Bohnen was a very popular opera singer in Germany and around the world during the twenties. He was also a silent picture and talking picture actor. He has very good vocal production. I keep writing this and trying to define what I mean by good production. By this, I mean, that the air passes from the lungs through the vocal chords, barely touching them. The sound is created by the reverberating cavities in the skull. The skull serves as its own amplification.
I have included a fairly lengthy by wonderful duet from the Bartered Bride. I hope that you enjoy the post.
Verdi, Rigoletto, Prologo
Tonio, in costume da Taddeo come nella commedia, passando attraverso al telone
TONIO
Si può?… Si può?…
poi salutando
Signore! Signori!… Scusatemi
se da sol me presento.
Io sono il Prologo:
Poiché in iscena ancor
le antiche maschere mette l’autore,
in parte ei vuol riprendere
le vecchie usanze, e a voi
di nuovo inviami.
Ma non per dirvi come pria:
«Le lacrime che noi versiam son false!
Degli spasimi e de’ nostri martir
non allarmatevi!» No! No:
L’autore ha cercato
invece pingervi
uno squarcio di vita.
Egli ha per massima sol
che l’artista è un uom
e che per gli uomini
scrivere ei deve.
Ed al vero ispiravasi.
Un nido di memorie
in fondo a l’anima
cantava un giorno,
ed ei con vere lacrime scrisse,
e i singhiozzi
il tempo gli battevano!
Dunque, vedrete amar
sì come s’amano gli esseri umani;
vedrete de l’odio i tristi frutti.
Del dolor gli spasimi,
urli di rabbia, udrete,
e risa ciniche!
E voi, piuttosto
che le nostre povere gabbane d’istrioni,
le nostr’anime considerate,
poiché siam uomini
di carne e d’ossa,
e che di quest’orfano mondo
al pari di voi spiriamo l’aere!
Verdi, Rigoletto, Prolog
in the costume of Taddeo in the play, coming through the curtain
TONIO
Excuse me!
bowing
Ladies and gentlemen,
forgive me for appearing alone.
I am the Prologue.
Since the author is putting on the stage
again the old Comedy of Masks,
he would like to revive
some of the old customs
and so sends me out again to you.
But not to say, as of old,
“The tears we shed are feigned!
Do not alarm yourselves at our sufferings
and our torments!”
No.
The author instead has sought to paint
for you a scene from life.
He takes as his basis simply
that the artist is a man
and that he must write for men.
His inspiration was a true story.
A horde of memories
was one day running through his heard,
and he wrote, shedding real tears,
with sobs to mark the time!
So you will see love,
as real as human beings’ love:
You will see the sad fruit of hate.
You will hear agonies of grief,
cries of rage and bitter laughter!
So think then, not of our poor
theatrical costumes
but of our souls,
for we are men of flesh and blood.
Breathing the air of this lonely world
Just like you!
I have told you his plan.
Now hear how it is unfolded.
calling towards the stage
Come. Let’s begin!
Mozart, Die Zauberflöte, “O Isis und Osiris”
SARASTRO und CHOR
O Isis und Osiris schenket
Der Weisheit Geist dem neuen Paar!
Die ihr der Wandrer Schritte lenket,
Stärkt mit Geduld sie in Gefahr –
Lasst sie der Prüfung Früchts sehen.
Doch sollten sie zu Grabe gehen,
So lohnt der Tugend kühnen Lauf,
Nehmt sie in euern Wohnsitz auf.
Mozart, The Magic Flute, “Oh Isis and Osiris”
SARASTRO
O Isis and Osiris, bestow
the spirit of wisdom on this young couple!
You who guide the wanderers’ steps,
strengthen them with patience in danger.
CHORUS
Strengthen them with patience in danger.
SARASTRO
Let them see the fruits of trial;
yet if they should go to their deaths,
then reward the bold course of virtue:
receive them into your abode.
CHORUS
Receive them into your abode.
Exit Sarastro followed by the priests.
Smetana, Der verkaufte Braut, “Komm’, mein Söhnchen, auf ein Wort”
Hans und Kezal.
Kezal (zieht Hans herein.)
Komm’, mein Söhnchen, auf ein Wort!
Will Dir was vertrauen!
Hans (sträubt sich).
Lasst mich gehen, ich muss fort,
Auf die Felder schauen!
Kezal.
Weisst Du denn nicht, wer ich bin?
Hans.
Ja, man sagt’ es mir vorhin;
Und wonach steht Euer Sinn?
Kezal.
Bist gescheidt, flink und gewandt,
Magst zu Vielem taugen,
Einem Mädchen, wie bekannt,
Stachst Du in die Augen.
Hast Du auch Vermögen?
Hans.
Meinetwegen Sorgen gar?
