Marta Fuchs

Marta Fuchs grew up in an artistic family, her father being a painter, member of the board of the guild and a city councillor.

After undergoing further voice and drama training in Stuttgart, she made her debut as an operatic soprano at the state theatre in Aachen in 1928 with Gluck's Orpheus, Azucena in Verdi's Troubadour and with Carmen.

After retraining from an alto to a high dramatic soprano, she sang, among other parts, Marschallin, Isolde, Brünnhilde, Arabella, and Fidelio.

"[2] During the years of National Socialism, using her personal acquaintance with Hitler and Göring, she used her reputation in the petitions to allow the continuation of the anthroposophical work in Germany.

After a performance of Leoš Janáček’s Jenůfa in 1944, in which she sang the role of Kostelnička, the philosopher Fyodor Stepun wrote to her: “A true and ultimate unity unity between drama and song and through this a true fulfilment of the opera I have to date found realised only in the monumental comedy of the genius Schljapin and in your so completely different priestly, internalised art and if you have accomplished such a successful rendition, the cause lies not least in the fact that your playing moves not in the naturalistic-psychological but rather in the space of mystery-tragedy.” Wilhelm Furtwängler wrote after one of the Isoldes on 3 February 1944 in Berlin: Such a beautiful rendition and such a transfiguration in the death through love he had never experienced…[1] After the destruction of Dresden on 13 February 1945, she fled to her house on the Tegernsee, then to Stuttgart where she gave guest appearances at the Stuttgart Opera, at conferences of the Christian Community and in 1948 at the conference for Waldorf teachers.