Nelson Eddy:How good was he?
Pandora Helms
Philadelphia papers, reviews, critics. Did a search on google re
comments on him. One long thread re the first performance of Wozzeck in
the U.S and Nelson's role as the drum major. It was at the Metropolitan
in Nov. 1931 with Stokowski conducting the Philadelphia Symphony. Nelson
mde his opera debut in Jan 1922 at the age of 20 as the king of Greece
in The Marriage Tax.The critic for the Philadelphia Publc Ledger wrote
"Remember the name Nelson Eddy , the young man has a voice that thrilled
because of its perfect control, clear resonant tone and excetional
quality". He signed with the Philadelphia Civic Opera 2 years later,
and became the Golden Boy of the Opera and audiences alike. Philadelpha
Record 2-12-25 "Mr. Eddy was a star from the moment he stepped on stage"
Conductors like Stokowski and Toscanini began using Nelson , and in
1931, he sang 8 roles during opera season and had a repertoire of 33
operatic roles. He was so popular that he easily survived a scandal,
when he had an affair with maybelle Marsten, a soprano, whose husband
sued for divorce and custody of their child. The critcs' praise
continued, and since Nelson looked against type as an opera singer(being
neither Italian, stout or short) often included his phyisical
appearance. He was, noted some critics "tall, slender, blond and blue
eyed"
Nelson began his concert career in 1928; in conjunction with opera. He
made 2 trips to Europe in th 20's to study in France and Germany. He was
offered a contract with the Dresden Opera, but turned it down. He was
appearing at a concert in LA in 1933, and a producer form MGM heard him
sing, and offered him a contract. Nelson thought movie exposure would
give him bigger concert audiences--which it did--he never expected the
tremendous hit that Naughty Marietta turned out to be. He was then
offered a contract with the Metropolitan which he turned down (much to
his regret later in life) But, by then he had met Jeanette, and their on
again off again obsession that lasted 30 years till her death, and his 2
years later. His last opera appearance was in San Francisco 1935, as
Amonsaro in Aida. The San Francisco Examiner wrote "He is one of the
great voices of the century, suave, aristocratic, yet as forceful as the
music demands." He never wanted to be remembered for the films, but for
concerts and opera.
Dan Autry
>He (Nelson Eddy)never wanted to be
>and opera.
Francisco prior to his movie career. She recalled him singing, what she
called "serious music" --Danse Macabre, Don Juan's Seranade etc. After
the first film, she said the audience more than doubled, he was mobbed
at every appearance. The term "groupies" wasn't in use then, but they
would scream and chant for Indian Love Call and Sweethearts. Often
Jeanette Mac Donald would appear in the audience and take a bow, or go
on stage and join him in a duet. My mother recalled interviews in which
he expressed a desire to return to opera, and get away from "make out"
music, but, he obviously never did. He made Phantom of The Opera, even
dyed his hair black to change his image, but, alas he will forever be
remembered as Sgt. Bruce of the RCMP, rather than delighting an audience
as Kothner in Die Meistersinger.
Dan Autry
William D. Kasimer
comprehensive article about Eddy's operatic career. In addition,
Pearl recently issued a CD that includes many of his recordings of
"serious" music.
Personally, I don't think that he'd have been particularly successful
in opera, had he stuck with it. First, the competition from Tibbett,
Thomas, and Bonelli was pretty stiff. Second, I find him a pretty
uninteresting singer when singing in languages other than English.
Third, he's got a baritone's timbre, but more of a bass range.
Bill
TheDivo
was talked into hearing a recital by a young baritone named Leonard Warren.
After hearing Warren sing 5 Verdi arias in a row Eddy reportedly said that
there was no way he could compete with that and he would stick to making
movies.
Pandora Helms
>After hearing Warren sing five Verdi arias in
>a row, Nelson reportedly said that there was
>would stick to making movies.
return to opera, by then in his 40's, he knew it was most unlikely. At
that point, he was the highest paid male singer in the world, (Sinatra
took over in 1943) and the life style was difficult to resist. My reason
for askng the question refers to the period between 1922 and 1935, and
why he continues to be judged simply by his film work rather than opera
and concert.. Should we simply dismiss the critics of that era as less
qualified to judge his talent than those of today who do so in
retrospect. Unfortunately, there appear to be no recordings, no filmed
opera or concerts. The CD released a few years ago Operatic Arias was
done in in 1940-1942, years after he left opera. Another theory, perhaps
he was an aberration; he did not "look" like the typical opera singer to
many Americans who still regarded opera as "foreign". Even in his films,
MGM hesitated to showcase him in opera. Perhaps "opera singer" wasn't
considered "leading man" material. In all their films, Jeanette was
permitted to sing opera. Nelson played an opera singer (a reluctant one)
in only one film--the most critically acclaimed Maytime; also nominated
as best film in 1937. There is a 20 minute opera sequence, and it is
beautifully done. Pity, he couldn't be judged by this.
pandora
daniel f. tritter
numbers you are looking at, irs tax returns, somebody's guesstimate, or
press releases, but i have only two words for you in the early-mid-'forties:
bing crosby. no others need apply.
as to eddy's serious singing, please note that leopold stokowski selected
him to sing the drum major in the american premiere of wozzeck. for another
splendid example of his work, there is the chocoloate oldier film with rise
steven, in which eddy sings a wonderful moussorgsky "song of the flea," a
rendition surpassed only [in some opinions] by that of feodor chaliapin,
rather select company.
dft
================
GRNDPADAVE
You hear him singing excerpts from IL BARBIERE DI SIVIGLIA, MARTHA, LUCIA DI
LAMMERMOOR, and he sings both the roles of Tristan and Isolde.
