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Subject: Re: Subject: Re: Fascinating article with Jonas Kaufmann from Australia
From: Donald Levine <[log in to unmask]>
Reply-To:Donald Levine <[log in to unmask]>
Date:Sun, 6 Aug 2017 13:11:26 -0700
Content-Type:text/plain
Parts/Attachments:
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text/plain (87 lines)


David,

I am very well aware of this.  I was just using the Met as an example and
as for Otello's and Norma's, they never grew on every tree but it seemed
that after Sutherland and Caballe, every soprano and her sister was
attempting Norma, whether they had the goods or not.  And as for your list
of Otello's, I would rate as superb Zenatello, Zanelli, Pertili, Merli,
Franz and the rest to whom I would add Jacques Urlus, Jose Luccioni, and
Georges Thill, not to mention Lauritz Melchior who sang it in many houses,
just not at the Met.  That wasn't my point.  In any generation the list of
viable candidates for both roles is slim.  My point is your list stretches
from the end of the 19th century to today, that's a reach of over 120
years.  Not that many singers considering the time span.  There are
probably others who were superb that got lost in the dustbin of history
that we barely remember today.  I'm not sure but going back to the list of
major tenors, I think Tino Pattiera and Alfred Piccaver might have sung the
role also.  I know Pattiera made recordings from Otello including the duets
with Meta Seinemeyer.

Perhaps I didn't express my thoughts well, my point is no matter how many
singers there are doing Otello or Norma, for that matter, truly viable
candidates are few, and I used its history at the Met as an example.
Otello is a problem because the role lies mainly in the middle and there is
such tremendous pumping of the voice in the middle with the necessity to
also make your points at the top.  By the end of the second act (and that
is the real killer), you have to have something in reserve to sing the
third act, which is not easy either.   Emotionally and vocally, the role
takes a tremendous toll.  If I had to count the truly great Otello's of the
twentieth century, I doubt we would hit ten, maybe fifteen if we were
lucky.

Donald

On Fri, Aug 4, 2017 at 10:29 PM, David Shengold <[log in to unmask]> wrote:

>
>  Donald Levine <[log in to unmask]> wrote:
>
>
> "There is something to be said for this.  Otello at the Met in the 20th
> century included Leo Slezak in 1913 and then nothing until Giovanni
> Martinelli did it in 1938.  Then there was Torsten Ralf, Set Svanholm and
> Ramon Vinay then Del Monaco and after him Vickers, McCracken, and Domingo.
> Yes there were others, notably in  Europe Carlo Cossutta a contemporary of
> Domingo but today its it becoming almost a repertory piece."
>
> .....
>
> With respect, the key phrase here-- at least you state it, it's often just
> implicit hereabouts!- is "at the Met".
>
> Other leading 20th century Otellos would include Giovanni Zenatello,
> Renato Zanelli, Aureliano Pertile, Francesco Merli, Paul Franz, Ivan
> Ershov, Cesar Vezzani, Wolfgang Windgassen, Charles Craig, Giuseppe
> Giacomini, Vladimir Atllantov.
>
> Plus there were tenors who took it on (apparently) creditably enough, the
> likes of Giuseppe Oxilia, Antonio Paoli, Carlos Guichandut, Hans Kaart,
> Renato Francesconi, Zurab Anzhaparidze, the unique (speriam!)  Frank
> Mullings,  Franz Voelker (offstage horses neigh) , Josep Gostic, Vladimir
> Galouzine, James King, Max Lorenz, Pier Mirando Ferraro.
>
> I'm sure there are more in both categories. My point is that the role's
> casting history is nowhere near so narrow as its *Met* history.
>
> (Melchior also sang Otello in Chicago, I believe-- the site of
> Martinelli's Trstan!)
>
> Cheers - David Shengold
>
>
>
>
>

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