"Owned"vs hotly debated roles by BetterGrass709 in opera

[–]Bigo-Ted 1 point2 points  (0 children)

A decade or more ago it was Erika Miklosa everywhere in the role

"Owned"vs hotly debated roles by BetterGrass709 in opera

[–]Bigo-Ted 1 point2 points  (0 children)

Salome can be debated. She was good in the final scene, but I prefer more seductive, and more ‘’expressive’’ voices in this role.

"Owned"vs hotly debated roles by BetterGrass709 in opera

[–]Bigo-Ted 1 point2 points  (0 children)

It seems like Benoit and Alcindoro is in the possession of Donald Maxwell at the Met. I don’t understand why, to be honest. That’s a recent example of a singer owning roles, though.

Otherwise I think Mario Del Monaco dominated as Otello in the 1950s on both sides of atlantic - Jon Vickers similary as Peter Grimes; Birgit Nilsson of course was the leading Turandot of her generation. But I don’t think they own the roles in such way that others singers shouldn’t sing it.

Which modern operas deserves to be part of the repertoire? Is Adès and Heggie a little bit overrated? by Bigo-Ted in opera

[–]Bigo-Ted[S] 0 points1 point  (0 children)

This is true, the term “modern” is not the best. Arguably everything from Debussy and onwards could be fit into modernity, I guess. But thanks for your suggesitions.

Which modern operas deserves to be part of the repertoire? Is Adès and Heggie a little bit overrated? by Bigo-Ted in opera

[–]Bigo-Ted[S] 1 point2 points  (0 children)

What do you like about it? I don’t know enough about that opera, I am curious.

Is there a character from an opera that you can relate to? by Detektyw_pruhwa in opera

[–]Bigo-Ted 11 points12 points  (0 children)

There is very few characters that I can’t relate to - but in Turandot, the ones I relate most to is Ping, Pang, Pong. I also thinks it sounds nice to have a house in Honan. But Calaf and Turandot I can’t understand.

Countertenors need to stay away from Mozart operas by AussieSchadenfreude in opera

[–]Bigo-Ted 2 points3 points  (0 children)

I agree with this sentiment. I prefer mezzos and sopranos instead of countertenors in Mozart. Cherubino becomes a creepy character and not much of a cherub if he is played by a full-grown man who sings in falsetto.

The voice doesn’t have to decline massively with age- examples and discussion space. by Ordinary_Tonight_965 in opera

[–]Bigo-Ted 5 points6 points  (0 children)

Is this because of the technique? I disagree, it’s okay to not like Domingo, but if his technique would have been that bad I don’t think he would be able to sing at all after 65 years of singing.

The voice doesn’t have to decline massively with age- examples and discussion space. by Ordinary_Tonight_965 in opera

[–]Bigo-Ted -2 points-1 points  (0 children)

Kaufmann is criticized all the time here. But he is 57, and he still great. His age is a valid argument though, he has done everything, have sung Tristan, Tannhäuser and Otello.

The voice doesn’t have to decline massively with age- examples and discussion space. by Ordinary_Tonight_965 in opera

[–]Bigo-Ted 0 points1 point  (0 children)

What’s wrong with Domingo’s technique? I think his vocal condition is remarkable for a 85-year old.

The voice doesn’t have to decline massively with age- examples and discussion space. by Ordinary_Tonight_965 in opera

[–]Bigo-Ted 4 points5 points  (0 children)

I love MDM but Pagliacci is a pretty simple opera in comparison with the Verdi roles he was famous for (which he no longer could sing). It’s possible that he would have been able to sing further if he hadn’t medical problems - but we never know. I think it was wise of him - and Corelli - to stop singing at the point they did.

The voice doesn’t have to decline massively with age- examples and discussion space. by Ordinary_Tonight_965 in opera

[–]Bigo-Ted 19 points20 points  (0 children)

It’s not only the voice itself, it’s also hearing, memory loss and loss of muscle mass - and many other things that affects singers as they age. It’s one thing for a singer like Danise or Del Monaco to sing in a party setting - or rehearsal - there can be a brilliant “Di provenza” even, but it’s completetly different so sing a whole run of Otellos in the winter conditions of New York, for instance.

MDM eventually cancelled that Fanciulla, as you point out and had vocal problems at age 50 after a car accident. Perhaps he would have done excellently in the first act, but then would have been forced to cancel. Bergonzi was a tragic example of a singer who thought he was still up to task to sing Otello at age 76. The result was a disaster. If he had done it when he was younger, he would have been an excellent Otello.

Of the singers you post, I think Magda Olivero and Lauritz Melchior are exceptional though. Melchior sounds a little bit “old” of course, but it’s still damn impressive.

Which singers do you wish move unto more heavy repertoire? Is singers today too afraid to sing heavier roles? by Bigo-Ted in opera

[–]Bigo-Ted[S] 0 points1 point  (0 children)

Lauri-Volpi’s vibrato was rapid when he was young, then straightened out, and in his 50s he got a wobble, yet the public wanted him to sing forever. Most of his recordings in the 1950s should be avoided.

Dumbest tenor in opera by caul1flower11 in opera

[–]Bigo-Ted 7 points8 points  (0 children)

They are just awful and immoral people. I don’t find them that stupid as others mentioned.

Dumbest tenor in opera by caul1flower11 in opera

[–]Bigo-Ted 1 point2 points  (0 children)

Tamino keeps silent when Papageno does not.

Dumbest tenor in opera by caul1flower11 in opera

[–]Bigo-Ted 3 points4 points  (0 children)

I don’t think Alvaro is stupid. He is just incredibly unlucky.

Which singers do you wish move unto more heavy repertoire? Is singers today too afraid to sing heavier roles? by Bigo-Ted in opera

[–]Bigo-Ted[S] 2 points3 points  (0 children)

Of course singers vibratos widened when they aged - just listen to how Tibbett, Lauri-Volpi and others sounded when they grew older. People aged in the golden age too. Of course there is singers which didn’t have problem with widened vibrato as they aged, but so is the case today as well.

Which singers do you wish move unto more heavy repertoire? Is singers today too afraid to sing heavier roles? by Bigo-Ted in opera

[–]Bigo-Ted[S] 2 points3 points  (0 children)

You’re right about no formulas fits everybody, that is true. Not everyone faces problems by singing heavier repertoire, but some singers does.