The King of Opera
Stregata
being labeled as the King of Opera. Without any animus to start a flame or
resurrect old battaglias, I would be curious to know who, from the bottom of
your heart, would you consider as your very special King of Opera and why. Is
it his voice, his delivery, any special idiosyncracy? What makes him so very
special?
Only one King, please.
Stregata
REG
and Corelli, Vickers, de Lucia and Wunderlich, but Bjorling had everything
in every role he surveyed for me.
"Stregata" <stre...@aol.com> wrote in message
news:20011212220115...@mb-ce.aol.com...
Opaffic
Ok, Caruso.
Opaffic
Andre Edouard
Early or late, bad or good.
There was a quality to his voice which [for me] epitomized "italian
tenor," warts and all.
Nothing technical, the voice "grabbed" me.
AndreEdouard....
None but I shall do him die, who sends Kurt Baum as his reply.
Mark D Lew
(Stregata) wrote:
You didn't specify that he must be a singer. For me, the King of Opera is
Giuseppe Verdi.
mdl
Opaffic
>Giuseppe Verdi.
>
>mdl
Ahhhhhh!!!
Wonderful choice for coronation.
Would also be mine in the KOO composers catagory.
David Melnick
Ace of Hearts: Puccini
Ace of Diamonds: Mozart
Ace of Clubs: Wagner
Ace of Spades: Verdi
King of Hearts: Toscanini
King of Diamonds: Walter
King of Clubs: Furtwaengler
Kind of Spades: Klemperer
Queen of Hearts: Tebaldi
Queen of Diamonds: Lotte Lehmann
Queen of Clubs: Nilsson
Queen of Spades: Callas
Jack of Hearts: DiStefano or Jussi
Jack of Diamonds: Jussi or DiStefano
Jack of Clubs: Gobbi
Jack of Spades: Chaliapin
Among the eternity-challenged:
Hearts: Carreras
Diamonds: Villazon
Clubs: Robert Dean Smith (just you wait)
Spades: position available
Premiereopera
roles.
In his Angel publicity, Corelli was called the "Prince of Tenors." I wonder who
they thought the king was?"
King of all singers must be Caruso. But of the singers I heard live, it will
always be Tucker.
Ed
http://www.premiereopera.com for the best in Kings and Queens of opera on CD &
Video
Mark D Lew
(Opaffic) wrote:
> Ahhhhhh!!!
> Wonderful choice for coronation.
> Would also be mine in the KOO composers catagory.
Over all categories, I say.
Truth to be told, I probably enjoy Puccini more. But that doesn't change
the fact that Verdi is the King.
mdl
David Melnick
even myself):
Honorary aces: many.
> Jack of Hearts:
Yes, I'm for Caruso, too, every time I hear him (then for
Jussi and Pippo again when I hear _them_).
> Among the eternity-challenged:
Oops. I put some so-called eternity-challenged among the queens and jacks.
I should have said "Among those still singing," and avoided the
stupid wiseacre bit.
(Actually, I shouldn't have gotten into this at all.
It's a game with myself that my scattered brain always loses.)
David
Leonard Tillman
>Stregata
---------------------------------
David Melnick wrote:
>Ace of Hearts: Puccini
>Ace of Diamonds: Mozart
>Ace of Clubs: Wagner
>Ace of Spades: Verdi
>King of Hearts: Toscanini
>King of Diamonds: Walter
>King of Clubs: Furtwaengler
>Kind of Spades: Klemperer
>Queen of Hearts: Tebaldi
>Queen of Diamonds: Lotte Lehmann
>Queen of Clubs: Nilsson
>Queen of Spades: Callas
>Jack of Hearts: DiStefano or Jussi
>Jack of Diamonds: Jussi or DiStefano
>Jack of Clubs: Gobbi
>Jack of Spades: Chaliapin
>Among the eternity-challenged:
>Hearts: Carreras
>Diamonds: Villazon
>Clubs: Robert Dean Smith (just you wait)
>Spades: position available
:-)))) --- I love this!!
LT
Leonard Tillman
LT
dtritter
therefore, i shall resist any nominations and not recognize such a
sovereign, even if duly elected by a verifiable vote.
top ten lists , anyone?
i believe that the pope has, on occasion, held secret his nominees for
the college of cardinals "in petto."
i prefer the more egalitarian individual judgment. good, bad, pass,
fail, judgment suspended pending further hearings.
dft
Tuchas
> For me it can only be Richard Tucker. He set standards for me in so many
> roles.
