Download PDF Jon Vickers Jon Vickers Jon Vickers Jon Vickers Jon Vickers: A Hero's Life a Hero's Life a Hero's Life a Hero's Life a Hero's Life, by Jeannie Williams
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Jon Vickers Jon Vickers Jon Vickers Jon Vickers Jon Vickers: A Hero's Life a Hero's Life a Hero's Life a Hero's Life a Hero's Life, by Jeannie Williams
Download PDF Jon Vickers Jon Vickers Jon Vickers Jon Vickers Jon Vickers: A Hero's Life a Hero's Life a Hero's Life a Hero's Life a Hero's Life, by Jeannie Williams
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Dieses Jon Vickers Jon Vickers Jon Vickers Jon Vickers Jon Vickers: A Hero's Life A Hero's Life A Hero's Life A Hero's Life A Hero's Life, By Jeannie Williams hat die Tendenz, nur das, was Sie jetzt erforderlich sind. Es wird sicherlich erhalten die Sichtbarkeit von interessanten Thema zu überwinden, darüber zu sprechen. Auch fühlen sich viele Menschen, dass dies nicht richtig ist für sie als große Besucher zu lesen, können Sie verschiedene andere Faktoren berücksichtigen. Dieses Buch ist großartig zu lesen. Es wird sicherlich müssen nicht zwingen, Vertreter Gegenstand der Bücher zu machen. Dennoch Ideen und auch das Interesse, die Art dieser Veröffentlichung gegeben werden kann, um alle erreicht werden.
Amazon.de
Although Jeannie Williams was not able to get cooperation from Jon Vickers for her biography of the tenor, he should hardly be displeased with the result. Whenever she touches on the big battles Vickers fought in the opera world--and there are many, from an early dispute with BBC television that simmered for decades, to touchy relations with the Bayreuth Festival that restricted Vickers's appearances to just two summers, to his famous withdrawal from engagements as Tannhäuser--Williams is scrupulous in her presentation of every aspect of the dispute. What emerges from this life story is a great artist who is surprisingly simple, true to his beliefs from the very start, and dispassionately aware of the value of his gifts. Williams gives us a man who encompasses three of opera's most demanding roles (Otello, Tristan, and Aeneas in Les Troyens) in one season at the Metropolitan Opera, then is asked to stand by for Placido Domingo as he toys with Aeneas in the Met's centennial season. Lack of respect in his native Canada is a recurring theme: the great Tristan shares the bill with Phil Silvers at the Canadian National Exposition, and a fitting farewell tour is sabotaged by the Canada Council. Because she must rely on published interviews, Williams is constricted in her analysis of how Vickers developed his highly individual interpretations of his roles. Tellingly, a singing actress who could meet Vickers on his own terms, Teresa Stratas, offers the most revealing descriptions of how the singer worked. Through accumulation of details (Benjamin Britten twice walked out on Vickers's Peter Grimes; elsewhere we learn that Vickers found embellished Handel "old fashioned"), Williams gives us a sense of what made Vickers wild and gripping onstage. Birgit Nilsson contributed the lovely foreword. --William R. Braun
Pressestimmen
"Jon Vickers was a singing actor of overwhelming impact, his performances driven by a unique fusion of sensitivity, intelligence, brute force, and stubborn individuality. He also was a rather enigmatic figure who avoided conventional paths to operatic glory. Jeannie Williams' probing biography explores Vickers' triumphs, his contradictions, his frailties, his eloquence, and his egocentricity with equal parts objectivity and sympathy." -- Martin Bernheimer, Pulitzer Prize-winning critic "Vickers was by common consent an unforgetable . . . It is an achievement of this book, that while giving so clear a picture of the man, great but fallible, it also enables us to review the art, fallible also but still more surely great."--Opera Now "Jeannie Williams has an impressive track record as a writer on things operatic, and there is no absence of detailed research."--Opera-Opera "He is a man of strong character and convictions -- the kind of person I respect, even when I don't agree with the particular convictions. I believe anyone who reads this book will also respect him greatly." --American Record Guide "Williams's in-depth study includes performance histories, discography and videography, copious notes, and an extensive index. Taken together, these provide a remarkable entree into the private world of opera performance. Opera buffs and general readers will be grateful."--Choice "Jon Vickers: A Hero's Life paints a fascinating, comprehensive, and colorful picture of a spellbinding and irreplaceable artist."--The Opera Quarterly "It is an achievement of this book, that while giving so clear a picture of the man, great but fallible, it also enables us to review the art, fallible also but still more surely great."--Opera Now "No one who heard Jon Vickers on a night when he 'came alive' will ever forget him; his ideas on singing, and the strength of his commitment in roles ranging from the heroic Enee to the comic Vasek, ensure that this singer's biography is a cut above most. Jeannie Williams has done an excellent job in bringing back memories of an extraordinarily vivid singer."--Opera News
Alle Produktbeschreibungen
Produktinformation
Gebundene Ausgabe: 424 Seiten
Verlag: NORTHEASTERN UNIV PR (Dezember 1999)
Sprache: Englisch
ISBN-10: 1555534082
ISBN-13: 978-1555534080
Größe und/oder Gewicht:
15,6 x 2,5 x 23,4 cm
Durchschnittliche Kundenbewertung:
4.4 von 5 Sternen
6 Kundenrezensionen
Amazon Bestseller-Rang:
Nr. 406.328 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