In fact, he does all the voices in this 20-minute cartoon.
There is a dandy "Mammy's little bably loves short'nin' bread".
In a 1940-ish PHANTOM OF THE OPERA (with a splendid dramatic performance by
Claude Rains) Eddy sings (in French) several operatic selections.
A wonderful singer, I doubt that he would have been scared off by Warren. The
man would have challenged Tibbitt for baritonal hegemony.
The tenor role in NAUGHTY MARIETTA was adjusted to his voice. His "Neath the
Southern Moon" is still charming,
==G/P Dave
Pandora Helms
>highest paid male singer in the world
I too wondered about Crosby at the time. However, Nelson's biggest
income was not from films or records but his concerts. His contract gave
him 3 months off every year and he played nearly every big city
throughout the country. He received $15,000 per concert, almost unheard
of during the Depression era.
Thank you for mentioning Chocolate Soldier; he received his best film
reviews for his comedic dual role. Most people are unaware of his great
sense of humor, He loved to parody himself in his films, On the set, he
told off color jokes, and he and Clark Gable, who took him under his
wing when he first appeared at MGM, were both great practical jokers.He
loved appearing with Bergen & McCarthy, and Burns and Allen on their
radio shows and became a regular guest. As for Chaliapin, Nelson was a
great admirer of him, and wanted to portray him in a film; he even wrote
a screenplay to no avail.
The last 15 years of his life, he spent 11 months of the year on the
road doing what he loved best--singing. He and his partner, gorgeous
Gale Sherwood, were booked 2 years in advance at the time of his death.
He died, as most dedicated singers, would probably prefer, during a
performance, of a stroke in 1967 at the age of 65.
Dan Autry
(is anyone here old enough) see the live color telecast of Desert Song
in 1955? Since it was live it probably was done twice, once for the
east coast and then for the west. A friend's family had one of the first
color sets and it was the first time I saw a tv show in color. Eddy must
have been in his early 50's and looked great, and sounded strong and
clear. My friend and I were looking more at Gale Sherwood than
Eddy--thinking what a lucky guy. She was a beauty, blond, blue eyes, and
sounded a lot, especially her speaking voice; as well as her singing
like Jeanette
MacDonald. Whatever happened to her after Eddy died? There was a lot of
gossip around Eddy, Gale, and Eddy's wife(who was supposedly a lot older
than he was) and Jeanette who was ill a lot (heart trouble?) and her
husband Gene Raymond, who was bisexual (not that there's any thing wrong
with that). It all sounded like a soap opera with Eddy and MacDonald as
star crossed lovers never able to be together too long. She was seen as
the faithful one while Eddy got plenty on the side. Still, he seemed to
take her death pretty hard, and lived only 2 more years himself.
And he was, one hell of a talented man.
Dan
Pandora Helms
>The tenor role in Naughty Marietta was
>adjusted to his voice. His "Neath The
> Southern Moon" is still charming
They rewrote the whole song for him. I believe it was originally sung by
a mulatto servant girl. The version Nelson sings in the movie has never
been recorded, just the original. In the film, it must be one of the
ways to get around the censor--the Hayes office was watching every kiss,
every word-but the song "neath the spreading palms, you WILL surrender"
was as sexy as it got in 1935. Nelson's voice was at its greatest in
this, his first film, and he looked fabulous. No wonder the preview
audience stood and applauded several times. A star was born and they
were there.
pandora
Michael Lodico
Nelson Eddy (and other budding opera stars like Helen Jepson) in
Philadelphia back in the 1920's. I remember hearing her talk about what a
wooden actor he was on stage, but how his glorious voice would bring down
the house.
m. lodico
"Dan Autry" <Dan...@webtv.net> wrote in message
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Karen Mercedes
> The tenor role in NAUGHTY MARIETTA was adjusted to his voice. His "Neath the
> Southern Moon" is still charming,
Even if it was a mezzo-soprano song. :)
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
Karen Mercedes
focused a lot on their off-camera romance.
http://lightning.prohosting.com/~shicoff/Singers/eddy.html
REG
every bit as fine in Chocolate Soldier as Eddy. The performance of "My
Hero" shows to me one of the most beautiful instuments of its kind and very
much like chocolate - deep, rich and seamless through the range (no
almonds).
"Pandora Helms" <pa...@webtv.net> wrote in message
news:22555-3C...@storefull-111.iap.bryant.webtv.net...
bailey Leeds
Rose Bampton, a mezzo, I believe who was part of that young group of
singers in Philadelphia in the 20's. Rose and Helen corresponded for a
while, and she mentioned Nelson Eddy a lot, according to my husband. He
said both Helen and Rose liked Nelson, but Nelson liked Helen better.
She said they were "hot and heavy" for some time. She also said that
later on Nelson had an affair with Grace Moore.
Wish I still had those letters!!!
Bailey
m.lodico who wrote
>my great aunt********accompanied Nelson
>Eddy and other budding opera stars like
>Helen Jepson
David Melnick
For a taste of Jepson's quality: Naxos has released a Met Faust
from April 1940. A beautiful performance all around (also
with Crooks, Pinza and Warren, cond. Pelletier, who was
Bampton's husband).
