The High Note

Daniel Wakin, the Times's classical-music reporter, has a perceptive piece on singing high Cs, with some interesting comments from Florez. Wakin also touches on Duprez and Nourrit. The whole question of what Duprez's high C de poitrine was like is one of those mysteries that even the estimable Stefan Zucker may never be able to answer. People who are as fascinated by tenors--and by the remarkable Nourrit--as I am will enjoy Henry Pleasants's superb book, The Great Tenor Tragedy, which recounts Nourrit's disastrous last days, primarily in his own words.

Luciano Pavarotti - King of the High C’s - Opera - Music - New York Times

Pavarotti

My grandfather, a gifted amateur violinist and pianist and life-long music lover, was born in 1903. He once heard Caruso sing--in a large arena of some kind, not an opera house. In the late 70s or early 80s or so I asked my grandfather who he thought was better: Pavarotti or Caruso? To my surprise he said Pavarotti, citing the warmth of Pavarotti's voice.

Now, it's probably not a fair comparison, and my grandfather heard Caruso in an environment in which Caruso no doubt had to push mightily to be heard. But there is no doubt that warmth of tone and brightness of timbre, as well as a sense of ease (especially in those effortless high notes), were what made Pavarotti's voice so distinctive.

I saw Pavarotti several times at the Met, from the late 70s on, in Favorita, Ballo, even as the Italian Singer in Rosenkavalier. I always found him an appealing and charismatic actor, even if his characterizations did not run deep, and his voice was always thrilling.

Still, I would agree with those who argue that in terms of artistry, he was a more interesting singer in the 60s and 70s than after he assumed superstar status. Fortunately, there are several recordings from that period, in which he really seems to be trying hard to make his enormous vocal talent serve the needs of the music and drama. This is evident in his marvelous Fille du Regiment and Elisir d'Amore recordings (with Sutherland), and the film of the Karajan performance of Verdi's Requiem.

From the early 80s on he could be sloppy, marring his otherwise exemplary diction with unnecessary interpolated vowels; by the 90s he was essentially phoning things in. But occassionaly the grandeur could return, as it did with his exciting recording of Puccini's Manon Lesaut with Freni.

His passing is sad, and he will be missed.

The Great Thill

Amazing what you can find on YouTube these days ... some fascinating footage of the great French tenor Georges Thill. First he's seen rehearsing an opera with Canteloube. It's not entirely clear which opera it is. The tessitura is high for him, given his lack of security above A-flat. Still, to catch a glimpse of him is amazing. He also is seen in a 1977 interview, describing (presumably) voice lessons with de Lucia, who advised him (if I'm following the French correctly) about how to open his mouth when he sang. Finally, a tantalizing snippet of Thill as Lohengrin.



YouTube - Georges Thill Rehearses With Canteloube