Is Kurt Baum really that bad???
edo...@gmail.com
broadcast of Aida. Milanov, Barbieri, Baum, Warren, HInes, with Cleva
conducting.
I found Milanov to be in splendid voice, including the high C in the
aria, and her piani were working beautifully that afternoon. Barbieri
was just fine. She really hurled her voice out there, and the result
was thrilling. This was perhaps a couple of years before even Bb's were
too high for her. Warren sings with his usual smooth sound, but,
forgive me DonP, he was a blustery, hectoring Amonasro. Warren was
never known for forgetting words. Well, he does actually forget a few
in this performance, but more than that, he gets very "mixed up" in his
fast singing, and consonants end up in all the wrong places. I have
noticed this in many of Warren's performances- even on some of his
commercial recordings. Hines was fine.
Baum!! I don't think I have ever heard a more ugly voice in a leading
role in a major theater. He certainly has all the notes, but everything
is just so ugly! I know that's not a nice word, but it is the only word
that will do to describe what I heard tonight. And beyond that, I can't
say he had poor Italian, since I could barely tell what language he was
singing in. To say poor Italian would be wrong. It wasn't any kind of
Italian. He seems to make strange sounds in some fairly fast words.
Even a single word or two by itself would sound very strange. I'm sure
Charlie knows what I mean.
I find it hard to believe that Bing gave him so much to do in his first
ten years. About 1950 to 1960. This is awful singing by any standard.
And to think of the broadcasts he did!!
I don't know how many on this list subscribe to Sirius Radio, but I
think it's wonderful. To think, a young opera lover can turn on the
radio in 2006, and hear a complete performance of Aida with some of the
greats from 50 years ago. Milanov, Barbieri, Warren. And the opera
played before the Aida was the famous 1947 broadcast of Romeo with
Sayao and Bjoerling. It is probably the greatest singing Bjoerling ever
did, and should be required listening for all opera fans.
I have a few minor quibbles with Sirius, but they mean nothing in the
overall picture. The things they play, and the things they are going to
play, are priceless nuggets from the past, that, if not for Peter Gelb,
would never be heard again. Now they are on the radio 18 hours every
day!! It's really quite amazing.
I know that two of my favorite Tucker broadcasts are scheduled for the
next month or so. First they will feature the Rigoletto broadcast from
1951. This was the first season of the new Berman production, and the
original cast is featured. Along with Tucker as the Duke, Warren sings
his most famous role, Rigoletto, and Hilde Gueden is the Gilda. Erede
conducts.
The surprise about this broadcast, which I have had in fair sound for
some time, is that Tucker actually sings one verse of his cabaletta,
the Possente amor. In every other Met broadcast of Rigoletto from the
50's, 60's, through the mid 70's, this cabaletta was always cut.
Interesting to see that it was included in the first year of the
revival. No high D, but Tucker sings the hell out of it Warren is at
his best here. Really great, and Gueden, though not a personal
favorite, sings well, with all the interpolated notes, including the
high E natural to conclude the Caro nome.
Also featured soon with be the Tucker Hoffmann broadcast of December,
1955, with Monteaux conducting. This has always been one of my favorite
Tucker broadcasts, and I am thrilled that they will be playing it. This
has been released by some European label in excellent sound, btw.
To conclude, seriously, I love Sirius!!
Best wishes,
Ed
Charlie
> Baum!! I don't think I have ever heard a more ugly voice in a leading
> role in a major theater. He certainly has all the notes, but everything
> is just so ugly! I know that's not a nice word, but it is the only word
> that will do to describe what I heard tonight. And beyond that, I can't
> say he had poor Italian, since I could barely tell what language he was
> singing in. To say poor Italian would be wrong. It wasn't any kind of
> Italian. He seems to make strange sounds in some fairly fast words.
> Even a single word or two by itself would sound very strange. I'm sure
> Charlie knows what I mean.
>
> I
Baum sounds quite good in the Lohengrin Duet w.Traubel..THIS is his
proper fach....The voicve is more "Germanic"..Sadly, he was
RELIABLE..The Tommy Henrich of Opera (He played for the Yankees and was
caled "Old Reliable.)
