion, piano and the French horn which he mastered particularly well and his remarkable breath control that became one of the hallmarks of his singing has been attributed to his prowess with the latter instrument.

Although his mother had plans for Fritz to be a public servant, he had his heart set on a career in music and was always willing to take on minor parts in the amateur choir that the conductor Emmerich Smola formed. Smola recognised his ‘glorious voice’ and it was arranged for him to study french horn and voice at Freiburg Conservatory. To assist with his tuition he received reduced tuition costs and he also played in a band to support himself whilst studying with his teacher and mentor Maria von Winterweldt.
After being noticed singing Tamino in Die Zauberflöte in a student production he accepted a contract to sing at Stuttgart Opera debuting as Ulrich Eislinger in Die Meistersinger von Nürenberg.
His international breakthrough came when Karl Böhm engaged him to sing at the Salzburger Festspiele in Richard Stauß’s Die Schweigsame Frau. So successful was his performance that Herbert von Karajan came to his dressing room after the performance and offered him a contract to sing at the Vienna State Opera which he had to turn down due to him signing with Munich Opera the week before.
He was and still is the quintessential Mozartian tenor, a voice that masters the necessities and rigours of the German language, expression and style with the exuberance, clarity and ease of the Italianate bel canto.
He was equally at home with Lied and Oratorio as indeed his recordings masterfully exhibit.
His accompanist, friend and collaborator on many of his recordings and performances Hubert Gieşen gives us an insight into Wunderlich’s character in his book, Am Flügel ( At the Piano)
’In the years of close co-operation with Fritz Wunderlich, I was sometimes overcome with a kind of fear: in spite of his carefreeness, in spite of his joy, confidence and coolness; he ‘burned the candle at both ends’. He drew on unlimited resources; he did everything with an enormous energy and intensity, as if he knew that he had only a limited period of time left. He bought cameras and became a colour photographer who developed his photographs in his own lab that he had specially furnished. That took him a lot of time and also cost him a lot of money. He had the village blacksmith forge a spit that he used for roasting meat on an open fire. He gave charming parties, often lasting half the night, where he drank and smoked quite freely, as if he was not a singer whose precious voice was a great asset. Sometimes one could virtually feel the stress he was living in.’
Then to demonstrate his friend’s vocal virtuosity and musical understanding Giesen wrote,
‘He had such a great comprehension of a song like “Die böse Farbe” (from Schubert’s “Müllerin” cycle) that he was able to afford letting the song be effective just on its own. The listener will notice that he sang it nearly unadorned, but in such a clarity that not a single note could be lost. Nothing was elegantly passed over; he did not put in any false emotionalism or sentiment, and thus he made the greater – one could even say the noblest – impression. The audience received first-hand what was Schubert’s will when he composed the song. They were not confronted with the singer’s emotions, his coquetry, his love of bel canto, but solely with the song itself. There were years of work underlying, years of a growing knowledge of precision, one could even say: work in the service of Lieder singing. Wunderlich had high notes that turned out well effortlessly, but he sang them without showing off, just as he sang all other notes that belonged to the song. This seemed to be severe and objective, but made a strange impression on the audience. Many years after his death, a lady told me: “I have heard ‘Die böse Farbe’ sung by many singers (and she named some really great ones), but it was only Fritz Wunderlich who made me weep, because I did not hear the singer anymore, I heard only the song. It was as if I had understood for the first time what it expressed…”
He was due to make his Metropolitan Opera debut as Don Octavio in Mozart’s Don Giovanni in New York before that fateful night and fall that cost him his life and silenced a voice and talent from the world rather like Mozart also dying before he reached his thirty sixth year.

EPISODE 14 MEETING NIKO: MUSICIAN, ACTOR, FILM DIRECTOR AND ARTIST

Niko aka Nikolai Selikovsky is a multi-talented performing artist born in Vienna, Austria, and currently living and working in Rome.

He is the frontman of the Hip-hop Soul Band N.I.K.O., who are releasing their new LP ‘Hello & Ciao’ at their upcoming album release concert this Friday 26th September at the B72 in Vienna, Austria.

Since the age of 19, he has been professionally active in both drama and music productions. His two streams of career encompass not only acting, but also film directing; and as a musician, he has worked with a variety of styles as a frontman on the one hand, and as a producer on the other.

