Josef Tichatschek

Born in Weckelsdorf (now part of Teplice nad Metují, Náchod District, Bohemia), Tichatschek originally studied medicine, but he abandoned this career path for professional singing.

He sang in London, at the Theatre Royal, Drury Lane, in 1841, performing the roles of Adolar in Weber's Euryanthe and as Meyerbeer's Robert le diable.

His style of singing is simple and in good taste; he is a consummate reader and musician, and undertook the tenor solo in the Sanctus [from Berlioz's Requiem] at first sight, without reserve, or affectation, or pretension.

"[5] The singer's contemporary Sincerus (Siegmund Schmeider) emphasized that he was equally effective in works requiring romantic softness and sweetness of tone, having a very natural vocal production.

[6][7] He was greatly admired by the basso Karl Formes, who sang Robert le diable and Les Huguenots, and other roles, with him and Johanna Wagner at Dresden in 1848–49.

And in La Juive, "so terribly real in 'the curse', so intense the pain and love in 'Recha, my daughter, wilt thou live...'[8] His repertoire is said to have included principal roles of Gluck, Mozart, Weber, Marschner, Méhul, Boieldieu, Auber, Nicolai, Meyerbeer, Spontini, Flotow and Spohr.

[12] Berlioz wrote: "Tichatschek is gracious, impassioned, brilliant, heroic, and entrancing in the role of Rienzi, in which his fine voice and large fiery eyes are of inestimable service...

During 1852–53, Wagner went over this ground in his essay "On the Performing of Tannhäuser", but the cuts had become so customary that he had to explain the matter afresh (and with no happier outcome) to Albert Niemann who was to sing the role at Paris in 1861.

Wagner was delighted with his singing at the rehearsal, but Ludwig, thoroughly disillusioned by the singer's less-than-ideal appearance, forbade him to be employed for the performances, resulting in a rift between the King and the composer.