Charlie Handelman
2004-01-13 03:19:40 UTC
As long as we are on the "Warren and other baritone kick" on
Opera-l, I might as well post some of my feelings on this voice category.
After all,those ego-maniacal tenors and those flighty sopranos get so much
publicity...it is time to discuss the REAL DUDES!!!!!
As I have stated, Leonard Warren was my all-time favorite
baritone (that I saw live) because there was NOTHING he could not do..besides
the fabulous voice and the great technique, he had the emotional depth and on
stage was a fine actor. That "potato-in-mouth" sound some people do not like is
a personal thing..and I hear what they mean,but it mattered not a whit to me.
You want a "Verdi line?" Just listen to the Macbeth "Pieta,rispetto"
and the man just sends you to heaven!!!! He was also the ONLY SINGER whose top
A natural at the end of the Forza act four duet could actually cover the great
Richard Tucker..no easy feat!!!! I once pitched one of Warren's cries of
"Gildaaaaaaa" at the end of Act two Rigoletto around a high D! This man
thrilled me beyond belief, and how terrifying it was to see him on that Met
stage on the evening of March 4,1960,sounding magnificent, singing of
"Morir,tremenda cosa," and then dying before our astonished eyes!
I do believe that Robert Merrill has had the all-time most gorgeous
natural baritone quality in history, but his lack of artistry and depth of
emotion in the baritone repertory (you cannot just stand there like Radames!!!)
never got me interested, and I found the top "woofy" and his career never
attracted me,despite the greatness of tone..whereas I adored dear Frank
Guarrera who did not possess anywhere near what Merrill had..this is my
personal feeling...I just never went to an opera "because Merrill was in it."
Gobbi's voice effectively pretty much ended at around a high E and
the rest was a shout, but the man was a great great singer,and we cannot
diminish his many accomplishments. The voice was huge,although he tended to
shout like mad,especially on top..but the man was still a great force in
opera.I still wonder why he never learned to produce the voice above the
pasaggio.
Ettore Bastianini had a simply luscious,dark and truly phenomenal
quality, but the top was problematic,and often hoarse, possibly an early
symptom of the cancer that eventually ended his life. In certain roles he was
unmatched ( The Chenier Gerard the night after Warren died was sensational..we
have the prompter's box tape.)
Cornell MacNeil had one of the all-time greatest voices in his
fach,although he was less interesting than say Gobbi or Guarrera..but when he
finished the Act Three Ernani aria, the place exploded from the sheer power of
his voice, and he had an illustrious career until he began to sing the top
notes all open and spread..but imagine having the above baritones all
overlapping within a relatively short period..NOT ONE "Verdi baritone" today
comes close..maybe Mark Delavan is a comer,and in certain repertory
Hvorostovsky is sublime,but we are inundated with the mediocrity of
Pons,Burchinall,and Croft in the Italian repertory...and do not DARE to curse
by uttering the word "Leiferkus" because I will lose my dinner!
Going back further,I adore Pavel Lisitsian as one of the
all-time greats (and he is still alive) and loved George London and then come
those Germans whom I have always favored:
Schoeffler,Hann,Bohnen,Bockelman,Berglund,Hotter, and the great Gabriel
Bacquier and Jean Borthayre for the French baritones.
Ever hear the Jan.21,1939 Simone Boccanegra with Lawrence
Tibbett as Simone and Warren as the Paolo? Just play it and tell me that
ANYTHING today comes close.
I left out plenty of fine baritones,but this for now.
Charlie
My best, Charlie.
My Website dedicated to the vocal art is located at:
http://www.handelmania.com
Opera-l, I might as well post some of my feelings on this voice category.
After all,those ego-maniacal tenors and those flighty sopranos get so much
publicity...it is time to discuss the REAL DUDES!!!!!
As I have stated, Leonard Warren was my all-time favorite
baritone (that I saw live) because there was NOTHING he could not do..besides
the fabulous voice and the great technique, he had the emotional depth and on
stage was a fine actor. That "potato-in-mouth" sound some people do not like is
a personal thing..and I hear what they mean,but it mattered not a whit to me.
You want a "Verdi line?" Just listen to the Macbeth "Pieta,rispetto"
and the man just sends you to heaven!!!! He was also the ONLY SINGER whose top
A natural at the end of the Forza act four duet could actually cover the great
Richard Tucker..no easy feat!!!! I once pitched one of Warren's cries of
"Gildaaaaaaa" at the end of Act two Rigoletto around a high D! This man
thrilled me beyond belief, and how terrifying it was to see him on that Met
stage on the evening of March 4,1960,sounding magnificent, singing of
"Morir,tremenda cosa," and then dying before our astonished eyes!
I do believe that Robert Merrill has had the all-time most gorgeous
natural baritone quality in history, but his lack of artistry and depth of
emotion in the baritone repertory (you cannot just stand there like Radames!!!)
never got me interested, and I found the top "woofy" and his career never
attracted me,despite the greatness of tone..whereas I adored dear Frank
Guarrera who did not possess anywhere near what Merrill had..this is my
personal feeling...I just never went to an opera "because Merrill was in it."
Gobbi's voice effectively pretty much ended at around a high E and
the rest was a shout, but the man was a great great singer,and we cannot
diminish his many accomplishments. The voice was huge,although he tended to
shout like mad,especially on top..but the man was still a great force in
opera.I still wonder why he never learned to produce the voice above the
pasaggio.
Ettore Bastianini had a simply luscious,dark and truly phenomenal
quality, but the top was problematic,and often hoarse, possibly an early
symptom of the cancer that eventually ended his life. In certain roles he was
unmatched ( The Chenier Gerard the night after Warren died was sensational..we
have the prompter's box tape.)
Cornell MacNeil had one of the all-time greatest voices in his
fach,although he was less interesting than say Gobbi or Guarrera..but when he
finished the Act Three Ernani aria, the place exploded from the sheer power of
his voice, and he had an illustrious career until he began to sing the top
notes all open and spread..but imagine having the above baritones all
overlapping within a relatively short period..NOT ONE "Verdi baritone" today
comes close..maybe Mark Delavan is a comer,and in certain repertory
Hvorostovsky is sublime,but we are inundated with the mediocrity of
Pons,Burchinall,and Croft in the Italian repertory...and do not DARE to curse
by uttering the word "Leiferkus" because I will lose my dinner!
Going back further,I adore Pavel Lisitsian as one of the
all-time greats (and he is still alive) and loved George London and then come
those Germans whom I have always favored:
Schoeffler,Hann,Bohnen,Bockelman,Berglund,Hotter, and the great Gabriel
Bacquier and Jean Borthayre for the French baritones.
Ever hear the Jan.21,1939 Simone Boccanegra with Lawrence
Tibbett as Simone and Warren as the Paolo? Just play it and tell me that
ANYTHING today comes close.
I left out plenty of fine baritones,but this for now.
Charlie
My best, Charlie.
My Website dedicated to the vocal art is located at:
http://www.handelmania.com