Hans Hotter: Memoirs
by Hans Hotter
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Book Summary Information
Author: Hans HotterTranslator: Donald Arthur
Contributor: Dietrich Fischer-Dieskau
Contributor: Zubin Mehta
Edition: Hardcover
Audio: English (Unknown); German (Original Language); English (Published)
Published: 2006-09-29
ISBN: 1555536611
Number of pages: 324
Publisher: Northeastern
Book Reviews of Hans Hotter: Memoirs
Book Review: Hans Hotter an inspiring artist and human being
Summary: 5 Stars
In the book Hans Hotter: Memoirs, Donald Arthur captures with tact the life, the courage and the sense of humor of this truly remarkable artist. In his informative introduction, Mr. Arthur gives sincere keys about Hans Hotter's artistic views as well as a person. Throughout the reading, we learn how much diversity of roles Hotter had during his career which are especially relevant since unfortunate circumstances or lack of initiatives many of these have never been recorded (including first time creations). The book also underline the fact that Hans Hotter was singing operas with a certain volume of voice (never fully!) and then how he was able to diminish the volume of his voice in order to interpret German lieder. In doing so, it would benefit musical expression and voice coloration. Element quite unusual since many singers of that era, sang melodies regularly after retiring from opera stages with a voice partly gone. For the first time and perfectly illustrated in this book, it shows not only stylistically how Hans Hotter was among the very first to acknowledge the importance of melodies as a Major art form but also how he avoided the usual pitfalls of being excessive in expression or other dramatic (like most of his colleagues). Text and musical conception were always part of his interpretation in forming "one" without forgetting the expression.
As a teacher Hans Hotter had the phenomenal faculty to inspire his students. Musically of course, but technically as well and in very short period of time.
His modest personality shines throughout the book as a constant element reminding us than an interpreter is not the compositor. Also underlined is his generosity of giving / sharing with others. I had the very good fortune to assist many of his master classes and witnessed his endless share of knowledge. His goal was always to help and guide singers in a constructive way and treated students as equal.
In his master classes, he would Very often propose options to student singers and not to impose them. Then, as he said, he would "demonstrate" in singing mini-recitals in order to show what he was explaining. Having been told by his own teacher to teach as early as possible, it was natural for him to share his experiences with students.
In many occasions, the book explains how life and art are bounded together and how it was crucial for him to act in life in the same way than music: with truth and honesty (especially during World war II).
Mr. Arthur emphasis how important encounters were central in the artistic career of Hans Hotter and then how he developed human relationships. These elements make this book a must.
The book is full of all sort of funny stories and they help the reader to understand what tools are necessary for a full and long career.
Finally, the book is so lively written that sometimes you think that you are with Hans Hotter in the same room. Luckily for us and as it is explained by the author in his introduction this book came out, despite many unusual circumstances.
Emmanuel Benador
Summary of Hans Hotter: Memoirs
Hans Hotter (1909-2003) was one of opera's most influential and profoundly moving artists of the twentieth century. His imposing frame and austere, high-browed profile made him an ideal figure of tragic dignity, unequaled in his era as Wotan, Amfortas the Dutchman, Scarpia and the Grand Inquisitor in Don Carlo, and several Strauss roles, including three world premieres of that composer's works. Hotter made his debut at age twenty-one in Troppau, Germany (now Oppava, Czech Republic), and by the age of thirty was a leading artist at the prestigious Bavarian State Opera in Munich. Although he never joined the Nazi party and avoided appearances at Bayreuth while under Nazi control, Hotter remained active in German theaters throughout the war. He achieved his vocal prime after the war and was a featured performer in Munich, Vienna, Bayreuth, New York, San Francisco, London's Covent Garden, and Salzburg. In addition to his long and acclaimed opera career, Hotter was also a distinguished stage director, teacher, and an incomparable lieder singer, celebrated for his mastery of Schubert's song cycle Die Winterresise.Translator and editor Donald Arthur conducted a series of interviews with Hotter during the final years of his life. The result is not merely an English translation of Hotter's memoirs (originally published as Der Mai war mir gewogen in Germany in 1996), but a significantly more critical, probing, and engaging account of the great singer's life. In particular, Hotter now confronts both his personal resistance to, and professional concessions toward, the Third Reich, and he speaks in greater detail about his musical and theatrical insights and his associations with such European luminaries as Richard Strauss, Herbert von Karajan, Otto Klemperer, and Clemens Krauss, to name but a few. Accompanied by more than seventy photographs, some never before published, this volume is a cause for celebration among his fans and general opera lovers everywhere.
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