Non-tenors singing tenor arias and/or in tenor key

This is reserved for non-tenors singing tenor arias and/or in tenor key,

"secret tenor dreams"

! (It also contains Jokers who think they are singers)

Baugé, Bertolino, Bianco, Bonelli, Brancato, Brice, Bucalo, Carroli, Corradetti, Crabbé, Crosby, Endrèze, Farrar, Forsell, Galli-Curci, Gobbi, Godor, Gorin, Hahn, Helder, Holecek, Lareine, Liao, Magomaev, Massard, Melba, Noté, Prell, Mme H. Reynès, Robeson, Schütz, Shore, The Stanley Tenors Enemies, Thomas, Tibbett, Tilkin-Servais, van de Sande
  • André Baugé
    • André Baugé sings Richard Coeur de lion: Richard of mon roi
      Pathé no. 0608, mx. 200567
    • André Baugé sings Ein Walzertraum: Oui c'est une valse de Vienne, in RA format
      • I would like to thank Robert Schlesinger for the recordings and notes.
      • André Baugé (1892-1966), the impersonation of vocal charme, the great master of the lighter side of French classical music, sings three tenor arias from Viennese operettas; the Paganini excerpt is transposed down a full tone, the two others are in original tenor key. Particularly enjoyable: the Walzertraum rendition.
        The Barbiere's aria was used as a mock love serenade in one of Baugé's films. It is in original key (I've checked it now), and the phrasing is so much better than in a great number of non-mock versions...
  • Mario Bertolino
    • Picture of Mario Bertolinoi
      • Mario Bertolino sings Dicencello vuie in RA format
        • Bertolino sang basso parts. Why is he described as a tenor to be compared to Caruso and Lanza on the informationon the LP I have is strange.
    • René Bianco (21 June 1908-24 January 2008)
      • René Bianco sings O sole mio in RA format
        • I would like to thank Claude Ribou for the recording.
        • Il nous a quitté avant d’avoir bouclé son siècle : René Bianco aurait dans quelques mois fêté son centième anniversaire, cent ans d’une existence habitée par la musique. Né à Constantine le 21 juin 1908, il fut incontestablement le plus grand baryton français de la deuxième moitié du XXème siècle, l’équivalent au moins d’un Piero Cappuccilli. Fou de théâtre il commence dès l’adolescence par hanter les coulisses des salles de spectacles en y pratiquant toutes sortes de petits boulots. La découverte de sa voix le fait entrer au conservatoire où il rafla prix sur prix. Paris le découvre en 1948 salle Favart dans Les Contes d’Hoffmann d’Offenbach et le lendemain à l’Opéra de Paris dans Lohengrin de Wagner qu’il marqua d’ une empreinte indélébile. Bien au-delà de ses 70 ans, il chanta tous les grands rôles de baryton des répertoires français, italiens, allemands, Iago, Rigoletto, Kurwenal, Pizzaro furent ses doubles en chant et présence, il participa avec enthousiasme à des créations contemporaines et exporta son savoir faire, son talent et son charisme dans les plus grandes capitales du lyrique. Il fut également un pédagogue hors pair admiré et aimé pour sa simplicité et sa joie de vivre. Il a été inhumé dans l’intimité de sa famille lundi 28 janvier à Charbonnières près de Lyon.
          Caroline Alexander, webthea.com
    • Richard Bonelli
      • Richard Bonelli sings DieWalküre: Winterstürme in RA format
        • I would like to thank Robert Schlesinger for the recording and notes.
        • Richard Bonelli, the great underestimated American baritone (1889-1980), singing a transposed yet excellent Siegmund selection here.
    • Antoine Brancato
        Picture of Antoine Brancato and Jean Charpini Picture of Antoine Brancato and Jean Charpini Picture of Antoine Brancato and Jean Charpini Picture of Antoine Brancato and Jean Charpini
      • Antoine Brancato sings Carmen: Duo final, with Jean Charpini in RA format
      • Antoine Brancato sings Faust: Il se fait tard, with Jean Charpini in RA format
      • Antoine Brancato sings La Mascotte: Duo de l'escarpolette, with Jean Charpini in RA format
        Actually this is a cheat as this a duo for a Baritone not a tenor.
        • I would like to thank Robert Schlesinger for the recordings and notes.
        • Charpini & Brancato - Jean Charpini (1901-1987) and Antoine Brancato (1900-1991) were pioneers of French gay culture: stars of the cabarets of Paris in the 1920s and 1930s, who gained prominence and fervid followers far beyond the gay community. Charpini a male mezzosoprano, Brancato a high baritone (both of course no operatic voices!), they did hilarious things not only with their own music (Brancato being the composer of the two), but also in parodies of French operetta, and in this case, even of "my buddy" (as Charpini announces it) Massenet, where Brancato takes the tenor part, and Charpini excels as Manon.
    • Carol Brice (April 16, 1918 - Sedalia, North Carolina - February 15, 1985 - Norman, Oklahoma)
        Picture of Carol Brice