Steht in Gottes Segen
Doch ein jedes treue Paar!
Kezal.
Thorheit! Das lieget auf der Hand:
Dass Dein Glück nicht von Bestand!
Ohne Geld ist alles Tand.
Drum ein Sümmchen sparen!. . .
Hab’ es selbst erfarhren
Einst in jungen Jahren.
(Verlegenheitspause.)
Eines noch
Sag’ mir doch:
Gern hätt’ ich vernommen,
Wo du hergekommen?
Hans.
Weit von hier
Wohnen wir.
Von der Moldau Wogen
Bin ich hergezogen.
Kezal.
Dort sollst Du Dein Weibchen finden!
In der Fremde sich zu binden,
Thut nicht gut, das glaube mir!
Hans.
Was ich in der Fremde fand,
Bietet mir kein Heimathland.
Einen Engel nenn’ ich mein,
Und der soll mein Weibchen sein!
Kezal.
Wer in Lieb’ entbrannt,
Hält aus Unverstand
Weiber für Engel,
Meint in Schwärmerei
Dass sein Mädchen sei
Ganz ohne Mängel.
Ja, so manches Schätzchen
Ist ein Schmeichelkätzchen,
Das mit Sammetpfötchen Dich um spielt;
Aber, wie entsetzlich,
Wenn man später plötzlich
Ihre scharfen Tigerkrallen fühlt!
Einer sorgt und sinnt
Um ein schönes Kind,
Bis er sie gewinnt,
Und das Glück ist gross;
Leider hinterher
Seufzt er bang und schwer:
Du, mein Gott und Herr,
Wär’ ich sie erst los!
Doch ein Praktikus
Stets sich wohl bewahrt;
Vielerlei Verdruss
Bleibt ihm dann erspart.
Nichts schlägt ihn darnieder,
Weil das Für und Wider
Er zuvor sich weislich überlegt.
Der kann heiter scherzen,
Der nicht blos im Herzen
Seinen Schatz, nein, auch im Beutel trägt!
Was ist Dir geblieben?
Freund, hab’ Acht!
Froher Sinn und Lieben
Gute Nacht!
Hans (unwirsch).
Bin ich dafür Dank Euch schuldig?
Treibt mit Andern Euren Spass!!
Kezal.
Freundchen, nur nicht ungeduldig!
Dir zu bieten hab’ ich ‘was.
Weiss ich doch Eine,
Die hat Dukaten!
Wer die Kleine
Nennt die Seine,
Der ist gut berathen.
Nicht zu verschweigen,
Was noch ihr Eigen!
Jegliches Hoffen—
Ich sag’ es offen—
Will’s übersteigen!
Häuschen und Garten,
Vieh aller Arten!
Milchende Kühe
Lohnen der Mühe!
Schweinchen im Koben
Höchlich zu loben!
Hühner und Tauben,
Gar nich zu glauben!
Tröge und Wannen,
Krüge und Kannen,
Und in der Truhe
Kleider und Schuhe!
Und obendrein
Ein nagelneuer Schrein!
Dürfte kein Prinz sich schämen,
Möchte sich gleich bequemen,
Solch’ eine Braut zu nehmen,
Würde gar wohl mit ihr zufrieden sein!
Hans.
(der Alles ironisch wiederholt hat).
Wohl seh’ ich’s ein,
Doch sag’ ich: Nein!
Smetana, The bartered bride, “Come, my son, just one word”
Hans and Kezal
Kezal (drags Hans in)
Come, my son, just one word!
I want to confide in you!
Hans (resents).
Let me go, I must away,
At the fields to gaze!
Kezal.
Then you don’t know who I am?
Hans.
Yes, they told me who you are;
An now, what do you want?
Kezal.
You are clever, quick and skilful,
You are fit for many things.
A young girl, as is well known
Has you captivated.
Have you any means?
Hans.
Cares have I, perhaps?
Every true pair
Is blessed by God!
Kezal.
Nonsense! That is very plain:
Your happiness is not lasting!
Without money all is nonsense.
Therefore save a little!
I myself have found it out
When I too was young.
(pause of dilemma.)
Tell me, pray,
One thing more:
Gladly would I know
Where you have come from?
Hans.
Far from here
Do we live.
I have wandered here
From the Moldau waves.
Kezal.
There ought you to find a wife!
To marry abroad
Is not good—believe me!
Hans.
In a strange land I’ve found
What my native land could never offer;
A heavenly angel I call mine,
And she shall be my lovely mate.
Kezal.
Who burns with love,
in his folly
Takes women for angels,
Thinks, in his ecstacy,
His sweetheart to be
Perfectly faultless.
‘Tis many such sweetheart
Is false as a kitten
Which plays with velvety paws;
But, Oh how awful,
When all of a sudden,
You feel her pointed sharp claws.
