Comments on: siriusly http://parterre.com/2009/04/22/siriusly/ where opera is king and you, the readers, are queens Fri, 12 Mar 2010 20:51:35 -0500 http://wordpress.org/?v=2.8.5 hourly 1 Rogwood commented http://parterre.com/2009/04/22/siriusly/comment-page-2/#comment-62636 Rogwood Sat, 25 Apr 2009 14:47:03 +0000 http://parterre.com/?p=3517#comment-62636 I like it too, but is Adorno right for him? I like it too, but is Adorno right for him?

]]> dexter commented http://parterre.com/2009/04/22/siriusly/comment-page-2/#comment-62615 dexter Sat, 25 Apr 2009 00:29:16 +0000 http://parterre.com/?p=3517#comment-62615 Cocky K; I get your point about the pressured vibrato - I quite like it, which is why I enjoy the indiviuality of Supervia and yes, Sandra R. But with Calleja, to me, as to many others, he is a throwback to those voices where the rapid shimmer provides spin and penetration. Note shimmer, not bleat, which puts me firmly on one side the argument, though I do see the opposing side. Cocky K; I get your point about the pressured vibrato – I quite like it, which is why I enjoy the indiviuality of Supervia and yes, Sandra R. But with Calleja, to me, as to many others, he is a throwback to those voices where the rapid shimmer provides spin and penetration. Note shimmer, not bleat, which puts me firmly on one side the argument, though I do see the opposing side.

]]> Hippolyte commented http://parterre.com/2009/04/22/siriusly/comment-page-2/#comment-62547 Hippolyte Fri, 24 Apr 2009 16:46:33 +0000 http://parterre.com/?p=3517#comment-62547 Calleja is singing Gabriele Adorno in Covent Garden's stop on the Domingo-does-Simon-B world tour next season. Calleja is singing Gabriele Adorno in Covent Garden’s stop on the Domingo-does-Simon-B world tour next season.

]]> m. p. arazza commented http://parterre.com/2009/04/22/siriusly/comment-page-2/#comment-62542 m. p. arazza Fri, 24 Apr 2009 15:46:48 +0000 http://parterre.com/?p=3517#comment-62542 <i>Calleja is a very fine lyric tenor that allows us to to experience what “old school” singing was like(those of us who are not 100 years of age…)</i> You got it, he's the closest thing I've heard to a singer preserved in amber from a century ago. The way he can suffuse a line with emotion, even the uncanny way the top sounds a little like it was recorded into a horn ... it's really something else. As for Villazon vs. Calleja, I trust I'm not the only one who noticed the contrast between Villazon's clownish, manic performances as "host" of the Opera Quiz and Calleja's notably soft-spoken, well-spoken one last week. Calleja is a very fine lyric tenor that allows us to to experience what “old school” singing was like(those of us who are not 100 years of age…)

You got it, he’s the closest thing I’ve heard to a singer preserved in amber from a century ago. The way he can suffuse a line with emotion, even the uncanny way the top sounds a little like it was recorded into a horn … it’s really something else.

As for Villazon vs. Calleja, I trust I’m not the only one who noticed the contrast between Villazon’s clownish, manic performances as “host” of the Opera Quiz and Calleja’s notably soft-spoken, well-spoken one last week.

]]> Cocky Kurwenal commented http://parterre.com/2009/04/22/siriusly/comment-page-2/#comment-62515 Cocky Kurwenal Fri, 24 Apr 2009 12:07:00 +0000 http://parterre.com/?p=3517#comment-62515 Dexter @#60 - I don't think you're correct about the vibrato. Correct vibrato is whatever an individual's voice naturally has when everything is physically as released as possible and the air can flow unimpeded. In some individuals, that will naturally be fast (Calleja, Corelli) and in some it will be a little slower (Freni, Hvorostovsky). The likes of Supervia and Radvanovsky did not or do not sing with a completely free body, which causes that bleat or judder - an unnaturally fast vibrato - and makes their sound a little controversial or, in my book, just plain wrong. Dexter @#60 – I don’t think you’re correct about the vibrato. Correct vibrato is whatever an individual’s voice naturally has when everything is physically as released as possible and the air can flow unimpeded. In some individuals, that will naturally be fast (Calleja, Corelli) and in some it will be a little slower (Freni, Hvorostovsky). The likes of Supervia and Radvanovsky did not or do not sing with a completely free body, which causes that bleat or judder – an unnaturally fast vibrato – and makes their sound a little controversial or, in my book, just plain wrong.