        Picture of Carol brice's label
      • Carol Brice singsSerse: Ombra mai fu in RA format
        • I would like to thank Daniele Godor for the recording and record label.
        • Carol Brice (Lovette Hawkins), received training at Palmer Memorial Institute in Sedalia, at Talageda College in Alabama ( Bachelor of Music, 1939), and from Francis Rogers at the Juilliard School of Music in New York (1939-1943). Carol Brice first attracted attention when she sang in The Hot Mikado at the New York World’s Fair in 1939. She was also chosen to sing at a concert for President Roosevelt’s 3rd inauguration in 1941 and was the first black American to win the Naumburg Award (1943). Among her many stage roles were Addie in Regina, Maude in Finian’s Rainbow, Maria in Porgy and Bess, Queenie in Showboat and Harriet Tubman in Gentlemen, be seated. She was a member of the Vienna Volksoper from 1967 to 1971. Carol Brice taught at the University of Oklahoma from 1974. With her husband, the baritone Thomas Carey, she founded the Cimarron Circuit Opera Company.
          Reference
    • Emanuele Bucalo
      • Emanuel Bucalo sings Cavalleria Rusticana: O Lola in RA format
        • I would like to thank Robert Schlesinger for the recording and notes.
        • Emanuele Bucalo was a very decent early operatic baritone (1904/05 recordings). Here, he proves a good sense of humour, imitating a cat imitating a tenor. One of the weirdest and funniest aria records ever made.
    • Sivano Carroli
      • Silvano Carroli sings Otello: Nium mi tema, in RA format
        • I would like to thank Daniel Godor for the recording.
        • Not for Carroli.
    • Ferruccio Corradetti
      • Ferruccio Corradetti sings Der Vogelhändler: Valzer dell'usignuolo, in RA format
        • I would like to thank Robert Schlesinger for the recording and notes.
        • Baritone Ferruccio Corradetti (1866-1939) had not an outstanding stage career, but was one of the pioneers of operatic recording. For this record, he chose one of his artist names (Corrado Ferretti) to sing, in a transposed version, a tenor piece from Carl Zeller's operetta "Der Vogelhändler" - not in the original Tyrolean dialect of the German libretto, of course, but in Italian!
    • Armand Crabbé
      • Armand Crabbé sings Le Roi d'Ys: Vainement ma bien aimée, in RA format
        • I would like to thank Robert Schlesinger for the recording and notes.
        • Armand Crabbé: Vainement, ma bien aimée, in tenor key. Baritone Crabbé was one of the very few singers to make recordings in all three keys. Other than this tenor aria, he also sang the bass "Air du Sonneur" from "Patrie" on record. Crabbé's voice may not be very appealing, but he is doing a better job in this Roi d'Ys aria than most tenors who recorded it.
    • Bing Crosby
      • Bing Crosby sings Jocelyn: Holy Virgin in RA format
        • I would like to thank Robert Schlesinger for the recording and notes.
        • Bing Crosby's apparently only operatic recording. Jasha Heifetz on violin!
    • Arthur Endrèze
      • Arthur Endrèze sings Semele: Wher'er you walk, in RA format
        • I would like to thank Robert Schlesinger for the recording and notes.
        • An oddity recording by this native of Chicago (1893-1975), who became one of the greatest French baritones ever. After his retirement in 1948, he returned to the USA, teaching voice in Kansas City. He endured for merely two years in what had become a foreign country to him; he went back to his adopted though real home country, France, for good. This tenor aria was privately recorded when Endrèze was already back from Kansas, thus years after the end of his professional career. It's one of Endrèze's very few recordings in his mother tongue, and perhaps his only recording of baroque music. Towards the end, the once almost incomparable quality of this singer still shines through.
    • Geraldine Farrar
      • Geraldine Farrar sings Die Walküre: Winterstüme, in RA format
        • I would like to thank Daniele Godor for the recording.
    • John Forsell
      • John Forsell sings Svarta Rosor, in RA format
        • bass baritone John Forsell sings Sibelius' Svarta Rosor in tenor key and easily hits a high A-flat. He demonstrates the typical technique of the Swedish school for heavy tenors (Svanholm, Oehman etc.)
        • I would like to thank Daniele Godor for the recording and comments.
    • Amelita Galli-Curci
      • Amelita Galli-Curci Sadko: Song of the Indian Guest, in RA format
        • I would like to thank Robert Schlesinger for the recording.
    • Tito Gobbi
    • Daniele Goddor
      • Daniel Godor sings Rigoletto: Ella mi fu rapita, in RA format
        • I would like to thank Daniele Godor for the recording.
    • Igor Gorin
      • Igor Gorin sings Pagliacci: Vesti la giubba, in RA format
        • I would like to thank Daniele Godor for the recording.
    • Reynaldo Hahn
      • Reynaldo Hahn sings Les pêcheurs de perles: De mon amie fleur endormie, in RA format
        • I would like to thank Robert Schlesinger for the recording and notes.