David
Oisk17
Cossack Ride," "Song of the Volga Boatmen," and "At the Balalaika" among
others, on 78 RPM records. I never lost my affection for his singing, and have
purchased CD's featuring Eddy wherever I could find them.
Regards,
Paul
Ancona21
I wonder if she knew my sainted grandmother . . .
Ancona
Leonard Tillman
in French and Italian.
But for that, his occasional aria recordings (especially in
English), and best of all, his operetta selections and other love
ballads were wonderfully done - with a manly excellence that few since
could approach, and still fewer, equal.
Nelson Eddy is one of the first *great singers* I learned about, as
an eleven year old.
The films he made with Jeanette MacDonald were thoroughly
enjoyable....though not likely to ever be duplicated in kind by any
singers of the present.....things are just too different now
LT
Eleanor Knowles Dugan
the talent or importance of a person. I'm obviously a great fan of
Nelson Eddy, having a web site devoted to him and Jeanette, but I can
happily point out that the British comedian and banjolele player
George Formby made $10 million a year in the late 1930s through the
perspicacity of his agent/wife. This included films, recordings, radio
and personal appearances. To have some sort of comparison, Garbo and
Gable made about $600,000 a year at that time, an enormous fortune
when a workman made $30 a week.
Matthew B. Tepper
fi.aol.com:
><< My great aunt, who died six years ago at the age of 97 >>
>
> I wonder if she knew my sainted grandmother . . .
They're playing canasta right now.
--
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
John G. Moore
great grandchildren. They love it and what a wonderful to introduce them to
opera. One 4 year old sings along with Nelson through the whole thing.
John
Daniel Kessler
bitterly to Louis B. Mayer about his bad breath which she had to endure in
close-ups.
Edward A. Cowan
> My husband was distantly related to
> Rose Bampton, a mezzo, I believe who was part of that young group of
> singers in Philadelphia in the 20's.
Rose Bampton later became a soprano. I heard her once in a performance
of _Tannhäuser_ in San Antonio in 1948. Though I recall little of her
singing (I was just 10 years old then, and this was my first Wagner
opera), I do have some recordings by her: The Toscanini recording of
_Fidelio_, a Met broadcast of _Don Giovanni_ (she sings Donna Anna), and
a few items from the old "Heart of the Opera" series on 78s transferred
to the Camden LP label.
What I do recall from that 1948 performance is visual: She was very
tall, towering head and shoulders over tenor Set Svanholm!
--
E.A.C.
Dan Autry
move to Hollywood to enjoy the "sweet life". It was surely the roaring
20's at the Philadelphia Opera Co., and Nelson really had something to
sing about. If they ever make a movie about him, it shoud provide roles
for a whole lot of aspiring actresses . Who would play Jeanette, Gale,
Grace, Janet, Rise, Eleanor etc.. The only one who got away seems to be
Shelley Winters.
Dan
bailey Leeds
>She was very tall, towering head and
>shoulders over tenor Set Svanholm!
a dozen of the singers, and she and Nelson were the tallest. Maybe, that
was another reason she was attracted to him.
Pandora Helms
>I read somewhere that Eddy had false teeth
Gable in GWTW. It was no secret about Gable's dentures. Nelson's teeth
were his own, as was that beautiful curly hair(that MGM insisted on
plastering down). Nelson was blessed with very good genes and sturdy New
England ancestors.
pandora
And Jeanette had plenty to complain about, his jealousy, temper,
womanizing; but not his breath.
Karen Mercedes
Right story, wrong movie stars. It was Clark Gable who had the dentures
and terrible breath, and Vivien Leigh was one of several complainers.
Ancona21
>
> I wonder if she knew my sainted grandmother . . .
They're playing canasta right now. >>
Auntie will lose. My grandmother is an accomplished cheater.
Ancona
Eduardo Baez
New England? I thought they were, and that he was one of the seven Gables
in some house.
"Pandora Helms" <pa...@webtv.net> wrote in message
news:10311-3C...@storefull-113.iap.bryant.webtv.net...
Andre Edouard
Of course in ____________ 's case, such might not be the case.
Insert name of your choice.
AndreEdouard
Karen Mercedes
Actually, I didn't write the above - someone else did. I wrote a response
to it. I'd like to think your misattribution was entirely a mistake. If
not, it's a rather cheap, slovenly way to try and take a poke at someone.
Andre Edouard
If that had been aimed at you, you'd know it.
AndreEdouard
Tom Hamilton
I cannot comment except to say that 60 years ago the Nelson/Jeanette
movies were considered by the nuns and priests that watched over my
spiritual welfare, to be too sexy. They strongly recomments to parents that
we not be allowed to attend.
In 1946 my sixteen year old girl friend joined me in singing 'My Hero"
at a Minstrel Show, me in blackface and she in Virginal White. We became the
Nelson and Jeanette if the day and have been married for 48 years.
And still singing.
Best singing Nelson ever did was in some kind of Movie presentation
called "The Whale who wanted to sing at the Met" He sang all four part
through some speed manipulation that was, for its time. state of the art.
Happy Holidays to all:
Tom
"Karen Mercedes" <dal...@radix.net> wrote in message
news:Pine.SV4.3.96.101121...@saltmine.radix.net...
