Claude Heater

October 25, 1927 -
Picture of Claude Heater
Born in Oakland, California, Heater grew up in a Mormon family and at the age 19 served as missionary of The Church of Jesus Christ of Latter-day Saints. He then served in the United States Armed Forces, after which he worked as an usher in a theatre in Los Angeles while studying to be an opera singer. He moved to New York City to study singing further and in 1951 he made his Broadway debut as a singer and juggler in the original cast of Top Banana. In 1952, he was the baritone member of the trio in the world premiere at Brandeis University of Leonard Bernstein's Trouble in Tahiti.

Heater began his career as a classical singer in the United States in 1954, singing baritone parts in oratorios and other concert works. His first opera performances were given at Theater Basel in 1956-1957. He was then committed to the Deutsche Oper Berlin from 1957–1959 and the Vienna State Opera from 1959-1961. Among the roles he sang during this portion of his career were Escamillo in Georges Bizet's Carmen, Germont in Giuseppe Verdi's La traviata, Sharpless in Giacomo Puccini's Madama Butterfly, and Silvio in Ruggero Leoncavallo's Pagliacci.[1] His final performances as a baritone were in 1961 with the San Francisco Opera: Demetrius in Benjamin Britten's A Midsummer Night's Dream, the boyar Schelkalov in Mussorgsky's Boris Godunov, Henry Ashton in Donizetti's Lucia di Lammermoor, Ping in Puccini's Turandot and Tom Henney in the premiere of Norman Dello Joio's Blood Moon.

From 1961-1964 Heater concentrated on re-training his voice as a tenor, first with Mario del Monaco Another one, Del Monaco must have been very busy teaching. in Milan and later with Max Lorenz in Munich. His first performance as a tenor was in the title role of Hans Werner Henze's König Hirsch at the Bavarian State Opera in 1964. The performance was a great success and he became the leading dramatic tenor at the opera house from 1964–1968; drawing particular acclaim for his portrayal of Wagnerian heroes like Siegmund in Die Walküre, Tristan in Tristan und Isolde, and the title roles in Lohengrin, Parsifal, Siegfried, and Tannhäuser. Other important roles at that house were Florestan in Ludwig van Beethoven's Fidelio, Samson in Camille Saint-Saëns's Samson et Dalila and the title role in Verdi's Otello.

Outside of Munich, Heater worked actively a guest artist at important opera houses during the 1960s and 1970s. His performance credits include appearances at De Nederlandse Opera, the Deutsche Oper Berlin, the Grand Théâtre de Bordeaux, the Grand Théâtre de Genève, the Hamburg State Opera, the Hungarian State Opera House, La Fenice, La Monnaie, La Scala, the Liceu, the Semperoper, and the Staatsoper Stuttgart among others. He sang the roles of Siegmund and Tristan Bayreuth Festival in 1966, the latter of which was recorded live for television and later released on video. He also gave an admired portrayal of Tristan at the Festival dei Due Mondi in 1968.
Reference

Actually Heater was taught by Tommy Lomonaco who taught him the Stanley Method, a voice killer (see Shirley, Hadley). His voice did not sustain the big Wagnerian roles. He was derided in the French press as the hero of of a mini ring (I. E. a ring with large cuts) as completely over his head.

Claude Heater sings Lucia di Lammmermoor: Per poco fra le tenebre, in German
In RA Format

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