        • Reynaldo Hahn (1874-1947) - the French musical all-rounder (composer, conductor, baritone without a voice but with plenty of stylistic wisdom and refinement) sings Nadir's second aria, transposed down no less than five half-tones!
    • Ruby Helder
      • Ruby Helder sings Jocelyn: Berceuse in RA format
      • Ruby Helder sings Martha: M'appari in RA format
      • Ruby Helder sings The Bohemian Girl: When other lips and other hearts, in RA format
        • I would like to thank Robert Schlesinger for the recordings and notes.
        • Ruby Helder, the "girl tenor", had one of the most unusual operatic careers ever. She has long been considered a mystery singer, and even when the Pearl CD of her voice came out in 1993, much of her life still remained a puzzle. Now, thanks to the internet, it's easy to solve this puzzle. She was born Emma Jane Holden in Bristol on March 3rd, 1890 (and not, as had been assumed for a long time, in 1896). Her extraordinarily unusual low voice quickly got her out of the humble circumstances of her childhood, and she eventually became a pupil of the greatest British singer of the time, Sir Charles Santley. Hers was actually a tenor voice, and a low one to boot (she also made a record of Santley's cheval de bataille, Avant de quitter from Faust, in original key). Santley testified "in my opinion, she has no rivals among the artists of the day", and also Enrico Caruso was so impressed with her voice that he urged the Metropolitan Opera to engage her for tenor parts in 1915. The Met management, though, refused; the petite "girl tenor" was, her successful concerts notwithstanding, by no means undisputed, and the Gramophone magazine in a 1925 issue bluntly refused to review her records because she had "a freak voice", as the reviewer put it. She never seems to have made it on the opera stage, but her mixed concerts of operatic and light music earned her considerable international success, above all in the UK and the US, but even in Russia. One long and important US tour was with John Philip Sousa and his band. Her early disappearance from the concert stages used to be considered a mystery; the simple reason is that in 1920, she married Chesley Bonestell, a highly successful and important book illustrator and painter (he was the most important exponent of "space painting", uncannily realistic paintings of other planets, long before space travel had been possible). Bonestell was wealthy, they travelled widely, and she performed only sporadically, her success having diminished anyway over the years; obviously, this strange voice didn't last very long. By the time the Bonestells settled in Berkeley in 1927, she spent most of her time throwing huge parties - and drowning in alcohol, which eventually led to her untimely death in a hotel in Hollywood on November 21st, 1938.
    • Heinz Holecek (April 13, 1938 Vienna - April 13, 2012 Vienna)
        Picture of Heinz Holecek
        Picture of Heinz Holeceki
        Picture of Heinz Holecek
        Picture of Heinz Holecek
        I wish to thank Daniele Godor for the picture (bottom)
      • Heinz Holecek sings La forza del destino In heiliger Stunde , with Heinz Holecek
        • Here he’s singing Solenne in quest’ora as a duet with himself – once as Rosvaenge and once as Paul Schöffler. Hilarious, and one of Holecek’s best!
      • Heinz Holecek imitates Schmidt, Slezak and Frick , in RA format
        • Holecek: as Joseph Schmidt (good speaking, but the singing is the weakest of Holecek's imitations), Leo Slezak (very funny, maybe a little difficult to understand: "Slezak" explains his method of plunging corks between his teeth when rehearsing - corks of different size in order to shape the mouth for different vowels: "darling, where's my eh-cork??", and demonstrates the advantage of the cork technique moving the eh-cork in and out while singing Hildach's Der Lenz); now some non-tenor singing: Gottlob Frick (terrific, Frick himself would have had difficulties distinguish his own voice from Holecek's imitation). Bonus: Holecek without imitating any specific singer, in Freischütz - as Agathe , though!!.
      • Heinz Holecek sings Der Troubadour: Lodern zum Himmel , in RA format
        • Heinz Holecek (baritone of sort, but funny) singing Di quella pira, five times (always the first lines only): first in his own voice (he'd better not...), then imitating Peter Alexander, Udo Jürgens, Vico Torriani, and Gilbert Bécaud. Very funny. Whoever doesn't understand the German text in between, there's no need to be sorry, it's much, much less funny than the singing itself.
      • Heinz Holecek sings Il Trovatore: Di quella pira a la Rosvaenge, in RA format
        • Heinz Holecek, imitating Helge Rosvaenge, this time. The interviewer is actually one of Austria's most famous radio & TV music journalists, Karl Löbl. The story is (just in case you don't understand everything) that Löbl visits Rosvaenge in his voice studio in Munich and asks him about a vocal technique called "sempre piano", and Rosvaenge aka Holecek is mocking this technique both speaking and singing. Hilarious.
        • I wish to thank Robert Schlesinger for the recordings and notes.
        • Heinz Holecek gestorben

