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Ramón Vinay
While many women have successfully navigated careers that bridge the soprano and mezzo-soprano fachs, very few male singers have managed a comparable pivot between tenor and baritone. One remarkable exception is Ramón Vinay. Though best known for his tenure as a heroic tenor, Vinay began and ended his career singing baritone roles. Recordings of him in this lower range are rare, which makes this compilation especially valuable.
It offers a balanced selection of Vinay’s work in both registers. Included are baritone scenes from Der fliegende Holländer, Carmen, Tosca, and Otello, alongside tenor excerpts from Samson et Dalila, Die Walküre, Tristan und Isolde, and Otello. Regardless of where one believes Vinay’s voice truly belonged, there is no denying the power, richness, and dramatic immediacy of his instrument. This collection is a testament to his extraordinary vocal and interpretive range.
Track List
1. Votre toast, je peux vous le rendre
Carmen. Santiago, 1967
2. Vois ma misère, hélas! (In Italian)
Samson et Dalila. Napoli, 1955
3. Wie aus der Ferne
Birgit Nilsson, Senta
Der fliegende Holländer. Philadelphia, 1963
4. Winterstürme wichen dem Wonnemond
5. Siegmund! Sieh auf mich!
Martha Mödl, Brünnhilde
Die Walküre. Bayreuth, 1953
Carmen. Santiago, 1967
2. Vois ma misère, hélas! (In Italian)
Samson et Dalila. Napoli, 1955
3. Wie aus der Ferne
Birgit Nilsson, Senta
Der fliegende Holländer. Philadelphia, 1963
4. Winterstürme wichen dem Wonnemond
5. Siegmund! Sieh auf mich!
Martha Mödl, Brünnhilde
Die Walküre. Bayreuth, 1953
6. Und drauf Isolde, wie sie winkt
7. O diese Sonne
Astrid Varnay, Isolde
Tristan und Isolde. Bayreuth, 1953
8. Ha più forte sapore
9. Orsù, Tosca, parlate
Birgit Nilsson, Tosca
Tosca. Philadelphia, 1963
10. Vanne; la tua meta già vedo
Otello. 1962
11. Dio! mi potevi
12. Niun mi tema
Otello. Napoli, 1952
7. O diese Sonne
Astrid Varnay, Isolde
Tristan und Isolde. Bayreuth, 1953
8. Ha più forte sapore
9. Orsù, Tosca, parlate
Birgit Nilsson, Tosca
Tosca. Philadelphia, 1963
10. Vanne; la tua meta già vedo
Otello. 1962
11. Dio! mi potevi
12. Niun mi tema
Otello. Napoli, 1952
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5.0
Based on 2 reviews
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Poland
Extraordinary: contrast of Heldentenor and baritone highlists
Ramón Vinay became famous as a heroic tenor, for many years he impersonated Wagner's heroes in Bayreuth, and was also Verdi's Otello. Toscanini chose him for his recording of Otello, it is the only recording of a complete opera in a studio with Vinay. Opera Depot's CD combines recordings from the 1950s, when Vinay was Heldentenor, with recordings from the 1960s, when he had switched to baritone. The arias and duets are not arranged chronologically, but according to the operas' country of origin - from France (Bizet, Saint-Saëns) to Germany (Wagner) to Italy (Puccini, Verdi). Thus, the recordings jump back and forth between tenor and baritone several times.The recordings from the 1950s are of the highest quality, both in terms of Vinay's vocal artistry and the technical side. As a baritone, he can certainly hold his own with the best singers in the field: His Holländer (the recording is unfortunately technically not good) and his Scarpia (both duets with Birgit Nilsson) are powerful. Vinay was a voluminous baritone - in contrast to Placido Domingo, for example, who in his recordings as a baritone presented a rather lamentable picture.
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