Legendary Historical Singers

Started by Que, June 22, 2007, 12:25:39 AM

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Harry Powell

Hi Count,

With plenty of excitement (I can't conceive a dull "Trovatore") and excellent singing. One of the best options.

I'm not an native English speaker, so please feel free to let me know if I'm not expressing myself clearly.

Florestan

Every kind of music is good, except the boring kind. — Rossini

knight66



This new issue has arrived. I believe it is indeed the version I used to own when I was a teenager, but it is not the performance attributed on the box.

The cover claims this to be a live performance from Napoli 1959. I was surprised and assumed it would not therefore be my long recalled set. On listening it is obvious this is a studio recording. I believe it is the earlier 1956 Phillips studio performance. If copyright runs out after 50 years, then this recording is out of copyright, so I fail to understand why it has been wrongly atributed. I did look to see if I could find any live performances from Naples with this cast in 1959, but no joy.

I will write more once I have had a chance to listen through, but the sheer sound has delighted me as it is my favourite balance, up close.

Mike
DavidW: Yeah Mike doesn't get angry, he gets even.
I wasted time: and time wasted me.

sospiro

Quote from: knight66 on May 07, 2011, 11:32:03 PM


This new issue has arrived. I believe it is indeed the version I used to own when I was a teenager, but it is not the performance attributed on the box.

The cover claims this to be a live performance from Napoli 1959. I was surprised and assumed it would not therefore be my long recalled set. On listening it is obvious this is a studio recording. I believe it is the earlier 1956 Phillips studio performance. If copyright runs out after 50 years, then this recording is out of copyright, so I fail to understand why it has been wrongly attributed. I did look to see if I could find any live performances from Naples with this cast in 1959, but no joy.

I will write more once I have had a chance to listen through, but the sheer sound has delighted me as it is my favourite balance, up close.

Mike

Wow! Looking forward to reading your review but have ordered it anyway!
Annie

knight66

I have either been away or we have had visitors since the set arrived; so I have only hears about 20 mins, but Tucker sounds elegant and virile. I had forgotten what a great voice it was.

Mike
DavidW: Yeah Mike doesn't get angry, he gets even.
I wasted time: and time wasted me.

Tsaraslondon

Quote from: knight66 on May 08, 2011, 02:04:42 AM
Tucker sounds elegant and virile. I had forgotten what a great voice it was.

Mike

I only have two recordings with Tucker, Mike; the Callas Aida, and the Callas La Forza Del Destino. I have no problems with the quality of the voice, which is, as you say, virile and forthright, but I do have problems with the style. In both recordings he sobs and aspirates, breaking up the musical line, in an attempt, presumably, to emulate the Italian style. I find it most inelegant. Maybe, stylistically, he had improved by 1959.

\"A beautiful voice is not enough.\" Maria Callas

sospiro

Quote from: knight66 on May 07, 2011, 11:32:03 PM


This new issue has arrived. I believe it is indeed the version I used to own when I was a teenager, but it is not the performance attributed on the box.

The cover claims this to be a live performance from Napoli 1959. I was surprised and assumed it would not therefore be my long recalled set. On listening it is obvious this is a studio recording. I believe it is the earlier 1956 Phillips studio performance. If copyright runs out after 50 years, then this recording is out of copyright, so I fail to understand why it has been wrongly atributed. I did look to see if I could find any live performances from Naples with this cast in 1959, but no joy.

I will write more once I have had a chance to listen through, but the sheer sound has delighted me as it is my favourite balance, up close.