          Kammersänger Heinz Holecek ist tot. Der vielseitige Künstler ist nach Angaben seiner Familie am Freitag, an seinem 74. Geburtstag, gestorben. Er war nach einem Zusammenbruch im Februar im Koma gelegen.

          Holecek hatte im vergangenen Februar auf der Straße einen Atem- und Kreislaufstillstand erlitten. Die Rettung konnte ihn wiederbeleben, der Künstler lag aber seit damals im Koma - mehr dazu in Sänger Holecek zusammengebrochen.

          Debüt 1960 an der Volksoper

          Heinz Holecek wurde am 13. April 1938 in Wien geboren. Er studierte nach der Matura bis 1958 Gesang am Wiener Konservatorium und an der Musikakademie. 1960 debütierte er nach einer Absage Josef Meinrads als Papageno in Mozarts „Zauberflöte“ an der Seite von Renate Holm an seinem späteren Stammhaus, der Volksoper. In der gleichen Rolle war der Bariton 1962 erstmals an der Staatsoper zu hören. Neben dem Papageno gehörten unter anderem der Figaro aus Mozarts „Le Nozze die Figaro“ und Schaunard in „La Boheme“ zu Holeceks Lieblingsrollen. Große Erfolge feierte „Honzo“, wie Holecek liebevoll genannt wurde, auch als Frosch in der Operette „Die Fledermaus“. Gastspiele, Konzertauftritte und Wienerlied-Abende machten ihn über die Grenzen Österreichs hinaus bekannt. Tourneen führten ihn unter anderem in die USA, nach Japan und nach Israel.

          Erfolge als Parodist und Schauspiele

          Bemerkenswert war die Vielseitigkeit Holeceks. Als Parodist trat er erstmals Anfang der 1960er Jahre im Fernsehen auf, glänzte dabei als Marcel Prawy. Aber auch Konrad Lorenz, Hugo Portisch, Curd Jürgens, Karl Merkatz, Frank Sinatra und Luciano Pavarotti parodierte Holecek in diversen eigenen TV-Shows wie etwa „Fremde Federn“ und „Kein Solo für Holecek“. Auch als Schauspieler war Holecek erfolgreich. So gab er unter anderem etwa den Rappelkopf in Raimunds „Alpenkönig und Menschenfeind“ und den Zettel in Shakespeares „Sommernachtstraum“ bei den Salzburger Festspielen. Im Jahr 2000 feierte Holecek mit dem Rollendebüt als Doolittle in „My Fair Lady“ das Jubiläum seiner 40-jährigen Bühnenkarriere an der Volksoper. Das Publikum dankte ihm mit einem Ständchen.

          Ehrenmedaille der Bundeshauptstadt Wien in Gold

          Gedankt wurde dem 1977 zum Kammersänger erhobenen Künstler auch mit mehreren Auszeichnungen. Der damalige Kunststaatssekretär Franz Morak (ÖVP) verlieh ihm im Jahr 2000 das Österreichische Ehrenkreuz für Wissenschaft und Kunst Erster Klasse. 2001 folgte die Ehrenmedaille der Bundeshauptstadt Wien in Gold. Ab 2006 trat er regelmäßig in den Kinderopern im Steinbruch St. Margareten auf, verkörperte den Papageno in der „Zauberflöte“ und Wilhelm Busch in „Max und Moritz“. Holecek war auch sozial tätig, engagierte sich für die Wiener Tafel und den Wiener Tierschutzverein, für den er im Vorstand saß. Bereits kurz nach Bekanntwerden des Todes trafen die ersten Reaktionen aus Kultur und Politik ein. „Heinz Holecek war ein wichtiger musikalischer Botschafter Österreichs“, würdigte ihn etwa Kulturministerin Claudia Schmied (SPÖ) - mehr dazu in Trauer um Kammersänger Holecek (wien.ORF.at; 13.4.2012).

