I don't understand how anyone could think Jerry's voice unsuitable for FAUST. He sings this with tenderness and nuance and manly grace. He is certainly MY Ideal Faust!
I also challenge the notion that Hadley had a "small" voice--he had a supremely nuanced, flexible and versatile instrument that seemed to rise to any occasion. Also, perhaps it requires a "giant" voice to sing Mephistopheles, but Faust's arias throughout are tender and romantic--hardly shouting fests.
There are a number of great recorded Fausts out there, but none of them convince me to lend my sympathy to this rather unsympathetic character the way that Hadley does. A brilliant performance the whole way through that wonderful Teldec set.
@evan abaling, I believe your statement is untrue. Why don't you tell that to Alfredo Kraus... a voice of similar, if not even slightly smaller volume, or even Nicolai Gedda. All of these guys sang that stuff. And they sang nearly the same exact kind of OTHER rep too. Just because Corelli, Bjorling, and others sang it a lot, doesn't mean it's reserved. Big voices back in the day sang "everything." Bjorling went from Don Giovanni to Il Trovatore... not exactly the same stuff.
Thanks so much for wrongly blaming Maestro Bonynge with your knee-jerk, not-based-in-fact opinion. And what are you blaming him for, the pp high C? Far more appropriate to the mood of the piece than the usual scream on C (or B, if transposed).
Absolutely wrong. YOu need a voice of great flexibility, warmth, and focus to sing both this aria and the role. The moments whree sheer power count in Faust are extremely few, almost entirely in the Duel Trio and the Final Trio,. Hadley had ample power for the bigger moments in the role. It's not like the lyric tenors we now have singing Cavaradossi. Bjoerling was renowned for NOT having the big voice, but having a voice of great clarity and focus. Corelli never sang the role in public, and shouldn't have.
Had the thrill of singing in the chorus behind Hadley. He was a delight and very friendly.
I was a 'Super' when You were Singing in the Chorus:
Lyric Opera of Chicago 😊
😉
Simply love-this.
I don't understand how anyone could think Jerry's voice unsuitable for FAUST. He sings this with tenderness and nuance and manly grace. He is certainly MY Ideal Faust!
I agree Suzanne, Jerry is an ideal Faust!
lovely pianissimo on those last high notes.
This is my best, for younger generation of tenors, his voice and artistry is always recognizable and unique, Bravo!
Voce dolcissima, piena di passione. 💗
A hugely underated Tenor RIP
God rest his beautiful soul.
Marvelous interpretation!
such delicacy
I also challenge the notion that Hadley had a "small" voice--he had a supremely nuanced, flexible and versatile instrument that seemed to rise to any occasion. Also, perhaps it requires a "giant" voice to sing Mephistopheles, but Faust's arias throughout are tender and romantic--hardly shouting fests.
There are a number of great recorded Fausts out there, but none of them convince me to lend my sympathy to this rather unsympathetic character the way that Hadley does. A brilliant performance the whole way through that wonderful Teldec set.
Jerry, beautifuk singing, Aragall is the very best at Faust, but Jerry right there as well.
@evan abaling, I believe your statement is untrue. Why don't you tell that to Alfredo Kraus... a voice of similar, if not even slightly smaller volume, or even Nicolai Gedda. All of these guys sang that stuff. And they sang nearly the same exact kind of OTHER rep too. Just because Corelli, Bjorling, and others sang it a lot, doesn't mean it's reserved. Big voices back in the day sang "everything." Bjorling went from Don Giovanni to Il Trovatore... not exactly the same stuff.
The conductor is Carlo Rizzi not Bonynge.
Bonynge is the conductor here. And too bad he messed with Hadley's voice.
Thanks so much for wrongly blaming Maestro Bonynge with your knee-jerk, not-based-in-fact opinion. And what are you blaming him for, the pp high C? Far more appropriate to the mood of the piece than the usual scream on C (or B, if transposed).
How did Bonynge do it?
Amen Silver , so glad someone pointed that out..thank you
@@richardholmesmusic2128 It’s pure falsetto here. You can have the effect, but it must be ‘voix mixte’.
I personally don't think that Hadley should have been singing this aria... You really have to have a giant voice to sing Faust.
Absolutely wrong. YOu need a voice of great flexibility, warmth, and focus to sing both this aria and the role. The moments whree sheer power count in Faust are extremely few, almost entirely in the Duel Trio and the Final Trio,. Hadley had ample power for the bigger moments in the role. It's not like the lyric tenors we now have singing Cavaradossi. Bjoerling was renowned for NOT having the big voice, but having a voice of great clarity and focus. Corelli never sang the role in public, and shouldn't have.
Tell Bjorling and Gedda that,
Jerry has enough power to handle this, and there are ton of great tenors doing well here.
@@EmilyGloeggler7984 Go tell him yourself lol.
@@peterchristopher3527 And GDS, Georges Thill...Jerry is perfect for this.
It’s not good at all the way he alternates between an overly dark forte and an unsupported falsetto-ish piano. Doesn’t even sound like him.