Another personal belief that has caused many – really a lot of – YouTube bans is my artistic hatred against Rolando Villazon, a person who I consider unworthy of being called “singer” because he has dreadful (un)technique based on the scream, on the throaty sound and – most of everything – on the ridiculous gags he set on the stage to let the public forget his AWFUL singing.

Now you can listen to Alfredo Kraus in “La Danza” a very tough Rossinian piece that is very difficult to be sung and Kraus is simply wonderful with his boldness and perfect voice on the breath and projected

This is instead Villazon rendition: he burps, he screams, he just plays clown to let the public be sensitive with him and forget that he is a VOCAL WRECK

I still wonder HOW such a VOCAL SHAME / JOKE can sing on a stage, having so many audiences happy to stand this EAR RAPE! A mistery of Domingo’s pretege!

Somebody says I am too cruel when I talk about Placido Domingo, for me the most overrated tenor of the XX century. I just want you to compare, dear readers, this Kraus’s performance of the famous “Nadir’s Aria” from “The Pearl Fishers” and Domingo’s rendition.

Listen to the grace, power, masterful usage of the mezzavoce, breath support and legato by Kraus

And now listen to the pale, screamed – because he can’t control dynamically and project properly the voice, sticking the sound in the nose on the i – with no dynamics and absolutely boring (studio) perfomance of Domingo

I am still shocked Domingo sang this piece with his well known superficial and superb arrogance, and that peolpe find him a good singer, when Kraus just makes him disappear!

LIBER PRIMUS, III [Graculus superbus et pavo]

Ne gloriari libeat alienis bonis
suoque potius habitu vitam degere,
Aesopus nobis hoc exemplum prodidit.
Tumens inani graculus superbia,
pennas, pavoni quae deciderant, sustulit
seque exornavit. Deinde, contemnens suos
immiscet se ut pavonum formoso gregi.
Illi impudenti pennas eripiunt avi
fugantque rostris. Male mulcatus graculus
redire maerens coepit ad proprium genus;
a quo repulsus tristem sustinuit notam.
Tum quidam ex illis quos prius despexerat:
Contentus nostris si fuisses sedibus
et quod Natura dederat voluisses pati,
nec illam expertus esses contumeliam
nec hanc repulsam tua sentiret calamitas.

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In our day the public is enslaved. Have I not seen on the program of a certain concert-hall “all signs of disapproval will be severely repressed?” Formerly, especially in Italy, the public was the master and its approval was law. It came before the candles were lighted, and instead on the big ouverture with the big crescendo; it demanded cavatinas, duos, ensembles; it came to hear the singers and not to assist at a lyric-drama. Rossini, in several of his works, and above all in “Othello”, made great strides in dramatic truthfulness in his operas. In “Moses” and in “The Siege of Corinth” (without mentioning “William Tell”), he opened up new avenues which even yet have not been fully explored, in spite of the meagreness of the means at disposal. But – as Victor Hugo has gloriously demonstrated – poverty of means is no obstacle to genius any more than a wealth of means is an advantage to mediocrity. Read More