          ORF ändert Programm

          Zum Ableben des Kammersängers ändert der ORF sein Programm und lässt das facettenreiche Wirken des Publikumslieblings noch einmal Revue passieren. Am Samstag stehen ab 13.00 Uhr in ORF 2 in einer verlängerten „ZiB“ die Gesangsrollen von Heinz Holecek im Mittelpunkt. Um 22.00 Uhr kommt es, ebenfalls in ORF 2, zu einem 45-minütigen Wiedersehen mit den besten Parodien des begnadeten Menschenimitators. Und so kommen in „Holeceks Jahrhundertshow“ u. a. Marcel Prawy, Marcel Reich-Ranicki und Otto Baric zu Wort. ORF III widmet sich am Sonntag in einem „Erlebnis Bühne spezial“ ab 19.45 Uhr dem Leben und Wirken Heinz Holeceks: Um 19.45 Uhr trifft Eva-Maria Klinger in einer Ausgabe von „Prominente privat“ Heinz Holecek und dessen Familie. Nach einem „Kultur Heute spezial“ (20.00 Uhr) über den verstorbenen Kammersänger geht es um 20.15 Uhr mit Heinz Holecek und der „Fledermaus“ in einer Inszenierung von Otto Schenk weiter. Den Abschluss macht um 22.40 Uhr „Holeceks Jahrhundershow“.

          Link

          Heinz Holecek (Wikipedia)

          © wien.orf.at

    • Adeleine Lareine
      • Adeleine Lareine sings Sonja, in RA format
        • I would like to thank Robert Schlesinger for the recording and notes.
        • I don't know anything about the singer with the imaginative artist name Adeleine Lareine (a music hall artist, I'd suppose). She was a "girl tenor" even more unusual than Ruby Helder: much like an inverted countertenor, she could switch from her "natural" voice (a nagging thin mezzosoprano) to a shining tenor voice, which sounds much more natural indeed than her female voice. And she could even do the same thing in baritone key! Great fun, also great singing in a sense, even if it regards a trifle like the ballad "Sonja" by Eugen Pártos.
    • Xiaoning Liao
      • Picture of Xiaoning Liao
      • Picture of Xiaoning Liao

