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Subject: Re: Klaus Florian Vogt
From: Graeme Wright <[log in to unmask]>
Reply-To:Graeme Wright <[log in to unmask]>
Date:Sun, 12 Aug 2018 08:18:31 +0100
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Vogt was a professional Horn player not trombonists. I attended a very interesting meeting of the U.K. Wagner society where he was in interviewed. I would suggest that anyone on this list questioning his career has not actually attended one of his performances but then many on this list seem to sit at home listening to CDs!

Kind regards 

Graeme 

Sent from my iPhone

> On 12 Aug 2018, at 03:49, G. Paul Padillo <[log in to unmask]> wrote:
> 
> 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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