Baum had a terribly ugly voice...HILARIOUS stage deportment..He and
Zinka should have been in silent movies topgather.
Remember that when we did not get Tucker or delMonaco...BAUM was
there...During one Chenier..we passed around dollar bills......because
Baum and george looked THE SAME.
Baum had a fine technique..and FABULOUS high C...but the voice was
ugly...no phrasing..no tenderness..
and a super-duper ego.....and we hated him.
Today we might be a bit more reasonable....maybe....CH
and...@comcast.net
> Best wishes,
> Ed
>
Who? Slooooowly I turned, step by step, inch by inch, etc . . . . . . .
Worst I ever heard, made Poggi sound like Pippo. ( forgive me )
edo...@gmail.com
There's nothing to forgive, since you are 100% correct!!!
Ed
Charlie
> > Who? Slooooowly I turned, step by step, inch by inch, etc . . . . . . .
> > Worst I ever heard, made Poggi sound like Pippo. ( forgive me )
> ============================================================
> There's nothing to forgive, since you are 100% correct!!!
>
Baum used to pronounce "Come' as "Coma:..Maybe he sang as if he was in
one!!!!!!
Once he bent over the "dead' Rise Stevens at the end of a Carmen..and
his wig started falling over his face,.,.,,Poor "dead' Rise had an
attack of the giggles.......
Andrew T. Kay
> Baum!! I don't think I have ever heard a more ugly voice in a leading
> role in a major theater. He certainly has all the notes, but everything
> is just so ugly! I know that's not a nice word, but it is the only word
> that will do to describe what I heard tonight. And beyond that, I can't
> say he had poor Italian, since I could barely tell what language he was
> singing in. To say poor Italian would be wrong. It wasn't any kind of
> Italian. He seems to make strange sounds in some fairly fast words.
> Even a single word or two by itself would sound very strange. I'm sure
> Charlie knows what I mean.
>
> I find it hard to believe that Bing gave him so much to do in his first
> ten years. About 1950 to 1960. This is awful singing by any standard.
> And to think of the broadcasts he did!!
I make every effort to avoid him. On the Callas/Barbirolli AIDA, in the
Temple Scene when Ramfis (Neri, here) sings an eight-bar melody that
Ramades repeats in a higher key, it sounds as though we're hearing an
aspiring tenor take a singing lesson, and fail.
Todd K
LT
>[..]....
> BUT we miss LAUGHING!!!! baum and Osie were the two singers >who caused such HILARITY among us standees.
> Baum used to pronounce "Come' as "Coma:..Maybe he sang as if he >was in one!!!!!!
Be that as it may, but one "tenor", -if that's the right term,- -fella
named "Hell-git Rose-wankie" or something similar, dared to record a
purported version of "Salut Demeure" that made ANYTHING of Baum's sound
like the dulcet tones of another "B" (think: "J. Bjoerling") by
comparison.
It's all a matter of degree. To give some credit, HR must've (or
should have) had a Doctorate in Cacaphony, having achieved it so well.
> Once he (baum- bent over the "dead' Rise Stevens at the end of a Carmen..and
> his wig started falling over his face,.,.,,Poor "dead' Rise had an
> attack of the giggles.......
A neat resuscitation, isn't it? Perhaps Baum, too, deserved a
Doctorate, the "regular" kind; how many actual Med-school grads ever
succeeded in reviving a mortally-stabbed Carmen? And making her
giggle, yet? No easy feat, that!
LT
shortspark
broadcasts, especially the historical archived ones from years ago. I
subscribed to Sirius for one year and if everything goes well, I'll
renew.
Where did you learn about the future Tucker broadcasts? I go to the
Sirius MET page and get the casts and times for each broadcast but it
only shows a schedule of a week or so in advance. Is there another site
you have a link to that provides more complete or longer range Sirius
broadcast information?
MARTY
Ortrud Jones
something like that. You're fooling no one, clown.
-Ortrud Jones
Charlie wrote:
> and a super-duper ego.....and we hated him.
> Today we might be a bit more reasonable....maybe....CH
.
Ken Meltzer
Baum in person, and I don't go out of my way to listen to his
broadcasts.
