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Alfred Hubay on the death of Leonard Warren: 3/4/60
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- เผยแพร่เมื่อ 13 ต.ค. 2017
- Alfred Hubay talks about the weeks prior and after the death onstage of Leonard Warren on March 4, 1960 singing Don Carlo in La forza del destino. It is a unique account because he vividly talks about what happened behind the curtain and into the night. Later he remembers four singers who appeared around this time:
Pavel Lisitsian - studio, 1951
Frank Guarrera - broadcast, April 2, 1960
Anselmo Colzani - in-house, April 7, 1960 (debut)
William Olvis - in-house, January 17, 1961
Zinka Milanov - broadcast, April 2, 1960
Included are examples of their singing. This audio youtube is from Episode #43 of Mr. Hubay’s podcast called “Met Memories” at www.alfredhubay.com
This video is interesting and very informative on many levels. Singers of Warren's stature come along rarely but others should be assessed on their merits alone without comparison to their colleagues. Guarrera and Colzani were top-notch baritones in their own right and should be acknowledged for their individual achievements in the world of opera. Lisitsian was a superb baritone and possessed a voice of singular beauty and artistic quality. I thank Alfred Hubay for his important document of Warren's tragic death.
Yes, and so many singers Mr. Hubay talks about that Donald Collup has generously posted.
One of the greatest Baritones of all time...RIP tc
Thank you so much for this, sir. I have been fascinated with Leonard for a long time now, and just finished his biography. I appreciate this immensely.
As far as the 1950 performance goes, Warren had a better partner in Szekely for this role than Tozzi & perhaps this was a reason why Warren’s performance in that last scene from BOCCENEGRA on March 1 was lacking “pathos.” The stress that Warren apparently put his colleagues through in rehearsals could also have been detrimental to his own health even though he supposedly received a clean bill of health the day before the March 1 performance. With his high blood pressure a check up on March 3 or 4th would have been advisable but Warren, apparently said little or nothing to his wife or colleagues regarding his condition & one check up a week seemed all that was necessary at the time. Although Warren’s outburst towards Mitropulous (sic.) during a rehearsal was unjustified, the conductor’s own treatment of the score was frequently frustrating to the singers. Hubay‘s description of these events is the most informative that I have yet read.
GRANDE CON MAYÚSCULAS
Moremore!
who's alfred hubay?
Gee! Died same year as Jussi Bjoering.
And born, too!
Warren died on March 4th, 1960, (on stage at the Met. while singing, tragically) at Age 48. Jussi Bjoerling . died Sept 9th also in 1960, at age 49 in his sleep.@@moishemillerr
Wow. Who the hell is Alfred Hubay? Some of his opinions are surely that of an opera buff, and he could work on the grammar a bit. Wasn't he a box office manager? Anyway, while I realize that he was "there" for so much, a buff's opinion of singing is usually left of center. And, may I go on record saying that Milanov was one of the worst singers of all time; if not for a pianissimo that was ravishing ( for a moment before the great slides...) she would only have been a Verdian honker. Dreadful, depressed laryngeal function, horrible pitch; the women couldn't really sing above a G , or not easily and pitch-secure anyway. And, she was extremely lucky to have come along when she did.
The late Alfred Hubay began his career at the Met as n usher on 10/13/43. Over the next 23 years, he became Chief Usher, Box Office Manager and later, House Manager.
@@donaldcollup My goodness. Thank you ,Donald!
I certainly don't agree on your view on Milanov, I think she sounded very much like Ponselle. Have you heard her O patria mia ?
@@abcdefgh-db1to thank you for your kind reply! Some people would have been quite ugly to me. It is fine that we can disagree about Milanov, who had one of the most important careers in the history of opera. She is a legend, of course. I have heard her entire Aida. I do think her instrument was astonishingly radiant, powerful and unique. It is the technique that often gets in the way, the pressing down of vocal folds to achieve a dark sound; it really creates havoc in the upper range; and so often she has trouble rising above Ab. That is, she does it, but it is often not in the center of the pitch or is flat. One characteristic of a great singer, I think, is that people disagree. I can listen to her only for a little while. Then I become so frustrated. There was not much solid science about singing and the mechanism when she was studying. I imagine she always had a prodigious voice, and no one told her what to do with it. Now, I love that YOU love Ponselle! The sound !! I love her in every way. But, she also pressed and pushed down the back of the throat as in a yawn; very dangerous when one wants to then go up. It is like lifting weights in the gym. Ponselle was always getting conductors to transpose down for her. As easy and glorious as her top was, she had problems with pitch in the very highest tones. I think you are correct ( and I am fascinated because I never thought of it !! ) about the similarities between them!!! I never thought about it. It was how many sang at the time. And some singers could get away with it; Caruso did! And, again, I appreciate your kind manner so much! Thank you!!Joseph
@@josephcollins6033 IMO, Caruso, Ruffo and Ponselle are the holy trio, no one can equal their magnificence ! As for pushing, I think it's a good thing, yes it may shorten the singing career and may cause issues, but if you manage it, then the sound is just the greatest ever ! Ruffo wouldn't have been Ruffo if he had been more cautious with his voice.
And pretty much every great singer pushed anyway because it's the only way you can convey true emotion !