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Michael Volle

Michael Volle is one of the most sought-after singers of our time. The baritone is a mainstay at the most renowned opera houses in the world including the Metropolitan Opera New York, the State Operas in Munich and Vienna, the Teatro alla Scala Milan, the Royal Opera House London, Opéra National de Paris and the Deutsche Oper Berlin and the Staatsoper Berlin.

Latest News:

  • 07.05.2019 - Michael Volle: A New Wotan Reigns in the Metropolitan Opera’s ‘Ring’ - The New York Times

  • It is one of the pinnacle roles in all of opera: Wotan, king of the gods in Wagner’s epic “Ring.” It’s a nearly fathomless part that demands a beautiful voice, power, subtle acting, keen intelligence and stamina. Great Wotans don’t exactly grow on trees.

    At the Metropolitan Opera, the German baritone Michael Volle has donned an eye patch and picked up a spear to sing his first complete “Ring” cycle (performances continue through May 11). Here, three of The New York Times’s classical music writers — Michael Cooper, a reporter, Joshua Barone, a senior staff editor and critic, and Seth Colter Walls, a critic — discuss his astonishing performance so far.

    I was struck by how Mr. Volle navigated a chilling moment in “Die Walküre,” the second “Ring” opera.

    Wotan has just reluctantly caused the death of his own son by intervening in an earthly battle.

    His sad duty done, the heartbroken, furious god dismissively dispatches the victor he has just assisted, and, with just a word — “Geh!” (“Go!”) — strikes his son’s killer dead.

    Some great Wotans of the past would almost whisper that “geh,” including Hans Hotter, whose recordings I literally wore out, and James Morris, whose rich, fluid voice made him the Wotan of my youth. I once heard John Tomlinson practically roar it, and Bryn Terfel contemptuously snarl it.

    Mr. Volle growled it ferociously — the kind of growl it almost hurts your throat to hear. But he returned in the next act singing as well as ever. One moment he was terrifying in his wrath, the next he was singing the tenderest, most lieder-like of lullabies in his farewell to his rebellious daughter, Brünnhilde. It was as gutsy, and colorfully varied, a Wotan performance as any I can remember.

    Read the full review on The New York Times

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