Lend me a tenor
La Cieca hears that bodacious Bryan Hymel will make his Royal Opera debut in June as Don Jose, jumping in for an ill (but recovering) Marcus Haddock. Two months before, Hymel will sing his first Énée for Netherlands Opera under the baton of John Nelson in a production by Pierre Audi.
Closer to home, Hymel sings tonight for Opera Orchestra of New York in a program hosted by beloved Metropolitan Opera commentator Ira Siff.
I heard Hymel as Pinkerton in Toronto last month. It’s a nice voice, especially in the top register, but he was getting swamped by the orchestra — not to the point of inaudiblity but still… I think this has to do as much Puccini’s orchestration as with the lack of heft in his voice. So, while I think the tessitura of Enee could be a fine fit for his voice, I didn’t hear enough heft to make me think that he has what I’d like to hear in an Enee.
It’s coming to the point that I pity any artist who gets mentioned here. What ensues must be hard for them to endure.
Alto, if someone cannot take criticism (of both the positive kind and the destructive, negative kind), then such a person is not fit to have a career in basically any performing art. And believe me, they have it easier nowadays since real mean criticism is not printed in papers and audiences don’t usually boo or throw and vegetables at the stage.
It could be a lot worse.
” … such a person is not fit to have a career in basically any performing art.”
It must be marvelous to be so sure of oneself as to be able to make such universal pronouncements.
Though it’s as well that the dictum is not enforced, since it would have excluded some of the greatest artists in history.
Alto, having been an insider for years, you of all people should know that there is truth to that (over inflated) statement.
As artists people need to develop thick skin, you know that.
I did not say that criticism does not hurt. It does, profoundly. I just wanted to make the point that it comes with the job and always has.
And yes, I have a performing career and KNOW first hand how painfull that can be. Lindoro below me is correct, even if my phrase is extreme, it is basically correct – Not because of the way things should be, but because of the way things (and people) are.
I did not criticize his choice of singing Don Jose. I don’t believe he HAS a choice in fact, he either does it or never will be given the chance again. In fact 90% of the time the artist is a victim in this business.
“As artists people need to develop thick skin …”
I’ll agree if we modify that to say:
“As people, artists need to develop thick skin.”
But I would never say that a thin skin disqualifies their art.
Point well taken Alto and thanks for the insight.
Also, I understand that it can seem that some of us have a sadistic pleasure in finding fault with some else’s singing. Believe me that couldn’t be further from the truth when it comes to me. I would love that Kaufmann, Villazon, Alvarez (or any of the younger tenors la cieca usually points out) outsang Caruso, Corelli, Roswaenge, Tucker, etc. And yes, I believe we should set our standards higher, or we will never get to them again.
I’m down with that Alto. And I agree with you on the other part too.
Where is he singing Enee and with whom? The venue and conductor can make a big difference. I won’t comment on it because I haven’t heard it, but didn’t Gregory Kunde (admittedly a veteran performer) sing Enee with Susan Graham and John Eliot Gardiner at the Chatelet?
in Amsterdam’s Muziektheater with John Nelson as conductor. The Netherlands Opera openly admits to “voice-enhancement” as the house doesn’t have a good natural acoustic for singers. It has a “letter-box” shaped proscenium like the Grosses Festspielhaus in Salzburg, which also isn’t great for smallish voices.
You know, curiosity brought me to listen to several excepts of Himmel on youtube (since I have not had the chance to see him live)
After hearing the excerpts I think the problem might not be the suitability of the repertoire (and I’ll reserve my opinion since it might not be popular to do so until after the full moon) or his age. The sense that I am getting is a problematic technique.
I hear a reliance of a low throat (some people would say pushed down, whatever) in his sound production. This makes for a characteristic sound in the middle (some people interpret it as full and husky) and some pretty amazing high notes but it creates a hole in the lower registers and a weird transition to the lower notes.
Now, the people who have heard him have spoken of a problematic (inaudible?) low register and the sound that he makes in the middle and high notes, as judged by the clips, leads me to believe that this is the case here: a low larynx emission. Now, I would have to confirm that after i see him live, but I don’t see that happening too soon, as I have not come across his name in any operas that are in my wish list.
Obviously you don’t understand vocal technique.
LOL! Oh sweetie, don’t make me laugh. It’s bad for the lines around the mouth…
I like the first two, but that Addio fiorito asil is downright amateurish. He sounds like a sheep, can’t keep pitch, and that B-flat is swallowed. This, at Covent Garden?
As someone that had a bit of a tongue tension problem that created the same kind of quick vibrato and poor low notes (leading everyone to think i was a tenor and not a baritone), I will agree.
But, all ‘problems’ aside, this could be the best way for him to make the best possible sound he can make, and it’s a good sound, so I’ll take it. If he figures out a way to make a better sound later on in his career, kudos to him, but for now I’d see him in many roles.
He just looks like another chubby farm boy to me.
He is a great singer, and you are an asshole
Though, as some of us know too well, it’s possible to be both.
Alto, have I told you lately that I love you?
It seems odd to me that Hymel has been signed to replace an ill (but recovering) Marcus Haddock, as Don Jose next June! What in the world is poor Marcus recovering from?!?!
Probably another face lift.
Some kind of cancer, I heard.
I believe a stroke. Let’s hope he recovers fully.
Marcus is quite ill.
mrmyster: Hymel is about 30 years old. He was 19 in 1998, but I don’t know when his birth date.
Thanks, Cruz. I think Hymel has an interesting voice, but from
these sound-impaired tapes I cannot tell much. I did think in the
Butterfly he did not keep adequate support and began to ‘lean’ on
the voice rather than ‘float’ it, but in the Bellini I found him more
than promising. The placement seems good — I just worry
about support.
I’m not sure if it’s just me, but are these voices with that light, caprino sound becoming just a tiny bit in vogue recently? Calleja especially, but I’ve heard quite a few singers recently with this sort of tighter and faster vibrato. Anyone else hearing this?
Valmont, I think you are right. There is something ‘old-fashioned’ about Hymel’s voice like there is about Calleja’s. I didn’t like Calleja the first time I heard him, but his singing has grown on me. Better a bit of caprino than Villazon’s throaty squeezing — he was just on the radio, so he’s top of mind.
Val, I don’t think I am hearing it here in two out of three; but
wait till you hear him live. I think this very brilliant voice is
by far best in person.
I’d love to hear him. He needs to work on stage deportment
and well, what shall I call it, personality?
I certainly hear the caprino quality in his voice, but I personally don’t mind it. The color and musicality is much more imortant to me, which is why I am a huge fan of Calleja. I hope he’s better by the time I get to see Hoffmann in a couple weeks.
Not sure if this has anything to do with Hymel’s singing voice or not – but he’s a smoker.
Ooooo. That can’t be good. I’ve heard of some singers doing this but I just can’t understand it. How could a professional monkey around with his money maker? That just seems crazy!
Wait, you do mean that he smokes cigarettes, right?
I thought only basses and contraltos were supposed to smoke…
Ask Mr Pape.