V2151. ALFREDO KRAUS: The Young Alfredo Kraus, incl. Songs by Ponce & Leoncavallo; Arias from Zauberflöte, I Puritani, Les Huguenots, Les Pêcheurs de Perles, L’Africaine, Faust, L’Elisir, Lucia, Barbiere, La Favorita, Don Pasquale, L’Arlsiana, Rigoletto & El Trust de los Tenorios. (Austria) Preiser 93482, recorded 1958-62. Long out-of-print, Final Sealed Copy! - 717281934824
“Alfredo Kraus, a lyric tenor who was revered for the refinement of his phrasing and the artistry he brought to bel canto roles, never received the kind of popular acclaim accorded Luciano Pavarotti and Placido Domingo, but had a tremendous following among opera connoisseurs. In particular he was admired for his bright, trim timbre, his distinctive phrasing and an assured, self-possessed acting style. Mr. Kraus avoided empty display, preferring to use a composers' demand for virtuosity as an emotional element, intrinsic to the character he was creating.
Mr. Kraus' career was also an object lesson in how a singer might preserve his voice, despite the temptations to sing too often and too loud or to take on unsuitable roles. He learned those roles, and he said that he gave single performances of them early in his career. But he decided that his voice would last longer and remain fresher if he confined himself to the lyric roles of the bel canto repertory. Indeed, he was able to produce his high D, at full power and with a lovely ring, well into his 60s.
‘It's a matter of knowing what kind of voice you have from the very beginning and learning to use that voice onstage, with the right technique’ he told THE NEW YORK TIMES in 1988. ‘It is not so easy, because we are using an instrument that is immaterial. We can't touch it, it's only air. We don't even hear it properly, because we hear a combination of inside and outside sound. You cannot go by what you hear, you must learn to be very sensitive to how it feels, and you can only speak of it in a very figurative language’.
Mr. Kraus also enjoyed running the business side of his career. He did not employ a personal manager during his most active years, preferring to make his own decisions, which were often based on instinct. He would not, for example, work with conductors who he felt tried to sublimate performers' personalities, no matter how auspicious the engagement. He limited his schedule to about 60 appearances a year, and although these usually included performances at the Metropolitan Opera, Covent Garden, the Vienna State Opera, La Scala and the Teatro Colon, in Buenos Aires, he also made a point of appearing in small Spanish and Italian opera houses normally outside the limelight.
He owned and personally supervised a small Spanish record label, Carillon Records. Carillon was the first Spanish company to release a complete opera set, a recording of PEARLFISHERS, with Mr. Kraus in the cast.
In 1955 Mr. Kraus won the silver medal in a vocal competition in Geneva. He had appeared onstage in zarzuela performances in Madrid, in 1954, but he always gave the date of his formal operatic debut as 1956, when he sang the Duke in a Cairo performance of RIGOLETTO. The Cairo engagement also included Mr. Kraus' only performance as Cavaradossi.
The same year as his Cairo debut, Mr. Kraus was engaged by the Teatro La Fenice for performances of LA TRAVIATA with Renata Scotto. In 1958 he sang with Maria Callas in the Lisbon performances of LA TRAVIATA, which quickly became legendary among collectors of pirated recordings of live opera performances.
Mr. Kraus' first appearance in the United States was as Nemorino at the Lyric Opera of Chicago in 1962, and in 1966 he made his Met debut as the Duke. Other roles he has sung at the Met include Don Ottavio in DON GIOVANNI, Ernesto in DON PASQUALE and the title role in FAUST, as well as Werther, Alfredo, the Duke and Nemorino. Aside from his fine sense of the musical nuance and phrasing, his portrayal of the mentally unstable, morbid, masochistic, and manipulative character of Werther has been acclaimed as one of the most effective and insightful readings ever.”
- Allan Kozinn, THE NEW YORK TIMES, 11 Sept., 1999