@jim Taylor I just attended his Lohengrin in Bayreuth last week and prior to that performance, I too thought as you. I had only heard him in recordings and in TV, and though attractive, I couldn't grasp what everyone was so hyped about. That is until I heard him live at Bayreuth. His voice in the theater is unlike anything I'd ever encountered in my 35 years of opera going. Only the early performances of tenor, Marcello Giordani at Portland Opera, (yes, in Oregon!) perhaps can equal the sheer excitement of hearing for the first time a voice of such stunning beauty, color and vibrancy as Vogt's clarion voice, which can weave the most ethereal mezza-voce and suddenly send a lightning bolt of golden tone that strikes every surface of the theater. His voice has cut, resonance, dynamics and shadings that all his recordings just can't capture. To hear him live, at least in Bayreuth, brought tears to my unexpectact eyes. Yes, there isn't the traditional dark, chest color we have become accustomed to in modern Wagner, Puccini or Verdi singing, .but .once you adjust, you realize what your ears, body and soul have been missing in your years of opera attendance. Fear not, it isn't Juan Diego Florez singing Wagner, Vogt is something all together different, almost from another era. You have to listen to the 1909 Act 2 of Tannhäuser from with Berlin with Fritz Vogelstrom to hear how Wagner tenors used to sound. It's incredible! And Vogt seems to have tapped into this earlier school, which was made to be heard in the theater, not on a modern microphone which hates natural resonance, color and vibrancy. I know most of us grew up on Corelli, Del Monaco, Vickers, Jess Thomas, the late Giacomini or maybe even Bjoerling, Lauri-Volpi and Caruso etc...all of whom are undeniably stunning voices of the first calibre. But hearing Vogt in the theater has opened my eyes to the deception of recordings, all of which began with Karajan and DG's studio tone meisters. If you've heard Vogt live, unamplified, and still had a negative reaction, then all I've written is useless. But if you haven't heard him live, especially in Lohengrin though many said his Siegmund last Tuesday in Bayreuth was also fabulous, then do try and attend a live performance. It might just change your opinion. Best wishes and excuse my excessive words but I've been wrestling with this new awareness since last Thursday. I'm still in shock, but it's a good shock.

@@paulhearn8667 zzzzzzzzzzzzzz 🦟 la vocina più piccolina e immatura , ecco di cosa Lei sta sognando … vocalità degna della scuola media e ancora ! il vecchio PS spero che Lei sta scherzando…

@@bodiloto Rispetto pienamente la sua opinione e forse sono stato solo fortunato le due volte che ho sentito Vogt dal vivo, nei teatri d'opera tedeschi? Non sono ancora una fan quando ascolto le sue registrazioni o in TV, ma Bayreuth e Elb Philharmonie sono stati entrambi momenti di apertura degli occhi, almeno nel suo repertorio tedesco. Forse a San Carlo o al MET non sarebbe stato lo stesso, non lo saprò mai. Ma grazie per aver condiviso i suoi pensieri. Spero che abbia trovato dei cantanti moderni che le piacciano. Forse Tettelmann? Non l'ho mai sentito, ma molte persone ne vanno matte. Ciao!

@@paulhearn8667 Risposta molto simpatica e gentile, alla fine dei conti dalle sue parole ho capito che Lei conosce poco l’arte lirica vera . Vogt nel repertorio wagneriano lo trovo in una parola - dilettante. La ragione ? La sua vocalità infantile è poco professionale e il suo modo di porgere molto personale che purtroppo è lontano dal ideale wagneriano. Per darle un’idea nell’arte wagneriana la voce del cantante deve corrispondere al colore dell’orchestra, è così semplice. Vogt sta interpretando la bellissima musica di Wagner con una vocalità immatura e infantile. Tettelmann e Vogt - dal vivo nessun confronto possibile. Questa è la mia modesta opinione. Saluti cordiali il vecchio PS Se me ricordo bene degli anni 1956-1986 Fogt con la sua vocalità poco professionale purtroppo non poteva entrare in un coro …