 sj |
||
|
||
NPR story - tenor Paul Potts
|
|
|
Subject: NPR story - tenor Paul Potts From: Stilly River Sage Date: 25 Nov 07 - 05:21 PM Yesterday on Weekend Edition Saturday Scott Simon interviewed a fellow from the UK named Paul Potts. I hadn't heard this story before, and I did a quick search here at Mudcat, and don't find his name. This fellow sold mobile phones and sang on the side. He took lessons when he could and traveled to Italy to learn the language and take some more lessons. He's a nondescript soft-spoken fellow with an amazing talent. Weekend Edition story. Here's that first of several You Tube performances. You'll see several others to the side of the page. Have a hankie ready. It's a wonderful story. I can only figure that I must have missed an earlier thread on this subject--how could all of our UK 'Catter's have stayed mum on this story? SRS |
|
Subject: RE: NPR story - tenor Paul Potts From: Leadfingers Date: 25 Nov 07 - 06:10 PM Maggie - Not many of us follow what's going on in Opera - I have enough of a problem remembering that I used to play Jazz !! |
|
Subject: RE: NPR story - tenor Paul Potts From: GUEST,Sheila Date: 25 Nov 07 - 07:32 PM Dear SRS, I am so glad you brought this beautiful singer's career to the forefront of Mudcat. My brother introduced me to Paul Potts via Utube, and having watched the first episode a dozen times, and his subsequent success, I have to say it brings tears to my eyes to see the jaws of those judges drop in disbelief. Last week, Paul appeared in New York to open the holiday season for Bloomingdale's Dept. Store. He has a CD out. A wonderful story of a talent brought out to the world. Sheila |
|
Subject: RE: NPR story - tenor Paul Potts From: Bee Date: 25 Nov 07 - 08:49 PM I saw him interviewed and heard him singing last night. What a beautiful voice! I'm not much of an opera fan, but his is one of the sweetest voices I've ever heard. |
|
Subject: RE: NPR story - tenor Paul Potts From: Alice Date: 25 Nov 07 - 09:06 PM I heard about his win a few weeks ago and searched you tube to find the clips. It is great to see him be able to use his talent doing what he wants to do. Alice |
|
Subject: RE: NPR story - tenor Paul Potts From: Sorcha Date: 25 Nov 07 - 09:29 PM Is this that Welsh guy? I heard about it. Amazing. Wish him luck. |
|
Subject: RE: NPR story - tenor Paul Potts From: Stilly River Sage Date: 26 Nov 07 - 12:02 AM The final appearance on that program was with a higher degree of stage setting and he had a much nicer suit this time. Very nice story. link. I must say, the YouTube quality has improved a great deal--these looked and sounded very good. SRS |
|
Subject: RE: NPR story - tenor Paul Potts From: Stilly River Sage Date: 26 Nov 07 - 12:19 AM I hope they let him sing something more than just Nessun Dorma. I found a performance of the same song in Copenhagen. Folks need to let the man get on with his singing and learning! SRS |
|
Subject: RE: NPR story - tenor Paul Potts From: joseph Date: 26 Nov 07 - 04:46 AM I watched this man win the competition,and what amarvellous voice.How much more unhidden talent is there out there not only in britain but also Ireland |
|
Subject: RE: NPR story - tenor Paul Potts From: Linda Kelly Date: 26 Nov 07 - 12:34 PM He has a stunning voice and even moved Simon Cowell to tears! |
|
Subject: RE: NPR story - tenor Paul Potts From: Jeri Date: 26 Nov 07 - 05:15 PM I don't know about tears, but a little bit of disoriented awe. I love in the beginning when he asked what Mr Potts was going to sing, and he replied, "Opera." The look is one of (translated to American) "Wow...... opera. Just what I was hoping for. Someone alert the media and bring me an aspirin because this is going to be painful." Then comes the look of realization that this SO wasn'nt what he was expecting. This clip makes all of these shows worth it. It would have been pure magic even if Paul Potts had KNOWN how good he was. I'm loading it again (dial-up). I love it, and I love watching everyone's reactions. Thanks for posting the link, Trip-S. |
|
Subject: RE: NPR story - tenor Paul Potts From: Stilly River Sage Date: 26 Nov 07 - 10:10 PM That first performance is the one that reveals the judge's native astonishment, though I like to hear him sing other material in the second performance. On one of the other performance pieces there is a short interview with Potts, when he says how his singing is his solace--it's a place he goes and feels right. Now he will have the opportunity to get the training he has struggled to afford in the past. Many professionals have coaches; it may help sustain Mr. Potts in what looks like will be a busy performing career. The new suit offers polish, but the voice is what clinches it each time. SRS |
|
Subject: RE: NPR story - tenor Paul Potts From: GUEST,Sheila Date: 26 Nov 07 - 10:19 PM This was the first. http://www.youtube.com/watch?v=1k08yxu57NA&feature=related |
|
Subject: RE: NPR story - tenor Paul Potts From: GUEST,Sheila Date: 26 Nov 07 - 10:21 PM Sorry, SRS, I've just seen you already posted that one. |
