Fritz Wunderlich - O Lola (Europäischer Phonoklub, 1956)

Fritz Wunderlich (1930-1966) was a spectacular German tenor whose early death cut short a promising career. Born Friedrich Karl Otto Wunderlich, he was the second of two children of Paul and Anna Wunderlich, a choir director and violinist, respectively. The family owned an inn in the Rhenish Palatinate town of Kusel but lost the business due to Nazi intervention. Despondent over this loss, Paul took his own life in 1935, leaving the family destitute. Anna eked out a living giving music lessons while Fritz and his sister earned extra cash playing local events with their mother. By his teen years, Fritz mastered several instruments, including accordion and trumpet and played with various dance bands. During the war, Wunderlich worked in a local bakery, happily singing to himself as he went about his tasks. He soon attracted the attention of customers and staff, who urged him to pursue vocal studies. Wunderlich’s initial public performances were with the theater group of his hometown Cultural Circle, appearing in concerts, operetta galas and Christmas pageants. Interestingly, his operatic stage debut was in the baritone role of the Father in Humperdinck’s Hänsel and Gretel in 1948. Courtesy of funds raised by friends and neighbors, Wunderlich began attending Hochschule für Musik Freiburg, initially studying French horn. When it became evident that the young man possessed a beautiful tenor instrument, he began working with voice teacher Margarethe von Winterfeldt. Wunderlich picked up a bit of cash playing with various local dance bands on weekends. It wasn’t much money, but it helped the young tenor make ends meet. Following a few years of vocal studies, Wunderlich made his debut as Tamino in a Hochschule production of Die Zauberflöte on July 21, 1954. In attendance were representatives from Staatsoper Stuttgart, who offered the young tenor a contract, which he excitedly accepted. Wunderlich’s debut with the company was in the minor role of Ulrich Eisslinger in Die Meistersinger four days after his 25th birthday on September 30, 1955. Early the following year, he stepped in on short notice for the ailing Josef Traxel as Tamino in Zauberflöte. Although many sources claim that this brought instant stardom to Wunderlich, he remained relegated to mostly smaller roles for the next few years. With Staatsoper Stuttgart, Wunderlich had the opportunity to tour Europe, with appearances in Edinburgh, Florence, Aix-en-Provence, and other major opera centers. Singing a wide variety of roles, including Bobtschinskij in the world premiere of Werner Egk’s Der Revisor, he gained valuable experience and exposure. In 1959, Karl Böhm invited Wunderlich to the Salzburg Festival for Strauss’ Die Schweigsame Frau. This important new production, as well as Wunderlich’s singing of the challenging role of Henry Morosus, brought the tenor to international attention and marked a turning point for him. By the early 1960s, Wunderlich’s career was in full swing, with appearances in Vienna, Berlin, Cologne, Hamburg, Munich, London, Paris, Milan, Venice, and Buenos Aires. His operatic recordings were garnering critical praise, and he made numerous television appearances. Wunderlich was also gaining recognition for his interpretations of Lieder and was given the title of Kammersänger in 1962. In the fall of 1965, Rudolf Bing offered Wunderlich a contract for the 1966/67 season at the Metropolitan Opera. The tenor was initially hesitant, concerned that his voice might not carry in the cavernous theatre. Ultimately, he agreed to terms and was set to make his Met debut as Don Ottavio on October 8, 1966. Before travelling to New York, however, Wunderlich decided to vacation at bass Gottlob Frick’s hunting lodge in Oberderdingen. On the night of September 16, 1966, while descending a stone staircase, Wunderlich tripped over his untied shoelaces and fell, fracturing his skull. He was taken to the University Hospital in Heidelberg where he died the following day, just nine days shy of his 36th birthday. Fritz Wunderlich had been on the opera scene for barely a decade at the time of his untimely death. During his brief career, Wunderlich amassed an impressive repertoire of over 50 roles in such works as Così fan Tutte, Don Pasquale, Turco in Italia, Cenerentola, Traviata, Capriccio, Daphne, Salome, and Yevgeny Onegin, as well as such oratorios as Messiah, The Creation, and Bach’s Christmas Cantata. The voice was a remarkable full lyric tenor, with a brilliant top that was used with impeccable artistry. In the 60 years since his passing, Wunderlich’s reputation has reached legendary status, leaving us to wonder what heights he might have reached if granted a longer life. Here, Wunderlich sings “O Lola” (in German) from Mascagni’s Cavalleria Rusticana. This was recorded in the Festsaal of Berlin’s Hotel Esplanade for Europäischer Phonoklub's Opera label in 1956. Richard Kraus leads the Orchester der Städtischen Oper Berlin.