One tries hard to win
Some pretty child,
And till he has won her,
His happiness is wild;
But sad to say,
He soon sighs and moans:
O would, dear God,
I were rid of her!
But a careful man
Is on his guard;
And many vexations
Is he spared.
Nothing compels him,
For he has considered
The pros and cons in advance.
He can joke and jest,
For in his breast
He has sweetheart and money besides!
What is left for you?
Good friend, beware!
Love and happiness too,
Good night!
Hans (crossly).
Must I thank you, too?
Go, jest with another!
Kezal.
But be not impatient, friend!
I must ask you something.
One I know,
Who has money galore!
He who calls her his own,
Has plenty and more.
But I must not conceal,
Her other possessions!
It far over-reaches—
I say it openly—
All expectation!
Small house and garden,
All sorts of cattle,
Milkable cows,
All worth the trouble!
Pigs in the pigstye,
May well be praised!
Hens and pigeons
Of incredible number!
Troughs and tubs,
Pitchers and cans,
And in the trunks
Dresses and shoes!
And what is more
A cup-board brand new!
A prince ought not to be ashamed,
He ought to yield immediately,
And take him such a bride;
Well would he be pleased with her!
Hans.
(who repeats everything ironically.)
That my all be very true,
Still must I say: No!
Michael Bohnen
May 2, 1887 – April 26, 1965
Bohnen is remembered for his long career at the Berlin State Opera as well as at Wagner’s Bayreuth Festspielhaus and other major venues. Raised and trained in his native city, he made his 1910 professional debut at Dusseldorf as Kaspar from Weber’s “Die Freischutz”, joined the Berlin State Opera in 1912, and in 1914 performed at both Covent Garden and Bayreuth. During his career, he was known primarily as a Wagnerian, singing both Hunding and Wotan from “The Ring Cycle”, King Heinrich of “Lohengrin”, Daland from “The Flying Dutchman”, King Marke in “Tristan und Isolde”, Gurnemanz from “Parsifal”, and Hans Sachs in “Die Meistersinger”. Bohnen performed at the Metropolitan Opera in March of 1923 and performed there for nine seasons while also appearing in Buenos Aires during the early 1930s. Over the years he also had a significant film career in both silent and sound features, even taking the role of Baron Ochs in a silent 1926 “Der Rosenkavalier”; during World War II he kept singing while taking-on administrative duties at the Berlin State Opera, but afterwards he was accused by a colleague of Nazi associations, charges later shown to be false, but which nevertheless cast a long shadow. Bohnen was awarded the Goethe Prize in 1952 and the Order of Merit of the Federal Republic of Germany in 1957, but still was forced to live out his days on a small pension and died broke.
Bohnen was born in Cologne. Already as a student he was noticed for his beautiful voice. He decided to pursue a career as a singer, and from 1905 he studied singing with a scholarship at the Cologne “Steinbach Conservatory”. After completing his training as a bass-baritone, Bohnen made his stage debut on October 13, 1910 at the “Stadttheater Düsseldorf” as the hunter’s boy Kaspar in the romantic opera “Der Freischütz” by Carl Maria von Weber1. In 1912 he moved to the “Hoftheater Wiesbaden”, where he stayed until 1914, at the same time he was part of the ensemble of the “Hofoper Berlin” (today the “Staatsoper Berlin”). In 1914, when he filled in for a sick colleague with the role of the Grail Knight Gurnemanz in Wagner’s “Parsifal”, which gave him his first step to opera stardom. As early as 1913, Kaiser Wilhelm II1 awarded him the title of “Royal Prussian Court Opera Chamber Singer”.
For the 1922/23 season he accepted an offer from the “Metropolitan Opera”1 in New York, making his debut with the role of Francesco in the American premiere of the opera “Mona Lisa”1 by Max von Schillings. Bohnen continued to appear regularly at the Met until 1933, playing a total of 21 different roles in 174 performances over ten years and always receiving glowing reviews. During this time he also caused a sensation with guest appearances at other opera houses in half of Europe, for example in France, Spain, Italy, Belgium, the Netherlands and Sweden.
In the early summer of 1933, Bohnen, who was suspected of being a “sympathizer of the Jewish race”, fled from the Nazis to Argentina, but his engagement at the “Teatro Colón”1) in Buenos Aires remained only an interlude; his homesickness was stronger. At the end of 1933 the star returned to Berlin and initially worked at the “Deutsche Staatsoper” and then again at the “Deutsche Oper” until 1945, and also appeared at the “Salzburg Festival”, where in 1939 he once again appeared as Kaspar in ” The “Freischütz” shone. . During his career, Bohnen celebrated great success with a wide range of roles and made a name for himself as an excellent Wagner singer.