Recently denasaled bass-baritone Paulo Szot returns to South Pacific at the Vivian Beaumont tomorrow. [Broadwayworld.com]
tytonius, it is nasty queens like you that keep me from posting often, any difference of opinion prompts a deluge of insults and put downs, learn to disagree without attacking the posters. and the tony awards does not necessarily mean high quality, think RENT, SPRING AWAKENING, NEXT TO NORMAL, PHANTOM OF THE OPERA and of course CATS. The tony indicates popularity, not necessarily quality,
agree with sanford about brian stokes mitchell, however reba was woefully unprepared and the performance was not in the same category as her ANNIE, If you grew up listening to Pinza and Tozzi in the role Szot’s lighter sound is not as satisfying,
Here is what I think….
It’s not opera and it is ridiculous to sing South Pacific with a full operatic voice these days and SZOT, as a great musician AND actor, understands it very well
and touches thousands of every week with his sensibility.
Does it mean that you can’t listen anyone else singing Don Giovanni these days because we were used to listen to Pinza?
Thanks God things are changing and opera is becoming less boring to watch live thanks to new understandings and interpretations….
This bogdanty creature is evidently as in love with Szot as the occasional Jenkins buffs defending “Kath” here are with their much less gifted ersatz star. He has evidently taken to heart the Gelb/Dessay nonsense about meaningful drama in opera just having started in the last few years. POPPYCOCK.
I heard Szot in Boston as Count Almaviva and he was OK- not NEAR the level vocally or dramatically of a Kwiecen or Mattei ( both very much on the scene today, in this role)The City Opera performances were notable for looks but the singing was by any standard only mediocre. He did pretty well in THE NOSE, though he was certainly overpowered by the orchestra. He should be fine in MANON. He seems to be a good colleague and I am glad that at least until recently his publicity was very open about his gayness.
But in any operatic terms, he is not “a great singer”. Sorry!
Neither Gelb nor Dessay has ever stated that meaningful drama in opera only started in the last few years. And I can’t remember anyone ever defending Jenkins here, either.
As I said the other day, some posters see what they want to see.
In essence, they have said exactly, in fact. You always rush to defend Dessay, but, fine artist that she is/was at best, she has delivered herself of some nonsense in interviews.
And it’s not my fault if yo missed the Jenkins fans.
Wow. ‘In essence’ and ‘in fact’ in the same sentence.
This is my favorite picture of Liza ever. The dialogue balloon really makes it special.
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