His first major film, where he was producer, writer and leading actor was in the Austrian film Sturmfrei (Storm Free) in 2009. Although he has appeared in over 15 films since 1997, he achieved national recognition in his native Austria with the role of Thomas in Die Migrantigen (The Migrants) in 2017. He has honed his acting skills with the New York based acting coach Susan Batson. In 2020, he was nominated for best actor in the short film Anna at the Pigneto Film Festival and most recently in 2024, he has appeared in the Netflix hit of The Decameron.

His musical career has been marked by a willingness to find the most fitting expression of musical and poetic ideas through the most suitable genre. This eclectic approach has meant he has been at times a solo rap artist from 2007 and from 2014 working with an ensemble; the hip-hop and soul band N.I.K.O.

It is no coincidence that the 2009 film Sturmfrei included music composed by Selikovsky demonstrating the versatility and synergy of his artistic passions. His first solo album in 2010 was ‘Dichter der Großstadt’ (‘Poet of the Big City’). This was followed by ‘Zwischen Asphalt und Milchstraße’ (‘Between Asphalt and Milky Way’) which introduced the band N.I.K.O to a wider audience. In 2018, the band N.I.K.O released the album ‘Unter Strom’ (‘Under Power’). And their latest release fourth studio album ‘Hallo & Ciao’ includes the singles ‘Ballaci Su’ and ‘Lady Godard’.

The current band members are:

Nikolai Selikovsky – Vocals, electric guitar, keyboard
Leslie April – Vocals, Keyboard
Lukas Fellner – Drums
Eva Brandner – Keyboard
Sara Hoffer – Saxophone
Bernhard Fellner – Trumpet
Federico Torri – Bass
Markus Pagitsch – Saxophone

N.I.K.O. has the distinction of being the first band from Austria in 2015 to finance a tour through crowdfunding playing in Germany, Switzerland and Austria. This was followed by articles in ZIB, News, Salzburg24 up to Germany in Die Zeit, and many other media. In the same year the band performed in various locations such as the Mole West in Burgenland, Haus des Meeres in Vienna and in the Gschupften Ferdl.

In line with the stated eclecticism, N.I.K.O. is a collective of musicians from different musical genres, which varies in number during their performances. Sometimes four and sometimes up to eight musicians perform live.

For more information about the band, visit:
ww.niko-official.com

EPISODE 14 MEETING NIKO: MUSICIAN, ACTOR, FILM DIRECTOR AND ARTIST

Niko aka Nikolai Selikovsky is a multi-talented performing artist born in Vienna, Austria, and currently living and working in Rome.

He is the frontman of the Hip-hop Soul Band N.I.K.O., who are releasing their new LP ‘Hello & Ciao’ at their upcoming album release concert this Friday 26th September at the B72 in Vienna, Austria.

Since the age of 19, he has been professionally active in both drama and music productions. His two streams of career encompass not only acting, but also film directing; and as a musician, he has worked with a variety of styles as a frontman on the one hand, and as a producer on the other.

His first major film, where he was producer, writer and leading actor was in the Austrian film Sturmfrei (Storm Free) in 2009. Although he has appeared in over 15 films since 1997, he achieved national recognition in his native Austria with the role of Thomas in Die Migrantigen (The Migrants) in 2017. He has honed his acting skills with the New York based acting coach Susan Batson. In 2020, he was nominated for best actor in the short film Anna at the Pigneto Film Festival and most recently in 2024, he has appeared in the Netflix hit of The Decameron.

His musical career has been marked by a willingness to find the most fitting expression of musical and poetic ideas through the most suitable genre. This eclectic approach has meant he has been at times a solo rap artist from 2007 and from 2014 working with an ensemble; the hip-hop and soul band N.I.K.O.

It is no coincidence that the 2009 film Sturmfrei included music composed by Selikovsky demonstrating the versatility and synergy of his artistic passions. His first solo album in 2010 was ‘Dichter der Großstadt’ (‘Poet of the Big City’). This was followed by ‘Zwischen Asphalt und Milchstraße’ (‘Between Asphalt and Milky Way’) which introduced the band N.I.K.O to a wider audience. In 2018, the band N.I.K.O released the album ‘Unter Strom’ (‘Under Power’). And their latest release fourth studio album ‘Hallo & Ciao’ includes the singles ‘Ballaci Su’ and ‘Lady Godard’.