Why so many people here like singer with ugly voice can't act. Always
sound same. Go listen to Andrea with beautiful voice then tell Tuchas
Tucker most great singer. Uncle Krepkin with bad wig better than
Tucker. Look better too.
Tuchas Flatus
Tuchas
Is easy. Tenor with big voice big high notes. Exciting singer make
Tuchas shiver. Kurt Baum is king. Always be king. Some people not like
say he ugly voice. They not know anything of opera. Open ears and
listen then you hear how he great great singer. CORRIAM VOLIAM
Tuchas Flatus
Drakejake
The King of Opera is definitely Placido Domingo, because of his
leading role in the world of opera performance and opera media for
over 25 years. He has outworked and outachieved all of his
contemporaries. His ambition, musicianship, and talent have allowed
him to make full use of new technologies which transformed
entertainment in the latter half of the 20th Century.
But Franco Corelli is the God of Opera, because of his matchless
vocal, physical, and theatrical personification of operatic heroes. I
consider it a miracle that a man of his background and temperament
could have become the operatic superstar he was. He utilized the face
and physique of a Hollywood leading man, a voice of great beauty,
power, and range, and an heroic but natural stage presence to become a
charismatic and stunning operatic performer.
Drakejake
Christopher Purdy
CP
stre...@aol.com (Stregata) wrote in message news:<20011212220115...@mb-ce.aol.com>...
Opaffic
Truth to be told, I probably enjoy Puccini more. But that doesn't change
>the fact that Verdi is the King.
>mdl
Gotcha Mark! Probably wise to have a composer as ruler....wonder if anyone will
annoint a conductor???
Opaffic
>It's a game with myself that my scattered brain always loses.)
David
Oh, but I thoroughly enjoyed reading your answer.....um, answers. Loved 'em.
Leonard Tillman
> ruler....wonder if anyone will
>annoint a conductor???
There are many who might annoint themselves....
LT
Ancona21
> [Eight] of Diamonds: Mozart
> [Eight] of Clubs: Wagner
> Ace of Spades: Verdi >>
Dead man's hand.
Ancona
Premiereopera
You be the judge!
Ed
http://www.premiereopera.com for the best in CDs & Video of live opera
Don Paolo
historic place in effecting drama, interpretation & passion in what he sang,
as opposed to the technical perfection that appeared to be of foremost
concern before his appearance on the scene. His influence is felt every
time a tenor opens his mouth to interpret an aria.
However, we have been most fortunate to have experienced a host of
subsequent Crown Princes in this Royal Family of Tenors: Bergonzi, Corelli,
DelMonaco, DiStefano, Tucker, Gedda, Young Pav, Vickers, Thill, Pertile,
Bjoerling.
Among the Dukes of Singing, I'd include Lanza, Labo, Shicoff, Merli, Masini,
Fleta, Carreras.
Just a few names of great ones that move me, raise goose bumps when I listen
to them.
DonPaolo
Stregata <stre...@aol.com> wrote in message
news:20011212220115...@mb-ce.aol.com...
Mark D Lew
> the united states consttitution forbids titles of nobility.
> therefore, i shall resist any nominations and not recognize such a
> sovereign, even if duly elected by a verifiable vote.
You mean to tell us that Elvis was unconstitutional??
mdl
Mark D Lew
(Opaffic) wrote:
> Gotcha Mark! Probably wise to have a composer as ruler....wonder if
anyone will
> annoint a conductor???
Or apoint one, perhaps?
mdl the annoying
Opaffic
>
>mdl the annoying
LOL.....oops!
ANOINT.....a n o i n t.....ANOINT
Thanks!
Opaffic
Andre Edouard
AND loud...Sheesh......
DMFGAE
dtritter
no, unbearable.
dft
Matthew B. Tepper
ya02408000R13...@news.earthlink.net:
In opera, the kings are selected by the fans. In pop music, the kings are
appointed by the PR people. ;--)
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
To write to me, do for my address what Androcles did for the lion
Top 3 worst UK exports: Mad-cow; Foot-and-mouth; Charlotte Church
Oisk17
>Simply for me, it's got to be Bjorling
Me too.
Paul
Mark D Lew
<donp...@erols.com> wrote:
> I think THE King will always remain Caruso. [...]
