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Subject: Vinay
From: David Shengold <[log in to unmask]>
Reply-To:David Shengold <[log in to unmask]>
Date:Sat, 20 Jan 2018 23:45:34 +0000

text/plain (31 lines)

Vinay had started as a baritone and when he re-descended in category he sang some major gigs through 1969 including Iago, Scarpia and Telramund-- that even at Bayreuth ( witness the Sawallisch recording of 1962).
In San Francisco  Opera's 1965-66 he sang not only Bartolo but Scarpia  ( with Collier and Kirsten) and Dr. Schoen ( with Lear and Richard Lewis)!

I imagine Bing-- who, one gathers from Kolodin's book, could not wait to get rid of Vinay at the end of his tenor phase, gave him Bartolo as a return vehicle to invite failure. Surely he would have done better in a serious, non-bel canto part. Bing also had and deployed MacNeil and Colzani , but surely Vinay (whom my parents recall as one of the greatest opera actors they'd ever seen) would have been am improvement in 1964-64 as Iago over Merrill-- for all his vocal excellence quite risible in the part, at least as seen in the televised excerpts with McCracken. In 1964's LOHENGRIN Bing had the sturdy and doubtless convincing Cassel as Telramund finish at least one show for the vocally fatigued Uhde. Vinay could have helped out there too.
Of course Bing "only did masterpieces" ( like MARTHA, THE GYPSY BARON and THE LAST SAVAGE!!), so that no Vinay Dr. Schoen would have been possible. Anyone see that assumption SF or LA? 

What might an early 60s Old Met LULU have been like?
To cast just from the actual roster 1963-65

Lulu: Anneliese RothenbergerGeschwitz: Blanche Thebom/Kerstin MeyerDr. Schoen: Ramon Vinay
Alwa: John Alexander
Schigolch: Paul Schoeffler/Marko RothmuellerAthlete/Rodrigo etc: John Reardon/Sherrill Milnes [perfect, no?]
Schoolboy etc: Mildred Miller/Helen Vanni
Karl Boehm, conductor

-David Shengold

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