]]> scifisci commented http://parterre.com/2009/04/22/siriusly/comment-page-2/#comment-62480 scifisci Fri, 24 Apr 2009 03:43:09 +0000 http://parterre.com/?p=3517#comment-62480 ah! I'm so mad that I have never seen calleja! For one reason or another i have never been able to catch him when he's singing at the MET...and now it appears I won't be able to for a while (here's hoping gelb calls him to save the day for hoffman). The che gelida manina from the gala on youtube is so beautiful and effortless. ah! I’m so mad that I have never seen calleja! For one reason or another i have never been able to catch him when he’s singing at the MET…and now it appears I won’t be able to for a while (here’s hoping gelb calls him to save the day for hoffman).

The che gelida manina from the gala on youtube is so beautiful and effortless.

]]> Pawel commented http://parterre.com/2009/04/22/siriusly/comment-page-2/#comment-62473 Pawel Fri, 24 Apr 2009 03:03:22 +0000 http://parterre.com/?p=3517#comment-62473 Calleja is a very fine lyric tenor that allows us to to experience what "old school" singing was like(those of us who are not 100 years of age...). It is free, sonorous, "correct"... and like commenters before me said: quite full and very powerful because of it. The timbre has velvet and softness, which makes some people believe it's a light lyric. He was about 6 years ago(he started singing onstage over 10 years ago).. but now it's clearly a full lyric. How far he'll ever venture into lirico-spinto repertoire I don't know - judging by his wisdom up till now, it will probably as much as he can really handle. The nasality, thin high C and other issues are mostly gone. Also the fast vibrato which has always been quite correct - more so than the slower ones today - it did sometimes switch to a tremolo(distinct break in the sound).. but that's also gone.. it has settled.. His Che gelida manina at the MET gala(video on Youtube) was stunning! P.S. Choose between Villazon and Calleja? Why choose? I prefer Calleja. Unfortunately already the operalia competition clearly revealed what would happen. Calleja sang a technically superb "Tombe degli avi miei".. and Villazon revealed already a dangerously faulty technique in "La donna e mobile". And I take no joy in saying this..I wish it would have been different for Villazon...he had less rigorous training than Calleja and less wisdom(singing too many too heavy spinto roles too early..) Calleja is a very fine lyric tenor that allows us to to experience what “old school” singing was like(those of us who are not 100 years of age…). It is free, sonorous, “correct”… and like commenters before me said: quite full and very powerful because of it. The timbre has velvet and softness, which makes some people believe it’s a light lyric. He was about 6 years ago(he started singing onstage over 10 years ago).. but now it’s clearly a full lyric. How far he’ll ever venture into lirico-spinto repertoire I don’t know – judging by his wisdom up till now, it will probably as much as he can really handle.

The nasality, thin high C and other issues are mostly gone. Also the fast vibrato which has always been quite correct – more so than the slower ones today – it did sometimes switch to a tremolo(distinct break in the sound).. but that’s also gone.. it has settled.. His Che gelida manina at the MET gala(video on Youtube) was stunning!

P.S. Choose between Villazon and Calleja? Why choose? I prefer Calleja. Unfortunately already the operalia competition clearly revealed what would happen. Calleja sang a technically superb “Tombe degli avi miei”.. and Villazon revealed already a dangerously faulty technique in “La donna e mobile”. And I take no joy in saying this..I wish it would have been different for Villazon…he had less rigorous training than Calleja and less wisdom(singing too many too heavy spinto roles too early..)