Mike Richter
> Best singing Nelson ever did was in some kind of Movie presentation
> called "The Whale who wanted to sing at the Met" He sang all four part
> through some speed manipulation that was, for its time. state of the art.
In my opinion, the best singing he did after leaving Philadelphia was on
his radio programs. That's why some weeks ago I posted a page of
operatic excerpts from those programs at my WWW site.
Since the page was already posted, I'll venture my own opinion on the
original question. Eddy had a fine instrument and was well trained. He
was not an interpreter and found his metier in films, concerts and
broadcast. My guess in spite of anecdotal evidence is that the voice was
not particularly large. In the competition of the day, his success on
the opera stage would have been quite limited, but he certainly would
not have been an embarassment in any production.
Christine Souter
rather than critical analysis, then I say Nelson Eddy's voice takes me
to the moon and back. Is that subjective enough?
****Nelson Eddy, Centennial 1901--2001
****America's Greatest Baritone, and one handsome dude****Ah, Sweet
mystery*****
Karen Mercedes
Indeed, one of the very small handful of blonde men to ever "do it" for
me.
Leonard Tillman
"Stout-Hearted Men", "Rose-Marie", "At the Balalaika", "Rosalie" [which
he introduced in the film of that name, with Eleanor Powell], etc.).
His closest successors were Howard Keel (a bass-baritone) and
fellow-baritone Earl Wrightson (who, with Lois Hunt, recorded some of
the most popular Romberg, Friml, and Kern operetta/musical selections -
some of which Eddy and MacDonald had been associated with - for
Columbia).
LT
Leonard Tillman
http://www.melodylane.net/jmne.html
LT
Leonard Tillman
>http://www.melodylane.net/jmne.html
---- Apologies for my posting the above - I did not know that this
website now requires a fee!
(It didn't when I first learned of it....things change....)
LT
Hank Conner
"Leonard Tillman" <tapef...@webtv.net> wrote in message
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Leonard Tillman
From: ha...@ufl.edu (Hank Conner)
>Well, they say "The best things in life are
> fee".
Too true......(much, or most of the time....:-) )
----------------------------
>"Leonard Tillman" <tapef...@webtv.net>
> wrote in message
>.news:5640-3C1...@storefull-211.iap.
Karen Mercedes
I've never liked Howard Keel very much, but I've always had a soft spot
for Gordon McRae....
daniel f. tritter
Karen Mercedes wrote:
macrae was indeed a very good one. i first heard him on a regular radio
program he hosted and sang, entitled "the railroad hour."
and earl wrightson was a splendid baritone too, probably could have had a
fine operatic career if he so chose.
As to howard keel, i now recount a story told me by one who was present at
the event, perhaps in the mid-'50's.
there was once a famous nightclub in manhattan by the name of the
copacabana, run by a famous not-too-couth fellow with a gravel voice and only
marginal tolerance for those he didn't care for.
following some of his hollywood exploits, mr. keel, a tall, strapping hunk,
with a muscular and somewhat effortful voice, bolstered by an inflated
opinion of his talent, got booked into the "copa," for a run of performances,
a well-publicized date.
big julie podell measured talent by applause, number of patrons present and
the length of their bar bills. keel opened to a batch of empty chairs
masquerading as customers, and a rather puny response to his songs, some of
which bore only a distant relation to being in the same key as the band's.
but our hero heard in his inner ear an ovation that was in fact a rather
fitful patter of tepid applause. he was, in short, a bomb.
as keel bounded up the short stairway, there was big julie, arms folded,
leaning on the rail opposite the dressing rooms. with a broad smile, keel
looked at podell and asked, "well, mr. podell, what'd you think?"
the boss man, smirked and asked, "kid, can ya take a good piece of
constructive advice?"
quoth keel: "sure."
the advice: "go fuck yerself."
whether keel took the advice is not known, but not a lot of his contemporary
audiences are demanding a revival of his films [save for the immortal "seven
brides for seven brothers" which had such a raft of glorious dancing talent
that even keel couldn't sing into oblivion.
dft
Leonard Tillman
>As to how good he was, I found no one to do
> his specialties better (eg, "Stout-Hearted
> Men", "Rose-Marie", "At the Balalaika",
> "Rosalie" [which he introduced in the film of
> that name, with Eleanor Powell], etc.).
>His closest successors were Howard Keel (a
> bass-baritone) and fellow-baritone Earl
> Wrightson (who, with Lois Hunt, recorded
> some of the most popular Romberg, Friml,
> and Kern operetta/musical selections - some
> of which Eddy and MacDonald had been
> associated with - for Columbia).
~~~~~~~~~~~~~~~~~~~
>I've never liked Howard Keel very much, but
> I've always had a soft spot for Gordon
> McRae....
>Karen Mercedes
>http://www.radix.net/~dalila/index.html
~~~~~~~~~~~~~
MacRae recorded some selections in the '50's for Capitol Records, of
operetta favorites (some of which were popularized long before that by
Eddy and MacDonald).
The original choice for the Carousel film's Billy Bigelow was to be
Frank Sinatra, who bowed out of it......His replacement was MacRae,
IMVVHO much more suited to the role, in voice and appearance, at least.
LT
TheDivo
>> bass-baritone) and fellow-baritone Earl
>> Wrightson (who, with Lois Hunt, recorded
>> some of the most popular Romberg, Friml,
>> and Kern operetta/musical selections - some
>> of which Eddy and MacDonald had been
>> associated with - for Columbia).
