Biography of Piroska Tutsek

Birth data

Born in Brassov, on 03.09.1905.
Her father, Géza Tutsek, physician. Her mother, Margaret Purcell, descendant of the composer Henry Purcell.
Her twin Ilona Tutsek, also opera singer, sopran.


She absolved her studies in 1926 with award at the Ferenc Liszt Academy of Music in Budapest under guidance of Lujza Moáré and József Sik,
She continued her studies in Vienna under Helene Wildbrunn. Later on her career continued from Vienna to Berlin to Anna Bahr-Mildenburg, who counted as one of her determinative master, as she named her.

Initial performances

From 1927 Church conzerts, song recitals, radio recordings with her twin

Opera scenes, contracts

Budapest State Opera House

On the 23rd of April 1933 she debuted as Amneris in Verdi's Aida.

She was immediately engaged and was member until 1948.

After the Second World War her career turned in a particular way.
From 1948 she was disregarded by the Budapest Opera House and her contract not renewed.

Vienna State Opera

It was Erich Kleiber, who suggested her engagement by the Vienna Staatsoper, and later Bruno Walter offered her the role of Eboli in Verdi's Don Carlos in 1937. From 1937 she had contimuously renewed contracts with several successful performances
(in Wagner, Verdi and R. Strauss operas) until 1944. She sang that time by turns in Vienna and Budapest.

Salzburg Festival

Invited guest performer in 1938-39. (Tannhäuser-Venus, Die Meistersinger aus Nürnberg-Magdalena, Beethoven IX. Symphony ; Verdi Requiem. Conductors Wilhelm Furtwängler and Hans Knappertsbusch)

Milan Teatro alla Scala

In 1940/42 she sang several times in the Teatro alla Scala, Milano:
the role of Eudoxia in Respighi's La fiamma (Budapest Opera production),
then shortly after she played the role of Kundry in Wagner's Parsifal (conducted by Maestro Tullio Serafin)
and Venus in Tannhäuser (conducted by Gino Marinuzzi)

Some notes about her art

Her total repertoire includes 24 composers, 42 works and 54 roles, in addition to being an excellent singer and concert soloist.
Some of her remarkable interpretations: Carmen, Konchakovna, Adriana Lecouvreur (Countess), Orpheus, Laura, Eudoxia, Amneris, Eboli, Azucena, Waltraute, Fricka, Venus, Ortrud, Kundry.

She had a fine voice of big volume with penetrating force in all registers, instinctive musicality, highly cultivated technique, all these combined with an excellent gift for the stage and an outstanding appearance.

An extraordinary list of conductors with whom she worked with: Karl Böhm, Wilhelm Furtwängler, Erich Kleiber, Otto Klemperer, Hans Knappertsbusch, Gino Marinuzzi, Mario Rossi, Tullio Serafin, Bruno Walter.

Her art has been immortalized only by amateur live recordings published at time of the centenary.


From 1955 she retired with unfairly fixed fee. From the fifties to late seventies she taught privately
and was master of several young people. She died at December 24 of 1979 in Budapest.

Her husband was Géza Bogdánfy, dipl. architect, later also as her manager.
Her son, Géza Bogdánfy dipl. electrical engineer, born 25 november, 1940