>
> However, we have been most fortunate to have experienced a host of
> subsequent Crown Princes in this Royal Family of Tenors: Bergonzi, Corelli,
> DelMonaco, DiStefano, Tucker, Gedda, Young Pav, Vickers, Thill, Pertile,
> Bjoerling.
>
> Among the Dukes of Singing, I'd include Lanza, Labo, Shicoff, Merli, Masini,
> Fleta, Carreras.
In your populous opera court, is there no room for any soprano, mezzo,
baritone or bass?
mdl
Evelyn Vogt Gamble (Divamanque)
Stregata wrote:
>
> Who is he for you? There's an ongoing thread about a certain Spanish tenor
> being labeled as the King of Opera. Without any animus to start a flame or
> resurrect old battaglias, I would be curious to know who, from the bottom of
> your heart, would you consider as your very special King of Opera and why. Is
> it his voice, his delivery, any special idiosyncracy? What makes him so very
> special?
>
> Only one King, please.
In my case, need you even ask? José Van Dam, with no rivals
- truly beautiful voice, nearly flawless vocal production, a
superb actor on stage (yet can "act" with his voice, as well
- a genius for interpreting song literature). My only
reason for going to Europe is to hear him, since he so
seldom sings opera in the U.S. anymore - and not enough
concerts or recitals on the West Coast. (Yeah, I'm a
"groupie" - so what?)
He seems to be a genuinely nice human being, as well - he
certainly is gracious to his fans, when he encounters them.
Last year I was waiting with a group for the Met's backstage
tour, didn't even notice who was coming down the hall from
the dressing room area, until he came over and greeted me!
(You don't think THAT made my day?)
Don Paolo
DonP.
Mark D Lew <mark...@earthlink.net> wrote in message
news:markdlew-ya0240800...@news.earthlink.net...
Karen Mercedes
much more regal as a rule. My "King of Opera" would have to be Jose van
Dam, in fact.
Karen Mercedes
http://www.radix.net/~dalila/index.html
***************************************
Verdi and Wagner delighted the crowds
With their highly original sound.
The pianos they played are still working,
But they're both six feet underground.
- Michael Palin
GRNDPADAVE
quality and quantity of the singer's recorded legacy.
Enrico Caruso's legacy is made up simply of recorded excerpts from operas.
My nominee would be someone whose recorded repertory includes complete operas
sung in Italian, French, German, Russian, Spanish, and English.
There are not many singers who have provided such an extensive legacy.
No singer whose repertory is limited, however gifted, would claim first place
in my scheme of things.
==G/P Dave
Marty Robinson
I can think of.
Grandpa Marty
Tom Kaufman
recordings of operas by Verdi, Donizetti, Bellini and Rossini than by any
non-Italian composer, other than Meyerbeer and Halevy.
On that basis, Pavarotti is a clear winner.
Three cheers for the Pav
Tom
Tom Kaufman
URL of web site:
<A href="www.geocities.com/Vienna/8917/index.html">Tom Kaufman's site</A>
slki...@aol.comspamm
says...
>
>You didn't specify that he must be a singer. For me, the King of Opera is
>Giuseppe Verdi.
>
Interesting. For me, it would be Rossini. Not to say that he is my favorite
(although perhaps he is), just that he is the king. Or the king of Italian
opera anyway.
I love Verdi, of course. And many more of his operas mesh better with modern
tastes and practices both in the purely muscial and dramatic sense as well as
with respect to the singers' ability to perform the vocal writing with a modern
technique. That said, I think that most of 19th century Italian opera up to,
say, Aida was a working out of the things that Rossini began in the early part
of the century. Only starting with Aida do we start getting operas that don't
seem to have any Rossinian influence. Verdi also benefitted by writing at the
end of this interesting period of musicodramatic transition rather than at the
beginning as did Rossini. It stands to reason that the works become more
advanced towards the end of the period.
Just my $0.02.
Sam Kinsey
NicholasLoren
You know Tom, it is easy to forget all those glorious and consistently stellar
years the Pav gave us. For me, his sound/technique/emotional connection has
always been the ultimate in Italian lyric tenors.
To my ears, NOBODY ever combined his particular strengths as he did. Just such
a glorious, individually distinctive voice. I pull out his early recordings and
remember what all the fuss was about! Stunning.