The current band members are:

Nikolai Selikovsky – Vocals, electric guitar, keyboard
Leslie April – Vocals, Keyboard
Lukas Fellner – Drums
Eva Brandner – Keyboard
Sara Hoffer – Saxophone
Bernhard Fellner – Trumpet
Federico Torri – Bass
Markus Pagitsch – Saxophone

N.I.K.O. has the distinction of being the first band from Austria in 2015 to finance a tour through crowdfunding playing in Germany, Switzerland and Austria. This was followed by articles in ZIB, News, Salzburg24 up to Germany in Die Zeit, and many other media. In the same year the band performed in various locations such as the Mole West in Burgenland, Haus des Meeres in Vienna and in the Gschupften Ferdl.

In line with the stated eclecticism, N.I.K.O. is a collective of musicians from different musical genres, which varies in number during their performances. Sometimes four and sometimes up to eight musicians perform live.

For more information about the band, visit:
ww.niko-official.com

GYAAN LYON CONCERT IN SORRENTO AT VILLA CRAWFORD

For one night only, Gyaan Lyon will be performing in Sorrento on the Bay of Naples at the stunning Villa Crawford.
Performance on Wednesday 17th September 2025 at 5:30PM
See you there, Ciao For Now!

GYAAN LYON CONCERT IN SORRENTO AT VILLA CRAWFORD

For one night only, Gyaan Lyon will be performing in Sorrento on the Bay of Naples at the stunning Villa Crawford.
Performance on Wednesday 17th September 2025 at 5:30PM
See you there, Ciao For Now!

NICOLAI GHIAUROV, BASS, SEPTEMBER 13, 1929

‘He possessed a voice of unusually rich and varied colour allied to an excellent vocal technique and remarkable musicality. A vigorous and painstaking actor, as an interpreter he tended to express the strong and violent emotions rather than the finer and more intimate shades of meaning.’

The great bass-baritone Nicolai Ghiaurov was born this day in 1929 in Velingrad. He followed in a long and illustrious line of bass-baritones from his native Bulgaria. Indeed, Bulgaria seems to possess some quality that produces great bass voices! And one of the very greatest was Ghiaurov.

As a child he sang frequently at family gatherings and initially learned piano, violin and clarinet. He had thought to become an actor but while undertaking his military service, in what almost seems to be a time-honoured tradition, an officer heard him sing in the choir and recommended him for a singing career! Initially studying with Christo Brambarov at Bulgarian State Conservatory he then moved on to a Leningrad and Moscow. This period of study from 1950 to 1955 was with the assistance of a state scholarship . His career was launched with first place at the Concours International de Chant de Paris in 1955. His professional debut also came in 1955 in Sofia in the role of Don Basilio in Rossini’s Il barbiere di Siviglia.

His Italian debut came in 1958 in the Teatro Communale in Bologna in Faust. By the next year he was at La scala in the roles of Boris Godunov and Phillip II – perhaps the two defining roles of his career. From the 1960s onwards he appeared in the major houses, including Covent Garden, Vienna Staatsoper, New York’s Metropolitan Opera, where he was established as a favourite with audiences in these roles. He continued to add to his repertoire of Russian and Verdi roles throughout his career. His most notable recording are Philip II under Solti; Boris and again under Karajan, and as the “sonorous bass soloist in Carlo Maria Giuliani’s recording of the Verdi Requiem”.

He died in Modena on the 2 June 2004 and is interred in the columbarium of the San Cataldo Cemetery next to his spouse and great colleague Mirella Freni.

NICOLAI GHIAUROV, BASS, SEPTEMBER 13, 1929

‘He possessed a voice of unusually rich and varied colour allied to an excellent vocal technique and remarkable musicality. A vigorous and painstaking actor, as an interpreter he tended to express the strong and violent emotions rather than the finer and more intimate shades of meaning.’

The great bass-baritone Nicolai Ghiaurov was born this day in 1929 in Velingrad. He followed in a long and illustrious line of bass-baritones from his native Bulgaria. Indeed, Bulgaria seems to possess some quality that produces great bass voices! And one of the very greatest was Ghiaurov.