      • Picture of Muslim Magomaev
    • Muslim Magomaev (August 17th, 1942, Baku - October 25th, 2008, Moscow)
      • Muslim Magomaev sings Krasota tvoja ne vechna, in RA format
        • Muslim Magomaev, live on TV, imitating Rashid Behbudov (Beibutov), and the song is: "Krasota tvoja ne vechna" by Guliyev. (This was the tough part!) Magomaev, in his Behbudov imitation, is accompanying himself on the piano. I wish to thank Yuri Bernikov for idnetifying the Magomaev/Behbudov song.
      • Muslim Magomaev sings Mamma in RA format
      • Muslim Magomaev sings You are my destiny, in RA format
        • I would like to thank Robert Schlesinger for the recordings, picture and notes.
        • Most Western collectors may never have heard the name of Muslim Magomaev, and yet he was the greatest star by far of Soviet music; figure a combination of Luciano Pavarotti, Frank Sinatra, and Elvis Presley to get a rough impression of his fame and popularity in the USSR. Since his career is interesting also from a historical point of view (not least because it proves that the iron curtain worked in both directions; we, too, had not the faintest idea what was going on behind it), and since I (big surprise!) love Magomaev, I can't refrain from telling his story at a somewhat extended length. Magomaev was born in Baku, Azerbaijan, into a family of musicians; his grandfather, another Muslim Magomaev, was one the two most important Azerbaijanian classical composers. (The name really reads Müslüm Maqomayev, but he uses the russified version himself.) He began singing in public in 1960, at the age of merely 18 years; even if he was stealing those two or three years customary for opera singers, he would have been incredibly young. His breakthrough came in a young talents competition in 1962; over night, a star was born. From 964 to 1965, he went through an internship at the La Scala. He is reported to have sung eight concerts a week in his early years (two on Sundays). Well, I guess not every week, but anyway, he must have been positively crazy. Furthermore, he was (and is) a really heavy smoker; every second private photo throughout his life is showing him with a cigarette. He also sang regularly in opera in those early years, Figaro in Barbiere being his most important, and Scarpia being his best role. His musicality was as outstanding as his voice range; he sang in all three keys, also in public, and while he is being considered a baritone, I for one don't hear any difference in quality between his baritone and bass renditions; and in the recordings included here, I guess everyone would mistaken him for a tenor. Nevertheless, tenor was the key he felt least at home, obviously, since he didn't any arias in that key, just songs, both Neapolitan and pop. (His Yours is my heart alone is a late recording, and therefore transposed down - earlier, he might have been able to do it in original key, but alas he didn't.) The voice is reported not to have been very large, but from his many live recordings, it's easy to say that it wasn't very small either. The constant overstrain, though, inevitably took its toll, and it didn't last long. As early as 1978, he gave his last opera performance (Barbiere in Baku), and about 1990, also his pop career had come to an end, random public appearances up to this day notwithstanding. Yes, indeed, I wrote "pop career". Magomaev was the godfather of crossover; neither a pop singer who thought it might be nice to croak Nessun dorma (greetings, Mr. Bolton), nor an opera singer who thought it might be nice to kill Yesterday with loads of operatic pathos (greetings, Mr. Domingo). No - Magomaev sang crossover because he was really at home in every kind of music from Mozart to the Beatles. That is, he didn't start singing pop when the voice for opera was gone. He did it from the very beginning. A typical early Magomaev concert that had been broadcast by the Soviet television starts with a Rachmaninov song, includes arias from Barbiere (both Largo al factotum and La calunnia, in the same concert, and both excellent!! - who else could do this?), from Don Giovanni, Rubinstein's Nero, Rachmaninov's Aleko, and from Faust (Le veau d'or); and a few Neapolitan songs, Marechiare among them. Then, and this was like a ritual in Magomaev's concerts, the pianist would go home, and for the encores, Magomaev sat down at the piano and accompanied himself: in this case, he sang a Russian pop song, a jazzy version of Adriano Celentano's latest hit (24000 baci, included here - in the poor sound quality Soviet TV had in the 1960s), and Come prima from Mario Lanza's last film (here included in a different version - this song was one of Magomaev's standards, with a bunch of recordings running from 1961 to 1989). The fascinating thing, for the historian, is that Magomaev sang loads of music that might seem impossible for the Soviet Union: hits by Frank Sinatra, Paul Anka, Lanza, Yves Montand, Celentano, Domenico Modugno, Glenn Miller, the Beatles, and almost always in the original languages. He did all those "very American" standards like "Sunrise - sunset", "Summertime" or "Chattanooga choo-choo", "Hello, Dolly", "Ol' man river", songs from "My fair lady", and many, many others. (Yes, he performed the communist propaganda songs that one would expect in the USSR, as well.) In opera, where Russian was the standard language in most parts of the Soviet Union, he would always sing Italian roles in Italian, like a foreign guest star (the rest of the cast sang in Russian, of course!). He performed in at least eight languages: Azerbaijanian, Russian, Italian, English, French, Spanish, German, and Latin, most of them excellently mastered (his Italian, above all, is absolutely amazing). An elegant and, in his younger years, very handsome man, he staged himself as the perfect dandy. All in all, he must have brought the flair of the closed-off wide world to his Soviet audiences, with whom he was able to rouse enthusiasm as rarely anybody did anywhere. His is also the best website of any opera singer by far: (the Russian version is way more complete than the English, though).
          Update: On October 25th, 2008, Magomaev died in Moscow, age 66. His funeral was a major event, with public viewings first in Moscow and then in Baku, where he was buried like a statesman, with Azerbaijanian president Aliyev heading the funeral procession.
    • Robert Massard
      • Robert Massard sings Paganini: J'ai toujours cru in RA format
        • I would like to thank Robert Schlesinger for the recording and notes.