]]> Constantine A. Papas commented http://parterre.com/2009/04/22/siriusly/comment-page-2/#comment-62469 Constantine A. Papas Fri, 24 Apr 2009 02:44:48 +0000 http://parterre.com/?p=3517#comment-62469 Alessandro # 57 You're lucky! As we speak, Netrebko's singing Violetta in Zurich to Beczala's Alfredo. They say she topped her Salzburg performance. Now, with Calleja in Vienna. That woman gets the top tenors and we'll have multiple dream teams, but with the same soprano! I bet you, these young tenors love to sing with her. Alessandro # 57

You’re lucky! As we speak, Netrebko’s singing Violetta in Zurich to Beczala’s Alfredo. They say she topped her Salzburg performance. Now, with Calleja in Vienna. That woman gets the top tenors and we’ll have multiple dream teams, but with the same soprano! I bet you, these young tenors love to sing with her.

]]> JoeBoo36 commented http://parterre.com/2009/04/22/siriusly/comment-page-2/#comment-62437 JoeBoo36 Thu, 23 Apr 2009 21:57:32 +0000 http://parterre.com/?p=3517#comment-62437 Now I'm mad. I tortured myself choosing between Villazon and Calleja, and went with Villazon because of his reputation in this role and bacause I also wanted to hear Angela. I wasn't completely impressed with Angela, and Barry Banks filled in for Villazon. I like Calleja in theory, and would have loved to hear him live. Oh well. Such is the life of a teacher who can afford only two operas per season. Now I’m mad. I tortured myself choosing between Villazon and Calleja, and went with Villazon because of his reputation in this role and bacause I also wanted to hear Angela. I wasn’t completely impressed with Angela, and Barry Banks filled in for Villazon. I like Calleja in theory, and would have loved to hear him live. Oh well. Such is the life of a teacher who can afford only two operas per season.

]]> dexter commented http://parterre.com/2009/04/22/siriusly/comment-page-2/#comment-62435 dexter Thu, 23 Apr 2009 21:36:46 +0000 http://parterre.com/?p=3517#comment-62435 The bleat/ vibrato issue is interesting, not least because I think we all have our own tolerances. But singers with a pronounced vibrato (not a wobble) on record often seem less vibrant live - it's as though the vibrancy settles as part of the voice, rather than the main part. I think it's that with calleja, for me it was with Popp and Lorengar, and from reports, it was the same with the fabulous, but very vibrant Supervia. The bleat/ vibrato issue is interesting, not least because I think we all have our own tolerances. But singers with a pronounced vibrato (not a wobble) on record often seem less vibrant live – it’s as though the vibrancy settles as part of the voice, rather than the main part. I think it’s that with calleja, for me it was with Popp and Lorengar, and from reports, it was the same with the fabulous, but very vibrant Supervia.

]]> Tim commented http://parterre.com/2009/04/22/siriusly/comment-page-2/#comment-62421 Tim Thu, 23 Apr 2009 20:13:58 +0000 http://parterre.com/?p=3517#comment-62421 #54: I agree entirely and would extend the comparison not only to his voice but to things like singing repetoire that fits his voice and placing his primary focus on singing rather than stage behavior. Jussi pretty much walked out on stage, made sure he knew where his wife Annalisa was in the audience, and stood there and sang. But if you listen to his live recordings he is the essential sicilian Turridu, the hopelessly romantic Romeo or Rodolpho, or perhaps one of the greatest swashbuckling Manricos ever recorded. So keep on doing what you are doing Joseph and leave the "acting" to Rolandino. As to the bleating may I refer the nay sayers to two gentlemen who were not too bad: Alessandro Bonci and Fernando deLucia. Lastly my deep thanks to Aristotle for sharing the excerpt with us. Tim #54: I agree entirely and would extend the comparison not only to his voice but to things like singing repetoire that fits his voice and placing his primary focus on singing rather than stage behavior. Jussi pretty much walked out on stage, made sure he knew where his wife Annalisa was in the audience, and stood there and sang. But if you listen to his live recordings he is the essential sicilian Turridu, the hopelessly romantic Romeo or Rodolpho, or perhaps one of the greatest swashbuckling Manricos ever recorded. So keep on doing what you are doing Joseph and leave the “acting” to Rolandino.
As to the bleating may I refer the nay sayers to two gentlemen who were not too bad: Alessandro Bonci and Fernando deLucia.
Lastly my deep thanks to Aristotle for sharing the excerpt with us.