But there is one recording that I think shows him in a more positive
light. It's a 1945 recording of the Bridal Chamber Scene from
Lohengrin, with Helen Traubel as Elsa. It was reissued on a fabulous
Masterworks Heritage 2-disc set focusing on Melchior and Traubel's
Columbia Wagner recordings.
In this recording, Baum's voice is very attractive and he sings with
real sensitivity. It suggests that under the right circumstances, Baum
could have been a very effective Max, Lohengrin, Walther, etc.
For some reason, he and the Met thought he should sing Italian and
French romantic tenor leads. And the rest, as they say, is opera and
rmo history.
But I would really love to hear from those who frequently discuss Kurt
Baum here as to what they think of this Lohengrin recording.
Best,
Ken
wkas...@comcast.net
Ken Meltzer wrote:
> But I would really love to hear from those who frequently discuss Kurt
> Baum here as to what they think of this Lohengrin recording.
I don't frequently discuss Baum, but I agree with you, Ken - this
recording presents him in a far more favorable light, both vocally and
stylistically. Like you, I'm mystified as to why he sang the
repertoire that he did at the Met. Everything about him suggests that
he'd have been far better suited to German repertoire, where sheer
beauty of tone seems to be less of a requirement.
As an aside, I'm also mystified that some of the same people who bash
Baum incessantly are quick to heap praise on John O'Sullivan. They're
cut from the same cloth - the only real difference, to my ears, is that
Baum made one good recording.
Bill
Charlie
LT wrote:
> >[..]....
> > BUT we miss LAUGHING!!!! baum and Osie were the two singers >who caused such HILARITY among us standees.
> > Baum used to pronounce "Come' as "Coma:..Maybe he sang as if he >was in one!!!!!!
>
> Be that as it may, but one "tenor", -if that's the right term,- -fella
> named "Hell-git Rose-wankie" or something similar, dared to record a
> purported version of "Salut Demeure" that made ANYTHING of Baum's sound
> like the dulcet tones of another "B" (think: "J. Bjoerling") by
> comparison.
>
Charlie
Ortrud Jones wrote:
> You hated Baum because Frau Baum called you a "depraved faggot" or
> something like that. You're fooling no one, clown.
>
> -Ortrud Jones
>
THAT ONE???????????????????????
Charlie
wkasi...@comcast.net wrote:
> Ken recording.
>
> >
> As an aside, I'm also mystified that some of the same people who bash
> Baum incessantly are quick to heap praise on John O'Sullivan. They're
> cut from the same cloth - the only real difference, to my ears, is that
> Baum made one good recording.
>
> Bill
I LOVE O'Sullivan..like Tom Kaufmann does...also people like
Escalais...really exciting..Baum bears absolutely NO resemblance to
O'Sullivan..who had a clarion voice all through..whereas Baum's only
claim to fame was the high C..
A shame Max Schmeling broke his nose in the ring....that got Koooort to
give up boxing and destroy the Met for sio long.
The Lohengrin scene is excellent..THAT is more for him..NOT Italian
opera....
edo...@gmail.com
I learned about the Tucker broadcasts from Barry Tucker, who called me
yesterday. We speak many times a week, and in the course of our
conversation he told me about the upcoming Rigoletto and Hoffmann. I
imagine the estate of a deceased singer has to sign a release. I know a
living singer does, since Marilyn Horne told me she received a release
to sign for the upcoming Aida they plan to play with Price, Domingo,
Horne. This probably means we will hear no Siepi, which is very sad,
since he is featured on so many of the very best broadcasts from the
50's and 60's, and into the 70's.
There is a wonderful '56 Forza- Milanov, Tucker, Warren, Siepi, Corena.
There are two Bjoerling Fausts, both with Siepi, there is that truly
magical Don G. from 1957, and so many more. I hope he agrees, but I
don't think he will. What a shame!
Charlie
> >
> > MARTY
> ==================================================================
> I > There is a wonderful '56 Forza- Milanov, Tucker, Warren, Siepi, Corena.
>
I was there..and that perf.is on MYTO CD...amazing..and it has my
all-time favorite soprano,tenor,basso,and baritone...All we would have
needed was Ebe Stignani as Preziosilla..and that would complete the
cast for my all-time favorites...(except in 1956 they CUT most of the
role.)
