Francesco Cilea - L’ARLESIANA “È la solita storia del pastore” - 1961 Tenore canadese JON VICKERS Orchestra dell’Opera di Roma - Direttore Tullio Serafin Anno dell’incisione 1961.
He is such an extraordinary tenor and actor. I just love to hear him. His notes are so huge yet he is in charge of every one of them. He is certainly missed.
He has the most voluminous and wide opened voice I have ever heard, and so smooth and beautiful at the Same time 😩 it's so beautiful that I could cry, and I always get Goosebombs ...
One of the most amazing and unique tenor voices ever heard. Vickers never sounded like anyone else, and no one else ever sounded like him. Unmatched in most of his singing, definitely untouched by anyone for me in Otello, even Del Monaco. R.I.P Maestro
How wonderful to hear this huge voice scaled down for this lyric aria. Jon Vickers died today. Those of us who were privileged to see his unforgettable Grimes, Florestan, Tristan, Otello and so many other searing, memorable roles will cherish those memories. Not just a great tenor, but one of the greatest singing actors of the 20th Century. RIP.
+cantorbernie Though there are some very good singers around now, the golden age of opera has past. Today the director with his "concept" approach is given more importance than the singers/conductor/composer and the fashion for celebrity rather than excellence has diminished the quality which used to be the hallmark for aspiring singers. In this recording we have an artist who is unmatched today and quite possibly will remain so. You only have to listen to the present "hot" tenor, Kauffmann (Y.T.) to hear there is no comparison!
VICKERS n’était pas un " lovely ténor " G DI STEFANO OUI !! Mais il chante cet air avec délicatesse sans en rajouter ...mais ses aigus ne seraient pas assez spontanés et éclatants pour rompre une ligne de chant bien tenue Eluzalyrics
Kaufman dont il faut almer le timbre très sombre et a technique !!! Fera comme ALVAREZ ..CURA ..VILLAZON .. IL VA DETERIORER SA VOIX EN QQ ANNEES A CHANTER DES ROLES QUI NE SONT PAS DE SON AGE VOCAL .. les anciens savaient attendre et chantaient plus souvent leur REPERTOIRE ..un 1/2 caractère devenait un "caractère " vers la 40e année et abordait les rôles lyriques plus lourds de spinto... C’est ridicule d’aborder MANRICO ..SAMSON ..CALAF quand les moyens ne sont pas ( ? Encore ) là Voir R ALAGNA dans le TROUVERE OU TURANDOT ...ce n’est pas pour lui ? THILL CHANTAIT CALAF A 30 ANS ET SAMSON A 32 ANS ..LOHENGRIN ET PARSIFAL IDEM ..AIDA , MAIS C’ETAIT UNE VOIX DE TENOR LYRIQUE ET SPINT A 28 ..29 ANS LES CHANTEURS MODRENES MANQUENT DE CONSEILS ..AVISES Fuseaux horaires .. pression des agents des thêatres .. comment FRENI ..GRUBEROVA ..G JONES ..ETC.ONT ELLES TENU SI LONGTEMPS ? ELUZALYRICS
Had to listen again to this as it was one of my late mothers favourites all those years ago. Brought a tear to my eye and shivers up my arms to marvel at the passion and beauty with which he sings it. His Canio, Otello and Grimes which I heard live were really a force of nature. RIP. Maestro Jon Vickers.
Contorberni.... yes indeed. I too saw him in those roles - quite simply incomparable! And as a journalist, I interviewed him at some length. In contrast to his reputation he was open, charming, and an absolute delight - somehow mirroring his great artistry. For me, the Callas of tenors!
Even if Jon Vickers isn't singing within the bel canto (artistic) corset worn with ease by Gigli, along with colleagues Björling & Dal Monico, he still shows such open-heartedness in his unique style of story-telling that we understand every emotion he expresses.
So full and satisfying, Vickers was a wonderfully versatile singer. If paring down his full power this is still so round and uninhibited. For Vickers fans, his extraordinarily restrained version of Recondita Armonia is unique!