Tim

]]> kashania commented http://parterre.com/2009/04/22/siriusly/comment-page-2/#comment-62412 kashania Thu, 23 Apr 2009 19:23:56 +0000 http://parterre.com/?p=3517#comment-62412 Nine years ago, a 22-year old Calleja sang Rodolfo in Toronto. He was a nobody then but many (including me) heard similarities to Pavarotti. His alt notes weren't fully developed yet but everything else was beautiful. It wasn't until years later when he released a recording that I realised that he was that same guy. I hear shades of Pavarotti, Kraus and Bjoerling in the voice. Nine years ago, a 22-year old Calleja sang Rodolfo in Toronto. He was a nobody then but many (including me) heard similarities to Pavarotti. His alt notes weren’t fully developed yet but everything else was beautiful. It wasn’t until years later when he released a recording that I realised that he was that same guy. I hear shades of Pavarotti, Kraus and Bjoerling in the voice.

]]> Alessandro commented http://parterre.com/2009/04/22/siriusly/comment-page-2/#comment-62393 Alessandro Thu, 23 Apr 2009 17:45:46 +0000 http://parterre.com/?p=3517#comment-62393 Thanks for the wonderful excepts. Calleja is indeed the real thing, a fantastic tenor with a unique sound. How I would love to listen to this complete MET elisir. I heard Calleja live several times in Vienna in roles like Alfredo, Roberto Devereux and Tebaldo. I also heard his Nemorino there and he is ideal for the role. It is really exciting to witness how he improves from one year to the next. He has a great technique and his diminuendi are one of a kind. What a voice this guy has! It seems that this elisir was his last appearance at the MET for quite some time. I noticed he is not booked there for the next season. He next will sing Alfredo to Netrebko's Violetta in May in Vienna. And I have a ticket!!! Thanks for the wonderful excepts. Calleja is indeed the real thing, a fantastic tenor with a unique sound. How I would love to listen to this complete MET elisir.

I heard Calleja live several times in Vienna in roles like Alfredo, Roberto Devereux and Tebaldo. I also heard his Nemorino there and he is ideal for the role. It is really exciting to witness how he improves from one year to the next. He has a great technique and his diminuendi are one of a kind. What a voice this guy has!

It seems that this elisir was his last appearance at the MET for quite some time. I noticed he is not booked there for the next season.

He next will sing Alfredo to Netrebko’s Violetta in May in Vienna. And I have a ticket!!!

]]> Cocky Kurwenal commented http://parterre.com/2009/04/22/siriusly/comment-page-2/#comment-62387 Cocky Kurwenal Thu, 23 Apr 2009 17:32:18 +0000 http://parterre.com/?p=3517#comment-62387 #54 - yes, that was more or less the first thing that popped into my head when I heard his Macduff at the Royal Opera. I'm not sure Calleja's voice will fill out to give him as many repertoire possibilities as Bjorling ultimately had, but I certainly thought he had many similar qualities. #54 – yes, that was more or less the first thing that popped into my head when I heard his Macduff at the Royal Opera. I’m not sure Calleja’s voice will fill out to give him as many repertoire possibilities as Bjorling ultimately had, but I certainly thought he had many similar qualities.

