Alexander Kipnis

Alexander Kipnis (13.02.1891 - 14.05.1978) - Ukrainian-American bass.

Alexander Kipnis studied conducting at the Warsaw Conservatory and went to Berlin where he received vocal tuition by Ernst Grenzebach (other students were Lauritz Melchior and Max Lorenz). He appeared at Hamburg in 1916 and at Wiesbaden from 1917 to 1922 and became the leading bass at the Berlin Städtische Oper (1919 - 1929). Thereafter he joined the Vienna State Opera and the Berlin State Opera and was engaged at the Bayreuth Festival. He was admired as an outstanding Wagner and Mozart singer as well as a great interpreter of Italien and Russian roles. He soon became an accomplished lieder singer. By 1937 he was a familiar artist in most of the world’s leading opera houses, especially in America. He became an American citizien in 1931. He was a regular member of the Chicaco Opera from 1923 to 1932 and made a late debut at the Met as Gurnemanz in 1940. There he also appeared as King Marke, Arkel, Hermann, Hagen, Hunding, Ochs von Lerchenau, Sarastro, Nicalantha in Délibes’ Lakmé and Boris Godunov. He stayed at the Met until 1952. He appeared in extensive and tremendously successful concert tours throughout America. After his retirement he became a renowned vocal coach at the College of Music in New York.

He is not only an exceptional bass and singer but also a great musician. His musicianship led him to Mozart and Wagner, Mussorgsky and Debussy, Verdi and Rossini, Schubert, Brahms, Wolf, all with fine results.

I do not know another bass who equals him in refinement, expressivity, flexibility, dignity and sonority. A special characteristic is the apparently limitless range of colours in a powerful voice capable of sustained dramatic statements. In addition to this came a guttural handling of words, a characteristic of his mother tongue, but it never distracted, indeed rather hightened the attractiveness of his extraordinary voice. You will notice a frequent use of portamento, and aspirations in his later years.

What attracts me most is his personal warmth and intensity. He is capable to achieve deep-minded expression and profound insight into every role or song.

Listen to the arias of Cornelius’ Der Barbier von Bagdad. He sings them with the right sense of humour and charme. Go to the incomparable and deeply moving interpretations of Brahms’ Vier ernste Gesänge, Wolf’s Michelangelo-Lieder or the Schubert lieder. Hear him as Gurnemanz, one of the most beautiful Wagner recordings ever made, Fritz Wolff as Parsifal is his partner (by the way a much underrated singer). He is simply overwhelming in Fiesco’s Il lacerato spirito. His Boris is very dramatic and in my opinion, he overdoes the declamatory passages, but still he gives a very impressive portrait.

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Mozart - Don Giovanni - Bruno Walter (CD)

Mozart - Don Giovanni - Bruno Walter (CD)

Mozart - Don Giovanni - Bruno Walter - 46357 - Classical music..

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Mozart, Mussorgsky, Wagner - Voices From Lindenoper (CD)

Mozart, Mussorgsky, Wagner - Voices From Lindenoper (CD)

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Beethoven - Missa Solemnis Op. 123 - Arturo Toscanini (CD)

Beethoven - Missa Solemnis Op. 123 - Arturo Toscanini (CD)

Beethoven - Missa Solemnis Op. 123 - Arturo Toscanini - 39876 - Opera,Operetta and Ballet Music..

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