a good Otello but sadly not much else Samson Canio also worked for him A big voice with difficulties odd production tremulous quality interfered with lyricism a good top but no ping to it main force singing His mistake was rejecting advice and not moving into Wagner earlier and other dramatic roles his spinto aspirations were in a time of really great tenors his Radames was at best adequate he should be remembered more but there are obvious reaons why not
McCracken did not begin this performance in good voice. He improved as it continued. His voice was huge, and when he wasn't in good form, it would go in and out of focus. Note, for example, that his "ah" vowels here come out as "uh."
Bravo!
a good Otello but sadly not much else Samson Canio also worked for him
A big voice with difficulties odd production tremulous quality interfered with lyricism a good top but no ping to it main force singing
His mistake was rejecting advice and not moving into Wagner earlier and other dramatic roles his spinto aspirations were in a time of really great tenors
his Radames was at best adequate
he should be remembered more but there are obvious reaons why not
Labienus faceva skifo
Those plosive [d]’s and [t]’s stick out like a fart in church.
(“Divina” and “coserto” at the start are more than 1/4 tone under).
McCracken did not begin this performance in good voice. He improved as it continued.
His voice was huge, and when he wasn't in good form, it would go in and out of focus.
Note, for example, that his "ah" vowels here come out as "uh."
very good. what year?