]]> Cocky Kurwenal commented http://parterre.com/2009/04/22/siriusly/comment-page-2/#comment-62386 Cocky Kurwenal Thu, 23 Apr 2009 17:30:24 +0000 http://parterre.com/?p=3517#comment-62386 Rinaldo, thank you for your report of his dramatic skills - that is heartening news. I am next hearing him in Traviata in June or July, and I'm looking forward to it all the more now. Rinaldo, thank you for your report of his dramatic skills – that is heartening news. I am next hearing him in Traviata in June or July, and I’m looking forward to it all the more now.

]]> leboyfriend commented http://parterre.com/2009/04/22/siriusly/comment-page-2/#comment-62377 leboyfriend Thu, 23 Apr 2009 17:11:00 +0000 http://parterre.com/?p=3517#comment-62377 I fully expect to be deluged with abuse for saying this but Calleja reminds me very much of a young Bjoerling. Anyone else had a similar feeling? I fully expect to be deluged with abuse for saying this but Calleja reminds me very much of a young Bjoerling. Anyone else had a similar feeling?

]]> almavivante commented http://parterre.com/2009/04/22/siriusly/comment-page-2/#comment-62376 almavivante Thu, 23 Apr 2009 17:00:41 +0000 http://parterre.com/?p=3517#comment-62376 Thank you again, Aristotle, for more clips. In particular, the "Adina, credimi" was sublime. When I heard Calleja's Duke last week, it was the first time I'd heard him in the house, and I was delighted to discover that he's no CD creation. (Though I wish they'd let him repeat the cabaletta to "Parmi veder"--once was NOT enough!) To whomever asked about his wife, Tatiana Lisnic, I heard her Norina opposite JDF at Covent Garden. She's not bad at all, but the voice was nothing special, certainly nothing like her husband's. Thank you again, Aristotle, for more clips. In particular, the “Adina, credimi” was sublime. When I heard Calleja’s Duke last week, it was the first time I’d heard him in the house, and I was delighted to discover that he’s no CD creation. (Though I wish they’d let him repeat the cabaletta to “Parmi veder”–once was NOT enough!) To whomever asked about his wife, Tatiana Lisnic, I heard her Norina opposite JDF at Covent Garden. She’s not bad at all, but the voice was nothing special, certainly nothing like her husband’s.

]]> squirrel commented http://parterre.com/2009/04/22/siriusly/comment-page-2/#comment-62360 squirrel Thu, 23 Apr 2009 16:13:55 +0000 http://parterre.com/?p=3517#comment-62360 La Cieca: i didn't mean to say that this was your fault, and you were the unintended victim of lampoon in my post> I agree, opinions should be shared. Some folks make it hard, though!! La Cieca: i didn’t mean to say that this was your fault, and you were the unintended victim of lampoon in my post> I agree, opinions should be shared. Some folks make it hard, though!!

]]> Lizzy commented http://parterre.com/2009/04/22/siriusly/comment-page-2/#comment-62353 Lizzy Thu, 23 Apr 2009 16:09:33 +0000 http://parterre.com/?p=3517#comment-62353 As long as we're encouraging unpopular opinions: I have always found it strange that this blog (which I like) devotes so much attention to Villazon and others but hardly has mentioned Calleja at all. As long as we’re encouraging unpopular opinions: I have always found it strange that this blog (which I like) devotes so much attention to Villazon and others but hardly has mentioned Calleja at all.

]]> prunier commented http://parterre.com/2009/04/22/siriusly/comment-page-2/#comment-62346 prunier Thu, 23 Apr 2009 15:57:57 +0000 http://parterre.com/?p=3517#comment-62346 I read that Calleja is married to a soprano, Tatiana Lisnic. She sings Susanna, Zerlina, Norina, Adina, Lucia. Anybody here heard her and wish to share comments? I read that Calleja is married to a soprano, Tatiana Lisnic. She sings Susanna, Zerlina, Norina, Adina, Lucia. Anybody here heard her and wish to share comments?

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