Günther Hofmann

Günther Hofmann (2 October 1927 – 13 November 2013) was a German operatic bass-baritone, opera manager and director.

Günther Hofmann in der Titelpartie von Verdi's Falstaff, 1972
(Photo: Walter Hinghaus)

Life

Childhood and school

Hofmann was born in Johannstadt in humble circumstances. Even as a young boy, he had the desire to become an opera singer. In his autobiography[1] he writes: "Every evening I visited the Semperoper Dresdner (standing room 1.80 marks). ... Meanwhile I learned from Reclams Universal-Bibliothek aria texts by heart and tormented my dear piano teacher with the study of opera piano literature, ... which I also soon performed ... by heart and with orchestral effort." From his primary schools he was proposed for the entrance examination to the Dresdner Kreuzchor after the 4th grade in 1938, which he passed. However, his parents were against it because of the boarding school stay it would entail, and so he was only transferred to the 29 Volksschule - a secondary school at the time - on Riesaer Platz.

During the war, he was first a conductpor in wartime service with the Trams in Dresden, later an electrical trainee at VEM Sachsenwerk Niedersedlitz. He was also an extra at the opera and the theatre. In this way, he got to make acquaintance with well-known artists, as well as the repertoire, singers and conductors, and the Stagecraft of the time. Kurt Böhme became his role model. He still experienced as an extra Richard Strauss am Pult in the opera Capriccio.

Military service and captivity

After getting his Abitur (8 June 1944), he was drafted into the Reich Labour Service and then into the Wehrmacht. His basic and radio operator training was followed by horse care in the cavalry barracks Neuruppin and Kurzig (now Polish Międzyrzecz). On 23 December 1944, he was discharged; on 12 January 1945, he was transferred to the artillery replacement and training battalion near Prague (then Protectorate of Bohemia and Moravia). He experienced the end of the war without any significant combat duty and after the surrender he went on foot in the direction of Bavaria. Near Písek he came into US custody; in Blatná he was handed over to Czech partisans, then to the Red Army. This was followed by a hardship march to Brno, where he was admitted to an epidemic hospital (former girls' school below Špilberk Castle) with dysentery, collapsed and was pronounced dead (13 July 1945). A Soviet doctor discovered last signs of life and saved his life. This event shaped his gratitude to the Russian people. In November 1945, he was transported by passenger train via Vienna, Szeged, Odessa, Gori to Tbilisi (district of Naphtlug/Navtlugi/Navtlughi on the river Kura) to camp 236,[2][3] where he arrived on 20 December 1945.

With musically like-minded prisoners of war and with the support of Soviet and Georgian camp officers, he succeeded in staging and performing plays and attending the Rustaveli Theatre in Tbilisi.[4] At the Sunday events, he was the announcer, directed the choir and wrote the notes for songs and overtures for the orchestra and choir from memory. "[...] my musical talent, the musical memory, which could be reliably recalled, helped me in this."[5] Here he learned Russian and also some Georgian, which was very useful to him.

In the autumn of 1946, there was a change of camp from the district of Nawtlugi to the district of Didube[6] and later to Rustavi. He was released on 6 December 1949. Via Baku, Rostov-on-Don, Kharkov, Kiev, Brest, Frankfurt (Oder) and Cottbus he reached Dresden, where he met his parents again on 23 December 1949.

Studies and Zittau

In Dresden, he was immediately admitted without examination by the Hochschule für Musik Carl Maria von Weber Dresden to study singing with Herbert Meißner (1889-1954). Other teachers were Siegmund Wittig and Fidelio F. Finke. He completed his training as an opera singer with very good success in 1953.[7] His final papers were on Die Entwicklung der russischen Musik im 19th-century zu einer Nationalkunst as well about Das Volk in Boris Godunov.[8] In them, he wrote, among other things: "And what the Tsar had feared had become a reality. The peasant of Russia stood on the stage. The starving people shouted their misery into the perfumed stalls." Here the Russian soul is revealed in the music.[5]

Hofmann found his first employment at the Gerhart-Hauptmann-Theater Görlitz-Zittau as Erbförster Cuno in Weber's Der Freischütz and ls Tommaso in d'Alberts' Tiefland. Guest roles took him among others to the Theater Chemnitz. In Zittau, he met his future wife as a dancer. In 1955, they married and moved to Meiningen.