I still to this day (not even having to play the CD's) remember the
THRILL of that perf...CH
LT
Charlie wrote:
[..]
> I LOVE O'Sullivan..like Tom Kaufmann does...also people like
> Escalais...really exciting..Baum bears absolutely NO resemblance to
> O'Sullivan..who had a clarion voice all through..whereas Baum's only
> claim to fame was the high C..
> A shame Max Schmeling broke his nose in the ring....that got Koooort to
> give up boxing and destroy the Met for sio long.
To give credit where due, and NOT where it doesn't fairly apply:
The (old) Met's destruction, as such, was caused by -not Koortie-, no,
not by Herr Baum, at all, - but rather the "flowing bouquet" from an
alleged "customer" at a place called "Bill's Bar". (Yes, THAT "Bill's
Bar".)
Though not actually adjacent to the Met Opera House, it was close
enough to allow a highly toxic and repelling stench-wafting, emanating
directly from each orifice of said "customer", a boring name-dropper
who was later to achieve rmo-notoriety as a multi-pseudo monstrosity
and fake "mentor"; the proud yet sickening, guffawing thief-in-hiding.
We will not see -or smell- its like again. ,,,,Well....at least, we
*hope not*....
LT
> The Lohengrin scene is excellent..THAT is more for him..NOT Italian
> opera....
And yet, if we had a Radames like him, today(!?)
donpaolo
which stated that he sounded like he "had a loose denture problem". He was
not my favScarpia, either. I'll gladly sacrifice an Amonasro, a Scarpia or
several for just one of Leonard W's magnificent Iagos, Rigolettos, Di Lunas,
Macbeths, Don Carlos etc., etc., etc.
Best watch what you say about Baum - a certain AES is very protective of the
great Kurrrrrt!!!
DonP.
"premie...@aol.com" <edo...@gmail.com> wrote in message
news:1160625583.6...@i3g2000cwc.googlegroups.com...
donpaolo
him maybe twice, at most!!!
DonP.
"Charlie" <vissida...@gmail.com> wrote in message
news:1160626341....@b28g2000cwb.googlegroups.com...
dtritter
> YES!!! I just finished listening, on Sirius radio, to a Feb., 1954 Met
> broadcast of Aida. Milanov, Barbieri, Baum, Warren, HInes, with Cleva
> conducting.
>
> I found Milanov to be in splendid voice, including the high C in the
> aria, and her piani were working beautifully that afternoon. Barbieri
> was just fine. She really hurled her voice out there, and the result
> was thrilling. This was perhaps a couple of years before even Bb's were
> too high for her. Warren sings with his usual smooth sound, but,
> forgive me DonP, he was a blustery, hectoring Amonasro. Warren was
> never known for forgetting words. Well, he does actually forget a few
> in this performance, but more than that, he gets very "mixed up" in his
> fast singing, and consonants end up in all the wrong places. I have
> noticed this in many of Warren's performances- even on some of his
> commercial recordings. Hines was fine.
>
> Baum!! I don't think I have ever heard a more ugly voice in a leading
> role in a major theater.
ed, it sounds like your penchant for italian repertoire over the rest
afforded you the luxury and delight in evading the excrescences that
were the trademark of both hans beirer and hans hopf. they could have
elevated doodles weaver to divo status in any house.
LT
donpaolo wrote:
>....the great Kurrrrrt
-I'm in agreement with that!
LT,
recalling an "Opera Topics" radio show, with the host, Lorenzo Alvary,
interviewing Mr. B., who was then, occasionally teaching voice, and
discussing his career. Also, a Pagliacci recording, in which he *did
not disappoint*, in that "A venti tre 'ore" moment. Merrill and
Guarrera co-starred.
LT
>He (Warren) was a blustery, hectoring Amonasro.
Dunno about "blustery", but for "hectoring", one must turn to the great
Ettore Bastianini - for one reason alone:
It was his *name* ("Ettore" = "Hector")!
LT
dtritter
orturd, you hadn't told us before that you are the birth defective
illegitimate and sex-indeterminate child of kurt baum. no wonder your
posts smell like a fart in a windstorm.
edo...@gmail.com
In 1972, I, along with others, was in Tucker's dressing room after a
performance of Lucia with Tucker & Scotto. All of a sudden, Kurt Baum
walks in. The two tenors hugged, and Tucker made a loud announcement.