|
Subject: RE: NPR story - tenor Paul Potts From: katlaughing Date: 26 Nov 07 - 10:59 PM My sisters told me about him. They were raving and I remember seeing a video and/or hearing about him here and being completely enraptured. What a wonderful, beautiful story! It helps that his favourite opera, "La Boheme," is also my fav. but it wouldn't matter with his voice. I love opera by Mozart, Puccini and Wagner and look forward to hearing him do more. Thanks, SRS. |
|
Subject: RE: NPR story - tenor Paul Potts From: Stilly River Sage Date: 27 Nov 07 - 12:05 AM It's a Cinderella story, where the pumpkin turns into a nightingale. :) |
|
Subject: RE: NPR story - tenor Paul Potts From: Don Firth Date: 27 Nov 07 - 04:35 PM In an absolutely charming British movie I saw back in the early 1970s entitled "The Railway Children," the kindly Old Gentleman, who is bringing some very good news to young Bobby (Jenny Agutter), says to her by way of introduction, "Sometimes good things happen. And we live our lives in the hope of them, don't we?" The emergence of Paul Potts onto the music scene is, indeed, a very good thing. I had heard of Paul Potts a few months ago on NPR, and heard him sing. Hearing of his rather humble background, of how he had been "the nerd" in school, and how he was beavering away in a mundane job—and then hearing that voice—and then hearing of his sudden discovery . . . That was a heartwarming piece of news indeed! Now it's a matter of seeing where his singing career goes from here. I hope he has the will and resolve to make the best of it. I don't know what his ultimate ambition is, whether it is to actually sing opera—full length productions (I can very easily see him as Nemorino in Donizetti's L'elisir d'amore (The Elixir of Love))—or to be a recitalist (concert performer), singing operatic arias and art songs, or, like Luciano Pavarotti, Placido Domingo, and others, a combination of both. If the former, he has a lot of work to do. That's something that a lot of aspiring opera singers often don't realize. To be an actual opera singer requires not just singing arias (the big show-stoppers like "Nessun Dorma"), but also singing duets and ensembles—and the dialog between set pieces, which, in opera, is also sung. It's like memorizing a part in a play and being both an actor and a singer. Having a great voice isn't enough. Example from some years ago: Mario Lanza, one of the greatest natural voices to come along, didn't have the moxie to really become an opera singer, even though most people thought of him as such. He had the voice, but between a lethal combination of early success (television, record contracts, movies), his ego, and his laziness, he never really realized his potential as either an opera star or as a concert artist. He only sang in one full-length opera, once (a production of "Madame Butterfly" to promote a movie he was in). Compared to contemporary tenors like Jan Peerce, Franco Corelli, and Mario del Monaco, his singing was downright sloppy, largely because he didn't think he needed to learn much about the mechanics of music or to even take more than a few lessons (One of my voice teachers commented that Mario Lanza's voice was like a Stradivarius violin—being played by a monkey). I'm keeping my fingers crossed for Paul Potts. I hope he doesn't let his sudden success divert his attention from the work at hand, including the need to continue taking voice lessons. He still has some work to do. As great as his voice is, I could hear a few vocal flaws, but they're the kind that a good voice teacher can help him iron out fairly easily. He has a marvelous voice. Coaching, learning roles, and lots of experience just singing will help him firm it up. I found this to be an interesting video: A virtual duet. A juxtaposition of Paul Potts and Luciano Pavarotti singing "Nessun Dorma." Both voices are great. But one can't help but hear the solid richness that Pavarotti's voice has, coming from the confidence his extensive training and his long experience has given him. Nothing succeeds like success. But that is within the grasp of Paul Potts as well. It is for him to reach out and take it. With his love for singing, he richly deserves it. I'll be watching with great interest. Good luck to him!! Don Firth P. S. Can you hear Paul Potts singing this? I can. The tenor's "big aria" from The Elixer of Love |
|
