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re: This gives me hope for a film of THE MOST HAPPY FELLA
Posted by: larry13 02:12 pm EST 02/15/21
In reply to: re: This gives me hope for a film of THE MOST HAPPY FELLA - Michael_Portantiere 01:27 pm EST 02/15/21

As I tried to point out earlier(but maybe not clearly enough), I do NOT think the main reason a tenor is so wrong for Tony is that I'm used to the role being sung by baritones.(As far as I know, it has never been sung by anyone other than a baritone or bass and there is a much much greater divide between a tenor and baritone than between a baritone and bass.)The composer--doesn't he matter?--wrote the part for a baritone. Usually, the composer knows what (s)he's doing and for good reason(s). Sometimes composers have altered the music or allowed changes, sometimes with good results, sometimes not.
I'm very aware of lead characters such as Eleazar--and many others for older men--being written for tenors.(The Emperor is a minor character.)Tony, however, is in a show that was written the middle of the past century and, in fact, not for the opera house. And, again, Loesser wrote it for a baritone and I think he was right.
As another poster mentioned, the sound--and glory--of Pavarotti's voice is not at all the voice for Tony.
Yes, I'm aware Domingo started(and is ending?)as a baritone. And that he never had the secure highest notes Pavarotti and most other tenors who sang his repertory had, often to late in their careers. I personally don't think he had a wonderful rich baritonal quality throughout his career nor do I think he sounded fine in the baritone roles he has recently assumed. He IS amazing for someone his age to be able to sing--and sing well--everything he has but, again in my opinion, I don't find this at all comparable to the sound real baritones--such as Weede(and Leonard Warren, Robert Merrill, Cornell MacNeil, Sherrill Milnes, etc. etc.)displayed in the roles Verdi and others wrote for their voice range.
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