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*:* “tender emotions”: almost all opera singers I know are able to express ”tender” emotions but he was outstanding in ”also” portraying the complex other emotional aspects of one man who has to kill his son because his wife demands that it’s done (to preserve the sacredsness of marriage, of all reasons) and his daughter refuses , and the other who kills the woman he loves, the mother of their little child. –[[User:Gerda Arendt|Gerda Arendt]] ([[User talk:Gerda Arendt|talk]]) 07:34, 5 February 2026 (UTC) |
*:* “tender emotions”: almost all opera singers I know are able to express ”tender” emotions but he was outstanding in ”also” portraying the complex other emotional aspects of one man who has to kill his son because his wife demands that it’s done (to preserve the sacredsness of marriage, of all reasons) and his daughter refuses , and the other who kills the woman he loves, the mother of their little child. –[[User:Gerda Arendt|Gerda Arendt]] ([[User talk:Gerda Arendt|talk]]) 07:34, 5 February 2026 (UTC) |
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::[[File:Symbol possible vote.svg|16px]] The wording too niche for a broad audience to understand what are the “finest nuances” of Opera. Unfortunately, I found nothing else interesting in this biography. [[User:Flibirigit|Flibirigit]] ([[User talk:Flibirigit|talk]]) 14:34, 5 February 2026 (UTC) |
::[[File:Symbol possible vote.svg|16px]] The wording too niche for a broad audience to understand what are the “finest nuances” of Opera. Unfortunately, I found nothing else interesting in this biography. [[User:Flibirigit|Flibirigit]] ([[User talk:Flibirigit|talk]]) 14:34, 5 February 2026 (UTC) |
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::: Sorry, I don’t see any “finest nuances” of opera involved. Can you perhaps help to clarify in the wording that “large opera houses” means the perhaps five largest in the world, and implies that he appeared there? I tried to stay concise, not mentioning individual ones. You are also welcome to phrase an ALT about the tender emotions, but it’s normally the less tender emotions that seem to interest more, no? – Please compare [[Jubilant Sykes]]. –[[User:Gerda Arendt|Gerda Arendt]] ([[User talk:Gerda Arendt|talk]]) 22:15, 5 February 2026 (UTC) |
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Latest revision as of 22:15, 5 February 2026
Thomas Johannes Mayer
- … that Thomas Johannes Mayer portrayed Wotan and Wozzeck, with a voice filling large opera houses but flexible enough for the finest nuances? Source: [1]
- Reviewed: Michael Menzinger
- Comment: Due to Christmas, I’m some hours late. Both roles are pinnacles, not “doing his job”. Wozzeck just turned 100 (OTD). The voice is described per the source (which calls him “an ideal Wotan” for that quality, but other critics said similar things. Other ideas welcome.
Gerda Arendt (talk) 07:06, 25 December 2025 (UTC).
The wording in ALT0 is not likely to be interesting to a broad audience, and every opera singer I know has a voice that fills a large house. A stronger hook would involve the first part of the quote, an ideal Wotan: “a giant of a man, but capable of tender emotions”. Hope this helps a bit. Will be happy to review with a revised hook. Flibirigit (talk) 03:29, 5 February 2026 (UTC)
- Thank you. As you will know, many voices, when going for the vocal power to fill the “large houses”, loose finesse and flexibilty, and it’s unusual that he didn’t. I don’t know why you’d think that it’s not interesting what singles him out. What I don’t like so much about the other part of the quote – which I considered – are a few things:
- “giant of a man” is pure physics, no achievement
- it says nothing about vocal qualities, would work for only the action part
- “tender emotions”: almost all opera singers I know are able to express tender emotions but he was outstanding in also portraying the complex other emotional aspects of one man who has to kill his son because his wife demands that it’s done (to preserve the sacredsness of marriage, of all reasons) and his daughter refuses , and the other who kills the woman he loves, the mother of their little child. —Gerda Arendt (talk) 07:34, 5 February 2026 (UTC)
- Thank you. As you will know, many voices, when going for the vocal power to fill the “large houses”, loose finesse and flexibilty, and it’s unusual that he didn’t. I don’t know why you’d think that it’s not interesting what singles him out. What I don’t like so much about the other part of the quote – which I considered – are a few things:
-
The wording too niche for a broad audience to understand what are the “finest nuances” of Opera. Unfortunately, I found nothing else interesting in this biography. Flibirigit (talk) 14:34, 5 February 2026 (UTC)
- Sorry, I don’t see any “finest nuances” of opera involved. Can you perhaps help to clarify in the wording that “large opera houses” means the perhaps five largest in the world, and implies that he appeared there? I tried to stay concise, not mentioning individual ones. You are also welcome to phrase an ALT about the tender emotions, but it’s normally the less tender emotions that seem to interest more, no? – Please compare Jubilant Sykes. —Gerda Arendt (talk) 22:15, 5 February 2026 (UTC)