I was fortunate to see and hear Vickers and Parsifal in Chicago. I shall never forget how his "Gott! Welch dunkel hier" resounded through the house. Nor how one could still hear him clearly when he tapered his huge voice down to a thread of still-resonant sound. My only criticism of his Parsifal would be rather churlish. Vickers had just turned 60, had acquired an ample midsection and was somewhat hard to believe as the young, guileless fool -- physically, not vocally. But from "Amfortas! Die Wunde!", he was entirely believable. Parsifal's transformation transformed Vickers onstage. An extraordinary artist. Whose like, I'm sure, we shall not see again.
Derek Malcolm Bewick Bryon I heard Vickers in a number of his great roles, and he meant a great deal to me. I don't understand your statement that there were few tenors after the war-in fact it was the opposite. It was an era of great tenors-today is another story.
Jon Vickers mesmerized me the first time I heard a recording with him (as Radames); his stage presence and vocal intensity totally blew me away when I heard them at the Opera de Paris in 1975 as Otello. While he could "float" notes magnificently, his voice often carried an element of suffering that tends to elude the prototypical Italian bel canto tenors. With him, emotional anguish was not just visible but truly audible. In the German repertoire, I doubt that his Florestan and Tristan will ever be surpassed.
Great interpretation by an often overlooked Tenor...I wish he had sang the B natural as it really is the climax of this aria but still a most worthy recording.
I heard him as Florestan, Tristan and twice as Aneas firstly with, I think Clare Watson and then years later with the wonderful Janet Baker. I will never forget the love duet -also 2 performances in Aida with Vishneskaya. A very different sound from Kaufman but how many dramatic tenors now have the ability to sing with such a wide range of colour coupled with power?
I will always worship the artistry of this grand titan of tenors. However, to my ears, this is an aria that must be presented by an Italian & I must qualify my reactions by saying that this is onr of the best non-Italian renditions, tied with the great Lithuanian tenor Virgilius Noreika. Still, MY favs singing this music remain: Lanza, DiStefano & Bergonzi.
Jussi Bjloring was not Italian. His 1957 recording of this aria is extraordinary. If there is/was a tenor since the beginning of the recording era with a finer voice I've yet to hear him. I don't mean to detract from Vickers who is wonderful and the many other great tenors of the past.
Tenore drammatico, dalla voce non bellissima, ma intenso e capace di mezze voci e di alleggerimenti da tenore lirico.Niente di meglio per togliere il monopolio di questo brano ai tenori leggeri . Lo
Bonsoir, j'aime beaucoup Jon Vickers (l'Otello des Otello) c'est beau mais sans plus sur cet extrait je préfère Mario Lanza!!!( à écouter!!!!) comme Otello, pour moi, c'est le meilleur!!!attention! pour moi???
Jacques redondi nel mondo della lirica purtroppo i francesi siete ''noti'' in mondo intero con la vostra mediocrità . Mario Lanza non era un cantante lirico vero,e' un fatto .
In Italiano non si capisce quello che dice in alcune parti storpia le parole e poi non è per niente delicato come per esempio Tito schipa o Giuseppe Di Stefano per cui è insufficiente
Voci completamente diverse, con repertori totalmente differenti e non equiparabili…quindi il suo accostamento non ha senso…poi sono d’accordo che in questa specifica aria Di Stefano e Schipa siano inarrivabili
Non mi è mei piaciuto, esibiva la stentoreità dei medi come un pregio e pompava le vocali "a" e "o" mentre schiacciava e stringeva le altre. Il timbro era sporco e opaco proprio per questa abitudine di spingere la voce. Forse nei primi tempi sarà stato pure limpido, chissà. Cantante americano.....non canta italiano! (una volta bel canto).
Non mi è mai piaciuto, esibiva la stentoreità come un pregio e pompava le vocali "a" ed "o" mentre schiacciava le altre. Il timbro era opaco e sporco. Questione di gusti.