Deserto in terra alone!!!! Man.
Mighty fine in (some) Puccini and Verdi too, in addition to those composers you
listed. Pav is my fav of all the tenors I have heard live.
Tuchas
> being labeled as the King of Opera. Without any animus to start a flame or
> resurrect old battaglias, I would be curious to know who, from the bottom of
> your heart, would you consider as your very special King of Opera and why. Is
> it his voice, his delivery, any special idiosyncracy? What makes him so very
> special?
Is easy. Tenor with big voice big high notes. Exciting singer make
Tuchas
> For me it can only be Richard Tucker. He set standards for me in so many
> roles.
Why so many people here like singer with ugly voice can't act. Always
sound same. Go listen to Andrea with beautiful voice then tell Tuchas
Tucker most great singer. Uncle Krepkin with bad wig better than
Tucker. Look better too.
Tuchas Flatus
Matthew B. Tepper
news:20011214135015...@mb-mk.aol.com:
> I go for quality rather than quantity--and I give far more points for
> recordings of operas by Verdi, Donizetti, Bellini and Rossini than by any
> non-Italian composer, other than Meyerbeer and Halevy.
>
> On that basis, Pavarotti is a clear winner.
>
> Three cheers for the Pav
I'm tempted to join you, but I also wonder if one should remove points for
1) diminished capacity with regard to selecting material and 2) not knowing
when to quit?
Karen Mercedes
> From my perspective any leading opera singer would be distinguished by the
> quality and quantity of the singer's recorded legacy.
>
> Enrico Caruso's legacy is made up simply of recorded excerpts from operas.
>
> My nominee would be someone whose recorded repertory includes complete operas
> sung in Italian, French, German, Russian, Spanish, and English.
Sounds like a vote for Placido Domingo. :)
Or maybe Nicolai Gedda? Did he ever sing an opera in Spanish (I know he
has all the other languages you mention covered)?
Tom Kaufman
Who else did you expect the kindly old gentleman to vote for?
But not this old curmudgeon.
GRNDPADAVE
>Date: 12/14/2001 1:11 PM Central Standard Time
>Message-id: <c9sS7.61801$xS6.1...@www.newsranger.com>
Before Verdi's RIGOLETTO, imho, there was not a truly tragic character in
Italian opera (certainly not in Rossini).
Rossini had a great gift for comic opera and a sheer musicality that rivals
Mozart, but Rossini's serious operas are staged as exhumations not as repertory
candidates.
AIDA does mark a wonderful synthesis of the best of Bellini and Meyerbeer with
Verdi's steadily acquired mastery of orchestration and his own unflagging
energy.
But Verdi also pointed in other directions. Operas such as SIMON BOCCANEGRA,
LA FORZA DEL DESTINO and DON CARLOS point towards the Russian School what with
the enormous contribution of the lower male voices and the complexity of the
plots, involving crowd scenes and a variety of ordinary people.
Rossini may have been something of an influence here with his too-seldom-heard
GAZZA LADRE.
Donizetti should not be overlooked: his LUCREZI BORGIA revealed the vein of
operatic gold that could be extracted from Victor Hugo's mine.
What does it mean to be "King of Opera" anyway -- since it is more like a
confederation of many sparkling city-states?
However great Verdi and Rossini are, we would be very much poorer if we did not
have the works of Mercadante or Auber to enjoy from time to time.
==G/P Dave
Stregata
>has all the other languages you mention covered)?
>
>
>Karen Mercedes
To my knowledge, Gedda never sang a complete opera in Spanish. But then, there
so very few Spanish operas. However, in the EMI collection "Les Introuvables
de Nicolai Gedda," he sings the "Poema en forma de canciones," by Joaquín
Turina, in such an idiomatic and perfect Spanish that he makes you wonder why
he did not record more Spanish music.
Also, in his collection of "Songs of the World," Gedda sings the famous
"Granada" in a way that has nothing to envy the most accomplished interpreters
of this song.
To paraphrase Floria Tosca, "Ecco un'artista."
Stregata
Ripley Mason
choose a baritone, American, from the 20th century, Nelson Eddy.
Ripley Mason
Ancona21
choose a baritone, American, from the 20th century, Nelson Eddy. >>
I gather Nelson Eddy's Rigoletto was better than Leonard Warren's. Oh wait,
Nelson Eddy never performed it. Maybe Nelson Eddy's Germont was better than
Robert Merrill's. Oh wait, Nelson Eddy never performed it. Or was Nelson
Eddy's di Luna better than Sherrill Milnes'. Oh, wait . . .
