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Subject: Re: beautiful baritone voices
From: Donald Levine <[log in to unmask]>
Reply-To:Donald Levine <[log in to unmask]>
Date:Sat, 18 Feb 2017 10:54:38 -0700
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Hi Max,
I'm in total agreement.  Schlusnus had a gorgeous beautifully schooled
voice that lasted a remarkably long time.  And thanks for mentioning
Herbert Janssen, another beautiful voice.  When I was a kid I remember
older friends of my parents who knew him well.  Their daughter a remarkably
beautiful red head with a gorgeous spinto voice had studied with him for
many years.  They also liked him as a person.  I do agree about Taddei.
His Falstaff's at the Met when he was in his late 60's were remarkable.  I
could never understand why the Met ignored him for so long.  Yes, I know,
they had Warren, Merrill, Bastianini and Macneil, but Taddei was one of the
greats, one of the baritone giants of the 20th century.  Prey, what more
can be said.  Even at the time of his retirement his voice was fresh,
beautiful and so wonderfully produced.  A great singer.

Donald

PS.  and I address this to the whole list because I am at my two msg limit
for the day.  In years gone by, we had so many people on this list that the
two posting limit made sense.  But now, if I can judge from the amount of
posts I get every day, we are nowhere near the amount of years past.
Perhaps its time to adjust the limit and raise it to 3 or 4 per day?  Food
for thought.

On Sat, Feb 18, 2017 at 10:34 AM, Max Paley <[log in to unmask]> wrote:

> I certainly agree about Schlusnus. My first encounter with him was his
> recording of the Mahler "Lieder eines fahrenden Gesellen" done near the
> very end of his life. Lovely, lustrous sound, very sensitive artistry and
> both big and powerful F#s and Gs but, even more remarkable to me, floated
> high G#s that were still clearly attached to the rest of the voice (not
> pure falsetto).
>
> Two I'd add are Giuseppe de Luca and Herbert Janssen (in the right
> repertoire). I also loved the quality of prime Giuseppe Taddei, perhaps my
> overall favorite of the Italian "big boy" baritones (in terms of rep, not
> physique).
>
> I have to add DFD. Fischer-Dieskau could shout, croon and exaggerate,
> particularly on recordings but I found him to sing out in a much more
> straightforward way live in recital. In evenings of Schubert songs, I found
> the sheer quality of his voice to be remarkably beautiful, albeit more
> tenorish than baritonal.
>
> While Prey had beautiful, full low notes, his sheer ease with a high G# or
> A natural indicated the presence of headroom above that and led me to think
> he could probably have sung as a tenor if he chose. However that would have
> clearly involved retraining and realignment of his voice as well as total
> change of repertoire, so he may have had little incentive to fix something
> that wasn't broken.
>
> Max Paley
>
> Sent from my iPad
>
> > On Feb 18, 2017, at 08:58, kurt youngmann <[log in to unmask]> wrote:
> >
> > We had a short thread a week or so ago about what we considered to be
> really beautiful baritone voices. Since then I’ve thought of three more I’d
> like to add to my list, all German speakers: Alfred Poell, Heinrich
> Schlusnus and Hermann Prey.
> >
> > I first heard Poell’s voice when I was very young, as Falke in the
> Clemens Krauss recording of Fledermaus with Hilde Güden and Julius Patzak.
> The sound was very rich and, for want of a better term, baritonal.
> >
> > Schlusnus was a terrific Verdi baritone even though he sang just about
> everything in German. I have only one complete opera recording of him, as
> Rigoletto, and wonder if there are any others available. I have a sizable
> collection of singles, mostly dating from the 30s but with at least on
> dating back to 1917 (the Nedda / Silvio duet with Mafalda Salvatini) and a
> few from the early 40s. For anyone unfamiliar with Schlusnus, I recommend
> seeking out some of his recordings.
> >
> > As for Prey, I can only say that his sound was absolutely gorgeous. For
> me, the best example of the beauty of that instrument is the Pierot Lied
> from Did Tote Stadt. He recorded it as a single in 1957 (early in his
> career) and again in the complete performance of 1975. It’s one of the
> selections I play when introducing newcomers to great singing.
> >
> > Kurt Youngmann
> >
> > "I understand the inventor of the bagpipes was inspired when he saw a
> man carrying an indignant, asthmatic pig under his arm. Unfortunately, the
> manmade sound never equaled the purity of the sound achieved by the pig." -
> Alfred Hitchcock.
> >
> >
> >
> >
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