        • Robert Massard (b. 1925) was the foremost French baritone of the 1950s to mid-1980s, yet he seems almost forgotten, at least outside France. Here, he is singing tenor with equal success as in his normal key (just avoiding the top note).
    • Nellie Melba
      • Nellie Melba sings Le Roi d'Ys: Vainement ma bien aimée in RA format
        • I would like to thank Robert Schlesinger for the recording.
    • Jean Noté
      • Jean Noté sings Jocelyn: Dans cet asile, in RA format
        • I would like to thank Robert Schlesinger for the recording and notes.
        • Jean Noté, for me one of the greatest French baritones ever, singing the Berceuse from Jocelyn, in a transposed version.
    • Bally Prell
        • Picture of Bally Prell
        • Picture of Bally Prell
      • Bally Prell sings Granada, in RA format
      • Bally Prell sings Ideale, in RA format
      • Bally Prell sings Erinnerung an Sorrent, in RA format
      • Bally Prell sings Funiculì funiculà, in RA format
      • Bally Prell sings Italian, in RA format
      • Bally Prell sings Tosca: Wie sich die Bilder gleichen, in RA format
      • Bally Prell sings Jocelyn: Cachés dans cet asile, in RA format
      • Bally Prell sings Caro mio ben, in RA format
      • Bally Prell sings L'Elisir d'amore: Una furtiva lagrima, in RA format
      • Bally Prell sings Jocelyn: Cachés dans cet asile, with Michael Theodore in RA format
      • Bally Prell sings Vieni sul mar, in RA format
        Bally Prell sings Die Schneider, in RA format
        Bally Prell sings Addio, RA format
      • Bally Prell sings Funiculì funiculà, in RA format
        • I would like to thank Robert Schlesinger for the recordings and notes.
        • Bally Prell (baptismal name: Agnes Pauline Prell) was born in Munich in 1922 and died there in 1982. She was the daughter ofa folk musician and composer of some popular Bavarian songs, Ludwig Prell. Her brother Ferdinand, twelve years her senior, was a child star in his father's field of music. He died young, in 1931, when Bally Prell was just nine years old, and obviously, she was trained by the father to make up for the loss of his son. She became a popular folk singer (popular, that is, in Bavaria only, since few people outside Bavaria could have managed to understand the dialect she was singing), a good deal of her repertory being songs written by her father, who would often also accompany her with his band. She acted as a singing comedian; her (and her father's) most famous song presented her as a rural beauty queen, complete with a beauty queen's fancy dress, which made for a sharp comic contrast to her ungainly and obese physical appearance. She would live at her parents home for their whole life, and never got married. But her musical ambition was in fact higher: she had a hidden love for classical music, though there is no evidence that she had ever got musical training other than her father's. She set poems to music in a vaguely Schubertian lieder style, she was an excellent pianist, and she sang classical music - almost exclusively at home, though, either for herself or for her guests, mostly accompanying herself at the piano. And she left hundreds of recordings of those home performances, which she made with an amateur equipment. All this is certainly unusual enough, but what is even more unusual that her musical personality was entirely male; she never sang any female aria or lied. She thought of herself as a tenor, while she was in fact a baritone; this was her natural voice that she also used for her Bavarian folk songs, but it makes an even more striking effect used in classical manner and for classical music. And so she left a plethora of tenor recordings, either transposed down to low baritone key in order to meet her really low range, or in original key omitting the top notes.
          Three of the recordings I'm sending deserve special mention:
          - The Granada recording is the only one I know of non-Bavarian music performed in public, on stage.
          - The second Cachés dans cet asile is a "duet" with a Michael Theodore record, to which she sings a baritone line; her cues are so deadly precise that you wouldn't guess the two singers are not performing together, and quite probably never met!
          - In this very special case, I'm including also one recording of the music she spent her professional life with: Die Schneider, a composition, of course, by her father.
    • Mme. H. Reynès
    • Paul Robeson
      • Paul Robeson sings Bánk bán: Hazám, hazám, in RA format
        • I would like to thank Robert Schlesinger for the recording and notes.
        • Paul Robeson: Hazám, hazám. Among all the transposed "secret tenor dreams", this one must be the most unusual, and the funniest. Robeson is singing the - in Hungary - immensely popular tenor aria from Ferenc Erkel's wonderful opera "Bánk bán" - Hungary's national opera, and the aria is Hungary's secret national anthem. Robeson, of course, is singing it in a bizarre key that must be about an octave down, but - in Hungarian!
    • Hans Schütz
      • Hans Schütz sings Die Dollarprinzessin: Will sie dann lieben treu und heiß
        Kalliope no. 1671
      • Hans Schütz sings Der Freischütz: Durch die Wälder, durch die Auen
        Kalliope no. 1584
        • I would like to thank Robert Schlesinger for the recording and notes.
        • Hans Schütz with two tenor arias both in bass key. While Schütz (based in Wiesbaden and very successful also in Bayreuth) was and is mostly regarded as a baritone, he has always been a bass to my ears (he recorded in both keys, with no transpositions).
    • Joseph Shore
      • Joseph Shore sings Turandot: Nessun dorma, in RA format
        • I would like to thank Joseph Shore for the recordings.
    • The Stanley Tenors enemies
      • Benjamin Sloman and Jeremy Silver are two interesting cases. Both started off as baritones and studied with the same teacher (Tommie Lo Monaco). Both are obsessed with Internet forums where they are talking vocal technique, using many different pseudonyms (Solomini, Ben, Skeptic, Ozitenor, Monsterbaritone, Verismobaritone, Administration, Gravelino Rubino, Mr.Cafiero, MAN, baritanist etc). Now, both of them want to become tenors. Sloman has his own website where he is listing the roles he has sung in the past: Manrico, Siegmund, Radames etc. - all in C or D houses and with opera companies where you either have to pay to sing or where you sing for free. The audio he provides is scarse, funny for someone who pretends to have sung Radames. Not a single aria, not a single high note. Clips that do not last longer than a few seconds is all Sloman dares to post.