Ancona
Ancona
John Lynch
The prosecnium arch of the old Met enshrined six names: from left to right, Gluck,
Mozart, Verdi, Wagner, Gounod and Beethoven. That was the thinking in 1883. Which
six names would you spread across the new Met's proscenium in place of that gizmo?
JRL
Opaffic
>
>Stregata
Yes yes yes! Gedda was an amazing artist. Such an ear for linguistic nuance he
exhibited in his singing.
His recording of Rachmaninoff songs is one of my very favorites. Have you heard
it? He even manages a rather limpid vocalise, a piece that is undoubtedly
easier for a floaty, lyric soprano. It was not an Italianate sound, but it was
unlike anyone else's....so distinctive. And that TOP!!!
He was supposed to be such a sweet man and colleague too. One of the greatest.
David Melnick
Oh, I can't stand change. Put those six back up. Now if we could
add some . . . .
Ripley Mason
I gather your sarcasm reflects a smug assumption of your superior
knowledge, and the intent to belittle the choice of an obviously
ignorant dolt like myself. Gosh, and I thought it was just a discussion.
So, I admire Eddy more that Merrill or Warren, and I would surely rather
listen to him. Just call me stupid, Ancona, I bow to your wisdom.
Cheers,
Ripley
Stregata
>heard
>it?
Positively, and it also figures among my favorites recordings of the great
Nicky. As you say, his Vocalise is all in a class by itself in Gedda's voice,
and also Spring Waters, another of my favorite Rachmaninoff's songs.
>He was supposed to be such a sweet man and colleague too. One of the
>greatest.
I understand he was/is a shy personality. And yes, one of the greatest,
greatest tenors of the 20th century, and also one of the most underrated, one
who did not engage in any type of commercialization in order to further his
career.
A million thanks to Nicky Gedda from one of his greatest fans for the 40+ years
of career excellence.
Stregata
Chessphoto
company's proscenium, so I'm dropping him, as well as Gluck and Gounod, to be
replaced by Strauss, Puccini and Massenet.
Fraternally,
Jerome Bibuld
gens una sumus
Opaffic
His 'shyness' comes thru onstage as a most endearing humility and kindness.
What a rare treat in a romantic tenor.
>As you say, his Vocalise is all in a class by itself in Gedda's voice,
>and also Spring Waters, another of my favorite Rachmaninoff's songs.
And How fair this spot/place? what he does with that short, but GORGEOUS
song....the high B natural plucked out of heaven! "Daaaaaaa ti...." Must have
listened to it a million times while I was in college.
Actually, I wonder if that recording is out on CD?
Oisk17
Ripley, I am a great admirer of Nelson Eddy. But when you suggest as "The King
of Opera" someone who, although he did sing some opera, recorded hardly any,
and is best known for his outstanding efforts in other areas, you are asking
for the response you got. Had the category been "The King of American
Operetta," you might have gotten an argument, but not the sarcasm...
Regards,
Paul
Oisk17
>I understand he was/is a shy personality. And yes, one of the greatest,
>greatest tenors of the 20th century, and also one of the most underrated, one
>who did not engage in any type of commercialization in order to further his
>career.
>
>A million thanks to Nicky Gedda from one of his greatest fans for the 40+
>years
>of career excellence.
>
>Stregata
>
I love Gedda's voice, and his ability to act while singing. In operettas like
Bettelstudent, and Nacht in Venedig, he manages to sing with a laugh in his
voice. Who else can do justice to both of the male leads in The Merry Widow?
King of Operetta, for sure, IMHO.
Regards,
Paul
dtritter
John Lynch wrote:
>
> The prosecnium arch of the old Met enshrined six names: from left to right, Gluck,> Mozart, Verdi, Wagner, Gounod and Beethoven. That was the thinking in 1883. Which> six names would you spread across the new Met's proscenium in place of that gizmo?
>
> JRL
well, there are those antlers in the center. we could take philip glass
live and hang him there,
dft
Leonard Tillman
>Karen Mercedes wrote:
>Funny - as much as I love tenors, I tend to
> think baritones and basses are much more
> regal as a rule. My "King of Opera" would
> have to be Jose van Dam, in fact.
