Karen Mercedes wrote: > > I also heard both his SAMSON and his OTELLO, and both only go to show how > a singer can affect two different audience members differently.
It's also nowhere near a dramatic voice > in size, and if anything kills his vocal career
I don't necessarily disagree with you in terms of the "fach" of his voice. But like Maria Callas, he's an opera performer who MAKES me not care about the perfection of his vocal technique or the beauty of his tone, or whether his voice is "right" for the role he's chosen to present. When he's onstage, he gives the audience everything he's got. If he bares his chest, it's because he thinks the audience will like it (and I'm not complaining--though his fully clothed Samson/Dalila duet with Denyce Graves was tons more erotic than any of those explicit sex scenes they put in movies nowadays at the drop of a hat).
And if his career is shorter for it, as Callas's was, he's taken that risk to give us, the audience, a singular experience. Like Callas, or Pantinkin, I think some folks are put off by the unusual intensity of the performer. I can't say that they, like you, are "wrong" not to like what he has to offer. But I would ask that those folks attempt to at least understand (if not accept for themselves) what the rest of us (and our numbers are legion) see that's unique and valuable, even if it's not their preference in a performer.
Peggy
-- Margaret Harrison, Alexandria, Virginia, USA "Music for a While Shall All Your Cares Beguile" mailto:peggyh@i...
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