Under "Articles & Reviews" I have
organised the material as follows: all articles on tenors under
"Tenors" [01], whereas articles or reviews on other fachs are gathered
under "Great
Singers" [02].
Some articles on tenors or other singers are gathered under special
columnist sections, as is the case with Dr Kurtzman [04] and Dr
Fragala [05]. Finally, there is also a section which covers articles
or reviews on opera, CDs, vocal technique etc, dubbed simply "Miscellaneous
Topics"
[03].
/// NOTE ///
Some articles may not be available at the current moment
Pawel A. Pachniewski: Sitting Down With Joseph Calleja.
Rapidly ascending tenor Joseph Calleja sang the role of the Duke for the Dutch Opera in Amsterdam in November 2004. Pawel Pachniewski caught up with him for a very personal interview.
"The Corelli/Lauri-Volpi Connection, Part 1:" Some thoughts
on Franco Corelli's technique and studies, and the guidance from
Lauri-Volpi late 1950's. Written by JH Anthonisen, Grandi Tenori.com.
"The Corelli/Lauri-Volpi Connection, Part 2:" Dr. Joseph
Fragala looks into the relationship between Giacomo Lauri-Volpi and
Franco Corelli and analyses the interpretative skills Lauri-Volpi
passed on to Corelli.
Wangmo Whitethorn's commemoration of the Hungarian
tenor Miklos Gafni (1923-81), who sang in Australia and Sydney in
the years 1947, 1948 and 1956, where, "without exception all his
concerts were sold out and he received overwhelmingly enthusiastic
ovations each time he performed." His life was dramatic: As 2nd
World War ended in 1945, Gafni was liberated from execution in the
Mauthausen concentration camp. Gafni was celebrated in his hometown
in Hungary 3 August 2001
Barry R. Ashpole & Colin Bain: Beniamino Gigli: The Record of Prejudice.
What was really Gigli's political role in Italy during Mussolini? Was he political? And did he sympathize with the fascist regime? Did he support or affiliate with the German occupants during 2nd World War? - Ashpole and Bain look at some of the circumstances surrounding Gigli and argue that the tenor was not political and had no particular sympathies for neither Fascist nor Nazis.
Colin Bain: The Aesthetics of the Recordings of Beniamino Gigli.
A generation of the musical public grew up and had its taste shaped under the influence of Beniamino Gigli’s recordings; and among them a generation of young tenors blossomed under this same influence into artistic maturity. Undoubtedly the great Italian tenor was one of the most influential singers of the entire period that followed World War I. Gigli’s style of singing – on stage and on disc – has been the subject of much criticism and controversy.
Recollections on Giacomo
Lauri-Volpi. Giacomo Lauri-Volpi is often singeled out
as an example of a Divo, and he is remembered as such in Ilka Popova's
memoirs, "Meetings
on the Operatic Stage," published
in Bulgaria in 1972. Popova was a Bulgarian mezzo-soprano who performed
on several occasions with the legendary Italian tenor - one chapter
of the book deals with her experiences with Lauri-Volpi. The material
has been made available by Alexey Bouliguine, author of the Russian
biography on Franco Corelli, and his wife, Olga Besprozvannaya, who
translated the chapter from Russian to English.
"The Lauri-Volpi Legend," written
by our Tenor Watch Host and the site's prime columnist, Dr. Joseph
Fragala, PhD, regarding the great Italian tenor's temper and mastery
of operatic roles.
Recollections written by Eduardo Baez as they
were told him by his father, the Cuban tenor manqué Jose E.
Baez, on the Catalán Pride, tenor Hipólito Lázaro.
Baez befriended Lázaro while performing and giving master
classes on Cuba during the thirties and the forties. Undoubtedly,
the article is of great worth: José Baez was one of very few
alive at the time this article was written who knew the great tenor
personally. He passed away on October 19, 2001.
Romanian baritone Nicolae Herlea pertains to
that group of excellent singers that seem to be bypassed when the
list of the Century's greatest singers are drafted, yet those who
remember him are inclined to rank him among the greatest of baritones.