He said, "ladies and gentlemen, I would like you to meet the famous
tenor, Kurt Baum."
Baum looked indignant. He said, very loudly, "what do you mean, 'the
famous tenor." The famous INTERNATIONAL tenor!!"
He was a character, that's for sure.
Best
Ed
Ken Meltzer
wkas...@comcast.net wrote:
> Ken Meltzer wrote:
> As an aside, I'm also mystified that some of the same people who bash
> Baum incessantly are quick to heap praise on John O'Sullivan. They're
> cut from the same cloth - the only real difference, to my ears, is that
> Baum made one good recording.
>
When I hear the pitch problems with O'Sullivan's recordings, I'm
reminded of the adage that even a broken clock gives the right time
twice a day.
Best,
Ken
LT
premie...@aol.com wrote:
Even that's not enough: "The INTERNATIONALLY FAMOUS tenor" would've
been about right. :)
> He was a character, that's for sure.
Somehow, he seemed likeable, though....
Zinka used to "ZING" him mercilessly, in her comments.
She, TOO, was a character, but a beloved one!
Ken Meltzer
Charlie wrote:
> The Lohengrin scene is excellent..THAT is more for him..NOT Italian
> opera....
I agree, Charlie.
Best,
Ken
david...@aol.com
I suspect he was rather better before a certain date. He's decent
enough in the Lohengrin duet with Helen Traubel.
-david gable
david...@aol.com
> > Who? Slooooowly I turned, step by step, inch by inch, etc . . . . . . .
> > Worst I ever heard, made Poggi sound like Pippo. ( forgive me )
The very young Poggi was pretty good . . . well before the Decca
Favorita and Traviata. (His instincts were pretty good: but who could
tell with the gulping and bleating?)
-david gable
Charlie
dtritter wrote:
> Ortrud Jones wrote:
>
> > You hated Baum because Frau Baum called you a "depraved faggot" or
> > something like that. You're fooling no one, clown.
> > > >
> illegitimate and sex-indeterminate child of kurt baum. no wonder your
> posts smell like a fart in a windstorm.
What is funny (and pathetic) is that I myself told the tale of Renate
Baum's outburst
and ortrud completely changed it.....I guess my lack of instigation
means nothing..people are the same...as i always knew..ch
edo...@gmail.com
He, he did seem likeable, in a funny sort of way. Grand, but harmless.
I saw him on the old Joe Franklin show in the early 80's, and he spoke
as if he was the greatest tenor of the 20th century, and said he still
had his voice. He was born in 1900, so he was past 80 at the time, He
sang "Amor ti vieta" and didn't sound much different than he had in the
50's. He also sang a high C, to prove he still had the note. It was a
remarkable note!
best
Ed
Mitchell Kaufman
> There is a wonderful '56 Forza- Milanov, Tucker, Warren, Siepi, Corena.
I don't know, Ed. I've got serious reservations about this one, which
I've got on Myto in good sound. On paper, it looks spectacular, but when
you actually hear it, Milanov is *not* in her best form--she sounds
distinctly past it that day. Compare, for example, to the '52 broadcast
or the '53 New Orleans performance (the latter of which you used to
distribute)--she is in far better voice in either of those examples.
Warren also makes mistakes in the text (which you correctly pointed out
about many of his live performances the other day), and can sound wooly
at times (the big cabaletta would be one example). Siepi and Corena are
superb, and Tucker is well-nigh perfect--he sings with exemplary legato
and gorgeous tone. Stiedry's conducting is perverse, particularly when
it comes to tempi.
Sometimes our memory fools us into thinking something was better than it
actually was. This performance had some very pronounced flaws,
IMHO--though I'd of course kill to hear its like today.
MK
edo...@gmail.com
brief moment or two in the Convent Scene, she is quite good here, I
believe. And I, perhaps not objectively, have always wondered why
Merrill gets the knock about forgetting so many words, when it seems to
be Warren, to judge from live broadcasts, who forgets more words than
Merrill did on average.
I won't argue with you about Tucker, of course, but, for me, Siepi and
Corena are a whole different,higher level than Hines and Pechner.
