Hot Opera Singers

[Guest]

Looks like one of the family here...

http://www.playbill.com/images/photos/MillerDavid.jpg

[Guest]

One more David Miller picture, you ask?

http://i181.photobucket.com/albums/x204/nguyenhuongthachthao/IL%20DIVO/03.jpg

[Guest]

This Nathan Gunn?

http://www.uiaa.org/Urbana/illinoisalumni/images/0701_a03.jpg

[Guest]

This Erwin Schrott?

http://bp3.blogger.com/_bkJ18Fif8d8/RnaTAIBDhNI/AAAAAAAAABY/hVq3MTy4ysQ/s320/SchrottDonGiovanniLondon071.jpg

[Guest]

Nice body on Teddy Tahu Rhodes, though I could do without the tatoos here... http://www.andante.com/images/Articles/DeadManAddersBeefcakeA212x2.jpg

[Guest]

Nmon Ford:

http://www.maj.org/P2006/HH_Ford_200.jpg

[+ Charlie]

The tats are for his role in the opera "Dead Man Walking".

[Guest]

OK. I'll have to vote for David Miller #1, with Nathan Gunn #2. Anybody else care to join in a vote? :9

[+ Charlie]

Sorry, it's stil Erwin Schrott for me (I'd bear his child, too).

[ariadne1880]

He's cute, but by no stretch of the imagination is David Miller an opera singer. He's a member of a pop group that does schlocky pop renditions of operatic music. He might make it as an opera singer if he gave it a try but he's chosen a different path. So he's not an opera singer.

 

Nathan Gunn is. Teddy Tahu Rhodes is. Erwin Schrott is. I'd take the first two of those. Not Schrott. His middle is too flabby for me and anyone who has such bad taste as to get involved with that opera slut Anna Netrebko (while leaving his wife and children behind) is just not for me.

 

Mark

[Guest]

>He's cute, but by no stretch of the imagination is David

>Miller an opera singer. He's a member of a pop group that does

>schlocky pop renditions of operatic music. He might make it as

>an opera singer if he gave it a try but he's chosen a

>different path. So he's not an opera singer.

>

Well, he seems to have done a lot of major operatic roles:

 

He has worked with the top American opera companies on several roles, including Des Grieux in Manon, Romeo in Romeo et Juliette, Werther, Alfredo in La Traviata and Tamino in The Magic Flute with the Pacific Opera.

 

On May 6, 1998 he performed, along with other opera singers, for President Bill Clinton in the White House.

 

In 1999, he appeared with the Los Angeles Opera at the prestigious Teatro Municipal de Santiago (Chile) singing Tybalt in Bellini’s production of Capulets and Montagues in the "Fiesta de Savonlinna."

 

In 2000, he made his debut, with good critical reviews and much success, with the Australian Opera at La Scala in Milan, singing Tony in West Side Story.

 

Miller made his debut in the Flemish opera as Cassio in 2001 and 2002. In addition he performed as Trieste in Daniel Oren’s Manon. In the USA, he participated in The Tales of Hoffman in Hartford, Connecticut. He also interpreted the role of Percy in Donizetti’s Anne Bolene in Pittsburgh with John Mauceri during 2000/2001. During the 2002/2003 season he performed in the world premiere of the opera of Marco Tuttino Vita at La Scala.

 

His best work to date is considered to be his role as Rodolfo in Baz Luhrmann’s 2002 version of Puccini’s La Boheme.[3] This theatrical spectacle modernized the opera, in an effort to lure young audiences to Broadway. Luhrmann staged a grand show as he did with Moulin Rouge! and his Romeo et Juliette. La Boheme premiered in Sydney, Australia but David wasn’t included in the cast until it went to New York.

 

Other roles he has undertaken have included Don Ottavio in Mozart’s Don Giovanni, Belmonte in Abduction from the Seraglio and Tom Rakewell in The Rake’s Progress.

[whipped guy]

Unicorn… Thank you for this impressive bit of research. I did not realize that David Miller had such an extensive performance history. What most impresses me and actually rather intrigues me are his forays into the realm of Bel Canto… specifically Tebaldo in Bellini’s I Capuletti ed I Montecchi and Percy in Donizetti’s Anna Bolena… as these roles… especially that of Percy are extremely difficult and require not only an extensive range, but a fair amount of flexibility based on a strong technique as well.

 

So the record has been set straight… and while I doubt he will be a threat to the supremacy of Juan Digo Flórez and others, David Miller can indeed be referred to as a legitimate purveyor of opera in spite of his excursions into the world of crossover and pseudo operatic pop-style arrangements.

[whipped guy]

As an addendum to my above posting, I just learned that the performance of Donizetti’s Anna Bolena referenced above was posted on Yahoo’s OperaShare within the past week or so. Consequently, members of that group who might be interested in hearing how Mr. Miller copes with the difficult role of Percy will have their opportunity. For the record the title role is taken by June Anderson, Phyllis Pancella is Giovanna, with (as noted) John Mauceri conducting.

[ariadne1880]

Nice try. He has never worked with a top American opera company. The top American opera companies are LOC, MET, SF, Houston, etc. He has never worked with any of them.

 

Singing for Bill Clinton at the WH does not make you an opera singer. Although it could make you someone who does a good blow job.

 

He started out at a serious opera singer when he was younger but before he could develop and do anything of any interest he chose this other line of work.

 

That doesn't make him an opera singer. Sorry, but nice try.

 

Mark

[ariadne1880]

He hasn't appeared on an operatic stage in more than 5 years. He has never appeared on an operatic stage in America that wasn't a regional, local company. He is not a "purveyor" of opera with "excursions" into pop. Those "excursions" have become his life and his career.

