Diese wunderbare Arie hat Torsten Kerl unübertroffen brillant und intensiv gesungen. Da kann kein anderer Tenor mithalten, weder René Kollo noch Siegfried Jerusalem geschweige denn Rudolf Schock!
That's like you're opinion, man. Not everyone needs to like what you like. Jerusalem sings this extremely difficult aria very beautifully and technically impressive here. It's okay if Kerl is still your favorite. No need to shit on others.
Cavaradossi10 and datb306, thank you, you've provided the technical details and I do appreciate them. I cannot imagine a better evaluation than, "flawed, but simply wonderful." The emotional force of Jerusalem's singing has always overridden any quibbles that I may have had with his vocal production. In addition, he was such an attractive and sexy man.
The voice is far from perfect, but the idiosyncrasies--the hint of a bleat, the slight lisp, the musky tone that betrays that SJ was a pretty heavy smoker--all have a visceral effect. He's flawed, but simply wonderful.
I know what you mean. It does sound that way. I think he just has one of these voices that doesn't record well. His voice has that forward, masky quality that would carry very well in a house, but when recorded, the real greatness of the voice just doesn't capture.
Thank you so much for this - I heard it many years ago and it is so good to hear it again. Siggy was so wonderful live - yes too open and technically flawed sometimes but that timbre remains one of the most appealing in that repertoire in the post-war period. Not as naturally gifted as Wunderlich or as 'clever' as Windgassen, but terrific all the same. I recommend his Tamino with Haitink.
OMG, how can you even try to compare Jerusalem, Seiffert, Schock with Pavarotti - they have totally different voice from Pavarotti. Let beside he's Italian and they are not, but they were/are into germanic repertoire and he was never... They were all very good tenors (all 4 I mean), but I different roles...