As a child he sang frequently at family gatherings and initially learned piano, violin and clarinet. He had thought to become an actor but while undertaking his military service, in what almost seems to be a time-honoured tradition, an officer heard him sing in the choir and recommended him for a singing career! Initially studying with Christo Brambarov at Bulgarian State Conservatory he then moved on to a Leningrad and Moscow. This period of study from 1950 to 1955 was with the assistance of a state scholarship . His career was launched with first place at the Concours International de Chant de Paris in 1955. His professional debut also came in 1955 in Sofia in the role of Don Basilio in Rossini’s Il barbiere di Siviglia.

His Italian debut came in 1958 in the Teatro Communale in Bologna in Faust. By the next year he was at La scala in the roles of Boris Godunov and Phillip II – perhaps the two defining roles of his career. From the 1960s onwards he appeared in the major houses, including Covent Garden, Vienna Staatsoper, New York’s Metropolitan Opera, where he was established as a favourite with audiences in these roles. He continued to add to his repertoire of Russian and Verdi roles throughout his career. His most notable recording are Philip II under Solti; Boris and again under Karajan, and as the “sonorous bass soloist in Carlo Maria Giuliani’s recording of the Verdi Requiem”.

He died in Modena on the 2 June 2004 and is interred in the columbarium of the San Cataldo Cemetery next to his spouse and great colleague Mirella Freni.

RAMON VINAY, TENOR, AUGUST 31, 1912

“The individual performance I remember best was that of Ramón Vinay as Otello; it was the two hundredth time he had sung the role, and never in my life have I heard it sung and acted so perfectly”. Rudolf Bing

So spoke Rudolf Bing, certainly a man who knew his singers and performers like no other in his decades as General Manager of New York’s Metropolitan Opera. The season was that of 1951-52. By all accounts Vinay was one of the most outstanding Otellos, not just of his own era, but of all time.

Otello is a dramatic tenor role, but Vinay was not always a tenor. In fact he started as a baritone singing in Mexico City where he studied singing and debuted in 1931 as Alphonse in La favorita. He sang the major Verdi baritone roles of Rigoletto, Count di Luna and Baron Scarpia until in 1943 when studying with René Maison he was re-invented as a tenor in the role of Don José, still in Mexico. It was the switch in voice though, that launched his international career and the recognition his greatness deserved. He debuted in New York City Opera in 1945 as Otello, and just one year later in 1946 he was engaged at the Metropolitan in the same role. He was to perform Otello hundreds of times and each time his interpretation was new, exciting and dictated not by routine, but a full and conscious identification with the role. A great leading lady with a huge voice too, Astrid Varnay, recalled, ’every time he sang it [Otello], he was constantly adding, subtracting, refining, and responding in character to whatever stage situations might arise. This explained what many people would go back to hear him sing the role over and over, because there would always be added some profundity to his characterization. In the final act, after I had been well and truly suffocated by the hero, I happened to land in death heavily on one arm. As I had already shuffled off this mortal coil, to quote another Shakespearean source, I was in no position to retain my moribund verisimilitude and get comfortable at the same time. Somehow i managed to whisper to Vinay, “Ramón, my arm.” His response was pure genius. Ever so gently, he drew my arm away from the edge of the bed and made it part of his acting, clutching it to his own grieving breast, studying it in motionless recumbency, and using it, so to speak, as a surrogate for the rest of me. It was an incredibly touching moment, even for me.’

Vinay was not a one-role singer. As well as Don José and Rodolfo, he sang the great Verdi and Wagner heroes; Manrico, Tristan, Siegfried, Tannhäuser and Parsifal.

In 1962, Vinay returned to baritone roles. From 1969 to 1971 he was artistic director of the Santiago Opera in his native Chile. In all he sang baritone roles for 17 years and tenor ones 19 years. We know that he was a thoughtful singer, both in regards to interpretation, and as selfless colleague who would support other singers. His colleagues marvelled at his intensity when bringing roles to life. Pederzini said, ‘his intensity was galvanizing, and I enjoyed very much appearing with him as Dalila too.’

