Vickers gave a memorable recital at Stratford in the early 70's. After his first selection, he looked around and asked if the people in the back of the theatre could hear all right. I was tempted to reply "They can hear you in Toronto!"
To my mind, no tenor has matched his Peter Grimes, for its heart-rending pathos, depth of emotional intelligence, and superb interpretation of the character. At his best, Vickers was one of those few tenors with an extraordinary voice -- authentic rather than 'manufactured' -- and a wonderful stage actor in opera. Some say his acting was the same all the time. Not for me; watch any of his performances, and you see how he changes in each one. Yes, he rarely performed 'happy' characters, but he did have a wry humor and delighted audiences when he showed that side of himself. And his fellow singers fully respected what he gave to them, and took back from them -- for performances that we can now at least gladly listen to, or watch, and understand why he will remain one of opera's legendary singers of his time.
I had the pleasure of meeting Mr. Vickers in the early 1970s when he was performing in Chicago in "Peter Grimes". My mother and my brother had met him in the late 1960s in New York when he was performing in "Othello", and they had become friends. He was a fantastic singer, and a very nice gentleman.
Clearly a very great acting singer: it would be stupid in the extreme to claim otherwise. He was also a delightful and warm-hearted man, as my parents - friends of his - attested. He may have had some outmoded ideas and prejudices, but you cannot argue with his spiritual commitment to his roles, nor his vocal splendour and generosity.
I always appreciated the naturalness of his sound. His voice did not have that somewhat artificial sound of many classical tenors. The warm vocal overtones sounded much more natural than the intense brightness of many tenors. There is nothing wrong with metallic brightness, but, His sound just seems less " manufactured".
Interesting, honest and always riveting in his operatic performances . Captured here at the heights of his considerable powers. One addendum: Before Caruso there was Jean de Reszke ( who , like Vickers, sang a wide variety of roles) and it took some time before the public would accept the new Neopolitan tenor. However, he did eventually go on to great successes both artistic and financially bolstered the old Mets coffers, giving the house a clout and popularity exceeding de Reszke’s , which is what I believe Vickers is attesting to here, but to say that it was “ founded on the voice of Caruso” would be an exaggeration.
I have no interest in most men. I'm not impressed with looks but when I saw Jon as Sampson I was so enamoured, so smitten. I've not seen a tenor so handsome as Jon was in that moment.
Vickers gave a memorable recital at Stratford in the early 70's. After his first selection, he looked around and asked if the people in the back of the theatre could hear all right. I was tempted to reply "They can hear you in Toronto!"
To my mind, no tenor has matched his Peter Grimes, for its heart-rending pathos, depth of emotional intelligence, and superb interpretation of the character. At his best, Vickers was one of those few tenors with an extraordinary voice -- authentic rather than 'manufactured' -- and a wonderful stage actor in opera. Some say his acting was the same all the time. Not for me; watch any of his performances, and you see how he changes in each one. Yes, he rarely performed 'happy' characters, but he did have a wry humor and delighted audiences when he showed that side of himself. And his fellow singers fully respected what he gave to them, and took back from them -- for performances that we can now at least gladly listen to, or watch, and understand why he will remain one of opera's legendary singers of his time.
UN COLOSSO della LIRICA!!!
Grazie ❤️ x la condivisione
I had the pleasure of meeting Mr. Vickers in the early 1970s when he was performing in Chicago in "Peter Grimes". My mother and my brother had met him in the late 1960s in New York when he was performing in "Othello", and they had become friends. He was a fantastic singer, and a very nice gentleman.
I remember that meeting clearly.
Clearly a very great acting singer: it would be stupid in the extreme to claim otherwise. He was also a delightful and warm-hearted man, as my parents - friends of his - attested. He may have had some outmoded ideas and prejudices, but you cannot argue with his spiritual commitment to his roles, nor his vocal splendour and generosity.
I always appreciated the naturalness of his sound. His voice did not have that somewhat artificial sound of many classical tenors. The warm vocal overtones sounded much more natural than the intense brightness of many tenors. There is nothing wrong with metallic brightness, but, His sound just seems less " manufactured".
Wonderful to watch this!!!!! Thank you!!!!
Am so fortunate as well to have seen him in Tristan this Montreal production of Otello!
How was it ??
I saw this doc when it first came out. Then it was buried somewhere. Luck for me to have seen him in Tristan in Montreal in 1975.
my favourite all time opera singer
I loved him as Pollione in Norma with Montserrat Caballe in the ampitheatre in Oange, France during powerful Mistral winds in 1974!!!
Considering most things are amplified today, it's a testament to the ability of Vickers and Nilsson that they can project above an orchestra.
What opera house amplifies the voices?
Thank you for posting this.
That ROH prom performance must be such a fire hazard. Damn!
Great Vickers - pity the lousy sound & image quality: eagerly waiting for a remastered version !
Bravo vikers❤❤❤❤❤❤❤❤
Interesting, honest and always riveting in his operatic performances .
Captured here at the heights of his considerable powers.
One addendum:
Before Caruso there was Jean de Reszke ( who , like Vickers, sang a wide variety of roles) and it took some time before the public would accept the new Neopolitan tenor. However, he did eventually go on to great successes both artistic and financially bolstered the old Mets coffers, giving the house a clout and popularity exceeding de Reszke’s , which is what I believe Vickers is attesting to here, but to say that it was “ founded on the voice of Caruso” would be an exaggeration.
Why has it taken so long for this video to be shown to the general public ?
Basically it’s stuck on tape in the CBC archives. It hasn’t been properly digitized.
@kurtward-theiss8060
It sounds like he's yelling in the Fidelio scene. He didn't have a beautiful voice but it was powerful.
Nope. His voice is fully supported throughout that scene. You may be used to less vocally dramatic versions.
I have no interest in most men.
I'm not impressed with looks but when I saw Jon as Sampson I was so enamoured, so smitten.
I've not seen a tenor so handsome as Jon was in that moment.
Most lesbians don't.
@@BellaFirenze You are so delightfully naughty.
@@hrh4961 Certo, lo sono.
❤🇱🇨!!!