>Mine would have to Ghiarov!
>sb
Except for van Dam's being a bass-baritone, and Ghiaurov, a bass - I
always found a certain similarity of quality in their sounds (both
*great* favorites of mine, though I don't know if Ghiaurov is singing,
these days).
LT
VocediVendetta
"There is a video documentary called, "Domingo, King of Opera."
=========
On what planet?
VocediVendetta
"well, there are those antlers in the center. we could take philip glass live
and hang him there"
=======
Not slow and painful enough.
Ancona21
listen to him. Just call me stupid, Ancona, >>
You're stupid, Ripley.
Ancona The Obliging
Opaffic
Not nearly.
And it must be something he has to suffer over, and over, and over, and over,
and over......again!
Opaffic
Leonard Tillman
>I've always found him to be a little tiny bit on
> the high side of bass, or am I mistaken?
Not mistaken, - as each of us has individual aural perception; e.g., I
have always heard him as a *Profundo* with more of an "upper extension"
than most of his type can manage (not that there are that many!).
>Light or not, he would still have be my
> favourite bass. I know a lot of people get their
> jollies from high notes but I get mine from the
> low ones hmmmmmmmm!
>sb
Among many recordings of Ghiaurov's, two great examples of mighty,
buzzing low notes are in his "Temple Scene" in the Muti Aida, and his
warm, grand-toned "Gremin's aria" in the Solti Eugen Onegin....
LT
GRNDPADAVE
>Date: 12/14/2001 2:54 PM Central Standard Time
>Message-id: <Pine.SV4.3.96.10112...@saltmine.radix.net>
>
>Sounds like a vote for Placido Domingo. :)
>
>Or maybe Nicolai Gedda? Did he ever sing an opera in Spanish (I know he
>has all the other languages you mention covered)?
>
>
>Karen Mercedes
>http://www.radix.net/~dalila/index.html
Cara Karen:
Not Gedda.
Gedda is great in everything but Verdi and Puccini.
He lacks the sensuality for these operas, where an oleaginous middle voice is
de rigueur.
Gedda has unquestionably a terrific high voice and he does manage some robust
roles alarmingly well -- such as Benvenuto Cellini and Jean of Leyden. But,
for me, the big Italian tenor roles require more of a baritonal warmth.
Gedda also has not sung any of the Wagnerian roles (although he had a timbre
that would be perfect for Lohengrin).
So my nominee would be the other fellow. On a day when I want a quick-fix, I
listen to his MAN OF LA MANCHA, and savor his "Golden Helmet of Mambrino."
:>)) G/P Dave
Stregata
>that would be perfect for Lohengrin).
Dave,
Gedda sang Lohengrin in Stockholm sometime during the 70's. I have a copy on
cassette of that performance. As you say, his voice was perfect for Lohengrin.
I think this was the only time in his career that he sang this role. His Elsa
was Aase Nordmo-Lovberg. Both artists sounded fabulous in the duet and
elsewhere. Barbro Ericksson was Ortrud.
Stregata
Andre Edouard
Groucho..Chico..Harpo..Zeppo..Abbott..Costello..Tuchas.
And keep those dammed antlers away from my heros.
AndreEdouard
Tom Kaufman
>that would be perfect for Lohengrin).
I would not hold that against any tenor. In fact, I would consider that very
much in his favor.
But his prophete is fantastic.
Tom
Tom Kaufman
URL of web site:
<A href="www.geocities.com/Vienna/8917/index.html">Tom Kaufman's site</A>
REG
"Opaffic" <opa...@aol.com> wrote in message
news:20011215133621...@mb-fx.aol.com...
Andre Edouard
Harpo...Groucho...Chico...Zeppo
GIANTS ALL.
- HONK -
AE
Opaffic
Sounds like Robert Wilson to me
LOL
Yes, he does a lot of people in!!
GRNDPADAVE
>Date: 12/14/2001 8:37 PM Central Standard Time
>Message-id: <3C1AB772...@bellsouth.net>
That would work brilliantly for a Night at the Opera -- but what would you have
for a matinee?
By the way, I would add like to add the name of Margaret Dumont, the famous
Mrs. Rittenhouse as well as the dowager empresss of Freedonia.
