William Ford | 21 APR 2025
Few tenors know the role of Siegfried as intimately—or as exhaustively—as Stefan Vinke. For more than two decades, the German heldentenor has become synonymous with Wagner’s impetuous dragon-slayer, performing the role in major opera houses across Europe and North America. With stamina, vocal heft, and a clear-eyed understanding of the character’s evolution across the Ring cycle, Vinke has made Siegfried not just a signature role, but a defining element of his career.
In advance of The Atlanta Opera’s new production of Siegfried, Vinke sat down with psychologist and classical music critic William Ford for a wide-ranging conversation. The two discussed Vinke’s unconventional path from aspiring church organist to internationally acclaimed Wagnerian tenor, the demands of singing Siegfried, and the joy of inhabiting some of opera’s most formidable roles. Currently in Atlanta preparing for the role, Vinke shared insights into his process, his collaborations with director Tomer Zvulun and conductor Roberto Kalb, and how he balances vocal power with theatrical nuance.
The transcript of the interview that follows has been lightly edited for clarity, readability, and length. The full video interview is embedded below the the text version.
William Ford: Hello there. Good morning—no, good afternoon! It’s great to meet you. I appreciate the opportunity.
Stefan Vinke: Likewise!
William Ford: Well, let me begin by telling you I’m a psychologist. And before we talk about Siegfried, I’d like to get a bit of your background to help my viewers understand how you became the superstar that you are. So tell me, Stefan—where were you born?
Heldentenor Stefan Vinke. (courtesy of The Atlanta Opera)
Stefan Vinke: I was born in a very small village—more cows and pigs than people! The name is Kloster Oesede, which sits somewhere between Osnabrück and Münster in the north of Germany, in Niedersachsen.
William Ford: When did you start to sing—not just as a child, like we all do—but when did it start to seem like singing might be something you really wanted to pursue?
Stefan Vinke: As a kid, I sang in every possible chorus at school. But I never thought of becoming a singer. At the end of my school years, I was pretty set on becoming a musician—specifically, a church musician. So I went to Cologne to study sacred music. Part of that education, of course, included singing classes.
I had a wonderful Canadian teacher at the time, Arthur Janzen. He eventually said to me, “Stefan, I’m not sure you really want to be an organist. You have a voice—use it!” He was probably the first to push me toward becoming a professional singer.
William Ford: How old were you at that point?
Stefan Vinke: I was 24.
William Ford: That’s relatively late to start singing professionally.
Stefan Vinke: Yes, it is. But my goal at the time was to be an organist. I even finished my studies and received my state degree. In Germany, that would qualify me as a Kantor—the same position Bach had in Leipzig. Though of course, I would never compare myself to Johann Sebastian!
William Ford: Why not?
Stefan Vinke: Because he knew exactly what he was doing and was so far ahead of his time. The same goes for Richard Wagner, actually. Both have had a huge impact on me. They changed music history.
So yes, I came to singing late, but for a male voice, that’s not necessarily a bad thing—especially for a heldentenor. For a light soprano, you need to be onstage by 24. But tenors—and basses especially—often mature much later.
William Ford: Were your parents interested in music?
Stefan Vinke: Not really, aside from being supportive of what I did. My father worked in a steel factory, and I have one brother who became a banker. I’m the artist in the family! My dad was kind of the anchor for both of us—my brother on one end of the spectrum, me on the other.
William Ford: What do they think about your career now?
Stefan Vinke: They loved following my career. Sadly, my father passed away eight years ago. My mother is now in her 90s, and she still asks me, “Stefan, where are you now? What are you doing?” She’s still very curious and involved. My brother and I talk every few days—we have a good relationship. He’s retired now after some serious health issues. For a long time, I was the only musician in the family, but now a cousin’s daughter is becoming a professional singer too. She’s got a powerful soprano and just started a contract in Chemnitz.
William Ford: When your mentor encouraged you to explore your voice, how long did it take you to realize you were built for Wagner?
Stefan Vinke: Actually, it wasn’t me who realized it—it was Edda Moser. When I passed the test to join the official singing class in Cologne, Arthur Janzen said, “If you’re serious about opera, I’m not the teacher for you,” and sent me to Edda. At our first class, she gave me a copy of “Ein Schwert verhieß mir der Vater”—Siegmund’s aria from Die Walküre—and said, “This is your repertoire. Not now, but soon.”
I had no idea what it was at first. But four years later, I was singing Die Walküre onstage.
William Ford: You had some great mentors guiding you.
Stefan Vinke: Yes, absolutely. I often say my career started like Parsifal’s journey—being pushed and pulled by others before I found my own direction. Eventually, I understood what I had—my voice, my body, my mindset—and realized I could truly build a heldentenor career.
William Ford: What’s been the most fun about your heldentenor career?
Stefan Vinke: Being on stage! Playing these incredible characters, singing these roles—it brings me joy. And if I can enjoy it and transmit that joy to the audience, then that’s everything.
William Ford: How long did it take between realizing you were a heldentenor and it actually taking off?