One final story brings us closer to the character of the man and performer. Rudolf Bing related the story of the three Tristans. Vinay had been the original casting and was sick, the second casting tenor too was sick and the third casting also was sick. A nervous Bing faced the auditorium and after reassuring the audience that Nilsson would be singing Isolde, spoke, ‘However we are less fortunate with our Tristan. The Metropolitan has three distinguished Tristans available, but all are sick. In order not to disappoint you, these gallant gentlemen, against their doctors’ orders, have agreed to do one act each.’ This was above and beyond the call of duty.

Ramon Vinay, great dramatic tenor, born on this day in 1912 in Chillán, Chile, died in Mexico City on 4 January1996.

RAMON VINAY, TENOR, AUGUST 31, 1912

“The individual performance I remember best was that of Ramón Vinay as Otello; it was the two hundredth time he had sung the role, and never in my life have I heard it sung and acted so perfectly”. Rudolf Bing

So spoke Rudolf Bing, certainly a man who knew his singers and performers like no other in his decades as General Manager of New York’s Metropolitan Opera. The season was that of 1951-52. By all accounts Vinay was one of the most outstanding Otellos, not just of his own era, but of all time.

Otello is a dramatic tenor role, but Vinay was not always a tenor. In fact he started as a baritone singing in Mexico City where he studied singing and debuted in 1931 as Alphonse in La favorita. He sang the major Verdi baritone roles of Rigoletto, Count di Luna and Baron Scarpia until in 1943 when studying with René Maison he was re-invented as a tenor in the role of Don José, still in Mexico. It was the switch in voice though, that launched his international career and the recognition his greatness deserved. He debuted in New York City Opera in 1945 as Otello, and just one year later in 1946 he was engaged at the Metropolitan in the same role. He was to perform Otello hundreds of times and each time his interpretation was new, exciting and dictated not by routine, but a full and conscious identification with the role. A great leading lady with a huge voice too, Astrid Varnay, recalled, ’every time he sang it [Otello], he was constantly adding, subtracting, refining, and responding in character to whatever stage situations might arise. This explained what many people would go back to hear him sing the role over and over, because there would always be added some profundity to his characterization. In the final act, after I had been well and truly suffocated by the hero, I happened to land in death heavily on one arm. As I had already shuffled off this mortal coil, to quote another Shakespearean source, I was in no position to retain my moribund verisimilitude and get comfortable at the same time. Somehow i managed to whisper to Vinay, “Ramón, my arm.” His response was pure genius. Ever so gently, he drew my arm away from the edge of the bed and made it part of his acting, clutching it to his own grieving breast, studying it in motionless recumbency, and using it, so to speak, as a surrogate for the rest of me. It was an incredibly touching moment, even for me.’

Vinay was not a one-role singer. As well as Don José and Rodolfo, he sang the great Verdi and Wagner heroes; Manrico, Tristan, Siegfried, Tannhäuser and Parsifal.

In 1962, Vinay returned to baritone roles. From 1969 to 1971 he was artistic director of the Santiago Opera in his native Chile. In all he sang baritone roles for 17 years and tenor ones 19 years. We know that he was a thoughtful singer, both in regards to interpretation, and as selfless colleague who would support other singers. His colleagues marvelled at his intensity when bringing roles to life. Pederzini said, ‘his intensity was galvanizing, and I enjoyed very much appearing with him as Dalila too.’

One final story brings us closer to the character of the man and performer. Rudolf Bing related the story of the three Tristans. Vinay had been the original casting and was sick, the second casting tenor too was sick and the third casting also was sick. A nervous Bing faced the auditorium and after reassuring the audience that Nilsson would be singing Isolde, spoke, ‘However we are less fortunate with our Tristan. The Metropolitan has three distinguished Tristans available, but all are sick. In order not to disappoint you, these gallant gentlemen, against their doctors’ orders, have agreed to do one act each.’ This was above and beyond the call of duty.

Ramon Vinay, great dramatic tenor, born on this day in 1912 in Chillán, Chile, died in Mexico City on 4 January1996.

SHORT010 HAPPY BIRTHDAY LEO SLEZAK!

Check out Gyaan Lyon aka The Voice Detective’s special tribute to this great legendary dramatic tenor! 

And also read the BIRTHDAY TRIBUTE ARTICLE in the LEGENDARY SINGERS ANTHOLOGY section of the website.