But for just Zinka, the '52 is her best Forza bdcst.
Best
Ed
Mitchell Kaufman
> I won't argue with you about Tucker, of course, but, for me, Siepi and
> Corena are a whole different,higher level than Hines and Pechner.
Anyone with functional hearing can tell that! I thought Hines was awful
in that '54 Aida last night as well. He sounded as if he was reading his
lines off cue cards: stolid and robotic.
Not one of my favorite singers.
MK
dtritter
as we all kinow (those of us who saw him onstage) he was an actor of
singular (!) visual appeal. one year, the met went tour, and baum had a
throat problem, in toronto, if memory serves. when the met searched for
a replacement who knew the staging, baum volunteered the historic
suggestion, "poot a tenorrr een de peet. i vill act."
Ortrud Jones
because they do, there will be more posts for you to smell, Wrinkles.
tee-hee!
-Ortrud Jones
dtritter wrote:
> no wonder your
> posts smell like a fart in a windstorm.
.
and...@comcast.net
<david...@aol.com> wrote in message
news:1160665999.7...@e3g2000cwe.googlegroups.com...
I Bleat.
Don't mean I should do it in public.
Same for Poggi.
Even as an absolute, without comparisons, Poggi was awful, but as
compared to his contemporaries. . . . . . . . . . .
I should like to have had the contract to supply him with nasal tissue.
"Poggified," isn't that how Conrad L. Osborne (sp) described his tenor
lead in BOHEME?
St. André ~ Juif
alanwa...@aol.com
He probably holds one record. He was the amateur boxing champion of
Czechoslovakia at one time. As to his singing I am not qualified to
say. Most singing (literally) goes over my head acoustically and I
have no idea what they are up to and truthfully little interest. They
do their thing and I do mine and may it ever be thus.
If the two collide, good. If not, whatever.
Kind regards,
Alan M. Watkins
dtritter
we know that you brain is about 7 months, but what about that filthy
body that reflects the excreta between your ears? how old. most people
not blind, deaqf, tasteless, stupid and swimming in shit (you qualify in
all departments take me for 15-20 years less than my actual age.
wrinkles? you should live so long. orturd, were you always a piece of
shit, or were you just hungry?
Ortrud Jones
disgusting!
-Ortrud Jones
dtritter wrote:
>
> by thje way, craven cunt, how old are you?
> we know that you brain is about 7 months, but what about that filthy
> body that reflects the excreta between your ears? how old. most people
> not blind, deaqf, tasteless, stupid and swimming in shit (you qualify in
> all departments take me for 15-20 years less than my actual age.
> wrinkles? you should live so long. orturd, were you always a piece of
> shit, or were you just hungry?
.
edo...@gmail.com
quite a good number of recordings. Go figure!!
Ed
REG
"dtritter" <dtri...@speakeasy.net> wrote in message
news:D9mdnd2_sen16LPY...@speakeasy.net...
and...@comcast.net
"Ken Meltzer" <comm...@aol.com> wrote in message
news:1160656021....@m73g2000cwd.googlegroups.com...
>I don't really have any stake in this argument, because I never saw
> Baum in person, and I don't go out of my way to listen to his
> broadcasts.
> But there is one recording that I think shows him in a more positive
> light. It's a 1945 recording of the Bridal Chamber Scene from
> Lohengrin, with Helen Traubel as Elsa. It was reissued on a fabulous
> Masterworks Heritage 2-disc set focusing on Melchior and Traubel's
> Columbia Wagner recordings.
> In this recording, Baum's voice is very attractive and he sings with
> real sensitivity. It suggests that under the right circumstances, Baum
> could have been a very effective Max, Lohengrin, Walther, etc.
> For some reason, he and the Met thought he should sing Italian and
> French romantic tenor leads. And the rest, as they say, is opera and
> rmo history.
> But I would really love to hear from those who frequently discuss Kurt
> Baum here as to what they think of this Lohengrin recording.
> Best,
> Ken
First 'they' want me to listen to Baum, like 40/50 years ago wasn't enough.
Now they want me to listen to Wagner, of all people.
You guys are very demanding, for nagging I'll stick with my wife.
