The next Copernican revolution.
When Copernicus pointed out that the earth was not the center of the universe, it was said that he changed things forever. But did he really? Though man no longer saw his planet at the center of things, didn’t he still see “himself” at the center of things? Copernicus might have changed the map of the heavens but did he change man’s view of himself in those heavens?
Few opera lovers would dispute that the leading tenor roles in Berlioz’s Les Troyens, Wagner’s Tristan und Isolde and Verdi’s Otello are the most fiendishly difficult roles to sing in the entire tenor repertory. Should a tenor appear today who could sing and act these three roles and prove definitive in each, the opera world would reel in disbelief. No contemporary singer is really satisfactory in any of them, let alone all three. Yet there was a tenor who was indisputably the greatest interpreter of all these roles during his career, and who sang them all within a six week period at the Metropolitan Opera in early 1974. This is the stuff of operatic legend, and Canadian tenor Jon Vickers indeed accomplished this at that time. I am in the fortunate position of being able to provide an eyewitness account of an achievement which reminds us what the much overused word “awesome” really means.
Jon Vickers’ operatic career began in the 1950’s and ended in 1987. In addition to the roles listed above, he was the leading interpreter of Florestan in Fidelio, Siegmund in Die Walkure, Samson in Saint Saens’ Samson et Dalila, as well as the title roles in Parsifal and Peter Grimes. Though he sang many other roles with great distinction, these eight parts were generally agreed to be his greatest characterizations.