# HELDENTENOR TOURNAMENT (Semifinal 1): Melchior vs Vickers



## Bonetan (Dec 22, 2016)

Lauritz Melchior, Denmark, 1890-1973 (defeated King 18-0, Suthaus 10-0)

https://www.talkclassical.com/71726-heldentenor-tournament-round-1-a.html

https://www.talkclassical.com/71894-heldentenor-tournament-quarterfinal-3-a.html






Jon Vickers, Canada, 1926-2015 (defeated Jerusalem 19-3, Thomas 11-6)

https://www.talkclassical.com/71557-heldentenor-tournament-round-1-a.html

https://www.talkclassical.com/71761-heldentenor-tournament-quarterfinal-1-a.html






'Nur eine Waffe taugt' from Wagner's _Parsifal_.

Who's singing did you prefer and why?


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## MAS (Apr 15, 2015)

It is certainly unfair to compare, vocally at least, one such voice as Melchior's with lesser mortals under which Vickers certainly can be counted. I know almost nothing about Wagner's *Parsifal *but the Arthurian legend from which it sprang. I've seen it in one production at San Francisco Opera decades ago. We do Wagner well here and that production was a huge success.

I am awed by Melchior and Vickers both, without knowing exactly what they're singing, though I know it concerns the Spear. For whatever reason, I'm responding to Vickers's voice more readily than Melchior's in this instance, perhaps because of Vickers's much vaunted identification with his roles and his intensity.


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## nina foresti (Mar 11, 2014)

They almost sound like they are singing different arias.
This is a tough one for me.
Do I choose the one whose voice is classically smooth and flowing without passion that the other one expresses more openly?
After doing an eeny meany I have settled on Vickers but not without a bit of regret for my choice.


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## Azol (Jan 25, 2015)

An easy vote for me, Melchior is flawless and Vickers is not my cup of tea. Won't be repeating myself, the vote is cast.


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## Woodduck (Mar 17, 2014)

This is harder for me than I expected. Melchior is splendid in every way, and I wouldn't expect anyone to surpass him in this exultant passage. But Vickers, probably in his prime in 1964, is only slightly less impressive vocally - listen to the diminuendo he makes on the last word "Schrein" - and I must say I sense here a special sense of identification with the role, and perhaps a sense of occasion which may have to do with it being a live performance at Bayreuth. Add the majestic, luminous conducting of Knappertsbusch and the unique, translucent acoustics of Bayreuth which seem made for the opalescent beauty of this score (though it's more accurate to say that the score was made for the theater), and the total effect of the performance is necessarily more complete than that of Melchior's studio excerpt. Indeed, I was so absorbed into the wonder world of the work that the abrupt cutoff before the entrance of the chorus was actually shocking.

Comparing two rather different things here, I need almost to flip a coin. I suspect that were the two performances made under the same conditions - both either live at Bayreuth or in the studio - the heroic and fervent singing of Melchior would win, as it usually does. But this time I'll yield to the full poetic/dramatic spell of a deeply loved work as Wagner meant it to be heard and go for Vickers.


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## BachIsBest (Feb 17, 2018)

I voted earlier on in the day (didn't have time to write anything then) for Vickers and was somewhat surprised to do so. Although I love Vickers, I fully expected him to be slightly outclassed by Melchior. Predictably, Melchior had an impossibly solid legato line and soared over the orchestra with his one-of-a-kind voice. Vickers legato wasn't quite as solid (though I don't think this is necessarily a fault; his performance worked well) and his voice isn't as smooth as Melchior's, but the magnetic intensity and artistic commitment he brings to the role completely enraptured me in the performance in a way Melchior didn't quite manage.

Boy O' Boy though, what I wouldn't give to see either of these singers live in _Parsifal_ today. It's a shame that voting for both isn't an option.


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## Seattleoperafan (Mar 24, 2013)

I was surprised knowing what a good actor Melchior could be that I found myself more entranced by Vickers. It might have been different to have heard these performances live. Live I suspect Melchior might come out on top.


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## Tsaraslondon (Nov 7, 2013)

I was probably already predisposed towards Vickers as he is one of my favourite singers, but, as he was up against Melchior, it was by no means a foregone conclusion. As it is, I think the circumstances of their respective performances have something to do with Vickers emerging the victor; Melchior in the studio and Vickers caught live and on the wing at Bayreuth, with Knappertsbusch, of all people, conducting.

Melchior is of course exemplary, but there is that added intensity one always gets from Vickers, and, as I said before, Vickers is one of my all time favourite singers. Vickers it is.


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## Dimace (Oct 19, 2018)

There is nothing here to separate these opera titans. I have seen that most of the friends went to Jon and I went to Lauritz just to fire up the competition. SUPER aria & singers. Well done!


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## wkasimer (Jun 5, 2017)

I picked Melchior. Both versions are superb, but Melchior's singing sounds absolutely effortless, while I'm conscious of the effort involved in Vickers' vocalism.


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## BachIsBest (Feb 17, 2018)

wkasimer said:


> I picked Melchior. Both versions are superb, but Melchior's singing sounds absolutely effortless, while I'm conscious of the effort involved in Vickers' vocalism.


Although I agree, I think this is largely intentional. This should be a moment of great passion and intensity in the opera, and therefore more intense, effortful singing seems appropriate.


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## Woodduck (Mar 17, 2014)

Why did Vickers never record Parsifal in the studio? Was he never asked to? Both Solti's and Karajan's recordings, featuring Rene Kollo and Peter Hoffmann, are superb in many ways but less than they might have been with a more impressive exponent of the title role.


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## BachIsBest (Feb 17, 2018)

Woodduck said:


> Why did Vickers never record Parsifal in the studio? Was he never asked to? Both Solti's and Karajan's recordings, featuring Rene Kollo and Peter Hoffmann, are superb in many ways but less than they might have been with a more impressive exponent of the title role.


It's especially odd with Karajan, as there was so much mutual respect between the two men.


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## Tsaraslondon (Nov 7, 2013)

BachIsBest said:


> It's especially odd with Karajan, as there was so much mutual respect between the two men.


Vickers would have been 56 by the time Karajan recorded *Parsifal*. Karajan's recordings were always done at the same time as stage productions in Salzburg. Maybe he thought Vickers was too old by then to play the young fool, Parsifal. Peter Hoffmann certainly had the looks, but didn't really have the voice.

Solti and Vickers didn't get on. I think they only did the one recording together (*Aida*) and it was not a happy relationship.


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