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Hans Reinmar was one of the impressive German Baritones at Berlin and Bayreuth Theaters

 Don Carlos, Act III: Schon Seh' ich Den Tag Erscheinen
Hans Reinmar, Leo Borchard cond Orchester der Städtischen Oper & Berlin


Telefunken, Berlin 1933-11-20The best remaining Sachs not yet to have received his due is the Austrian Hans Reinmar. He made a reputation at Bayreuth just before the war as Amfortas and Gunther; his 'Euch macht ihr's leicht' (Telef. E 1609; GMA 57) is, as one would expect, more satisfactory than the more testing Verachtet mir die Meister nicht' (E 1610). The latter imposes some strain on a lightish voice, while the former is enjoyable for his spacious, intense manner and intelligent declamation. Josef Lindlar and Scheidl are eminently forgettable, but Emil Schipper's majestic singing (LV 503) is undeniably imposing despite a certain fierceness

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.“Hans Reinmar was a formidably equipped Viennese baritone [who] began his career with some provincial appointments, slowly learning his craft at the Municipal Theatre in Olomouc (or Olmütz as Reinmar would doubtless still have known it) and the opera company in Nuremberg. He then moved to Zürich and back, prestigiously, to Berlin after small stints in Dresden and Hamburg. Although he was heard in Bayreuth and in Salzburg, Berlin remained his base for the rest of his career. When one thinks of the contemporary competition - Bockelmann, Rode, Janssen, Schlusnus, Domgraf-Fassbänder and Hüsch among them - one realises that Reinmar had to have carved out his roles with considerable distinction and had the voice and the stamina to survive such strong colleagues. He sang much of the expected repertoire but also Hindemith’s Mathis der Maler and von Einem’s Dantons Tod (both after the War) and Boris Godunov (he was reputed to have been excellent) and, much earlier in his career, Kurt Weill. One of his last important roles was in Robert Kurka’s splendid opera THE GOOD SOLDIER SCHWEIK and it was a melancholy coincidence that he died, in February 1961, two days after his final appearance in Kurka’s opera.

He was a lauded Mozartian and a noted Verdi baritone and we have ample evidence to support the admiration of his contemporaries. That said I would characterise him as more a character baritone than one with a beautiful voice per se. In fact declamatory power was what Reinmar had, and a great deal of it, a strong sense of involvement and characterisation. Not for nothing did Reinmar work at the Komische Oper in Berlin.”

Hans Reinmar
Hans Reinmar actually Hans Wochinz , (* 11. April 1895 in Vienna , Austria-Hungary ; † 7. February 1961 in Berlin ) was an Austrian opera singer ( baritone ).

Life [ Edit | Source Edit ]
Hans Reinmar was born in 1895 in Vienna. After discontinuation of architectural education, he turned to the vocal studies and gained his first stage experience at Moravian Theatre Olomouc (dt. Olomouc). After engagements at the opera houses in Zurich , Dresden and Hamburg he became 1928 the Städtische Oper Berlin obligation which he remained until his death in the 1961st

Reinmar sang an extensive classical repertoire (including Mozart , Wagner , Verdi ) and occurred from 1939 to 1941 at the Bayreuth Festival on. He also had a reputation as an interpreter of contemporary music ( Hindemith , Weill , von Einem , Robert Kurka ). 1941 seemed Reinmar where Zarah Leander film The way out as a baritone in the Semiramis by Gioachino Rossini with. Zarah Leander plays there an opera singer and Reinmar stands with her ??on stage. When the war ended he came to the gottbegnadeten list .

A great success celebrated Hans Reinmar as Falstaff under Walter Felsenstein at the Komische Oper , where he speak his talents as a singer and as an actor to the test.