Karl-Christian Kohn (21 May 1928 inLosheim am See – 20 January 2006) was a German opera singer (bass).[1]
After his education at theHochschule für Musik Saar from 1949 to 1952 Kohn made his debut at the Stadttheater Saarbrücken (todaySaarländisches Staatstheater) in 1952 and afterwards had engagements at theDeutsche Oper am Rhein and in Berlin. In 1958 he became a member of theBayerische Staatsoper in Munich.[2] He was considered a pillar of the ensemble and appeared in over 2,500 performances. He was honoured by the Bavarian State Opera with the title ofKammersänger.
After the end of his stage career in 1991, he was professor for singing at theMozarteum in Salzburg until 1998.
He died at the age of 77 in Munich as a result of an injury.
He sang Figaro in Mozart'sThe Marriage of Figaro more than 400 times all over Europe, including in 1958 for the festive reopening of theCuvilliés-Theater in Munich, was considered to be his signature role. As a guest he sang, at theVienna State Opera, theHamburg State Opera and theDeutsche Oper Berlin as well as with other opera companies. He also gave guest performances in other European countries, e.g. at theParis Opera, theGran Teatre del Liceu in Barcelona, where he received the Spanish Critics' Prize, in Brussels and Edinburgh.
He was successful in many great bass roles in Munich; among others he sang Sarastro in Mozart'sThe Magic Flute, Leporello and the Commendatore inDon Giovanni, Rocco in Beethoven'sFidelio, Philip II. in Verdi'sDon Carlos, Hunding in Wagner'sThe Valkyrie, Escamillo in Bizet'sCarmen, Ochs in Richard Strauss'Der Rosenkavalier and Count Waldner in Strauss'Arabella. In a 1958 recording he sang the Grand Inquisitor in Verdi'sDon Carlos alongsideGottlob Frick.
Kohn also sang in contemporary operas, including the world premiere ofWerner Egk'sDie Verlobung von San Domingo nachHeinrich von Kleist.
Kohn was also active as a concert singer. Among other things, he was a permanent guest at the concerts of theMünchener Bach-Chor under the direction ofKarl Richter, who at his time was the leadingBach interpreter in the Federal Republic of Germany. Kohn was a regular guest at the then popular Munich Sunday concerts.
Source:[3]
Some of Kohn's opera roles are documented on recordings, including Leporello in Mozart'sDon Giovanni (DG),[4] Kaspar in Weber'sDer Freischütz (EMI),[5] Tolomeo in Handel'sGiulio Cesare (at Melodram), Ariodate in Handel'sSerse (at Orfeo), Calendar in Gluck'sLa rencontre imprévue (at the Hamburg Archive), Kühleborn in Hoffmann'sUndine, Wagner in Busoni'sDoktor Faust (at DG), Herr Schwarz in Egk'sVerlobung in San Domingo (at Orfeo), Gold trader in Hindemith'sCardillac (at DG), Doctor in the first studio recording of Berg'sWozzeck (conductor:Karl Böhm) (at DG), Priest inCarl Orff'sOedipus the Tyrant (at DG).[6] Several of his concert parts have also been published on records, including recordings of Bach's oratorios as well as the bass parts in Haydn'sPaukenmesse und Mozart'sRequiem.
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