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Subject: Re: Klaus Florian Vogt
From: Bob Rideout <[log in to unmask]>
Reply-To:Bob Rideout <[log in to unmask]>
Date:Sun, 12 Aug 2018 14:36:36 -0400
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Nope! Or, at least I don't think so. It is mainly inolved in the
things we value. Voice, aka tonal splendor, aka opulence,
is pretty much admired by everyone. For many, operatic
vocalism begins and ends there, but, for others, I among them,
the way one uses that instrument is as or more important than
the tone.

I only heard Vogt on the radio as Parsifal, but I was very
impressed with the way he used his voice, such as it is, to convey
youth and naivete, two essential elements of that role, often
missed by others who impress mainly with  the "tonal splendor" we
all love. I enjoyed him enormously and wrote so at the time.
He is no joke, at least not in this house!

Bob

On Sun, Aug 12, 2018 at 14:16 Don <[log in to unmask]> wrote:

> I guess we have lowered our standards for that repertoire, at least for
> those of us who have heard some of the really best in those roles.
> DonD
>
> On Sun, Aug 12, 2018 at 11:12 AM G. Paul Padillo <[log in to unmask]
> >
> wrote:
>
> > <[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 Wagner’s 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.
> >
> > p.
> >
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> --
> ​Always keep a roll of baling wire and another of duct tape in your car.
> It's amazing how useful it can be.
>
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