Leonard Warrren: Opera Arias Amd Concert Songs
2007; Routledge; Volume: 63; Issue: 3 Linguagem: Inglês
ISSN
2769-4046
Autores Tópico(s)Diverse Musicological Studies
ResumoLeonard Warrren: Opera Arias amd Concert Songs. Leonard Warren, baritone. Willard Sektberg, piano. RCA Victor Orchestra; NBC Symphony Orchestra; Metropolitan Opera Orchestra. Frieder Weissmann, William Tarrasch, Renato Cellini, Wildrid Pelletier, Jonel Perlea, Jean Paul Morel, Erich Leinsdorf, Morris Levine, Frank Black, conductors. (Leonard Warren Foundation; 78:43, 77:13) Leoncavallo: Si puo? (I pagliacci). Rossini: Largo al factotum (Il barbiere di Siviglia). Verdi: Di provenza il mar (La traviata), E sogno? realta? (Falstaff), Eri tu (Un ballo in maschera), Cortigiani (Rigoletto), Credo in un Dio crudel, Era la notte (Otello), Il balen del suo sorriso (Il trovatore), Perfidi! AllAnglo . . . Pieta, rispetto, amore (Macbeth), Morir? Tremeda cosa! (La forza del destino). Giordano: Nemico della patria (Andrea Chenier). Offenbach: Scintille, diamant! (Les Contes d'Hoffmann). O sainte medaille . . . Avant de quitter ces lieux (Faust). Wagner: O du mein holder Abendstern (Tannhauser). Thomas Scott (arr.): Shenandoah, Low Lands, A Rovin,' Haul-A-Way, Joe. Ward/Bates: America Beautiful. David Guion: Home on Range. Steffe/Howe: Battle Hymn of Republic. Tosti: Ideale, Occhi di fata, Nel giardino, Canto di primavera.Trad.: Danny Boy. Olcott/Young: Mother Machree. Ball/Brennan: Bit of Heaven. Molloy/Bingham: Love's Old Sweet Song. Tchaikovsky/ Westbrook: None but Lonely Heart. d'Hardelot/ Teschemacher: Because. Malotte: Lord's Prayer. German/Kipling: Rolling Down to Rio. McCall/Kipling: Boots. Speaks/Kipling: On Road to Mandalay. Damrosch/Kipling: Danny Deever. Kernochan/Kipling: Smugglers' Song. It is with a distinct and more personal pleasure that this writer turns to Leonard Warren, for it was over a quarter century ago that his voice teacher at Luther College recommended that he go to library and listen to this remarkable singer for first time. The purpose was to understand better what teacher called the balance of resonance in great singing, which others prefer to describe as chiaroscuro. It is that marvelous miracle of great depth and richness perfectly combined with ring and brilliance. Leonard Warren embodied that as well as any singer ever has, and that splendid sound was his to very end of his distinguished career. Warren and Bjorling shared not only same year of death, 1960, but more happily shared year 1938 for their respective Met debuts. Warren arrived at Met as a rich-voiced but completely inexperienced youngster who had done most of his professional singing in glee club at Radio City Music Hall. He had sought out an array of coaches and worked diligently to grasp this unfamiliar art form that excited him so. In his first couple of Met seasons he was limited to fairly minor roles and fully expected to work in shadow of famous Lawrence Tibbett until veteran baritone retired someday. Then, inexplicably, veteran baritones vocal estate began to disintegrate and Warren found himself thrust into spotlight far sooner than anyone had expected. The most dramatic breakthrough occurred in 1943 when Tibbett cancelled a broadcast performance as Rigoletto, and Warren stepped in with very little notice to deliver a performance nothing short of brilliant. From that point on, Leonard Warren was premiere baritone of Metropolitan Opera and awarded a host of new productions and opening nights. Most gratifying of all is way Leonard Warren continued to work to nurture his gifts and to improve his craft. His last great Met triumph was title role in Verdi's Macbeth, his ninth leading Verdi role, and at end of his career he was already working on a tenth, Nabucco. At time of his death, Warren's voice was still spectacularly impressive, and in some ways even more beautiful than in his earlier days. When listening to recordings from early 1940s, one hears a voice that is almost overwhelming in its opulence, to point where it sounds almost artificial or manufactured. …
Referência(s)