Member of Gordigiani family (opera)
(b Modena, July 1795; d Prague, March 2, 1871). Italian baritone, composer, and teacher, son of Antonio Gordigiani. He made his operatic début at the Pergola in Florence in 1817 and sang Dandini (Cenerentola) at Pisa later the same year; subsequently, however, he confined himself to singing in concerts. In ...
[František]
Member of Hauser family
(b Krasowitz [now Krasovice], nr Prague, Jan 12, 1794; d Freiburg, Aug 14, 1870). Bohemian baritone and teacher. Having studied with Tomášek in Prague, he sang first with the Prague opera (1817–21, making his début as Sarastro), then in Kassel (1821–5, under Spohr), Dresden (1825–6, under Weber), Frankfurt (1826–9) and Vienna (1829–32). In 1832 he visited London with Wilhelmine Schröder-Devrient. Later engagements took him to Leipzig (1832–5, as regisseur as well as singer), Berlin (1835–6) and Breslau (1836–8). He also made regular guest appearances throughout Germany. On his retirement in 1838 he settled in Vienna as a singing teacher. In 1846 he was appointed director of the newly founded Munich Conservatory. On its reorganization after Wagner's arrival he retired in 1864 and lived at Karlsruhe and Freiburg. According to early critics his style was pure though he was considered cold as an actor; but he gave satisfaction to Weber and was later praised for his interpretations of Mozart's and Rossini's Figaro, Bertram, William Tell and Spohr's Faust. His wide interests won him the friendship of many leading artists and composers, including Mendelssohn, Schumann and Moritz Hauptmann, with whom he often corresponded. As a teacher he was much respected, and among those whom he instructed or advised were Henriette Sontag and Jenny Lind. Hauser's ...
(b Akron, OH, Nov 10, 1954). American baritone and teacher. He received his vocal training at the University of Houston where he earned bachelor’s and master’s degrees in music. His teachers included Franco Corelli, Jean Preston, louis Quilico , and Michael Trimble. He made his debut at the Metropolitan Opera in 1991 and has subsequently sung numerous roles there, including Germont (La traviata), Enrico (Lucia di Lammermoor), and Rigoletto (Rigoletto). In 2009 he appeared in the premiere of André Previn’s opera Brief Encounter with Houston Grand Opera and in 2010 the premiere of Stephen Schwartz’s Séance on a Wet Afternoon with Opera Santa Barbara. In 2011 he performed William Bolcom’s A View from the Bridge with the Rome Opera Theater. He has been recognized with awards from the William Sullivan–George London Foundation, the Loren L. Zachary Society, the Licia Albanese–Puccini Foundation, and the Bagby Foundation, and has also received a Bruce Yarnell Scholarship and a career grant from the Richard Tucker Foundation. He has also worked as associate professor of voice at the University of Oklahoma....
Member of Marchesi family
(b Palermo, Jan 15, 1822; d Paris, Feb 20, 1908). Italian baritone and singing teacher. He studied in Palermo and in Milan with Lamperti. Forced to leave Italy because of his liberal political ideas, he made his début in New York in 1848 as Carlo in Ernani. On returning to Europe he studied further with Manuel Garcia in London and sang there in concert in 1850, when he met the German mezzo-soprano Mathilde Graumann. After their marriage in 1852 he appeared at the Berlin Opera in Ernani, Il barbiere di Siviglia and Donizetti’s Lucrezia Borgia. Further engagements in Germany followed, and in December 1853 he sang at Ferrara, again in Ernani. After a period spent teaching at the Vienna Conservatory, in 1863 he returned briefly to the stage. He sang Leporello and Gounod’s Mephistopheles (in Italian) at Her Majesty’s Theatre, where in 1864 he again sang Mephistopheles, this time in the first performance of ...
(Christian)
Member of Stockhausen family
(b Paris, July 22, 1826; d Frankfurt, Sept 22, 1906). German baritone, conductor, and teacher of Alsatian descent, son of Franz Stockhausen and Margarethe Stockhausen. He showed his musical gifts early and during his school years learnt singing and musical rudiments from his parents and the piano from Karl Kienzl, also having lessons on the organ, violin, and, later, the cello. In 1843 he visited Paris, where he was a pupil of Cramer for a short while. From 1844 he made Paris the centre of his musical education, spending some time at the Conservatoire (from 1845) but learning harmony from Matthäus Nagiller and singing from Manuel García outside the institution.
Stockhausen’s early concert successes were in Switzerland and England, beginning in 1848 with a performance of Elijah at Basle. In 1849 he followed García to London, and while in England he appeared before Queen Victoria. He sang again in Switzerland in the first half of ...
