Waldemar Kmentt

Waldemar Kmentt

Long Tail Classical Classical tenor Opera Orchestral

Vienna 🇦🇹

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Top canciones de Waldemar Kmentt

Die Zauberflöte, K.620, Act I: O zitt're nicht
Die Zauberflöte, K.620, Act I: O zitt're nicht Aage Haugland & Heinz Zednik & Edita Gruberová & Lucia Popp & Doris Soffel & Bernard Haitink & Siegfried Jerusalem & Marilyn Richardson & Erich Kunz & Brigitte Lindner & Peter Hofmann & Wolfgang Amadeus Mozart & Bavarian Radio Symphony Orchestra & Ortrun Wenkel & Waldemar Kmentt & Norman Bailey & Wolfgang Brendel & Roland Bracht & André von Mattoni
Die Zauberflöte, K.620, Act I: Zum leiden
Die Zauberflöte, K.620, Act I: Zum leiden Aage Haugland & Heinz Zednik & Edita Gruberová & Lucia Popp & Doris Soffel & Bernard Haitink & Siegfried Jerusalem & Marilyn Richardson & Erich Kunz & Brigitte Lindner & Peter Hofmann & Wolfgang Amadeus Mozart & Bavarian Radio Symphony Orchestra & Ortrun Wenkel & Waldemar Kmentt & Norman Bailey & Wolfgang Brendel & Roland Bracht & André von Mattoni
Symphony No. 9 in D Minor, Op. 125 "Choral": IVb. Presto - "O Freunde, nicht diese Töne!" - Allegro assai
Symphony No. 9 in D Minor, Op. 125 "Choral": IVb. Presto - "O Freunde, nicht diese Töne!" - Allegro assai Herbert von Karajan & Walter Berry & Gundula Janowitz & Wiener Singverein & Berliner Philharmoniker & Ludwig van Beethoven & Waldemar Kmentt & Hilde Rössel Majdan
Mozart: Die Zauberflöte, K. 620, Act 2: "O Isis und Osiris" (Die Priester)
Mozart: Die Zauberflöte, K. 620, Act 2: "O Isis und Osiris" (Die Priester) Bernard Haitink & Erich Kunz & Wolfgang Amadeus Mozart & Bavarian Radio Symphony Orchestra & Waldemar Kmentt & André von Mattoni
Die Fledermaus / Act 2: Nr.6 Introduktion: "Ein Souper heut uns winkt"
Die Fledermaus / Act 2: Nr.6 Introduktion: "Ein Souper heut uns winkt" Gundula Janowitz & Karl Böhm & Erich Kunz & Wiener Philharmoniker & Johann Strauss II & Vienna State Opera Chorus & Waldemar Kmentt

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Sobre Waldemar Kmentt

This busy tenor established his reputation early as a reliable artist in Mozart and Bach. With a voice less sensuous than those of Léopold Simoneau or Anton Dermota, he nonetheless was frequently engaged for stage performances, concert work, and recordings. Eventually, he ventured as far into a heavier repertory as Walter von Stolzing, a role he sang at the Bayreuth Festival. Kmentt's Metropolitan Opera debut -- in a speaking role -- awaited the new millennium, but still brought encomiums from audiences and the press. First intending to pursue a career as a pianist, Kmentt later studied sin...