 

It would be like calling Barbra Streisand an opera singer because she put out "Classical Barbra."

 

Give me a break, guys. There are real opera singers out there who are hot and worth discussing.

 

David Miller is not one of them.

 

Mark

[whipped guy]

I am not defending this guy… I have had no interest in his crossover activities… but was surprised to find that he did have an operatic resume of sorts.

 

In addition, not every singer is fortunate enough to sing at the MET, SFO, LOC, but that does not mean that they are not without a certain amount of talent… In Mr. Miller’s case he has made a career decision and must live with that decision as regards how that might effect how seriously he might be perceived in operatic circles.

 

Now, I have not heard the recording referenced above, but any individual who can even attempt the role of Percy in Anna Bolena has or at least had a definite amount of musical gifts… which I would assume include a high C, which while not de rigueur in my book to be considered a tenor… is indeed considered a requirement by some…

 

Still, the research as posted by unicorn is based on facts… and as such is worth discussing… I would prefer to discuss the types of vocal production used by tenors in the Bel Canto era as touched on by bostonman and myself above, but this is the twist this thread has taken… and it is certainly a valid and suitable topic to comment upon.

[JT Brooklyn]

Apart from this Opera Talk that reminds me of the "Crane Bros" on FRAZER.. and some of their Hysterical Arguments about Wine etc...

 

My Vote goes to Teddy... "The Nice Nips Guy" I don't know Dick about Opera BUT I do know about.. Nice NIPS! Teddy Rocks! ;-)

[ariadne1880]

Check out some of Miller's stuff on Youtube. The voice is pathetically bad. I think he made the right decision to go into pop.

 

Mark

[whipped guy]

I am away from my home base and currently have a pathetically slow internet connection so I have not been able to listen easily... however, I notice that there are extensive excerpts of him as the Duke in Rigoletto. I did catch a bit of the opening scene (“Questa e quella”) where he is his very scantily clad... at least that part looks good... but as I say I could not easily hear the vocals... but the voice sounded bright from what I could decipher.

 

Others might wish to report their opinions.

[raulgmanzo]

Nathan Gunn as Figaro in only his shorts

 

Last night I had the pleasure of seeing 'Il Barbiere di siviglia' at the Lyric. While I would have liked to have heard Juan Florez in the role of Figaro I did very much enjoy hearing and seeing Nathan Gunn.

I thought Gunn did an excellent performance, his voice was clear and seemed right for the character. I will admit however that his singing did not resonate deep within my bones, make me cry, or shudder. But 'Il Barbiere' is comedy and not greek tragedy.

It was fun and sexy when Gunn as Figaro got out of bed in only his shorts and sang 'Largo al factotum'.

Joyce Didonato was by the way excellent as Rosina and I found myself completely engaged with her performance once things got underway.

 

What a fun evening especially the good company at dinner and the opera. To top things off I went to a leather bar to meet some friends. Stripping off my suit and tie I was quickly rewarded for having the forsight to wear a jock strap and leather harness under my opera attire.

[+ Charlie]

RE: Nathan Gunn as Figaro in only his shorts

 

You will never hear Florez as Figaro, because Florez is a tenor.

 

Do you always go to the theater wearing a little leather thingy under your dress clothes, just in case?

[raulgmanzo]

RE: Nathan Gunn as Figaro in only his shorts

 

Sorry sloppy writing, I should have said I was looking forward to see Florez in the role of ALMAVIVA. Seeing Gunn as Figaro was also something I was looking forward to so I wasn't totally disappointed.

But seeing/hearing the two together would have been great.

 

No I don't always have something special under my opera clothes but knew I'd have little time to get from the opera house to leather bar. However I do often wear a jock while wearing a suit as I find it very comfortable.

[whipped guy]

RE: Nathan Gunn as Figaro in only his shorts

 

RE: But seeing/hearing the two together would have been great.

 

I find Flórez’ singing to be extremely orgasmic… now that coupled with Nathan Gunn wearing only his shorts would be something doubly orgasmic… add a leather harness into the mix and I say we are off the charts!!

[Guest]

>I am away from my home base and currently have a pathetically

>slow internet connection so I have not been able to listen

>easily... however, I notice that there are extensive excerpts

>of him as the Duke in Rigoletto. I did catch a bit of

>the opening scene (“Questa e quella”) where he is his

>very scantily clad... at least that part looks

>good... but as I say I could not easily hear the vocals... but

>the voice sounded bright from what I could decipher.

>

>Others might wish to report their opinions.

>

Here's a link to his performance. He sounds like a fine singer in this performance, and he's sounded perfect when I've heard him perform in person (no, not at the Met or the SF Opera). Have those who criticize him on this forum actually heard him perform in person?

[whipped guy]

RE: Live vs. Memorex

 

RE: Have those who criticize him on this forum actually heard him perform in person?

 

Unicorn… this is an extremely valid point to consider.

 

To keep things in the tenor realm, one singer who has given me much pleasure is Marcello Giordani. I heard him at Carnegie Hall with Opera Orchestra of New York in Rossini’s Guillaume Tell singing the impossible role of Arnold with its multiple high C’s and he was extraordinary. I have also heard him at the MET in Bellini’s Il Pirata and Donizetti’s Lucia di Lammermoor where he was very effective as well.

 

Now, I have heard this same artist on records and on broadcasts and have not been impressed. My theory concerns the fact that certain singers need the resonance of a hall to be appreciated… as often particular overtones just sound more pleasing when experienced live. Also it is difficult to judge the size and weight of a voice when filtered through a microphone.

 

Even a singer who recorded as extensively as did Joan Sutherland sounded much better when heard live… The top was more brilliant and the overall sound much richer and larger… especially her lower register which often sounded dry and weak in recordings.