Maran was born in Attleboro the younger of 2 children. His father was Jacob C. Maran (1899-?), born Agop Marangossian
was an Armenian from Smyrna (now Turkey) who spoke 7 languages fluently.
He was a jeweler and was naturalized in 1923. Maran does not remember him much as he left when he was seven years old.
His mother, born Persis M. Weeman in about 1903, gave piano and voice lessons.
His Great grandfather, Orin Weeman (about 1844-?), and Grandfather, Walter O. Weeman (about 1863-?) were well-known violin makers
from Americaís oldest violin making family at the time. It was the musical influence of his Grandfather Weeman and his
Mother that started Maran on his path.
When Maran was seven, he won an award as boy Sopran. He sang in Church Choirs on the East coast. He studied voice with
Ruth Streeter on Boston.
At age 20 Maran joined the Harvard Glee Club. He met Leonard Bernstein sometime between then and his graduation.
He heard me at one or more of my concerts and liked my voice Maran said. In the same way Maran met Paul Hindemith,
also through attending his lectures. Maran graduated from Harvard University in 1948.
After finishing Harvard, Maran studied voice with Merle Alcock in New York. He then performed
in the USA as concert and Radio singer.
On September 15, 1950 Maran married Edit Engel (born: January 22, 1924 in Vienna) she was studying medicine at Tufts College.
She was a Jewish refugee who fled with her family in 1939 at the age of 15 to England and later to the US. They had two children:
Elizabeth Ann (Elisha) born June 1, 1952 in Salzburg (now living in England), and Joseph born in Frankfurt am Main on September 6,
1957 (a Professor of Archaeology at the University of Heidelberg).
In late 1950, the Marans' moved (in large part through arrangements made by Edit Maran) to Salzburg, they lived in the family house
of Herbert Feuerstein (then age 13). Maran Studied church music under Domkapellmeister Joseph Messner; Mozart operas under Professor
Dr. B. Paumgartner, and sang in the Salzburg Cathedral (Salzburger Dom) as solo Tenor for 5 years.
In 1954 Feuerstein wrote 3 Dehmel-Gedichte (text from Richard Dehmel) songs for him. The songs themselves were first publicly
performed at Maransí 80th birthday celebration at Staatstheater Darmstadt with Feuerstein himself playing the piano.
Maran sang at the Salzburger Festspiele during 1952-1971, mainly as soloist in Church music by Mozart.
He first drew international attention when he won the Mozart-Medaille from the Mozarteum International
Foundation in Salzburg in 1956 on Mozartís 200th birthday.
In 1956, he toured with the Salzburg opera company rhrough Europe in La finta semplice conducted by Bernhard
Paumgartner, after he sang in 1956 at the Salzburger Festspielen Fracasso in La finta semplice.
The same year, and the next forty years thereafter, he was a soloist at
the Opera in Darmstadt (1956-1996).
Maran made his debut in Darmstadt
with the premiere of Mozartís La clemenza di Tito in the title role. In 1996, Maran
received the Ehrenmitglied from Staatstheater Darmstadt. In 1970,
Maran had a gerat success as Nerone in L'Incoronazione di Poppea.
In 1983, he was admired as Idomeneo. In 1983, Maran took part in the world premiere of
Die Fastnachtsbeichte by Giselher Klebe.
Even so, he continued singing all over Europe and the United States, the world premiere of A
Midsummer Night's Dream (opera) with Benjamin Britten conducting as a prime example.
A Midsummer Night's Dream was first performed on 11 June 1960 at the Jubilee Hall, Aldeburgh, UK as part of the Aldeburgh Festival.
Maran sang the role of Lysander.
Maran is fond of saying that Britten wrote the part for him, which to a certain degree is true, since Britten asked Maran to
sing the part after hearing his voice and Maran was in on the final production preparations. He has many memorys of his times at
the Red House. Maran also sang in Aldeburgh in 1959 in The Rape of Lucretia.
He had a wide-ranging and varied
repertory as soloist in Opera, Operetta, Oratorio, and on the concert stage.
Maran made guest appearnces in Frankfurt, Hamburg, Zurich, Amsterdam, and Festivals, such as Holland, Strasbourg, Schwetzingen,
His operatic repertory included:
? (Lo sposo deluso), ? (Apoilo and
Hyazinthus), Fracasso, Tito,
Belmonte, Boris (Katya Kabanova),
Lysander, Male Choir, Aschenbach, ...
Philips (Mozart records fron Salzburg, including La finta semplice
Decca (Messias conducted by Adrian Boult, Elias conducted by J. Krips
Maran died, aged 85 in Darmstadt, on Nov 26 2011, from heart
and cardiovascular disease. His grave is planned to be located at the Waldfriedhof in Darmstadt.
Reference: Kutsch & Riemens
Darmstadt character-tenor George Maran is dead
The likeable art ambassador was almost 40 years in the Darmstadt ensemble.
When George Maran ended his active career, he just changed sides. With his distinctive tenor, he was one of the most loyal singers of
the Darmstadt Regional and State Theater, he was an honorary member. From 1995, he became his most loyal visitors: not only in premieres,
including many performances was his distinctive white-haired head recognized in the front rows. Therefore, many opera fans were worried
about his health, as the visits became less frequent in recent years. On Saturday, the singer at the age of 85 years died at Darmstadt,
as announced by his family. He died of a heart and circulatory disease, that had been with him for decades.
The American tenor, who came from a luthier family, was born in 1926 in Massachusetts was, and even as a seven year-old singer
was an asset for the boys' choir. In Boston and New York, he trained as a singer in the early fifties, and came the move to Europe,
encouraged by his Vienna-born wife Edith. First Maran sang in Salzburg, where he continued his studies with Joseph Messner,
Director of Music.
In 1956 he came to the Darmstadt State Theatre.
From his debut with Mozart's "Titus", he was an asset.
It was the collaboration with the then opera director Harro Dicks, where he trained not only as a singer but also
perfected his acting talent.
There was the special artistic communion with the conductor Hans Drewanz who brought out his talent and let him grow - Maran had no
fear of new pieces, but he was also a driving force of Monteverdi's renaissance, which began in Darmstadt before the composer again
came into fashion. Maran, who had been singing in the U.S. Monteverdi helped Drewanz the time to enforce the unfamiliar sounds.
Culmination of this collaboration was probably Britten's opera Thomas Mann's "Death in Venice", directed in 1980 by Kurt Horres
and by the intense depiction of Aschenbach by George Maran to become extraordinary event.
Many theatergoers will associate Maran with this role. Directors came and went, Maran stayed. That Darmstadt audience, that
remember to this day the details of past performances, are connected with artists such as George Maran, who brought to the stage
not only cheerful figures but also the necessary seriousnesse.
He sang Eisenstein in "Die Fledermaus" and Herod in "Salome", Lysander in "A Midsummer Night's Dream", that Benjamin Britten composed for
himr, Pickering in "My Fair Lady" and, particularly Stjerbinski in Giselher Klebe's "Jacobowsky and the Colonel."
Always focused his light-colored, always audible in piano sound, is the center of his characterization: one could heard through his voice
what the roles interpreted by Maran felt. Only few singers succeed in uniting stage presence and musical interpretation.
He was a singer-actor, who believed more in the authentic effect more than in the mere beauty of sound.
He alwasy gave the the feeling of having mastered intellectually his roles.
Apart from his exceptional artistic performances, he was warm, a friendly ambassador to present the more difficult works.
At the same time, he gave the ensemble a human heart. Probably no singer was committed so long to
Darmstadt, none was so closely associated with the theater-post war history of this city.