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Subject: Re: Klaus Florian Vogt
From: "G. Paul Padillo" <[log in to unmask]>
Reply-To:G. Paul Padillo
Date:Sat, 11 Aug 2018 22:49:37 -0400
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Myriam Hernandez <[log in to unmask]> wrote:

"How a comprimario voice gets contracts to sing Wagnerian roles is beyond me"

*****

There is one major reason Herr Vogt gets the gigs:  he's that freaking good. 
Audiences love his work, he's a masterful musician, having, along with being a 
singer, paid his dues for seasons as a professional trombonist both in symphonic 
and operatic music.

The voice has a light,boyish timbre to it, but it is, as anyone who has heard him 
live can attest, not small in the least.  In this regard he reminds me a bit of 
Hildegard Behrens, who was also accused of having too small a voice for her big 
girl roles.  This was also not the case, for while her voice had a lighter weight and 
timbre than many other famous interpreters she was still capable of projecting the 
sound over pretty much all orchestrations, with a top that remained gleamingly 
beautiful and thrilling, even when the middle/lower began unraveling.

As more than one critic has noted, his performances are frequently "spellbinding," 
which is never a bad thing in a singer.  

I had initial reservations about the tone itself - it kind of annoyed me - but the 
more I was exposed to him, the more I began to appreciate and "get" his style of 
performance.  He's respected by many conductors, receives good notices and loud 
audience ovations.  Those typically ensure contracts and work.   

This past winter, his work in "Parsifal" (my favorite opera) offered one of the most 
remarkable performances of this wok I know.  The chemistry between he and 
Pape, infinitely moving - I believed every moment.  I heard criticisms Parsifal 
should sound "older" in the final act, but I don't buy it.  Most of us have had the 
same voice since youth. As a friend told me "your voice is your voice, you can't 
pick up another one up at the corner store ..., especially during a second 
intermission."

p.

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