Surprisingly no one has mentioned Alfred Drake, one of the best "Broadway
baritones". He was the first Curly in "Oklahoma".
Karen Mercedes
me that any one of them could have sung and acted rings around Keel. Hell,
I'd even rather listen to Jerry Orbach!
Karen Mercedes
Dorothy Kirsten. I've also got one of his Capitol solo outings, but must
admit it's not one of his better efforts. The voice is glorious, but the
performances sound definitely "phoned in". But on the Romberg, he's
superb!
Karen Mercedes
> Surprisingly no one has mentioned Alfred Drake, one of the best "Broadway
> baritones". He was the first Curly in "Oklahoma".
I'm embarrassed - I definitely meant to include Drake in my list of
notable Broadway baritones! Fantastic voice and talent.
Probably should also note that Lawrence Tibbett was Nelson Eddy's
extremely able predecessor in MGM-filmed operettas, often with Grace Moore
as his partner.
And how about the tenors? Any thoughts on Dennis Morgan (star of the
VAGABOND KING remake with the unpleasant Kathryn Grayson)? Or sometime
Jeanette MacDonald partner Allan Jones?
David Melnick
> Alfred Drake . . . Fantastic voice and talent.
He was a particularly sonorous and dramatically effective
Claudius in the Richard Burton Hamlet, directed by
Gielgud. I've always wondered whether there was an
interesting story behind his being cast in the role. In any
case, it was a striking performance.
David
Oisk17
>Date: 12/17/2001 4:27 PM Eastern
>Surprisingly no one has mentioned Alfred Drake, one of the best "Broadway
>baritones". He was the first Curly in "Oklahoma
Aw, you beat me to it! He was also great in "Kismet" and "Kiss me Kate."
Paul
Leonard Tillman
> probably could have had a fine operatic
> career if he so chose.
For a while that was his aim....He once mentioned on Johnny
Carson's "Tonight" show (or maybe to Jack Paar, before Carson took
over) having performed in Parsifal, and some other operas, before
turning to B'way musical theater repertory.
He had a great voice, with matching appearance and personality, not
common in any era.
LT
Leonard Tillman
>John Raitt, Harve Presnell, Richard Kiley,
> John Cullum - it always struck me that any
> one of them could have sung and acted rings
> around Keel. Hell, I'd even rather listen to
> Jerry Orbach!
( -- I've got to admit I like Keel, ) -- but, as to Raitt and
Presnell, both fine singers (Raitt, having the somewhat better
voice...), -- they've always sounded to me as tenors, rather than
baritones!
- And Jerry Orbach....well, he's busy these days, keeping "Law and
Order" (at least in the TV show of that name...).
LT
TheDivo
probably the most famous. Robert Weede was the original Tony in "Most Happy
Fella" a role that many Broadway baritones
might have trouble dealing with. The music is almost Verdian. Richard Torigi,
my first teacher and a wonderful baritone, did Tony at all the matinees and
quite a few evening performances because Weede found doing all the performances
just too strenuous.
Leonard Tillman
>Surprisingly no one has mentioned Alfred
> Drake, one of the best "Broadway baritones".
> He was the first Curly in "Oklahoma".
-- And the original leading man in "Kiss Me Kate", and in "Kismet".
Also, he did the Maurice Chevalier role in the stage version of "Gigi".
( And I think he was once a winner of the Met Opera auditions On the
Air, or a similar competition in the '40's....)
LT
GRNDPADAVE
film of ANNIE GET YOUR GUN.
And, although I prefer the 1936 version, Keel was quite effective as Gaylord
Ravenal in the 1951 version of SHOW BOAT.
He had a deep baritone that worked in this role, although I still prefer the
tenorial Allan Jones and the unforgettable performances from Paul Robeson,
Helen Morgan, and Irene Dunne.
==G/P Dave
Leonard Tillman
>A number of opera singers have had
> successful stints on Broadway. Pinza is
> probably the most famous. Robert Weede
> was the original Tony in "Most Happy Fella" a
> role that many Broadway baritones
>might have trouble dealing with. The music is
> almost Verdian.
Perhaps that's why the role is not touched by singers of lesser
caliber, at least to my knowledge...
>Richard Torigi, my first
> teacher and a wonderful baritone, did Tony at
> all the matinees and quite a few evening
> performances because Weede found doing
> all the performances just too strenuous.
-- Torigi definitely was an excellent (and underrated) baritone - with
a similar vocal richness to Earl Wrightson's.
-- I think he was once in a TV-production of "L'Amore di Tre Re",
with Frank Porretta and possibly Phyllis Curtin or Judith Raskin, on NBC
.
He was also the one real attraction in some budget-priced albums of
musicals ("Diplomat", or a similar label), released in the '60's or so.
LT
Leonard Tillman
>He had a deep baritone that worked in this
> role, although I still prefer the tenorial Allan
> Jones and the unforgettable performances
> from Paul Robeson, Helen Morgan, and Irene
> Dunne.
>==G/P Dave
~~~~~~~~~~~~~~~~~~~~~
(In that classic, don't forget Charles Winninger -- and Hattie McDaniel,
"scene-stealers", both!!)
--- I remember an old, "limited-release" album of Showboat, with Keel
and Ann Jefferies (of the TV-show, "Topper"), in which Keel doubles as
"Joe", turning in a powerful rendering of "Ol' Man River".