Meiningen and Die Oper

Hofmann lived and worked in Meiningen until his death in 2013. He was engaged by the Meiningen Court Theatre as a "singer for opera and operetta". He has a son and a daughter,[9] who are also professionally active in the musical ambience. - He intensively maintained the connection to Dresden to his parents as well as relatives and friends for many years by means of a GDR Trabant car and such until 2003 without the Bundesautobahn 71.

From 1960, his activities were supplemented with "directing opera and operetta". In 1963, stagings were added. In 1967 he became the first Kammersänger of the Meiningen Theatre. From 1973 to 1993 he was director of the music theatre section of the Meiningen Theatre.[10] He also appeared as a singer in symphony concerts and oratorio performances. He was also engaged by the Deutscher Fernsehfunk.[11]

Extensive guest performances by the Meiningen Theatre in the municipal theatre of Ceske Budejovice were based on his initiative; this tradition was not continued after the 1989 Peaceful Revolution. On the occasion of his guest performance trips to Budweis, he still learned Czech.

Hofmann's imprisonment in Georgia, at that time a constituent republic of Soviet Russia, left lasting traces on these people, which can be seen, among other things, in his final theses, his Boris role and his efforts to establish a cooperation between the Tbilisi and Meiningen opera houses. He writes:

"I learned to love the country of Georgia in the 4 years because of its subtropical vegetation and I admired its old culture, which the Red Revolution had decimated and overdone with endless banners and pictures of Stalin. ... I have never given up the thought of seeing the Caucasus and the city of Tbilisi again. Unforgettable memories of the beautiful region and its people, of romantic mountain gorges, of subtropical flora and the mixture of peoples increasingly replaced the gloomy memory of imprisonment. "[5] Consequently, in 1981 and 1984, he visited the Tbilisi Opera for the purpose of exchanging guest performances, whereupon he directed the Georgian opera Mindia by Otar Taktakishvili at the Meiningen Theatre. The premiere took place on 12 November 1981, an exchange did not take place. Regarding his "Boris" role, it was an honour for him to appear in the royal robe of Boris on loan from his hometown from the Staatstheater Dresden from the 1956 production there.

His production of The Flying Dutchman at the Meiningen Theatre before the Peaceful Revolution in the GDR (premièred on 27 May 1988) he placed under the motto: "Ach! ohne Hoffnung wie ich bin, geb' ich mich doch der Hoffnung hin!" (Act 1, Scene 3)

Meiningen and the Meiningen Theatre were his world. He worked there until 1993. Nevertheless, he concludes his autobiography[5] with the words of the Dresden local historian and former director of the Dresden City Museum there. Matthias Griebel:

The further a Dresdener moves away from his homeland, the greater his love for it becomes

Even after his retirement, Hofmann remained connected to the Meiningen opera scene, as his publications attest.[12][13]

The maxims of his work were reality and comprehensibility. He was thus at odds with younger directors who put modern interpretations on old operas.[12] Hofmann was an outstanding singer and thoroughbred comedian, a "serving" director, one who was concerned with the issues of the respective authors, as well as a patient, humanly accessible and administratively consistent "boss". [14] In his autobiography he writes: "Terms like 'faithfulness to the original' fell into disrepute because people tried to equate them with 'museum-like' and old-fashioned-unimaginative. I have always taken the authors seriously and taken them at their word: if they write for the scene before 'in the deep forest', I don't have it played on the men's toilet. The right opera music dominates the scene like the 'Freischütz' dominates the forest. Romanticism means: "reflection" of human conflicts, moods and feelings in nature. This corresponded to the mindset of the time. It is as communicable to us as a painting, as the character of music. Anything else is falsification, is grafting on a foreign ideology, is historical know-it-allism, is annihilation of the author's intention."[5]

He had a special affinity for Richard Strauss and Richard Wagner, recognisable also in his roles. In the opinion of the conductor Rolf Reuter, Hofmann was "the best Faninal in the world".[11] He wrote several essays about Richard Wagner.[13] He was not an opponent of modern media, but still liked to write wonderful, content-rich and very pictorial letters. He knew the importance of the written word in a letter and its permanence. In his letters one can hear him speak.