:>))) G/P Dave
VocediVendetta
>>which names would you spread across the new Met's proscenium >
"Harpo...Groucho...Chico...Zeppo GIANTS ALL. - HONK "
=========
Good one. As swell as TROVATORE was, I always wanted the boys let loose in
PARSIFAL.
Back to the venerable composers.....
They could just leave the original names from the Old Met and hang a big sign,
draped in black crepe saying, "Rest in peace for in this Temple of Music, Art
is Dead."
Evelyn Vogt Gamble (Divamanque)
many of us remember Nelson Eddy's voice with pleasure).
However, He did NOT very often (if at all) appear on a major
operatic stage, however many opera singers he portrayed in
his movies. Nominate him as "King of Baritones", if you
will (we won't all agree with you, but he could at least be
considered a contender). "King of Opera", however, implies
some solid connection with the genre - either singer,
conductor, or composer (I think all three have been bandied
about, on this thread).
leonora
> Who is he for you? There's an ongoing thread about a certain Spanish tenor
> being labeled as the King of Opera. Without any animus to start a flame or
> resurrect old battaglias, I would be curious to know who, from the bottom of
> your heart, would you consider as your very special King of Opera and why. Is
> it his voice, his delivery, any special idiosyncracy? What makes him so very
> special?
>
> Only one King, please.
>
>
> Stregata
Oh well, now I'm probably going to shock everyone - I nominate THOMAS
HAMPSON. It would have been Jon Vickers, I was fortunate enough to
see him at the height of his powers, as Tristan, Florestan, Otello,
Peter Grimes, Samson and Canio.
HOWEVER, Hampson has conquered everyone with his stunning portrayal of
Amfortas in the current PARSIFAL at Covent Garden. I loved him before,
anyone, but this is really the best thing he's done.
Karen Mercedes
Now, now. At least there isn't yet a documentary called "Charlotte Church,
Opera Goddess" or "Andrea Bocelli, Emperor of Opera". No doubt, they're
waiting until next year to release these.
Karen Mercedes
http://www.radix.net/~dalila/index.html
***************************************
Verdi and Wagner delighted the crowds
With their highly original sound.
The pianos they played are still working,
But they're both six feet underground.
- Michael Palin
Rajeev Aloysius
> Boy....one.
> Ok, Caruso.
This is rather a waste of time. Who wants to be king, anyway?
There is an interesting article on Caruso in the Washington Post on
October 24.
http://www.washingtonpost.com/ac2/wp-dyn?pagename=article&node=&contentId=A48175-2001Oct24
Verdi would be a good nominee, if "done most for opera worldwide" were
considered. Revered everywhere, rarely criticised except for early
works!
For conductors, I think Abbado or old Victor de Sabata would be prime
candidates.
Regards
Rajeev Aloysius
Andre Edouard
He's working on "Lear, The Opera..with singing."
AE
Rajeev Aloysius wrote:
>
> This is rather a waste of time. Who wants to be king, anyway?
> Regards
> Rajeev Aloysius
Opaffic
LOL!!! You have a point, tho it can be kind of fun to think about one's
favorites, and why they ARE the one's we prefer.
As for being King, you raise valid question.....I am sure there must be
unbelievable pressure, yet royalty must also have it's perks!!
>There is an interesting article on Caruso in the Washington Post on
>October 24.
Thank you for that reference. A wonderful article and a perfect description of
just what I adore about my personal 'king' of the opera. Ah, for that time
machine again.
David Melnick
> Have you checked with Mel Brooks about that?
> He's working on "Lear, The Opera..with singing."
> AE
>
> Rajeev Aloysius wrote:
> > This is rather a waste of time. Who wants to be king, anyway?
I'm Leary of all these nominations, Timothy.
Shouldn't the issue be settled by gladiatorial combat?
I'm betting on Heppner, now that Pav's soccer days
are over. Carreras showed a good soccer leg on
one of those album covers, but this ain't soccer.
Melchior would've sat on them all until they cried
uncle. He's a'mouldering. Domingo could use
his partisan, but the two-handed engine at the
door is waiting for him, too. Hampson has the
height. . . . Raimondi has the Caruso mouth.
Wanda the Polish queen could choose.
Andre Edouard
Leary, Timothy...I have a vision.......
Every King has to have a "Champion."
For instance, Don Paolo is PD's "Champion."
Karen is Shicoff's "Champion."
Where is the "Champion" for Kurt Baum?....Baez, maybe?
AE