LT
TheDivo
>
>>Richard Torigi, my first
>> teacher and a wonderful baritone, did Tony at
>> all the matinees and quite a few evening
>> performances because Weede found doing
>> all the performances just too strenuous.
>
>
>-- Torigi definitely was an excellent (and underrated) baritone - with
>a similar vocal richness to Earl Wrightson's.
>
> -- I think he was once in a TV-production of "L'Amore di Tre Re",
>with Frank Porretta and possibly Phyllis Curtin or Judith Raskin, on NBC
>.
>
> He was also the one real attraction in some budget-priced albums of
>musicals ("Diplomat", or a similar label), released in the '60's or so
Torigi sings Ford on a recording of Falstaff from New Orleans. Leonard Warren
is Falstaff. There also used to be a video available of Cavalleria Rusticana
with Torigi as Alfio and Del Monaco as Turiddu. He sang most of the major
baritone roles at the NYCO during the 60's. Dick was one of the nicest people
I ever knew in the opera business.. .a real gentleman and a fine teacher.
Ancona21
Claudius in the Richard Burton Hamlet, directed by
Gielgud. I've always wondered whether there was an
interesting story behind his being cast in the role. >>
I thought him the weakest link in the production, although the extraordinary
cast makes such a comparison all but meaningless I suppose. I've only seen the
film of the dress rehearsal performance; did you see it in the house?
Ancona
TheDivo
>and Ann Jefferies (of the TV-show, "Topper"), in which Keel doubles as
>"Joe", turning in a powerful rendering of "Ol' Man River".
I have that recording on LP and it is surprisingly good although i haven't
listened to it in years.
David Melnick
No. I saw the film. I thought Drake's Claudius was
so much more human than any I'd seen before that
it made his soliloquy in III.iii understandable -- Sh.'s
ability to get inside his characters extending even
to the king -- not just a villain's agonized exercise
in theology.
It was Burton I had trouble with. I was surprised he
didn't go even further than he did and take the
opportunity to say, "Now might I do it, Pat!"
But I haven't seen the film for many years. If I saw it again,
I might like Burton's portrayal better than I did at
the time, conceited little snot that I was.
Dav
GRNDPADAVE
>"scene-stealers", both!!)
>
>--- I remember an old, "limited-release" album of Showboat, with Keel
>and Ann Jefferies (of the TV-show, "Topper"), in which Keel doubles as
>"Joe", turning in a powerful rendering of "Ol' Man River".
>
> LT
Oh yes, I recall Hattie McDaniel in the scene where Robeson sang the additional
song "Ah still suits me" written by Kern especially for the 1936 film.
Winninger was Cap'n Andy. (I think he had appeared in the original 1927
production).
I first saw the movie at the Museum of Modern Art on 53rd Street. The 1951
technicolor movie drove the bland-and-white classic out of the regular
theaters. Ava Gardner was stunning, but Kathryn Grayson was rather artificial.
The later movie did not deal with the serious issues that Hammerstein invested
into the musical. William Warfield had the Robeson role, but seemed to be
totally outside of the plot where Robeson was the biggest scene-stealer of all.
My favorite scene, though, was Irene Dunne doing her little shuffle dance.
Nelson Eddy, unfortunately, never got into anything quite so serious.
==G/P Dave
Opaffic
>I ever knew in the opera business.. .a real gentleman and a fine teacher.
>
He still is! Basically retired, he is teaching and enjoying life with his wife
in Florida.
Premiereopera
>with Torigi as Alfio and Del Monaco as Turiddu. He sang most
There still is, with Rina Telli as Santuzza. It's available, for those
interested.
Ed
http://www.premiereopera.com for the best in opera on Video & CD
Leonard Tillman
>Dick was one of the nicest people
>I ever knew in the opera business.. .a real
> gentleman and a fine teacher.
~~~~~~~~~~~~
>He still is! Basically retired, he is teaching and
> enjoying life with his wife in Florida.
-- Glad to know that, about a fine baritone I've always liked! (I was
about to ask, just before I read this post.)
LT
Mike Richter
> ( -- I've got to admit I like Keel, ) -- but, as to Raitt and
> Presnell, both fine singers (Raitt, having the somewhat better
> voice...), -- they've always sounded to me as tenors, rather than
> baritones!
Coincidentally, people may judge for themselves this week. Presnell's
"Oh Holy Night" is posted at my WWW site - along with other renditions
in French and Swedish by singers more readily recognized as "operatic".
Dan Autry
I mentioned seeing Nelson Eddy in the live, color tv version .
Amazingly, there are copies of this; not commercial ones--most of those
live telecasts were never recorded. These poorly made copies are
circulating among members of Nelson's many fan clubs. The video is
grainy, almost unwatchable, but the sound is good, and Nelson at 53 was
still great. And, yes, 34 years after his death, these battling fan
clubs still exist. Several times while he was living, he had to threaten
to disavow one club, which was very disruptive and vitriolic towards
MacDonald, blaming her influence on his defection from opera. There were
also MacDonald fans who hated Nelson, and denied any relationship
between the two; fervently believing the press agents who lauded her
"storybook" marriage.
Oh, and despite the poor copy of Desert Song, it was warming to see and
hear the statuesque Gale Sherwood again.