For long on the list of singers to be honoured at Grandi Tenori.com,
thanks to fellow countryman Andrei Turcu, the tribute to Herlea has
finally seen light.
Gioacchino Lauro Li Vigni
An article for Grandi Tenori on the Method taught by Arturo Melocchi in which the Italo-American tenor Li Vigni tries to show how Melocchi fits into the Italian vocal tradition and is a natural line from Caruso and the emergence of the Verismo Tenor.
This article was written by tenor Salvatore Fisichella and Dr Joseph Fragala, currently the chief editor of the site Opera-Gems, and presented as a joint effort between Grandi Tenori.com and Opera-Gems. The first section is written by Fisichella, and translated by Dr Fragala, while the last section is a comment by Dr Fragala.
The Romanian composer George Enescu is one
of the neglected giants of modern music. Prodigiously gifted, he
became best known in America as a conductor (where he was considered
as a successor to Toscanini in New York) and in Europe as one of
the greatest violinists of the century. But he was first and foremost
a composer; and, tragically, his mature works - works of extraordinary
emotional depth and intricate beauty - remain virtually unknown outside
Romania.
This is an invitation to take a break from
serious opera analysis and indulge in an alternative way of enjoying
the traditional classics. First out is Mascagni's much celebrated
hallmark of verismo opera, Cavalleria Rusticana, as seen through
the eyes of Geoffrey Mallinson, adding contemporary life to this
19th century tragedy.
In this article John D'Ancona tries to explain
why the character of Manrico (Il Trovatore) is not essentially a
dramatic or heroic figure, but encompasses a great deal of lyricism,
and is as such perhaps a far more complex role than a standard and
habitual interpretation can give account for.
Were the voices of yesterday better than today's?
The author of this article, John D'Ancona, a singer himself, is convinced
this is so and points to erroneous or insufficient technical and
pedagogic support in voice teaching as the primary reason. Nevertheless,
the author provides a remedy, which includes re-assessing the fundamentals
that govern the way voices are produced today and looks to the successful
methods of teaching a century ago.
"Of all the words of tongue and pen, the saddest are these: it might
have been," wrtites Dr. Neil A. Kurtzman, University Distinguished
Professor and lover and cognoscente of opera, about Italian tenor Giuseppe
di Stefano. This article, entitled "The Tenor of the
Century - Almost," was first printed in the Lubbock Magazine in October
1997 and has been published at Grandi Tenori.com with the author's permission.
It deals with Di Stefano's golden epoche in the years 1946-56 and his sudden
decay and disapperance from the opera scene.
First published in 1996, this article relates the story of two of history's
great tenors that vanished just when they where at the apex of their powers.
Romanian tenor Joseph Schmidt,
of Jewish origin, fell victim of the persecution of Jews in Nazi-governed
Europe and died in an internment camp in Switzerland. German tenor Fritz
Wunderlich, perhaps Germany's best tenor ever, died after
having fallen down the stairs at a friend's house, three weeks shy of his
debut at the Metropolitan. Dr. Neil Kurtzman looks deeper into the tragic
events.
Despite an easy top and a resounding voice, mixed with the ability to
sing mezza voce, American tenor Richard Tucker is often bypassed when the
century's greatest are counted. Dr. Kurtzman pays hommage to the Met's
leading tenor of the '50s and the '60s, perhaps the greates tenor the American
continent has had to date.
In this article Dr. Kurtzman reviews three performances of Berlioz' works
in distinct theaters in New York, during March 2003: Romeo et Juliette
and La Damnation de Faust at the Avry Fisher Hall, Lincoln Centre, under
the baton of Sir Colin Davis, and Les Troyens at the Met, conducted by
James Levine.
Even if you are an aficionado of Wagner and in particular his Parsifal,
I think you will find this article by Dr Kurtzman amusing nonetheless.
It deals with the pains of a root canal while Parsifal is haunting the
radio. First published in the Lubbock Magazine (Texas) in August 1997.