Stefan Vinke: After my studies, I joined the ensemble in Karlsruhe. I sang a lot of small roles—not satisfying at all. The biggest role I had there was Freddy Eynsford-Hill in My Fair Lady! Not exactly Wagnerian…
After two years, I left and went to Krefeld-Mönchengladbach. They offered me a tenor contract, and I sang everything that said “tenor” on it. My conductor, Tony Bramall, helped me figure out what suited my voice—and what didn’t. It was an essential three-year experience.
Then came Mannheim National Theatre. They needed a dramatic tenor to replace Robert Dean Smith. I auditioned, got the role, and my first season there was crazy. I debuted Der fliegende Holländer’s Erik, Siegmund, Lohengrin, Eisenstein in Fledermaus, Florestan, Parsifal, and Das Buch mit sieben Siegeln—all in one season. It was insane—but it gave me a foundation.
William Ford: Did you ever take acting lessons?
Stefan Vinke: Of course! It’s mandatory in university—five or six hours a week. More than singing, actually.
William Ford: So when developing a character like Siegfried, do you draw on that acting training, or does it come more from experience?
Stefan Vinke: These days, it’s mostly experience and my approach to the role. I always bring a clear concept of the character, and then it’s about negotiating with the director to find a shared vision. That’s where the creative work really happens.
William Ford: Where are you right now?
Stefan Vinke: I’m in my apartment in Atlanta. We’re preparing the new Siegfried production here.
William Ford: Do you have rehearsal today?
Stefan Vinke: Two! A music rehearsal this afternoon and then staging the forging scene tonight.
The Atlanta Opera’s production of Siegfried, part three of Richard Wagner’s famed Der Ring des Nibelungen or Ring Cycle, features the multi-headed dragon Fafner, who protects a horde of treasure including the cursed golden ring. On a journey to recover the treasure, the hero Siegfried, sung by Stefan Vinke, slays the dragon in an epic battle. Designed and built by Jason Hines, artistic director at the Center for Puppetry Arts, Fafner stands 10 feet tall and requires 7 puppeteers to operate. (Photo courtesy of Felipe Barral/The Atlanta Opera Film Studio)
William Ford: Have you and Atlanta Opera General and Artistic Director Tomer Zvulun aligned your vision for Siegfried?
Stefan Vinke: Yes, very much so. I’m happy not to be in conflict with his concept. His vision matches mine closely. It’s a great collaboration.
William Ford: And the conductor, Roberto Kalb?
Stefan Vinke: He’s doing Siegfried for the first time—and he’s very well prepared. He knows the score, the history, the traditions. He tends toward faster tempos, but I’m okay with that. Once the orchestra comes in, things usually balance out. It’s much harder when conductors go too slow.
William Ford: When you first arrived in Atlanta, was your first meeting just with Tomer or with the whole team?
Stefan Vinke: We had a music session first, which is typical. It gives everyone a unified musical foundation before staging begins. The first scenic rehearsal included the whole team—conductor, assistants, directors, stage management. It was great to get everyone on the same page from the start.
William Ford: The performance is in early May. Is a month of prep normal?
Stefan Vinke: One month is perfect. In Europe, it’s often six or seven weeks, which is unnecessary in my opinion. Four weeks allows for enough rehearsal, repetition, and time to settle into the venue.
William Ford: So, this limits how many Siegfried productions you can do each year.
Stefan Vinke: Definitely. After something like Siegfried, I need time to rest, go home, adjust, and prepare for the next one. I usually do four to five new productions a year.
William Ford: Do you have a physical routine to stay in shape for something so demanding?
Stefan Vinke: I take it easy. I sing and act full-out in rehearsals—that’s all the training I need. No marking.
William Ford: Any performance-day routines?
Stefan Vinke: I sleep in—no alarms. After waking up, I go for a long walk. That’s the best warm-up for body, brain, and voice.
William Ford: And after a performance?
Stefan Vinke: Maybe a beer or two. Not raging drunk—but a little celebration after Siegfried or Tristan is well deserved!
William Ford: Do you listen to music for pleasure?
Stefan Vinke: Absolutely. I listen to everything—opera, rock, pop. I love Queen. There’s never been a better band than Queen, and Freddie Mercury was a genius.
William Ford: Do you use earbuds or a stereo?
Stefan Vinke: At home, I have a nice stereo. In Atlanta, I use my iPad, which sounds pretty good. When I go out, I use earbuds.
William Ford: Is there anything else you’d like to say?
Stefan Vinke: Just that I’m really proud to be part of this production. The set, the cast, the creative team—everything is coming together wonderfully. It’s a joy to be here.
William Ford: It’s been a pleasure talking with you. I can’t believe how fast the time flew by.
Stefan Vinke: That’s how it is with a great conversation. Thank you so much! Have a good day. ■
EXTERNAL LINKS:
- Stefan Vinke: cademi.eu/stefan-vinke
- The Atlanta Opera: atlantaopera.org
Read more by William Ford.
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