Mike

I've listened to it but can't decide yet. I've got five Rigoletti now and I think my favourite will still be the Milnes/Pavarotti/Sutherland. But if they ever release a CD with Hvorostovsky, that would without doubt be my favourite. I saw him at ROH and he was sensational.
Annie

Harry Powell

#147
Hi
You can be sure there's no live recording from Naples and that set's the studio recording you describe, Mike. Tucker never sang in Italy between his early debut and his return in the seventies.
The Duke was a light role for Tucker but he does a remarkable job. He for example destroys di Stefano or Domingo in every single measure of music. Still, I remember his diction was particularly thick here and he lacked some charm. This is a singer to be listened in his live recordings of spinto parts as Álvaro, Radamès (with Toscanini), Riccardo, Cavaradossi (both with Mitropoulos) and des Grieux. In the studio, his defects were brought out and much of his excitement was missing. However I think he was far from being an inelegant singer as, say, di Stefano. During the Sixties he began resorting to too much sobs and aspirations, but in his earlier years he could incorporate them to an exemplary legato line. In my opinion he only lacked a finer mezzavoce and a ppp to be a perfect tenor. In matters of pure singing, accento and slancio, he was magnificent.
I'm not an native English speaker, so please feel free to let me know if I'm not expressing myself clearly.

knight66

#148
Harry, Thanks for the suggestions on Tucker. I will have a scout around.

At long last I have managed a full run through of the set. I had forgotten what a grateful voice Tucker had, I enjoyed his singing a lot. He has the high notes, but also sings with elegance and line. A long time ago I had him in Boheme and his disgusting sobbing put me off the set and his singing.

I got a lot out of the sperformance, which is undoubtedly the studio recording and the final scenes fitted like a glove, not heard for 30 years, but now again sounding 'just right', whether or not they in fact are. Capecchi has a round bass timbre to his voice, a little grit occasionally, but he savours the words wonderfully well.

Exactly as I recollect Gianna D'Angelo is pallid. This is a capable soubrette voice, relatively inexpressive, a dramatic cypher. For me she lets the side down. Over and over she reminded me of listening to Rita Streich, (a fuller voice) vocalising the Mad Scene from Lucia; all the notes are there, but to what purpose? D'Angelo dies prettily, but is that the point?

Molinari Pradelli  provides plenty of drama without neglecting the more elegant passages. He also sticks closely and flexibly with the singers. Occasionally I felt he missed the through writing symphonic element and a couple of 'numbers' start with a bump, but that is a small niggle.

Miriam Pirazzini is a ripe Maddalena; the voice I hear in my head when I approach that last act. Sardi a good black sounding Sparafucile. Apart from D'Angelo, I rate this set very highly.

Now when will I get a chance to hear right through that other Molinari Pradelli set I ordered with Gedda, MacNeil and Grist?

Mike

DavidW: Yeah Mike doesn't get angry, he gets even.
I wasted time: and time wasted me.

Guido

Geologist.

The large print giveth, and the small print taketh away

zamyrabyrd

Is anyone acquainted with Leopold Simoneau? I found him and preferred his high C  in a youtube runoff of 23 tenors in Faust's "Salut demeure, chaste et pure". His expressive lyric voice must have been more than adequate competition for Wunderlich from about the same period. (How I love tenors who don't bleat!!) http://www.youtube.com/watch?v=UuPgWtLbk-0

This might be fun to watch, and choose your own favorites:
http://www.youtube.com/watch?v=azeu6ugBc-Y

I still prefer Il Maestro Caruso above all with the ideal floated tone for the high C (Lauri-Volpi is nice, too):
http://www.youtube.com/watch?v=sIGVnb2CwIk&feature=related

ZB
"Men, it has been well said, think in herds; it will be seen that they go mad in herds, while they only recover their senses slowly, one by one."

― Charles MacKay, Extraordinary Popular Delusions and the Madness of Crowds

zamyrabyrd

I was just blown away by this recording of Jan Kiepura in "Che gelida manina" from Bohème.
http://www.youtube.com/watch?v=yUI2TgJ7cuE&feature=related

This may be a recording from the 1930's. Usually I flinch just before the interpolated high C of the "la speranza" with everyone else but he carries it off well in a graded crescendo from the two or so phrases before. He actually distinguishes between open and closed e's and o's in Italian, not his native language! Maybe our Polish friends know more about him and could inform...