Dr Kurtzman runs through the brief history of the Santa Fe Opera Company
and reviews two performances in July 2003: Offenbach's La Belle Helene
and Mozart's Cosi fan tutte, in an article most graciously written for
Grandi Tenori.com.
An excerpt from Dr Kurtzman's book "Doing Nothing" (1992),
depicting the the tolls of medical student Richard Grollman as he walks
through Medical School. This chapter describes a visit to the old Met.
Dr Kurtzman continues his feature reviews of performances of the works of Berlioz, this time Benvenuto Cellini at the Met, plus Halevy's La Juive, also at the Met and a concert performance of Bellini's Anna Bolena at the Carnegie Hall in New York, all performances held mid December 2003.
A review of a concert version of Norma on Miami Beach, with Guleghina and Licitra in the lead roles, 16 January 2004. Written with the usual Kurtzman-satire.
"No great composer induces passion the way Richard Wagner does. Knowledgeable opera goers seem to be divided into warring camps, vigorously campaigning for and against the art of the egomaniac of Bayreuth. In 50 years of opera going I have endured harangues beyond number intended to convince reluctant audiences that Wagner's music is great and that they should surrender to its greatness. It's the castor oil approach to art. It may taste bad, but it's good for you. Or as Mark Twain said, "Wagner's music is better than it sounds." Nobody finds it necessary to proselytize for Mozart or Verdi. This incredible bipolar reaction to Wagner is my subject."
Reviews of Bellini's La Sonnambula and Verdi's Simon Boccanegra at the
Santa Fe Opera, August 2004, with Natalie Dessay in the lead in the former
and Mark Delavan as Boccanegra in the latter.
Dr Kurtzman reviews five CDs with both new and historical tenors: Tito
Beltrán (Nessun Dorma - The Amazing Tenor), Joseph Calleja (Tenor Arias),
Rolando Villazon (Italian Opera Arias), Jussi Björling (Jussi Björling
reDiscovered) and Marcello Giordani ( Tenor Arias).
Don Giovanni as a "sex crazed, alcoholic bisexual hophead?" Read
Dr Kurtzman's views on this controversial staging of Mozart's opera at
the English National Opera, directed by the polemic Calixto Bieito, presenting
Mozart's opera in modern day Barcelona with an excess of drugs and sex
to illustrate the Don's cynicism. Dr Kurtzman attended the performance
on 4 October, giving here his opinion on what he witnessed.
Salvatore Licitra in recital from Fort Lauderdale, Florida, of which Dr Kurtzman had this to say: "The size of the voice was amazing. Its timbre in the low and mid range is dark and baritonal. His top is free, focused, and easily produced. The only comparison is with Mario Del Monaco."
Gounod's Roméo et Juliette
from the Los Angeles Opera, 17 February 2005,
with the successful pairing of Rolando Villazón and Anna Netrebko as Romeo and Juliette.
"[...] nothing is as restful and conducive to revitalization as a sleep in the opera house. A proper operatic snooze is better than a day at a spa and cheaper as well. I might as well get it out in the open – I've been sleeping through operas for decades" A very funny oulook on sleeping through a performance in the opera house.
Dr Kurtzman has once again reviewed performances at "America's Premier Summer Opera," the Santa Fe Opera, who opened their 2005 season with Turandot in July. Dr Kurtzman attended the performance on 24 August, followed by Rossini's Barber of Seville on the 25th.
The following CDs and DVDs are reviewed: Verdi The King of Melody (DVD, View Video), Rigoletto e la sua tragedia (DVD, View Video), The Life of Verdi (DVD, Kultur), The Life and Operas of Verdi (DVD, The Teaching Company), Three Legendary Tenors (DVD, Kultur), La Forza Del Destino (CD, Classics GOP), Giuseppe di Stefano – In conversation with Jon Tolansky (CD, VAI Audio), The Pearl Fishers (CD, Allegro), Francesca di Foix (CD, Opera Rara).
