普赖（HermannPrey，1929-1998），德国男中音。从小在柏林莫扎特合唱团，后到柏林音乐学院学习。1951年在里斯国家广播电台声乐比赛获奖后，1952年首次在威斯巴登演出，后被汉堡歌剧院聘用为主要男中音。
人物经历
从小在柏林莫扎特合唱团，后到柏林音乐学院学习。1951年在里斯国家广播电台声乐比赛获奖后，1952年首次在威斯巴登演出，后被汉堡歌剧院聘用为主要男中音。
1957年首次在维也纳国家剧院登台，以后又在慕尼黑夏季音乐会演唱。
1960年首次在大都会歌剧院饰演瓦格纳歌剧《唐·豪瑟》中的沃尔弗拉姆，以后又先后在拜罗伊特音乐节、萨尔茨堡音乐节演唱。
这位多才多艺的歌手，不仅是伟大的艺术歌曲诠释者，在歌剧上的表现也是无懈可击，他擅长扮演悲剧角色，但喜剧人物却更令人赞叹。
很少有男中音能像普赖这般把喜剧人物演得如此诙谐逗趣，就连轻歌剧《蝙蝠》中的艾森斯坦，也是无人能出其右。
最佳角色：《魔笛》中的帕帕盖诺，还有费加罗、古烈摩也是他扮演的著名角色。他还是一个著名的艺术歌曲演唱家，被称为“迪斯考第二”，而他最擅长演唱莫扎特的歌剧，在艺术歌曲中，最出色的是舒曼的《诗人之恋》。
提起20世纪最著名的男中音，爱乐朋友可能首先会想起菲舍尔-迪斯考，而另一位——他的同胞、德国男中音歌唱家赫尔曼·普赖（HermannPrey，1929～）似乎名气要小些。
其实，稍内行点的乐迷知道，普赖的实力绝不输于任何一位男中音。他和迪斯基考一样，也是从唱歌剧开始出名，但演唱艺术歌曲的造诣也是非凡的。
这款专辑收录了普赖演唱的罗西尼《塞维利亚理发师》、莫扎特《魔笛》和《费加罗的婚礼》中的选曲。唱片的第一曲是“塞”剧中那首最著名的费加罗演唱的“我是城里的总管”。
从他的演唱中，你一定会感觉得到他的嗓音是何等具有光泽和威力，而且声音的弹性也是无与伦比的。在莫扎特的两部歌剧中，普赖的表现更显露出特色。
如“魔”剧中普赖饰演的捕鸟人帕帕基诺的那段咏叹调“如果有个爱人多好”，唱到“吃的喝的都有，世上漂亮的女人多的是，就是没有一个肯爱我”，非常幽默非常入戏。
而“费”剧中他饰演的费加罗演唱的那段“花蝶不能再飞”更是精彩，他将紧凑的旋律处理得轻松自如，游刃有余，他的声音甚至轻而易举地能唱到男高音！专辑还收录了舒伯特、舒曼、勃拉姆斯和理查·施特劳斯的艺术歌曲选，而且所占比例较大，只是这些艺术歌曲使用的是单声道老录音，音质受到影响。
Hermann Prey was born in Berlin and grew up in Germany. He was scheduled to be drafted when World War II ended. He studied voice at the Hochschule für Musik in Berlin and won the prize of the Frankfurt contest of the Hessischer Rundfunk in 1952.
He began to sing in song recitals and made his operatic debut the next year with the Hessisches Staatstheater Wiesbaden in Bad Salzschlirf (Moruccio in Eugen d'Albert's Tiefland). He joined Hamburg State Opera's resident company, where he sang until 1960. During his last years in Hamburg, he also made frequent guest appearances elsewhere, including the Salzburg Festival.
He sang frequently at the Metropolitan Opera between 1960 and 1970 (and as late as the early 90's), and made his Bayreuth debut in 1965 as Wolfram (Tannhäuser), returning there 1966-67, 1981–84 and 1986. Although he often sang Verdi early in his career, he later concentrated more on Mozart and Richard Strauss. Prey was well known for playing Figaro (Mozart and Rossini), but he played other Mozart roles at least equally often, particularly Papageno and Guglielmo. He also played, and recorded, the Count in The Marriage of Figaro, and occasionally performed as Don Giovanni. He is regarded by some as the best Eisenstein (from Die Fledermaus by Johann Strauss II) ever.