Dan Autry
Karen Mercedes
>
> >Surprisingly no one has mentioned Alfred
> > Drake, one of the best "Broadway baritones".
> > He was the first Curly in "Oklahoma".
> ~~~~~~~~~~~~~~~~~~~~~~
> -- And the original leading man in "Kiss Me Kate", and in "Kismet".
> Also, he did the Maurice Chevalier role in the stage version of "Gigi".
>
Which, despite Drake's participation (at the very end of his career), was
an excrescence that has deserved its hard-won obscurity. There is no
comparison at all between the charming (if somewhat anachronistically
misogynistic) film, and the egregious stage adaptation.
GRNDPADAVE
>Date: 12/18/2001 11:18 AM Central Standard Time
>Message-id: <21206-3C1...@storefull-115.iap.bryant.webtv.net>
I wonder how this Nelson Eddy DESERT SONG compares with the movie that starred
Dennis Morgan.
Although I saw the film only once, I have warm memories of Morgan singing the
Riff Song.
==G/P Dave
Leonard Tillman
> Drake, one of the best "Broadway baritones".
> He was the first Curly in "Oklahoma".
~~~~~~~~~~~~~~~~~~~~
> -- And the original leading man in "Kiss Me
> Kate", and in "Kismet". Also, he did the
> Maurice Chevalier role in the stage version of
> "Gigi".
~~~~~~~~~~~~~~~~
>Which, despite Drake's participation (at the
> very end of his career), was an excrescence
> that has deserved its hard-won obscurity.
> There is no comparison at all between the
> charming (if somewhat anachronistically
> misogynistic) film, and the egregious stage
> adaptation.
>Karen Mercedes
Well, that stage production and most of its cast aren't
remembered anywhere near as much as Drake, whose participation is still
fondly recalled once in a while.
(About 2 or 3 years ago, WQXR's June LeBell [alas, having since taken
an early retirement...]
played and discussed part of the album, of which Drake was the obvious
attraction.)
The film version, of course, boasted the very popular Leslie
Caron in the title role, and featured Louis Jourdan (no singer, really,
- but he "sang-spoke" his songs rather decently, I thought.), the
charming and lovable Hermione Gingold (who afterwards, appeared often on
TV talk-shows in the early 1960's), and the legendary Maurice Chevalier
( -- performing one his very greatest *signature songs*, "Thank Heaven
For Little Girls"!).
LT
Leonard Tillman
> despite the poor copy of Desert Song, it was
> warming to see and hear the statuesque Gale
> Sherwood again.
>Dan Autry
~~~~~~~~~~~~~~~~
>I wonder how this Nelson Eddy DESERT
> SONG compares with the movie that starred
> Dennis Morgan.
>Although I saw the film only once, I have warm
> memories of Morgan singing the Riff Song.
>==G/P Dave
~~~~~~~~~~~~~~
-- There was also in that era, a DESERT SONG with Gordon MacRae and
Kathryn Grayson, - very nicely done, but obscure now (as are most of
these works, unfortunately).
Also, Nelson Eddy recorded a Columbia LP of this operetta, but with
Doretta Morrow (in place of his frequent partner, Gale Sherwood)....the
two voices blending beautifully in the title song's second verse,
- and Nelson giving wonderful performances of the vigorous Riff Song,
and the lovely One Alone....(Ahhh...they don't write stuff like that,
anymore... :-) ).
LT
TheDivo
>starred
>Dennis Morgan.
>
>Although I saw the film only once, I have warm memories of Morgan singing the
>Riff Song.
There are actually 3 Hollywood versions of "The Desert Song". The first was in
1929 and I'm not familiar with any of the principles. The 1943 version
featured Dennis Morgan and Irene Manning. The 1953 version starred Gordon
MacRae and Kathryn Grayson. The Nelson Eddy telecast was in 1955.
Karen Mercedes
in THE MUSIC MAN - which was also the first solo role I ever did in
musical theatre.
Karen Mercedes
Loy as the dancing maiden Azuri. John Boles, a particularly stiff-board
actor, played the Red Shadow - Boles is probably better remembered for his
appearances as the father-figure opposite Shirley Temple in two of her
most memorable films, CURLY TOP and THE LITTLE REBEL, as Victor Moritz in
the original FRANKENSTEIN, and as Stephen Dallas in STELLA DALLAS with
Barbara Stanwyck.
Unlike Boles, Carlotta King - who played Margot - was not a movie actress,
but a singer, probably better known as Mrs. Giuseppe di Luca. THE DESERT
SONG was her only film.
TheDivo
>in
>1929 and I'm not familiar with any of the principles.
Or the principals.
Matthew B. Tepper
news:Pine.SV4.3.96.101121...@saltmine.radix.net:
> Hermione Gingold also played Eulalie Mackechnie Shinn, the mayor's wife,
> in THE MUSIC MAN - which was also the first solo role I ever did in
> musical theatre.
Balzac!
--
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
Doretta Morrow, later to star in Kismet.
