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Subject: Vinay- A recollection
From: Juan Dzazopulos <[log in to unmask]>
Reply-To:[log in to unmask]
Date:Sun, 21 Jan 2018 11:39:38 -0300

text/plain (180 lines)

Ramón Vinay (Chillán- Chile 1911/Puebla-Mexico 1996)
Vinay made his debut as baritone in Mexico, in 1931, as Alfonso in "La 
Favorita". He sang as baritone, always in Mexico, until 1944 and his 
roles included Amonasro, Barnaba, Di Luna, Scarpia, Rigoletto, Silvio 
and Germont. His last baritone performance was again as Alfonso in "La 
Favorita" on 23 January 1944. Five months later he made his tenor 
debut in Mexico as Otello (27 June 1944). His tenor roles were Otello, 
Samson, Cavaradossi, Don José, Des Grieux, Radames, Canio, Julien 
(Louise), Grishka (La Leggenda della Città Invisibile di Kítesc), 
Tristan, Lohengrin, Parsifal, Siegmund, Siegfried, Loge, Tannhäuser, 
Cyrano, Herod, Lensky and Avito (L'amore dei tre Re). He sang for the 
last time a tenor role at the Metropolitan in 1962, Herod in "Salome".
Vinay returned to the baritone clef in 1962 as Telramund in 
"Lohengrin" in Bayreuth. He sang baritone roles until 1970: Telramund, 
Iago, Nerone (L'Incoronazione di Poppea), Holländer, Dr. Schön, Le 
Mari (C'est la Guerre, by Petrovics), Amfortas, Falstaff, Michele (Il 
Tabarro), Gianni Schicchi, Escamillo, Belcore, Kurwenal, Prosper (The 
Tempest, by Martin), Marcello and Tonio (Pagliacci).
At the same time he accepted to sing some bass roles: Varlaam, Bartolo 
(both, in "Il barbiere di Siviglia" and "Le nozze di Figaro", Wotan, 
Commendatore (Don Giovanni), Pizarro (Fidelio) and his last one, 
Inquisitore (Don Carlo, Cleveland, 1971).  A total of 52 roles.
As regards his last Metropolitan appearance in 1966 as Don Bartolo in 
"Il barbiere" (something he should have never accepted) obtained the 
following review: "...not only was his voice gone, he was a flop as a 
comedian...the sound was dry, the action unfunny..."  (Vinay sang a 
total of 169 performances at the MET between 1946 and 1966).
I had the privilege to see and hear him in Santiago, in 1956, as 
Otello, Don José and Canio, performances that now after more than 60 
years are unforgettable, vivid in my memories. Ten years later I saw 
him as Scarpia (1966), Falstaff, Escamillo and Marcello (1967) and 
Scarpia and Iago (1969). By the way, his Don José in "Carmen" was a 
very young tenor called...Plácido Domingo.
For those interested,  a biography of the artist was published in 
Chile in 1997 (in Spanish): "Ramón Vinay, de Chillán a la Gloria" by 
Carlos Bastías and Juan Dzazopulos. At present out of print.
In June 2009 the British magazine "The Record Collector" published my 
work that included biography, chronology and discography. I think it 
can still be obtained from the Editor.

El Sat, 20 Jan 2018 21:47:58 -0500
  ANGELO MAMMANO <[log in to unmask]> escribió:

> Vinay sang Dr. Schoen with Opera Company of Boston in January of 
> Joan Carroll was Lulu and Thebom was Geschwitz.  It was the Eastern 
>U. S.
> premiere after Santa Fe.  He also returned to the company in 
> February of 1967
> as Iago with Heater, Tebaldi and Theyard. His return-to-baritone 
>days went on
> for quite a while and I was happy to see him after not being able to 
>in his tenor
> period.  He is listed in the program as co-director with Caldwell. 
> His Dr. Schoen
> was particularly impressive.  After the performance outside the 
>theater I heard
> Sills say that Lulu would not appeal to audiences in contrast to 
> BTW while attending an Ernani dress several years ago at the Met I 
>was talking
> with my companion about Boston and a woman who overheard us said 
>that her
> husband had sung there and his name was William Dembaugh.  I 
>recognized the
> name and told her that I had seen him at that '67 Otello as 
>Roderigo.  He thanked
> me profusely for remembering him and said that I made his day. 
> There's nothing
> that makes singers happier than when someone remembers their 
> Angelo from Boston
>> On January 20, 2018 at 6:45 PM David Shengold <[log in to unmask]> 
>>     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 Rothenberger
>>     Geschwitz: Blanche Thebom/Kerstin Meyer
>>     Dr. Schoen: Ramon Vinay
>>     Alwa: John Alexander
>>     Schigolch: Paul Schoeffler/Marko Rothmueller
>>     Athlete/Rodrigo etc: John Reardon/Sherrill Milnes [perfect, no?]
>>     Schoolboy etc: Mildred Miller/Helen Vanni
>>     Karl Boehm, conductor
>>     -David Shengold
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