        Silver is famous for his arrogant and aggressive behavior on Internet forums. He is Mr. know it all and pretends to have a voice that "sounds like the young MacNeil". On Grandi Tenori he pompously stated that "Dolora Zajick has a great voice" but that he would not like to switch voices with her. He has been banned on many forums. He apparently has no career at all, not even at the low class opera events Sloman participates in. At the Grandi Tenori website both individuals are now fighting about how to sing properly. While Sloman (who is an educated person and an ex-lawyer) has made it to the position of an admin of that site, Silver (who is not half as sly) had been banned many times. First, he was Monsterbaritone, then he came back under many different aliases. Now, he is Baritanist and says "I am not Jeremy Silver, I am 18 years old".

        As the discussion between the two became more and more heated, they both posted their voices to shut up the other:

        SLOMAN THE TENOR

        Well, what can we say. The singing is so incredibly bad that there is only one thing to say: quit singing immediately and do something else. Sloman wanted to prove how right he was and posted this incredibly bad clip. That was the best he could post? A short clip from some musical performance, not an aria, not a high note, only a few seconds of amateurish, unmusical, uncharismatic, unprofessional singing. Shocking. In Europe, he would not even be accepted in a C house opera chorus and would not be accepted at any conservatory. We want to remind Sloman that to sing in a chorus you have to know how to sing. A typical audition aria is the Taminao aria. We cannot imagine Sloman singing it.

        SILVER THE TENOR

        Now Silver, sorry, Baritanist, who is not Silver. He was courageous enough to post a few entire songs. Let's have a look at the first one, Nebbie by Respighi. The singer, obviously a bad amateur with a wobble, has no musicality, gives a sloppy performance, has an unattractive voice and a wobble. Worst of all, he is off-pitch all the time. The high notes are all sung on the vowel ö, Baritanist does not seem to know that ö does not exist in Italian. We can safely say that Dolora Zajick certainly does not wish to switch voices with him either. The voice is, however, very similar to the one of Jeremy Silver.

        SILVER THE BARITONE
        SILVER'S WOBBLE

        When Silver was on Grandi-Tenori as MonsterBaritone, he posted his voice. After listening to the poor recording of Silver as a baritone and comparing it to the voice of Baritanist as a tenor ("Baritanist" is a weird name for a tenor anyway), there is only one conclusion to make: both pieces are sung by the same person. Baritanist is Jeremy Silver now trying to sing as a tenor after he had no success at all as a baritone. A comparison of a 2 second high note proves it. The vibrato (the wobble or caprino as defined by Silver) is 100% identical when played simultaneously.

        The singing is so bad (by both) that the only thing that Historical Tenors can say is that they should do something else, something more useful in their lives. They will never make it anywhere and since they both have no talent at all, they have no chance of ever developing the necessary skills to become good. Terrible singers often display a great deal of Internet activity with a lot of bla bla about technique. They are all great experts and have no voices at all - this theory has once again gloriously been proven by the sad cases of Sloman and Silver.

        Silver was the owner of the Opera Voice Revival Discussion Group", now closed, where he showed his craziness, while Sloman was already discussed on this site. A last funny thing about Sloman, is the following: When he sang Tosca at the Hanptons, he wrote on his site the review by a great expert Cognac Wellerlane. You can find her on YoutTube by Googling Sloman and you can hear what expert she is. Otherwise she sounds high all the the time.

  • Lawrence Tibbett
    • Lawrence Tibbett sings Pagliacci: Vesti la giubba, in RA format
      • I would like to thank Robert Schlesinger for the recording and notes.
      • Lawrence Tibbett: Vesti la giubba. Sung a half-tone down.
  • Ernest Tilkin-Servais
    • Ernest Tilkin-Servais sings J'ai pardonné, in RA format
      • I would like to thank Robert Schlesinger for the recording and notes.
      • Ernest Tilkin Servais, Belgian baritone, singing Schumann's Ich grolle nicht in tenor key (avoiding the top note, though)
  • Louis van de Sande
    • Louis van de Sande sings Undine: Vater, Mutter, Schwestern, Brüder, in RA format
      • I would like to thank Robert Schlesinger for the recording and notes.
      • Louis van de Sande (remarkable Dutch bass-baritone, born Nov. 18th, 1887, Tilburg, died July 25th, 1954, Berlin): Vater, Mutter, Schwestern, Brüder, transposed a full tone down.