Ian Storey

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Part of Wagner Diction on 20071207

http://mostlyopera.blogspot.com/2007/12/review-of-tristan-at-la-scala-pure.html (December 7, 2007) Since every new Tristan seems to be judged by Lauritz Melchior standards, British tenor Ian Storey obviously fell somewhat short in the reviewers eyes, and I don´t particularly care for his voice either, but he has one very important advantage: He actually looks and acts like someone Waltraud Meier´s Isolde could fall in love with.

JIWON: It was the funniest comment from Meier Fan. It is none of my business when folks praise Waltraud Meier. It is still none of my business when they insult other talented singers, who can never blossom their talents due to the present Meier-Scandal. However, I feel very funny when they are yearning for the Heldentenor to match vocal techniques of their favorite sexy Isolde. While reading this reviewer, sigh…, I couldn’t help thinking… He is a young, passionate, and serious concertgoer, whose favorites include a real professionalism and intensity in music. What if he knows just a bit more about music, about the secrets of all those legendary musicians, Wagnerian (Dramatic) Divas and Heldentenors? Sigh…

http://lavocedelloggione.splinder.com/post/14998600#comment Comment #108: (#106 & #103). Se è per quello, anche *smalto* è piuttosto opinabile, e andrebbe allora esteso, come giudizio, a tutte le altre note (come giustamente osserva Max). Sbaglio o Storey, alla fine del 1° atto, ha avuto qualche dissenso? E infatti aveva mancato un paio di LA… Se la Waltraud non ha avuto buuu, forse è perchè, almeno tecnicamente, non era censurabile. Sull’interpretazione si può invece discutere, oltre ad avere preferenze (Stemme, Voigt, Urmana?)

JIWON:

This is another funniest comment from Meier Fan, whose nickname is Perfect-Wagnerite in Loggione’s Blog. His ideal Wagner conductor is Furtwangler and interpretation is his favorite word whenever he defends Meier’s vocal technique. What really means interpretation? The reason I can never accept Barenboim’s Meier is her sickish interpretation, which is based on her NO-Voice, and the best part of which is that trashy acting and comical diction. I can never accept Barenboim’s Meier because Barenboim himself always boasts his big mouth that there is absolutely NO compromise in the world of Barenboim’s MUSIC and criticize all the politicians, such as Prime Minister Sharon or President Bush, who were sincerely doing their job. I’ve been written this for ten years. If Barenboim felt sorry for the Miserable, who died due to the politicians’ sincere job, what about his poor Berlin singers, who died under Meier’s directorship? What about ALL the poor musicians, who had to give up their professional dream while his Zubin Mehta was enjoying unlimited fame as MAESTRO, under whose leadership countless trashy musicians were able to find their secure job? How many of them have I met in America? They looked so miserable, then I heard that they soon lost their job even after their travel to Chicago for their secret study with the CSO’s King. When I recall their performance, there was nothing wrong with their performance.

But then… this reviewer is not a pro, but just one of naive audience. While reading him and his friends in various places, I kept thinking. What if his Wagner could pick up just a bit more about music itself, what would have happened to this group? I was surprised at his huge knowledge, which was really appreciated by his friends here. In my view, he is still the only one, who could answer one of my curiosities; why no one had ever listened to one American orchestra member, when he pointed out one of real problems our present orchestras are suffering. My favorites are Mravinsky and Toscanini, but I had to remember his article while listening to Furtwangler’s Wagner.

http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2007/12/13/bmstorey113.xml (December 13, 2007) I saw the second night’s performance, and admired his conscientious articulation of the text and sensitive acting – Storey is tall and handsome and moves well on stage. Vocally, however…

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/article3086987.ece (December 23, 2007) There were no boos for Storey, but then Tristan is a rarity at La Scala. This was the first production since 1978. He might not have been as warmly received at Barenboim’s home house, the State Opera in Berlin, because he needs to work on his German text, which was admirably clear, but sometimes unidiomatic. His throaty, slightly greying tone lacks… (……) Meier, his Isolde, is one of the most experienced on the circuit, and remains perhaps the role’s incandescent interpreter today.

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/stage/opera/article3153314.ece (January 9, 2008) The La Scala audience – famously temperamental – gave him a warm reception. Storey was praised by British critics for his clear diction, stamina and sincerity…

http://www.herefordtimes.com/leisure/htleisurefront/display.var.1921879.0.countys_favourite_tenor_takes_la_scala_by_storm.php (December 21, 2007) The working relationships he has developed with conductor Daniel Barenboim, director Patrice Chereau, James Vaughan and Waltraud Meier, his Isolde, have been one of the great joys of the project. “It is great working with people of this calibre, just incredible. It’s been tough, but hugely rewarding.”…

http://www.ianstorey.com/ Future plans include: Tristan with Waltraud Meier at La Scala; Siegfried in Valencia and Florence with Zubin Mehta

JIWON: I feel no need to watch this Tristan on the YouTube.com. Of course, I have things to advise him how to improve his Wagnerian diction. But concerning his future plan, in which Barenboim’s Mehta is supposed to encourage his bravery, Storey himself will beg me for No Comments.

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