Thread: Opera Small Talk

          
   
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  1. #721
    Senior Member Involved Member Itullian's Avatar
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    Quote Originally Posted by Almaviva View Post
    Sigh... Amazon.com and their mass emails... They sent me one entitled "best-selling opera recordings" featuring side-by-side Wagner's Ring and... Andrea Bocelli!!!
    maybe he's the next heldentenor.
    why not? Vogt's doing it.

  2. #722
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    Quote Originally Posted by Itullian View Post
    maybe he's the next heldentenor.
    why not? Vogt's doing it.
    Uh, oh . . .

  3. #723
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Quote Originally Posted by Itullian View Post
    why not? Vogt's doing it.
    Gonna get me one of Alma's small nuclear devices.

    Natalie

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  5. #724
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    So, I got up this morning, made a cup of coffee, some oatmeal, and thought "Opera Lively is such a nice way to start the day."

    Then I read my good friend Itullian's shot across the bow comparing one of the world's leading and up and coming Heldentenors with . . . Andrea Bocelli?

    Hey Natalie, where can I get one of them choppers? It looks like we're gonna need a couple.

  6. #725
    Schigolch
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    Many people, not only Itullian, will dispute the notion that Mr. Vogt is indeed a heldentenor,

    His voice is very clear, almost childlike sometimes, and the way he handles his top notes is not particularly "heroic" (that's what 'heldentenor' means, 'heroic tenor').

    While this is great for a role like Paul (from Korngold's Die Tote Stadt), or can be indeed a fascinating alternative view on Lohengrin, it's very difficult that roles like Tristan or Siegfried can be well served by Mr. Vogt's instrument.

  7. #726
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    I don't know whether or not he'll ever actually sing the role onstage, but might not the boyish character of Vogt's timbre suit the teenage "jung Siegfried" better than some huge (and clearly mature) Heldentenor?

  8. #727
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Quote Originally Posted by Schigolch View Post
    it's very difficult that roles like Tristan or Siegfried can be well served by Mr. Vogt's instrument.

    Well actually I have t agree with this, I don't think I'd buy him as either of those. Although come to think about it Siegfried is basically a child, and there is nothing actually heroic in anything he does. Could be interesting. But Lohengrin, oh yes, and Parsifal too.
    Natalie

  9. #728
    Schigolch
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    Well, it's not exactly what a character *does* as much as what he is supposed to *sing*.

    Let's hear other typical "heldentenor" role, that of Siegmund, where the "baritone" touch, so close to the heldentenor singing is particularly clear in the score. Listen to James King, and then to Klaus Florian Vogt:





    Simply is not the right colour, the right timbre for that music. What in "Lohengrin" can pass (succesfully, for me, but then again I'm not a die-hard Wagnerian) as a dreamy, subdued approach, is not really working in "Die Walküre", not even in the love parts.

    Mr. Vogt's voice is quite unique, I don't remember any other like his. So clear, so white, with a touch of purity (up to the high notes, that sound a little bit estrangled now and then), very well projected. But it's not by any means a heldentenor voice.

  10. #729
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Quote Originally Posted by Schigolch View Post
    Well, it's not exactly what a character *does* as much as what he is supposed to *sing*.

    Let's hear other typical "heldentenor" role, that of Siegmund, where the "baritone" touch, so close to the heldentenor singing is particularly clear in the score. Listen to James King, and then to Klaus Florian Vogt:





    Simply is not the right colour, the right timbre for that music. What in "Lohengrin" can pass (succesfully, for me, but then again I'm not a die-hard Wagnerian) as a dreamy, subdued approach, is not really working in "Die Walküre", not even in the love parts.

    Mr. Vogt's voice is quite unique, I don't remember any other like his. So clear, so white, with a touch of purity (up to the high notes, that sound a little bit estrangled now and then), very well projected. But it's not by any means a heldentenor voice.
    Yes, I do hear what you mean. It's not heldentenor in tone at all. I still enjoy enjoy listening to it, even in "unsuitable" parts (and am more likely to follow that voice to the ends of the earth, he he).
    Natalie

  11. #730
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    Interesting comparison - I also better understand your point.

    I saw Vogt sing Siegmund in this same production in Munich last summer, and the effect on stage seems - in retrospect, anyway, much different - much more effective and much less callow.. My immediate impression was of a handsome young man who sang some pretty tough music beautifully and without strain. My only other Walküre providing points of reference were 2 performances with Placido Domingo singing Siegmund and, while he does have more of those baritone undertones (in addition to being 2x Vogt's age), he also sings very lyrically - sweetly, not precisely in the Heldentenor manner. Nonetheless, an acquired taste, I suppose.

    I loved all 4 of the performances. There is always stuff to complain about, I suppose, but it was my first Ring and I was thrilled.

  12. #731
    Senior Member Involved Member Itullian's Avatar
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    where's Bocelli when you need him?

    i think Vogt would be a great
    Cherubino though.

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  14. #732
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    Quote Originally Posted by Itullian View Post
    where's Bocelli when you need him?

    i think Vogt would be a great
    Cherubino though.
    On thin ice . . . Although I think hearing a very light lyric tenor as Cherubino might be interesting. (I can hear the groans already.) As for Signor Bocelli, how about Parpignol?

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  16. #733
    Staff Writer & Reviewer - Life-time Donor Veteran Member Jephtha's Avatar
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    Quote Originally Posted by MAuer View Post
    On thin ice . . . Although I think hearing a very light lyric tenor as Cherubino might be interesting. (I can hear the groans already.) As for Signor Bocelli, how about Parpignol?
    I don't know...Parpignol might be a little heavy for his voice. How about the mute servant in Il segreto di Susanna? Strikes me as the perfect role for him.

  17. #734
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    Quote Originally Posted by Itullian View Post
    where's Bocelli when you need him?

    i think Vogt would be a great
    Cherubino though.
    Don't give me that smiley face thing - it won't work!

  18. #735
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    There is evidently a Facebook page that serves as a sort of venting forum for artists where they can complain about low wages, poor working conditions, and other concerns. This was mentioned by an interviewer from the Salzburger Nachrichten (Salzburg News) in a discussion with one Jonas K. The interviewer also says that the mezzo Elisabeth Kulman had posted on this page with a gripe that she was never paid for any rehearsals when she sang at the Salzburg Festival, including the dress rehearsal to which the public was able to purchase tickets. Kaufmann confirms this, and says the practice is not unique to Salzburg. Singers are contracted for a certain number of performances of a particular opera, and the pay they receive is for those performances. If a singer participates in all of the rehearsals, but then becomes ill and is unable to appear in any of the performances, he/she goes home without a cent. He also claims that singers and actors at the small local/regional theaters are paid a pittance.

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