Jon Vickers: let's learn from the greats

it is something I have often happened to discuss with tenor friends. In theory, Puccini's tenor roles are full of pianissimos, spun tones (filati), and dynamics that are not very "tenor-like." Few manage to resist the temptation to shout...

but, with all the appreciation I can have for Vickers, in this interpretation I do not like, first of all, the tempo (extremely slow), the voice being dirty in some points, and the glissandi. Ah, and there is no final bite (To-o-SCA-A-A), I don't know why... The recording is a poor witness to the actual volumes, even if it is rare that a piece that seems soft was, in reality, sung loudly. But the recording hardly adds "air" to the voice. And timbrally, Vickers' voice is a bit dirty. Perhaps from a sense of intimacy, but I prefer supported pianos rather than hinted ones.

Regarding the glissandi, at 0:30 we start immediately... and that initial glissando, which ends in a sort of mezzavoce, also affects the intonation. On the "-cò" of "re-condita," Vickers is flat, corrects himself afterward, and finishes the half-phrase very well. But again, on "è BRU-na," he does glissandi everywhere and makes all the notes the same, without giving weight to more or less important words. If you listen closely, in fact, one hears "l'ardente mante mia" instead of "amante"; it almost seems as if there is a stolen breath between the two words. It is a musical, phraseological idea that tends to close phrases in a chamber-like way, perhaps. A legitimate interpretation but, in my opinion, not very responsive to the musical situation of Tosca. There are interesting moments in this reading, eh, but it doesn't entirely convince me.

From my point of view, Vickers has a great voice, but he tends towards the baritonal and this quality makes some passages a bit "dangerous"; practically, he cannot sing with a truly fuller voice or it would be very difficult for him. To me, the way he sings this aria seems very intelligent.

in this sense, the sustain is excellent. Because normally dramatic tenors, who are very close to baritones in color, "weight" and range, struggle immensely to perform mezzo voci. Especially in a lyric tenor tessitura, which is that of Recondita Armonia (which is all between F and A).

thallo wrote:

Ah, and there is no final mordent (To-o-SCA-A-A), I don't know why...

I imagine it as an interpretative choice, but embellishments in general are not "optional," and how optional would that mordent be?

I wouldn't want to say something stupid, but I believe that mordent is developed. That is, it's not a "true" mordent, intended as an ornament; it's an upper turn note, written (which, however, rhythmically is the same as a developed mordent)