"As an interpreter of the leading and mostly difficult baritone roles from Verdi to Wagner, Russian operas and works by contemporary composers, Hofmann was an outstanding singer who would certainly have sung his way into a prominent position in major houses. His Sachs, Rigoletto, Boris, Einstein and many a comic character in play operas are unforgettable. In addition, as a stage director, he focused on traditional faithfulness to the work, on singability, and at the same time ensured serious continuity in the Meiningen opera company for thirty years. Most of his younger colleagues have taken exception to his staging style."[15]

He was also active in the social sphere; for example, together with Rolf-Christoph Ullmann, he campaigned with the Meiningen town council for the preservation →of the collection of flzt theatre by the world-famous stage painter brothers Max and Gotthold Brückner from Coburg in Elisabethenburg Palace.[16] It was always his honour and obligation to show and comment on this collection to his guests. He was one of the few who experienced such a long period of time at the same house; therefore he was a sought-after interlocutor when it came to reviewing history. This was "his" field until his death.[17]

Hofmann had two hobbies: his aquarium and his model railway Gauge-0 - costumed with railway cap and traffic paddle. When he moved to Meiningen in 2005, he had to give up both hobbies for reasons of tenancy and age.

From 1995 onwards, but especially from 2008 until the end of 2010, Hofmann wrote and dictated his autobiography with the assistance of Horst Arnold.[5] It comprises 93 typewritten DIN A4 pages.

Hoffmann died in Meiningen at the age of 86. He was buried at the Heidefriedhof (Dresden) in Dresden.[18]

Hofmann in the title role of Verdi's Macbeth, 1973
(Photo: Walter Hinghaus)

Roles

Hofmann played over 100 roles,[11] the following is a selection:

Guest appearances have led Hofmann and others to

  • the Staatsoper Unter den Linden as cover for the title role in Einstein by Paul Dessau and with her on a journey to non-socialist foreign countries (Nichtsozialistisches Wirtschaftsgebiet
  • the Leipziger Opernhaus as Telramund in Lohengrin by Richard Wagner
  • the Hallesche Opernhaus as Hans Sachs in Meistersinger by Richard Wagner
  • the Theater in Frankfurt (Oder)in the title role in Der fliegender Holländer by Richard Wagner
  • the Landestheater Altenburg as Hans Sachs in Meistersinger and in the title role in Der fliegende Holländer by Richard Wagner

Direction

As a director, Hofmann worked on over 50 productions from 1963 onwards,[11] the following is a selection:

Guest productions took place among others

Awards

Membership
  • Honorary Member of the German Richard Wagner Society. Bayreuth (awarded on 6 October 2007)[21]

Publications
  • Günther Hofmann (10 May 1953). Das Volk in Boris Godunow – Abschlussarbeit im Hauptfach Operngesang für Staatsexamen.[8]
  • Günther Hofmann (22 April 1953). Die Entwicklung der russischen Musik im 19. Jahrhundert zu einer Nationalkunst – Abschlussarbeit im Fach Musikgeschichte für Staatsexamen.[8]
  • Horst Arnold, Günther Hofmann: Chronik des Meininger Opernchores. Edited by the Meininger Theater, 2012
  • Günther Hofmann (November 1997). Ratschläge für einen modernen Opernregisseur. Mitteilungen der Deutschen Richard-Wagner-Gesellschaft e. V. Bayreuth. 24/25. pp. 17 ff.
  • Günther Hofmann (November 2001). Der Meininger „Ring“. Mitteilungen der Deutschen Richard-Wagner-Gesellschaft e. V. Bayreuth. 40/41. pp. 3 ff.
  • Günther Hofmann (November 2002). „Von der Meistersinger hold seligen Kunst“ – Erfahrungen und Bekenntnisse eines alten Opernsängers (I). Mitteilungen der Deutschen Richard-Wagner-Gesellschaft e. V. Bayreuth. 44/45. pp. 10–12.
  • Günther Hofmann (June 2003). „Von der Meistersinger hold seligen Kunst“ – Erfahrungen und Bekenntnisse eines alten Opernsängers (II). Mitteilungen der Deutschen Richard-Wagner-Gesellschaft e. V. Bayreuth. 46/47. pp. 10–13.

