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Ramón Vinay

In keeping with a great many other heroic tenors, Ram memoryón Vinay began his career like a baritone. After 2 decades as a respected tenor, he stepped back to the baritone register and continuing to sing for quite some time. Still, it had been being a tenore robusto that Vinay gained his position as a significant body in the functions of Wagner and in one of the most intense roles from the Italian and French repertories. Recordings of his personal role, Otello, can be found with both great antipodes from the period finishing in the middle-’50s: Toscanini and Furtwängler. Although Vinay’s performing as pure vocalism never matched up the best function of various other great Otellos, his interpretation kept an Olympian pathos; there is a grandeur about any of it nearly impervious to criticism. Furthermore, his Tristan, though hardly ever exhibiting the tonal sheen of Melchior’s, compelled interest through its urgency and dramatic conviction. In its leading, no doubt been around about how big is Vinay’s dark and relatively veiled instrument; it had been completely heroic in aspect. Vinay’s mom, who passed away when he was just five, prompted her son’s curiosity about music through her like of the artwork. Vinay’s dad, French-born, fought for his indigenous nation in WWI and after, delivered for his three sons to become listed on him there. Between 1920 and 1926, Vinay resided in Digne and pursued his curiosity about electrical anatomist. At 15, his dad delivered him to Mexico Town for schooling; he later began monitoring performing with José Pierson, made an appearance as Alphonse in 1931, and in 1934 became a member of a touring opera firm, performing di Luna in Il trovatore. Struggling to support himself using the humble fees, Vinay considered business, establishing an effective box firm. Persuaded to come back to performing, he was noticed by Broadway maker Lee Schubert who involved him for the brand new York revue The Roads of Paris. When the display ended its work, Vinay came back to Mexico and continuing to sing baritone functions. Discovering that he could nearly manage functions in an increased range, he re-trained and produced his tenor debut as Don José in 1943, starting Otello another year. His achievement resulted in an engagement with the brand new York Town Opera in 1945, where he made an appearance as Don José. The nice impression he produced there and in a number of subsequent roles led to a Metropolitan Opera agreement for the next year. Once more, the function was Don José within a Feb 22 Carmen, as Vinay gained positive notices for his appearance, musicianship, character, as well as the potential noticed in his dark-timbred tone of voice. A period had to move before Vinay’s large device was sufficiently taken upwards from its baritone root base, but with more and more Otellos, his sovereignty for the reason that role started to become manifested. At La Scala, Vinay sang his Otello to open up the 1947 – 1948 time of year. Salzburg noticed his Moor in 1951, while London experienced to hold back until 1955 and Paris until 1958. In the mean time, he had produced himself a central number at Bayreuth (1952 – 1957), carrying out Tristan, Tannhäconsumer, Parsifal, and Siegmund, most of them maintained on documenting. His Tristan was a particularly compelling realization, captured reverse the contrasted, but similarly impassioned Isoldes of Martha Mödl and Astrid Varnay. By 1962, raising strain in the very best register led Vinay to go back to the baritone register. He came back to Bayreuth as Telramund and sang somewhere else in such tasks as Scarpia, Iago, Dr. Schön, and Falstaff.

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