He was at home with comic opera Italian-style, displaying scenic intelligence, liveliness and hilarity. His virtuoso agility and great comic acting made him an obvious choice for numerous productions of Mozart's and Rossini's operas in the 1970s. In 1972 he performed as Figaro in Jean-Pierre Ponnelle's television film of Rossini's Il Barbiere di Siviglia with Teresa Berganza as Rosina, Luigi Alva as Almaviva and conductor Claudio Abbado. He appeared alongside Fritz Wunderlich and Hans Hotter in the live televised version of Il Barbiere di Siviglia in its German translation, Der Barbier von Sevilla. He also portrayed Figaro in 1976 in Ponnelle's film of Mozart's Le nozze di Figaro.
Prey also sang operetta and performed on German television, becoming extremely popular with television audiences. He shared media-celebrity with Fritz Wunderlich until the latter's untimely death, often playing Papageno to Wunderlich's Tamino.
Prey possessed a clear, polished tone—darker and deeper-sounding than his slightly older contemporary Dietrich Fischer-Dieskau, but equally refined and equally capable of soaring into the tenor range without the smallest suggestion of vocal effort.
He recorded a multi-volume set for Phillips, tracing the history of the Lied from the Minnesänger to the twentieth century. In addition, he released numerous recordings of opera and song.
Unlike Fischer-Dieskau, Prey wisely limited his Wagner to the soft, high-baritone roles Wolfram and Beckmesser. He can be seen on video in the latter role, opposite Bernd Weikl.
Starting in 1982, he taught at the Hochschule für Musik und Theater Hamburg, and he wrote an autobiography which was translated as First Night Fever: The Memoirs of Hermann Prey (ISBN 0-7145-3998-8).
In 1988, he directed a production of The Marriage of Figaro in Salzburg. His son Florian is also a baritone.
He died in Krailling, Bavaria.
Pianists who accompanied Hermann Prey in recitals and/or recordings of Lied repertoire include Karl Engel, Gerald Moore, Wolfgang Sawallisch, Leonard Hokanson, Friedrich Gulda, Jörg Demus, Walter Klien and Michael Endres.
普赖（HermannPrey，1929-1998），德国男中音。从小在柏林莫扎特合唱团，后到柏林音乐学院学习。1951年在里斯国家广播电台声乐比赛获奖后，1952年首次在威斯巴登演出，后被汉堡歌剧院聘用为主要男中音。
人物经历
从小在柏林莫扎特合唱团，后到柏林音乐学院学习。1951年在里斯国家广播电台声乐比赛获奖后，1952年首次在威斯巴登演出，后被汉堡歌剧院聘用为主要男中音。
1957年首次在维也纳国家剧院登台，以后又在慕尼黑夏季音乐会演唱。
1960年首次在大都会歌剧院饰演瓦格纳歌剧《唐·豪瑟》中的沃尔弗拉姆，以后又先后在拜罗伊特音乐节、萨尔茨堡音乐节演唱。
这位多才多艺的歌手，不仅是伟大的艺术歌曲诠释者，在歌剧上的表现也是无懈可击，他擅长扮演悲剧角色，但喜剧人物却更令人赞叹。
很少有男中音能像普赖这般把喜剧人物演得如此诙谐逗趣，就连轻歌剧《蝙蝠》中的艾森斯坦，也是无人能出其右。
最佳角色：《魔笛》中的帕帕盖诺，还有费加罗、古烈摩也是他扮演的著名角色。他还是一个著名的艺术歌曲演唱家，被称为“迪斯考第二”，而他最擅长演唱莫扎特的歌剧，在艺术歌曲中，最出色的是舒曼的《诗人之恋》。
提起20世纪最著名的男中音，爱乐朋友可能首先会想起菲舍尔-迪斯考，而另一位——他的同胞、德国男中音歌唱家赫尔曼·普赖（HermannPrey，1929～）似乎名气要小些。
其实，稍内行点的乐迷知道，普赖的实力绝不输于任何一位男中音。他和迪斯基考一样，也是从唱歌剧开始出名，但演唱艺术歌曲的造诣也是非凡的。
这款专辑收录了普赖演唱的罗西尼《塞维利亚理发师》、莫扎特《魔笛》和《费加罗的婚礼》中的选曲。唱片的第一曲是“塞”剧中那首最著名的费加罗演唱的“我是城里的总管”。
从他的演唱中，你一定会感觉得到他的嗓音是何等具有光泽和威力，而且声音的弹性也是无与伦比的。在莫扎特的两部歌剧中，普赖的表现更显露出特色。
如“魔”剧中普赖饰演的捕鸟人帕帕基诺的那段咏叹调“如果有个爱人多好”，唱到“吃的喝的都有，世上漂亮的女人多的是，就是没有一个肯爱我”，非常幽默非常入戏。
而“费”剧中他饰演的费加罗演唱的那段“花蝶不能再飞”更是精彩，他将紧凑的旋律处理得轻松自如，游刃有余，他的声音甚至轻而易举地能唱到男高音！专辑还收录了舒伯特、舒曼、勃拉姆斯和理查·施特劳斯的艺术歌曲选，而且所占比例较大，只是这些艺术歌曲使用的是单声道老录音，音质受到影响。
Hermann Prey was born in Berlin and grew up in Germany. He was scheduled to be drafted when World War II ended. He studied voice at the Hochschule für Musik in Berlin and won the prize of the Frankfurt contest of the Hessischer Rundfunk in 1952.