Regards,
Paul
Drakejake
last year of college and first year of law school. What got me
interested were the MacDonald/Eddy movies and the Great Caruso with
Mario Lanza, all shown at revival or art house theatres in Boston and
NYC. The M/E movies are not very good, but Maytime in particular has
some of the most wonderful musical scenes ever filmed. The scene when
an aged MacDonald recalls her love of Eddy, while autumn leaves fall
around her, is one of the great tearjerkers of all time. The Carry Me
Back to Ole Virginny and the Maypole or country fair scenes are
enormously romantic. I thought Jeanette was very sexy but that Nelson
had the sex appeal of a clothing store mannequin. I believe there is
a fake opera scene in Maytime that is fairly compelling as the couple
impersonating lovers on stage are obviously in love with each other
for real. John Barrymore provides a rather hammy contrast to the
sweet, natural acting of Jeanette and Nelson. Nelson also made a
movie called The Chocolate Soldier with the lovely Rise Stevens and
the score is available, at least it was issued on LP. There are some
beautiful songs and Rise is very sexy vocally and physically.
Loca Telli
Mike Richter <mric...@cpl.net> wrote in message news:<3C1A51EA...@cpl.net>...
>
> Since the page was already posted, I'll venture my own opinion on the
> original question. Eddy had a fine instrument and was well trained. He
> was not an interpreter and found his metier in films, concerts and
> broadcast. My guess in spite of anecdotal evidence is that the voice was
> not particularly large. In the competition of the day, his success on
> the opera stage would have been quite limited, but he certainly would
> not have been an embarassment in any production.
>
> Mike
werickcreat...@gmail.com
> Tom Hamilton wrote:
>
> > Best singing Nelson ever did was in some kind of Movie presentation
> > called "The Whale who wanted to sing at the Met" He sang all four part
> > through some speed manipulation that was, for its time. state of the art.
>
> In my opinion, the best singing he did after leaving Philadelphia was on
> his radio programs. That's why some weeks ago I posted a page of
> operatic excerpts from those programs at my WWW site.
> Since the page was already posted, I'll venture my own opinion on the
> original question. Eddy had a fine instrument and was well trained. He
> was not an interpreter and found his metier in films, concerts and
> broadcast. My guess in spite of anecdotal evidence is that the voice was
> not particularly large. In the competition of the day, his success on
> the opera stage would have been quite limited, but he certainly would
> not have been an embarassment in any production.
>
> Mike
> mric...@cpl.net
> http://www.mrichter.com/
Robert Merrill's autobiography had chapters on different performers and he had one on Danny Kaye, one on Lawrence Tibbett and one on Nelson Eddy. As I remember, he was kindest to Danny Kaye. He criticized Tibbett for his drinking while allowing that he was a great baritone. He portrayed Nelson Eddy as depressed about his love life, encountering him later in life I think, and said that his voice wasn't high enough or loud enough to make it in opera. It has the smell of envy; I believe Merrill had a half note on Eddy at the top end and had a rich, round tone, but he is not as well regarded as Tibbett. There is a you-tube of Gordon McRae singing O Holy Night with Tennessee Ernie Ford, an underrated bass-baritone that brings you back to the simple pleasure of hearing two great singing voices. And that brings to mind stories from another book whose title I've forgotten that tells of a Hollywood party with Melchior, Tibbett and Eddy singing together around a piano.
gggg gggg
> I've spent some time researching Eddy, especially his opera years--the
> Philadelphia papers, reviews, critics. Did a search on google re
> comments on him. One long thread re the first performance of Wozzeck in
> the U.S and Nelson's role as the drum major. It was at the Metropolitan
> in Nov. 1931 with Stokowski conducting the Philadelphia Symphony. Nelson
> mde his opera debut in Jan 1922 at the age of 20 as the king of Greece
> in The Marriage Tax.The critic for the Philadelphia Publc Ledger wrote
> "Remember the name Nelson Eddy , the young man has a voice that thrilled
> because of its perfect control, clear resonant tone and excetional
> quality". He signed with the Philadelphia Civic Opera 2 years later,
> and became the Golden Boy of the Opera and audiences alike. Philadelpha
> Record 2-12-25 "Mr. Eddy was a star from the moment he stepped on stage"
> Conductors like Stokowski and Toscanini began using Nelson , and in
> 1931, he sang 8 roles during opera season and had a repertoire of 33
> operatic roles. He was so popular that he easily survived a scandal,
> when he had an affair with maybelle Marsten, a soprano, whose husband
> sued for divorce and custody of their child. The critcs' praise
> continued, and since Nelson looked against type as an opera singer(being
> neither Italian, stout or short) often included his phyisical
> appearance. He was, noted some critics "tall, slender, blond and blue
> eyed"
> Nelson began his concert career in 1928; in conjunction with opera. He
> made 2 trips to Europe in th 20's to study in France and Germany. He was
> offered a contract with the Dresden Opera, but turned it down. He was
> appearing at a concert in LA in 1933, and a producer form MGM heard him
> sing, and offered him a contract. Nelson thought movie exposure would
> give him bigger concert audiences--which it did--he never expected the
> tremendous hit that Naughty Marietta turned out to be. He was then
> offered a contract with the Metropolitan which he turned down (much to
> his regret later in life) But, by then he had met Jeanette, and their on
> again off again obsession that lasted 30 years till her death, and his 2
> years later. His last opera appearance was in San Francisco 1935, as
> Amonsaro in Aida. The San Francisco Examiner wrote "He is one of the
> great voices of the century, suave, aristocratic, yet as forceful as the
> music demands." He never wanted to be remembered for the films, but for
> concerts and opera.
In 1953, he appeared on the tv program WHAT'S MY LINE?:
https://www.youtube.com/watch?v=igoK00ojn5Q