References
  1. name="Autobio"
  2. Koordinaten von Tiflis-Navtlughi: 41.68084°N 44.88829°E / 41.68084; 44.88829 (Navtlughi, Ortsteil von Tiflis, Georgien)
  3. Ulrich Austermühle et all (2010). Orte des Gewahrsams von deutschen Kriegsgefangenen in der Sowjetunion (1941–1956) / Findbuch. Dresden, Kassel, Moskau, München: Russland / Archivnoe Agentstvo ; Stiftung Sächsische Gedenkstätten zur Erinnerung an die Opfer Politischer Gewaltherrschaft ; Rossijskij Gosudarstvennyj Voennyj Archiv. pp. 20, 45. ISBN 978-3-934382-22-0.
  4. A fellow prisoner, Willi Wagner from Dresden-Zschachwitz, confirmed this fact to the author, 1962.
  5. Günther Hofmann: Autobiographie. Weihnachten 2010, page a/-, b/50, c/87, d/51, e/93, f/72, g/-; in Nachlass von Günther Hofmann.
  6. Coordinates by Tiflis-Didube: 41.74999°N 44.77993°E / 41.74999; 44.77993 (Ditube, Ortsteil von Tiflis, Georgien)
  7. Certificate in the estate
  8. Estate of Günther Hofmann in Archivportal Thüringen. Retrieved 27 January 2021.
  9. Cornelia Hofmann, Birgit Tradler (2003). Das Federzimmer Augusts des Starken. Verlag der Kunst Dresden. ISBN 3-364-00604-0.
  10. Horst Arnold, Günther Hofmann: Chronik des Meininger Opernchores. Publisher "Das Meininger Theater", issued in 2012.
  11. Werner P. Seiferth. Privatarchiv.
    Werner P. Seiferth (2012). Richard Wagner in der DDR – Versuch einer Bilanz. Leipziger Beiträge zur Wagner-Forschung 4. Richard-Wagner-Verband Leipzig e. V.
  12. Günther Hofmann (November 1997). Ratschläge für einen modernen Opernregisseur. Mitteilungen der Deutschen Richard-Wagner-Gesellschaft e. V. Bayreuth. 24/25. pp. 17 ff.
  13. see absract Schriften.
  14. Werner P. Seiferth. "Kammersänger Günther Hofmann verstarb am 13.11.2013 in Meiningen". Online-Merker, Infos des Tages (Saturday, 16 November 2013). Archived from the original on 14 May 2014. Retrieved 27 January 2021.
  15. Alfred Erck (2006). Geschichte des Meininger Theaters: 1831 – 2006. Das Meininger Theater – Südthüringisches Staatstheater. p. 190–191.
  16. http://www.meiningermuseen.de/pages/theater.php. Missing or empty |title= (help)
  18. Susann Winkel (23 November 2013). Ein Bühnenleben im Dienste Wagners. Freies Wort. Suhler Verlagsgesellschaft mbH & Co. KG. p. 22.
  19. Manfred Weckwerth. "Optimistische Tragödie". Archived from the original on 10 August 2014. Retrieved 27 January 2021.
  20. "Biografie von Wischnewski in „mime centrum berlin"". Archived from the original on 8 August 2014. Retrieved 27 January 2021.
  21. "Ehrenmitglieder der Deutschen Richard-Wagner-Gesellschaft e. V. Bayreuth".
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