Bas-baryton o szczególnie urokliwej barwie. Występował we wszystkich liczących się teatrach operowych w Europie. Gdy przebywał w Monachium nawiązał bliski kontakt z Richardem Straussem, który skomponował partie specjalnie dla Hottera - Commandant w "Friedenstag" (Freedom's Day), Jupiter w "Die Liebe der Danae" (The Love of Danae), oraz Olivier w "Capriccio". Największą rozpoznawalość zyskał jednak za rolę Wotana w "Der Ring des Nibelungen" Wagnera w latach 1950 i 1960, kiedy śpiewał pod batutą takich sław jak Clemens Krauss, Joseph Keilberth oraz Georg Solti. At last: a reissue of Hotter's 1953 Hugo Wolf recital, which forms the centrepiece of this release, and it's in far better, more immediate sound than on the original LP. Hotter's interpretations of Prometheus, Grenzen der Menschheit, the gloomy Harfenspieler Lieder and resigned Michelangelo settings Wolf at his greatest remain virtually unsurpassed. They were surely written with a bass-baritone of Hotter's calibre in mind and, quite apart from his vocal prowess, his verbal insights are once again remarkable, while the account of the naughty monks' exploits from the Italian Songbook remind us of Hotter the humorist. The earlier and later items that complete the CD disclose similar gifts, notably the delightful Der Tambour and AnakreonsGrab, which, both in 1951 and 1957, matches the Innigkeit of Goethe's poem and Wolf's setting. Moore is a masterly partner in music that severely taxes the pianist. This disc is a must for Wolf enthusiasts. - The Gramophone Classical Music Guide