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Subject: Re: Klaus Florian Vogt
From: "G. Paul Padillo" <[log in to unmask]>
Reply-To:G. Paul Padillo
Date:Sun, 12 Aug 2018 13:12:07 -0400

text/plain (70 lines)

<[log in to unmask]> wrote:

"It sounded like he was producing a falsetto-like tone.  Wonder how he ever 
"graduated" from roles such as Ernesto & Elvino to Wagner.  It was a parody of 
opera & a disgrace!"

* * * * * 

I'm still fairly stunned at the hostility exhibited for Herr Vogt.  I've heard 
Kaufmann (who I love in many roles) and Vogt but the fact is, while offering a 
deceptively slimmer sound, Vogt can be FAR more easily heard than can Kaufman 
in the same music.

I praised him in my last posts, which probably mean nothing to most, but here are 
a few bits from respected, widely publicized reviews:

Parsifal at Bayreuth:

". . . beautifully sung . . . Nothing short of stunning"

Lohengrin at Bayreuth:

"Every performance is different, as he consciously changes emphasis on certain 
phrases and uses words to varying effects . . . Here is a voice of astonishing 
beauty, clarity and strength, singing some of Wagners most beautiful Romantic 
music with (seeming) ease. The audience in Bayreuth greeted his solo bow with 
an extended ovation."

"There is no question, however, that Vogt was born to sing Lohengrin, as his voice 
expresses perfectly the swan knight from another world fashion, 

"A Lohengrin for the ages."

Lohengrin Deutsche Oper Berlin:

Tenor Klaus Florian Vogt was a magnificent Lohengrin from start to finish . . . His 
voice is one of the best projected that can be heard today: it runs in an 
extraordinary way through the house even in the ensembles. In addition, he sings 
with exquisite taste and has a great command of the character. His In fernem 
Land was thrilling."


We could go on with this exercise, but it's abundantly clear, those who do not care 
for this tenor are going to continue to go after him, hammer and tongs, belittling 
and denigrating him in typical Opera-L, choosing to ignore what critics and other 
list members have to say that is positive.  We all have singers we don't like, or 
can't stand (for me, Ms. Netrebko springs immediately to mind, though I was once 
a big fan), but I understand why others follow them, why they continue to sell 
tickets and thrill their fans. 

This mentality of "why would anyone hire this horrible, terrible singer?" is, for, 
me, the result of a mind that once having been made up with limited exposure, is 
unwilling to explore or look outside of its own prejudice and comfort level.


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