La Boheme from the Sydney's iconic opera house, performed 18 October 2005, with Rosario la Spina as Rodolfo, Lisa Rusell as Mimi, Amelia Farrugia as Musetta and Tim DuFore as Marcello.
Il Trovatore from the Royal Swedish Opera in Stockholm, June 2006, with Hillevi Martinpelto as Leonora, Badri Maisuradze as Manrico and Karl-Magnus Fredriksson as the Count.
The Met opened its 2006/07 season with a production by Anthony Minghella of Puccini's Madama Butterfly, starring Cristina Gallardo-Domas, Marcello Giordani and Dwayne Croft.
[05] Dr.
Fragala's Reflections series Chronological order
Untitled Document
21.09.2002
Reflections on Wagner, the Music,
the Vocality: Richard Wagner is venerated by the whole world as the
greatest musician of his era and a standard for all past, contemporary
and future composers. Dr. Fragala takes a closer look at his life, his
women, his music and exceptional singers in the Wagnerian tradition.
26.04.2002
Reflections on
Singers' Career and Vocal Longevity: Three keywords in this article
by Dr. Fragala: Debut, Decline and Career. It is an "overview of
operatic singers' career and the important determinant: Vocal longevity.
Singers in the past four centuries have been grouped in time categories
with debut and end." Central issues to longevity are technique and
enviroment, the article explains further.
27.03.2002
Reflections on Andrea Bocelli:
Opera is in crisis and we need to look to popular music for inspiration?
Dr. Fragala runs a critical review on Italian pop-tenor Andrea Bocelli
and the crossover trend that has inflated the opera scene lately: "...
Bocelli is a very charming exponent of many Italian songs and sings operatic
arias, a youthful passion [...] The voice is beautiful, soft, personal,
easily recognisable, communicative and deeply expressive [...] In opera,
Bocelli’s artistry is intermittent, shifting from meritorious fervour
to strange passivity and interpretive inertia that are very evident and
painful." Dr. Fragala, March 2002.
01.03.2002
Reflections on Fedor
Chaliapine: Russian bass Fedor Chaliapine (1873-1938) was "la
voce storica" among basses at the turn of the century, the great
basso-cantante that combined the art of singing with the art of acting
and strove to find the ideal vocal expression for his characters. "To
him, the voice was only a pretext and a docile, sometimes insidious instrument
of will and whim. He was a tenor, baritone or bass as he wished, making
use of all colours on the lyrical palette" He remains perhaps one
of the four truly mythical figures of opera to this very day. Dr. Fragala
sheds some light on why.
10.02.2002
Reflections on Great Tenors
in Puccini: Puccini, sartorially elegant and seducing, with a bundle
of mistresses, many of them his star sopranos, what legacy did he leave
for the tenors? Dr. Fragala runs through the most important Puccini tenors
of the history and looks at the characters they were asked to portray
and show how all Puccini tenors take a secondary role to the heroines,
how they "gravitate towards the beauty, exigencies, weaknesses,
dreams and schemes of the feminine figures."
17.01.2002
Reflections on the Great Caruso:
The great and mythical Italian tenor under scrutiny by Dr. Fragala, shedding
some light on the question: In what consisted his greatness?
22.12.2001
Reflections on Heroic
Tenors in Verdi: Dr. Fragala looks at some exponents of the heroic
tenor characters in Verdi's works and draws the parallel to Wagner's
opera and dramaturgy.
12.12.2001
Reflections on Great
Tenors in Aida: Dr. Fragala takes a closer look at the qualities
of the different Radameses throughout the history of opera.
18.10.2001
Reflections on
Characterisation in Opera: Article by Dr. Fragala on the necessity
of dramma and intelligence in vocal interpretation, which takes as it's
point of departure the mastery of Italian tenor Giacomo Lauri-Volpi.
Untitled DocumentNotes on advertising: Hosting and maintaining Grandi Tenori.com supposes a certain level of expenses. The site is privately owned and receives no benefits, subsidies or financial aid in any way, therefore I have decided to implement Google AdSense advertising to make an attempt at covering a minimum of expenses. /J. Anthonisen
