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Subject: Re: Klaus Florian Vogt
From: Stephen Charitan <[log in to unmask]>
Reply-To:Stephen Charitan <[log in to unmask]>
Date:Sun, 12 Aug 2018 18:26:34 -0400
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Myriam,

This is after all, Opera L...if you've learned nothing else it should be
"sugar" and "impartiality" are relative terms...chill out, don't take
offense, and enjoy the various characters you meet for all their own
peculiarities...to which you should always add your own!

Steve

On Sun, Aug 12, 2018 at 6:15 PM, Myriam Hernandez <[log in to unmask]>
wrote:

> Being all things operatic strictly subjective as they are, I find Mr.
> Padillo’s comments about belittling and denigrating Mr. Vogt’s voice rather
> peculiar. To question someone’s so-called prejudiced mind for expressing an
> opinion is completely out of place, if not offensive. As it is, that's what
> this forum is for, right? To express *subjective* opinions about opera.
> Furthermore, I don’t think that someone with 50+ years of exposure to
> opera, either through recordings or attending operatic performances, like
> this writer, can be accused of “limited exposure.” As for the reviews of
> Mr. Vogt’s performances, it’s been a long time that I’ve ceased to read
> operatic reviews. Too much sugar and too little impartiality.
>
> Myriam
>
>
> On Sun, Aug 12, 2018 at 1:12 PM, 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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