Kindest regards,
St. André the well-nagged
>
david...@aol.com
and...@comcast.net wrote:
> Even as an absolute, without comparisons, Poggi was awful, but as
> compared to his contemporaries. . . . . . . . . . .
Even Poggi was not Poggified at the very beginning of his career. He's
not bad at all and certainly far from awful in that very early
Mefistofele. No bleating and gulping whatsoever.
-david gable
dtritter
sounds like an asshole who's never seen me.
wrinkles? you're as blind as you are stupid and shit-covered.
not a surprise,
Ken Meltzer
> I don't know, Ed. I've got serious reservations about this one, which
> I've got on Myto in good sound. On paper, it looks spectacular, but when
> you actually hear it, Milanov is *not* in her best form--she sounds
> distinctly past it that day. Compare, for example, to the '52 broadcast
> or the '53 New Orleans performance (the latter of which you used to
> distribute)--she is in far better voice in either of those examples.
>
> Warren also makes mistakes in the text (which you correctly pointed out
> about many of his live performances the other day), and can sound wooly
> at times (the big cabaletta would be one example). Siepi and Corena are
> superb, and Tucker is well-nigh perfect--he sings with exemplary legato
> and gorgeous tone. Stiedry's conducting is perverse, particularly when
> it comes to tempi.
>
> Sometimes our memory fools us into thinking something was better than it
> actually was. This performance had some very pronounced flaws,
> IMHO--though I'd of course kill to hear its like today.
Mitchell:
I was going to write about this performance when it came up in
discussion, but came back to read your analysis. Now, I don't need to
write it!
I think your observations are right on the mark. It's a performance
that is less than the sum of its parts, as impressive as the cast is.
Perhaps under another conductor, things might have gone better.
Best,
Ken
Charlie
premie...@aol.com wrote:
> Yes. I remember the term "Poggified" very well. And yet the man made
> quite a good number of recordings. Go figure!!
>
> Poggi was a whiner...Listen to the Favorita...when he says "O cielo..leonora" at the end...yucccch.
In person it was a smallish sound...I also recall Laurel Hurley
calling him "pudgy Poggi."
Charlie
> > broadcast information?
> >
> > MARTY
> ==================================================================
> > There is a wonderful '56 Forza- Milanov, Tucker, Warren, Siepi, Corena.
> There are two Bjoerling Fausts, both with Siepi, there is that truly
> magical Don G. from 1957, and so many more. I hope he agrees, but I
> don't think he will. What a shame!
I always went BALLISTIC..at the end of the "Sleale' duet where Tucker
would come up to the prompter's box area..and let out a B Natural on
"Or chieeeeeeega il guerrier" that stupified the audience..who screamed
like crazy...It was one of the most glorious tones.....not just
huge,but gorgeous, and earth-shattering.
I also called it the "Tucker note" that summed up his greatnesss.....CH
edo...@gmail.com
Charlie wrote:
> I always went BALLISTIC..at the end of the "Sleale' duet where Tucker
> would come up to the prompter's box area..and let out a B Natural on
> "Or chieeeeeeega il guerrier" that stupified the audience..who screamed
> like crazy...It was one of the most glorious tones.....not just
> huge,but gorgeous, and earth-shattering.
> I also called it the "Tucker note" that summed up his greatnesss.....CH
=================================================================
And isn't there a similar note in Hoffmann for Tucker, Charlie. You and
Bob always told me about the impact of the high B on the "Dieu
puissant!" I never saw Tucker as Hoffmann, but have heard his two
broadcasts, one of which will be played on Sirius next week.
Best
Ed
Ken Meltzer
A famous singer who performed with Tucker once told me that Tucker's
high B was the loudest note he ever heard from any tenor.
Best,
Ken
edo...@gmail.com
high B was the loudest note he ever heard from any tenor.
Best,
Ken
And in a front page Arts & Leisure Section interview, about 15 years
ago, one Placido Domingo was asked what was the loudest note he ever
heard.
His answer: Richard Tucker on the high B in Act 1 of Tosca!!
Ed
Charlie
If we started with "Tucker's notes"...the NUMBER of great ones would be
endless......Yes,The "Dieu puissant" in Hoffmann was sensational..and
on and on...CH
>
> Ed