Subject: RE: NPR story - tenor Paul Potts From: Don Firth Date: 27 Nov 07 - 09:09 PM I checked out the info on Paul Potts' first CD on Amazon, listened to the sample cuts (about 30" each), read a batch of the many reviews, and came away fearing a bit for his fate. As at least one reviewer remarked, it's obvious that this CD was rushed into production in order to take advantage of Potts' sudden notoriety, which is laden with enthusiasm and good wishes for the "little guy" getting a chance to live out his dream. But let's hope that dream doesn't turn into a nightmare or crumble into dust. He is simply not ready to begin making CDs yet! I mentioned above that I noticed some vocal flaws in his singing, and judging from the reviews, I was not the only one. His voice has that beautiful, clear, silvery quality to it that every tenor with operatic aspirations wishes he had, but not all that many tenors are so gifted. But Potts is a bit inconsistent. Sometimes his voice, especially in some of his higher notes, sounds thin and forced, when those same notes somewhere else in the song are full and round. This, I think, is a problem in breath support. Also, he tends to wander off pitch from time to time, or his voice wavers in a somewhat uncontrolled vibrato. Also a matter of breath support. These are not fatal flaws. Obviously he has had voice lessons. But he needs more, with a teacher who will not only help him correct his inconsistencies in breath support, but coach him in both interpretation (his Amapola drags something fierce!) and diction (a tendency to over-pronounce, especially his Italian). There are two factors (at least) in making a great opera singer. One is the voice. That's the vocal equipment you are born with (or a "God-given gift," if you will). You either have it or you don't. Many people have great voices, but not necessarily great for opera (as I have said many times on this forum, taking singing lessons will not make you sound like an opera singer; many aspiring opera singers wish it was that easy!). Sheer volume is one part of it. Paul Potts has it. He has the voice to be an opera singer. The other part is musicianship. How well one can play that voice. And that's what Potts needs to work on. To have help with. Mario Lanza was turned into a money-factory before he had learned to play his instrument well, so, famous as he was, he never realized anywhere near his full artistic potential. And one singer I worry about is Charlotte Church. She sang her first full-blown concert (which was telecast) at the age of thirteen. She was rushed into recording and concert tours right away, before her brand-new voice, with tremendous potential, had a chance to settle in. A money-factory! Where is she now? I don't know. I haven't heard anything about her for a couple of years. Still singing? Or did she burn out at the age of eighteen? No, Potts' first CD is patently premature, recorded and issued before he's had a chance to develop artistically. He said he wanted to sing opera. But there is only one operatic aria on the CD—Nessun Dorma. That's the only operatic aria I've heard him sing. How many does he actually know? Can't tell from the CD. There is some beautiful stuff on it, fairly well sung (not as well, I'm afraid, as he could have done it had it not been such a rush job), but only the one operatic aria. I'm sure it will sell many copies and make a lot of money for a lot of people. But— I'm keeping my fingers crossed. His is too good a talent to go down the tubes. Don Firth |
|
Subject: RE: NPR story - tenor Paul Potts From: Stilly River Sage Date: 28 Nov 07 - 01:21 AM Don, I agree. I think there is a great deal of potential for this man with the beautiful voice, and if he uses the income from the CD to situate himself with a teacher and get the breathing under control he might also form a plan for where he wants to take this talent. I listened to a recording of Pavarotti doing "Nessun Dorma" and hear the difference in the breaths taken. One conversation said he met Pavarotti briefly and that Pavarotti was luke warm. Neutral. In some way not engaged with his visitor. At any rate, going to Pavarotti may not have been the best way to move forward. The blind Italian tenor, Andrea Bocelli, has recorded some operas, but I suspect this is entirely studio work (I don't know, so I could be entirely wrong). I haven't paid a lot of attention to him because I didn't care for his voice as much as other tenors, and he seemed to be too carefully packaged and handled. But the sort of career he has conducted has been highly profitable and one would gather quite enjoyable. There have been a lot of very good singers who did other things than record full-length opera, though for many classically trained singers that would seem to be the gold standard. Look at the Broadway and film actors like Howard Keel, Gordon MacRea, Nelson Eddy, and others. When they weren't acting they could get away with concerts and arias and cross-over pop hits. So too can Potts (sans acting), I would think. Let's hope he has someone who knows the ropes to help him take the baby steps carefully. SRS |
|
