Carlos Alexander

Carlos Alexander (October 15, 1915 – September 4, 1991)[1][2] was a dramatic baritone[3] and stage director of opera, best known as a singing-actor in German repertoire.

Biography

Born in Utica, New York, he debuted as a singer in Scranton, Pennsylvania, as the Conte di Luna in Il trovatore, in 1940. As director, his first production was of Die Fledermaus, for the Pittsburgh Opera, in 1944.[4]

Alexander sang with companies in Latin and North America and Europe, including Bayreuth (Sixtus Beckmesser in Wieland Wagner's Die Meistersinger, 1963 and 1964). Operas in which he appeared include Lulu, Il prigioniero, Moses und Aron, Der fliegende Holländer, Lohengrin, Parsifal (as Amfortas), Der Ring des Nibelungen (as Wotan), and Tristan und Isolde.[4]

In 1947, the baritone appeared in Ariadne auf Naxos (as the Major-Domo) and Salome (as Jochanaan) at the New York City Opera.[5]

His 1950 performance, at Carnegie Hall, of Mahler's Eighth Symphony, under Leopold Stokowski, was recorded. In 1968, he portrayed Dr Schön in the Stuttgart film of Wieland's production of Lulu, opposite Anja Silja.

At the Vienna Staatsoper, Alexander appeared in Arabella (1959 and 1965), Salome (1959), Prince Igor (1960), Götterdämmerung (as Gunther, 1960), Der fliegende Holländer (1964), Lohengrin (as Friedrich von Telramund, 1967), Die Zauberflöte (as the Sprecher, 1967), Prometheus (the name part, 1969), and Penderecki's Die Teufel von Loudon (as Urbain Grandier, 1973).

As director, Alexander's productions were seen in Toronto, Stuttgart, Chicago, New Orleans (Les contes d'Hoffmann, 1947), Pittsburgh, and Santa Fe. His stagings included Fidelio, The Rape of Lucretia, Madama Butterfly, Salome, and Der fliegende Holländer.

Of the Kammersänger's Wotan, Wieland Wagner declared that, "No vocal giant has moved me so deeply in Wotan's Farewell as Alexander."[6]

gollark: But you'd only get higher frequencies like that.
gollark: Oh, different things, I see.
gollark: A square wave decomposes into infinitely many sines. Can't do that to sines.
gollark: What do you mean "infinite overtones"? I don't think that's how sine waves work.
gollark: In older swarms their internal networks would mess it up, but any remotely modern one uses EM.

References
  1. "CARLOS ALEXANDER". bayreuther-festspiele.de. Archived from the original on 26 September 2015. Retrieved 27 September 2014.
  2. "Mocavo and Findmypast are coming together | findmypast.com". www.mocavo.com. Retrieved 2016-04-27.
  3. Inc., Nielsen Business Media (1968-05-04). Billboard. Nielsen Business Media, Inc. pp. 46–. Retrieved 31 December 2011.
  4. Rich, Maria F. (1976-01-01). Who's who in Opera: An International Biographical Directory of Singers, Conductors, Directors, Designers, and Administrators, Also Including Profiles of 101 Opera Companies. Ayer Company Publishers, Incorporated. pp. 5–6. ISBN 9780405066528.
  5. Sokol, Martin L. (1981-01-01). The New York City Opera: an American adventure. Macmillan Publishing Company, Incorporated. pp. 40–44. ISBN 9780026122801.
  6. Skelton, Geoffrey (1971-07-01). Wieland Wagner: the positive sceptic. Gollancz/St Martin's Press. p. 174.
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