The eight editorial reviews and the readers' reviews of this biography of John Vickers are very accurate and perceptive. This book is indeed required reading for any opera goer who is interested in the inner workings of opera and the anguish and joy that frequently accompany a dedicated singer. I had seen all Mr. Vickers' roles at the Metropolitan Opera, as well as his famed concert at Carnegie Hall in which he made references to John Wayne, and, in general, rambled on with commentary between sets of songs. (Ms. Williams fails to point out that he sang one of the best "Wintersturms" of his career on this afternoon as an encore.) There is no doubt about it: Vickers' Parsifals, Siegmunds, and his two Tristans at the Met were among the highlights in the long history of The Metropolitan Opera House.(My wife and I were at the famed Nilsson "Tristan" on January 30, 1974, and words cannot begin to describe the beauty and intensity of that performance!) But there was a dark, disturbing side to Mr. Vickers that is brought out in the biography, and, I must say, this dark side disturbed me more than it did Ms. Williams. Indeed, it is hard to justify his brutal rudeness and insensitivity throughout his artistic career. Sally Presant, the soprano who sang Emelia in Mr. Vickers' last "Otellos" in South Africa, sums it up succinctly when she remarks that Vickers was guilty of "incredible intolerance under a heart of pure gold." Mr. Vickers' blatant arrogance and egocentricity is shown a few pages later when he disregards all historical documentation from Sir John Tooley about Handel's "Samson" by saying that only he knows how the opera should be staged and sung, and "This is the way it is." I also found Mr. Vickers to be hypocritical. He claims that all his objections are for art's sake, but he is frequently wrong, as evidenced by his arrogance regarding the singing of "Sampson." Moreover, he claims to possess Christian virtues, yet his cruel treatment of such people as Julius Rudel, June Anderson, Carol Vaness, and his friend Roberta Knie is unconscionable to any Christian. If he were truly crusading for justice and honor, why did he not put himself on the line in helping Ms. Knie when she needed it? Mr. Vickers frequently inferred that his egomania was justified by God, but there are many singers who inbue pure Christian virtues who never acted like Vickers. I might mention, in passing, Jerome Hines, Stanford Olsen, Dawn Upshaw, Hans Hotter, Fritz Wunderlich, and Kurt Moll. These singers did not blame everything on someone else and throw childish tantrums at rehearsals. Ms. Williams mentions Mr. Vickers' frequent and blatant cruelty to other artists, all of which is unjustified and hardly worthy of a man who claims to be dedicated to God. He was indeed a great artist, but, as Sir John Tooley remarks near the end of the book in summing up Mr. Vickers' career: He would have been even greater if "his own imagination" could have been "stimulated by others" -- that is, by the many brilliant conductors, directors, and advisors with whom he worked. We can excuse Mr. Vickers' harsh treatment of opera house directors, impressarios, and agents on basis of their unethical behavior; but it is impossible to excuse the cruel treatment of his colleagues throughout his life. I've no doubt that Mr. Vickers' had a heart of gold and that he was a wonderful family man and colleague. However, the darkness and cruelty contaminated these virtues -- a fact that Jeannie Williams brings out in an excellent book that every opera lover should read!
No matter whether or not you like the intrinsic quality of the singer's voice, or that you may look askance at his many idiosyncracies, there is no doubt that Jon Vickers was one of the great singing-actors of the second half of the 20th Century. In this quite impressive biography (the first for Vickers), author Jeannie Williams has set out the illustrious career of Vickers in great detail and clarity. Although Vickers has not collaborated with Williams for the writing of this book, which may account for the presence of a few minor points where the author appears to be not too sure of, it is evident that a lot of meticulous research has been undertaken for the writing of the work. A number of episodes (e.g. the "Tannhauser incident") have been given extensive treatment here. Not only has Williams laid out the views of those who were immediately involved in those controversies, the opinions of friends and colleagues have also been gleaned and revealed without unnecessary embellishments. As such, the book does provide a well-balanced and richly detailed account of Vickers's singing career from the humble beginnings in parishes of his native Canada (where he met with a number of difficulties later on), through his ascent to the pinnacle of the operatic world in which he became the definitive Siegmund, Peter Grimes, Otello and Tristan, to his low-key withdrawal from the stage in the late 80s. Nevertheless, despite all the wealth of details, which are set against the colourful and often cantankerous world of opera, and the fact that Vicker's intergrity and dedication to his art is never in doubt, the singer's emotional character, his behaviour backstage (which has raised a lot of eyebrows) and some of his convictions continue to baffle the reader and, presumably, most people who know him in person. Nevertheless, to be fair, it is almost impossible for any third-party to penetrate the depth of another's psyche and Williams has already tried her best to put on the table all the facts as well as different views so that the reader can make up his own mind as regards Vickers the person as well as the merits of his (and his opponents') arguments. Therefore, while the actual writing is not too stylish, and may sometimes be linguistically a bit bland, this is still an excellent biography of an important singer. The book also contains a selected discography and, above all, an exhaustive chronology of performances which is indispensable for those who need such information. On the whole, the book can be recommended with enthusiasm.
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