He began to sing in song recitals and made his operatic debut the next year with the Hessisches Staatstheater Wiesbaden in Bad Salzschlirf (Moruccio in Eugen d'Albert's Tiefland). He joined Hamburg State Opera's resident company, where he sang until 1960. During his last years in Hamburg, he also made frequent guest appearances elsewhere, including the Salzburg Festival.
He sang frequently at the Metropolitan Opera between 1960 and 1970 (and as late as the early 90's), and made his Bayreuth debut in 1965 as Wolfram (Tannhäuser), returning there 1966-67, 1981–84 and 1986. Although he often sang Verdi early in his career, he later concentrated more on Mozart and Richard Strauss. Prey was well known for playing Figaro (Mozart and Rossini), but he played other Mozart roles at least equally often, particularly Papageno and Guglielmo. He also played, and recorded, the Count in The Marriage of Figaro, and occasionally performed as Don Giovanni. He is regarded by some as the best Eisenstein (from Die Fledermaus by Johann Strauss II) ever.
He was at home with comic opera Italian-style, displaying scenic intelligence, liveliness and hilarity. His virtuoso agility and great comic acting made him an obvious choice for numerous productions of Mozart's and Rossini's operas in the 1970s. In 1972 he performed as Figaro in Jean-Pierre Ponnelle's television film of Rossini's Il Barbiere di Siviglia with Teresa Berganza as Rosina, Luigi Alva as Almaviva and conductor Claudio Abbado. He appeared alongside Fritz Wunderlich and Hans Hotter in the live televised version of Il Barbiere di Siviglia in its German translation, Der Barbier von Sevilla. He also portrayed Figaro in 1976 in Ponnelle's film of Mozart's Le nozze di Figaro.
Prey also sang operetta and performed on German television, becoming extremely popular with television audiences. He shared media-celebrity with Fritz Wunderlich until the latter's untimely death, often playing Papageno to Wunderlich's Tamino.
Prey possessed a clear, polished tone—darker and deeper-sounding than his slightly older contemporary Dietrich Fischer-Dieskau, but equally refined and equally capable of soaring into the tenor range without the smallest suggestion of vocal effort.
He recorded a multi-volume set for Phillips, tracing the history of the Lied from the Minnesänger to the twentieth century. In addition, he released numerous recordings of opera and song.
Unlike Fischer-Dieskau, Prey wisely limited his Wagner to the soft, high-baritone roles Wolfram and Beckmesser. He can be seen on video in the latter role, opposite Bernd Weikl.
Starting in 1982, he taught at the Hochschule für Musik und Theater Hamburg, and he wrote an autobiography which was translated as First Night Fever: The Memoirs of Hermann Prey (ISBN 0-7145-3998-8).
In 1988, he directed a production of The Marriage of Figaro in Salzburg. His son Florian is also a baritone.
He died in Krailling, Bavaria.
Pianists who accompanied Hermann Prey in recitals and/or recordings of Lied repertoire include Karl Engel, Gerald Moore, Wolfgang Sawallisch, Leonard Hokanson, Friedrich Gulda, Jörg Demus, Walter Klien and Michael Endres.
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