ZB
"Men, it has been well said, think in herds; it will be seen that they go mad in herds, while they only recover their senses slowly, one by one."

― Charles MacKay, Extraordinary Popular Delusions and the Madness of Crowds

zamyrabyrd

I couldn't resist including this now historical singer, SO different from what one hears today - Renata Tebaldi  with the emblem aria of "La Wally":  http://www.youtube.com/watch?v=FdiUmFiVY4k&feature=related

Seriously, who can sing like that now? Some points: She complements the orchestra as much as they do her. Also she does the end of the aria that is usually omitted, because it is VERY difficult to go into a comfortable chest voice after the long, high B. Callas was not the only soprano who owned the middle to low range.

ZB
"Men, it has been well said, think in herds; it will be seen that they go mad in herds, while they only recover their senses slowly, one by one."

― Charles MacKay, Extraordinary Popular Delusions and the Madness of Crowds

StephenC

#153
Quote from: zamyrabyrd on July 13, 2011, 08:47:40 AM
I couldn't resist including this now historical singer, SO different from what one hears today - Renata Tebaldi  with the emblem aria of "La Wally":  http://www.youtube.com/watch?v=FdiUmFiVY4k&feature=related

Seriously, who can sing like that now without taking vocal lessons? Some points: She complements the orchestra as much as they do her. Also she does the end of the aria that is usually omitted, because it is VERY difficult to go into a comfortable chest voice after the long, high B. Callas was not the only soprano who owned the middle to low range.

ZB
I couldn't agree more. There is no one likely to sing like that today. You gonna miss the good old days with singers with this range.

Winky Willy

Bonci and de Lucia are fascinating, and I like Battistini and Ruffa too (as well as many more) :-)

Guido

Quote from: Tsaraslondon on May 11, 2011, 12:14:59 AM
I only have two recordings with Tucker, Mike; the Callas Aida, and the Callas La Forza Del Destino. I have no problems with the quality of the voice, which is, as you say, virile and forthright, but I do have problems with the style. In both recordings he sobs and aspirates, breaking up the musical line, in an attempt, presumably, to emulate the Italian style. I find it most inelegant. Maybe, stylistically, he had improved by 1959.

Can someone tell me what a sob actually is? Preferably link to a youtube video and tell me the time when it happens?!!
Geologist.

The large print giveth, and the small print taketh away

Tsaraslondon

#156
Quote from: Guido on December 13, 2012, 06:51:05 AM
Can someone tell me what a sob actually is? Preferably link to a youtube video and tell me the time when it happens?!!

http://www.youtube.com/watch?v=Wfl5iBQsONQ

Here is a good example. Tucker starts sobbing just 7 seconds in on the o of seno and as he goes in to the words gli'angeli. It is a maudlin device used by many tenors, particularly those with more heroic voices. We may be thankful for the virile, manly timbre, but, for me, the device impedes his legato and spoils the musical line. He mistakes choppy phrasing for Italianate style.

Here is the Italian Carlo Bergonzi (we have the full orchestral introduction and recitative here, so the aria doesn't start till about 6 minutes in)

http://www.youtube.com/watch?v=gBCuz8oedLE

For my money, Bergonzi wrings just as much emotion  out of the music without having to resort to sobs and aspirates.

Apparently Tucker modeled his singing on Giovanni Martinelli, whom he greatly admired, but listen to Martinelli, a model of style and elegance.

http://www.youtube.com/watch?v=FydRIUf9NlA

And then there is this version by Caruso

http://www.youtube.com/watch?v=bWz8UwpuGt8, the voice heroic and forthright, ringing high notes and the legato perfect. Listen to the way he softens his voice at the mention of Leonora's name.

And finally Domingo, who sings with grace and impeccable musicianship.

http://www.youtube.com/watch?v=C060Wc40Phw


There is no doubting the splendour of Tucker's voice, and some will no doubt prefer his overly emotive and explosive way of doing it,  but, for me, it gets in the way of the music.

\"A beautiful voice is not enough.\" Maria Callas