Subject: RE: NPR story - tenor Paul Potts From: Don Firth Date: 29 Nov 07 - 04:04 PM Apparently Paul Potts does have a clue as to what's involved in singing in full-length opera productions because he has actually done some. He has sung with the Bath Operatic and Dramatic Society, a small amateur opera and play producing company. He has sung four roles: Don Basilio in Mozart's The Marriage of Figaro, Don Ottavio in Mozart's Don Giovanni (gets to sing a beautiful, lyical aria, "Il Mio Tesoro"), the title role in Verdi's Don Carlos (lots of good singing there!), and two roles in two different productions of Turandot, the Herald, and the Prince of Persia, who gets his head lopped off early in the opera and definitely does not get to sing "Nessun Dorma." Another source said that he had also sung in Verdi's Aïda (shortly after having an operation for a burst appendix!). So when it comes to actual opera productions and all the work that goes into learning and singing entire roles rather than just arias, he's not exactly a "barefoot pilgrim." Apparently, when he won the Britain Has Talent contest, some critic got on his case and tried to claim that he wasn't an amateur at all, citing the number of operas he had sung in. Potts pointed out that none of the singers got paid, they did it for the sheer love of singing opera—and that is what defines "amateur:" one who does something, not for money, but for the love of doing it. I feel better about his future now! I love that first video, where he first appears before the judges, responds that he wants to "sing opera," and the almost eye-rolling response to his answer. Then—the looks on the judges' faces when he starts to sing and they begin to realize what they're hearing. That has to be one of the Great Moments in History! Just for kicks in case anyone is interested. While browsing YouTube, I ran across these examples of some pretty amazing singing: Here's a mind-blower. A concert performance of the love duet from the first act of Lucia de Lammermoor with Joan Sutherland (in her prime) and a fairly young Luciano Pavarotti, beardless and quite a bit slimmer (which isn't saying a whole lot): CLICKY Barbara and I took in a opera preview before Seattle Opera's production of Madame Butterfly some years back. It was held in a meeting room in the basement of a church, and Dennis Bailey, leading tenor with SO at the time and a soprano who knew the role of Butterfly, but wasn't in the upcoming production answered questions about the opera, then sang the love duet, accompanied by a pianist they brought with them. I'd heard lots of opera singers, but never that close. About twelve feet away. It's impossible to describe just how loud these folks are when you hear them up close, not in a big theater and singing over a whole symphony orchestra. Incredible that the human body can put out that much volume! One of the most powerful singers I've ever heard is Mario del Monaco. Here he is doing "Nessun Dorma." Up close and in an informal situation, here he is again, doing an aria from " Andrea Chenier." Here is probably the most technically perfect tenor of all time, combined with unparalleled musicianship. He has that quality that I spoke of above that every aspiring operatic tenor wishes he had—in spades! A voice like burnished silver. Swedish tenor Jussi Bjorling. As long as we're comparing, he's doing "Nessun Dorma." How's this for some marvelous singing? Bjorling again, with American baritone, Robert Merrill, doing "au fond du temple saint" from Bizet's The Pearl Fishers. Speaking of the lower male voices, when are we basses and baritones going to receive our due recognition? The lower male voices generally get to sing the villain, or sometimes the hero's (tenor's) sidekick. Truth to tell, they're the ones who get the juicy roles! How about the latest baritone heartthrob from Russia, currently singing at the Metropolitan Opera, Dmitri Hvorostovsky, here with one of my favorite sopranos, Renée Fleming. He with a voice like dark chocolate, hers like honey and cream. Ain't she a cutey? ("Fat lady" indeed! Snort!) Pretty steamy stuff! Speaking of voices like dark chocolate, in Verdi's Don Carlos, King Philip II has just discovered that his queen, Elizabeth of Valois, forced into a political marriage, actually loves his son, Prince Carlos. Philip broods alone in his study. "Ella giammai m'amo." "She never loved me." Sung by basso Cesare Siepi. More than most people here want to listen to, but next to folk songs and ballads, I love this stuff! If you start comparing opera plots with those of ballads, you'll find some remarkable similarities. Don Firth |
|
Subject: RE: NPR story - tenor Paul Potts From: GUEST,pattyClink Date: 29 Nov 07 - 10:24 PM Thanks for the links and education, Don, I imagine a music prof could hang several classes on that post. I still hope Paul Potts can keep the quality he has of COMMUNICATING earnestly with the listener, hope he doesn't polish it away. There are technically superb singers who are manufacturing sound rather than singing, they don't 'get to you' like this guy. |
|
Subject: RE: NPR story - tenor Paul Potts From: Stilly River Sage Date: 30 Nov 07 - 02:58 PM Don, thanks for all of the research and the links! I'm glad to hear that Potts has done longer works. With as much time as he has had as an amateur, he probably has a long laundry list of the things he would like to do as far as the works he would like to perform and the training he would like to receive. This little bit of tape ranks up there with the conclusion of the film Babe for the emotional impact, as the situation registers on the audience and the judges. SRS |
| Share Thread: |