Ken Riegel and I studied with the same teacher and coaches during the early 70's in Washington, DC. Since that period, Mr. Riegel has enjoyed a storied and enviable career here and abroad lo these many years in a most difficult and challenging industry, and I am proud to have been associated with him. After seeing this undated performance, I find the comments made by opera144 totally unfounded and inaccurate. As to Mr. Riegel's "intonation and diction" comments, perhaps opera144 can open up a score and sit at a well-tuned Steinway and sing along with the tenor line, so as to better inform themselves as to the difficulty of both the brutal tessitura required of Hoffman and the proper singing in the French language before commenting any further. As to Madame Eda-Pierre, I find her equal to Mr. Riegel's task. She is a well-established, seasoned and competent professional and I need say nothing more.
Carlos is right. His French is quite acceptable- certainly better than most Latin tenors of his day, or any of the big Three. I heard him as the Italian Tenor in Rosenkavalier in DC when the NYCO came for some in performances in 74 or 75. He was superb.
Can't say the same about Riegel. He almost ruins the beautiful music with awful diction and serious intonation issues. L'Opera de Paris could have done better.
Ken Riegel and I studied with the same teacher and coaches during the early 70's in Washington, DC. Since that period, Mr. Riegel has enjoyed a storied and enviable career here and abroad lo these many years in a most difficult and challenging industry, and I am proud to have been associated with him. After seeing this undated performance, I find the comments made by opera144 totally unfounded and inaccurate. As to Mr. Riegel's "intonation and diction" comments, perhaps opera144 can open up a score and sit at a well-tuned Steinway and sing along with the tenor line, so as to better inform themselves as to the difficulty of both the brutal tessitura required of Hoffman and the proper singing in the French language before commenting any further. As to Madame Eda-Pierre, I find her equal to Mr. Riegel's task. She is a well-established, seasoned and competent professional and I need say nothing more.
Carlos is right. His French is quite acceptable- certainly better than most Latin tenors of his day, or any of the big Three. I heard him as the Italian Tenor in Rosenkavalier in DC when the NYCO came for some in performances in 74 or 75. He was superb.
R.I.P. Kenneth Riegel
Eda Pierre is wonderful. Why did we never hear her in the USA?
Thank you for the wonderful Eda-Pierre. Can't say the say aboht Riee
Can't say the same about Riegel. He almost ruins the beautiful music with awful diction and serious intonation issues. L'Opera de Paris could have done better.