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The worst ( X): James McCracken

McCracken's case is worthy of an X-Files : so much would be difficult to explain how a tenor of these features will make an important race. The protagonist of this story got his first roles at the Metropolitan Opera House as partichino and comprimario in 1953: Parpignol, the messenger of "Aida", Normanno, Roderigo, the judge in "Ballo" or Melot succeeded until 1957. Then the young challenger from Gary, Indiana, received permission from the theater management to travel to Europe and complete your homework and become a star tenor. In Austria fulfilled his dream and began to acquire a certain prestige as Otello in Vienna and Zurich. In this role she heard Rudolph Bing, after one of the most baffling decisions by the famous entrepreneur, McCracken became the dramatic tenor of the house actually assuming the portfolio of Mario del Monaco, absent from the Met since 1959. Radames, Manrico, Canio, Don José and, above all, Othello became its property between 1963 and 1978. So it is precisely "Otello" Opera returns to mark a turning point in his career, because the theater offers no star in the role to be televised (the chosen Jon Vickers was) and he angrily leaves the company until 1983, when she stars in her second return to the stage of New York.

McCracken's voice will hit anyone for little opera I've ever heard, because his hearing becomes unpleasant to the ear. The voice was unpleasant, with a rare quality "percussive" and explained well the difference between dark rings that are simply dull and deaf to be issued without a mask. According to the chronicles it was a bulky instrument, himself a robust man, this was enough to classify it as a heroic tenor. Almost completely devoid of art, in the passenger area practiced a kind of parody coverage in the broadcast was squeezed painfully, often Calante and always clinging to Angola, and from there appeared sounds like music should never be accepted. The sharp end, detached from the rest of the voice, causing anguish for the deadly strain that suggested not only by the terrible vibrato stretto. There was a ringing sound as it should be heard in an opera singer but raucous and discordant. Forcing his line was rigid, lacking any type of modulation (if not in falsetto) and unbearable both the monotone and for the sloppy diction, which continually distorted to suggest dramatic intensity. As often happens in the bad singers, bad taste McCracken exercised with complete sincerity (in this he was a faithful follower of Vinay) which earned him fame as an interpreter "convincing." Naturally the field were the papers written in the central belt, where the momentum seemed outrageous in his declamation to the effect - if one were to accept the reduction of the characters to puppets vociferous.

The Anglo-Saxon audiences and critics, impassive, accepted this and may even think that McCracken would be further evidence of the antipathy of these audiciencias for ringers genuine tenor - clear and Squillo . Did not record much, since it also had a complex relationship with the record: with Decca ended even in court. A few records remain certain prestige, "Otello" (Barbirolli) and "Carmen" (Bernstein) . His incarnation of the Moor of Venice is a decalogue of everything that can be addressed without touching a microphone and singing by chance. In the memory are hearing the eerie howling of the Quartet of the second act and a terrific speech on the r that makes you wonder about the role of the producer of record. On this "Otello" must also say that is representative of a desitalianizar desire Italian opera, but carefully address delinquent and non-sparking theater, a couple scruffy character in a baritone voice and that while singing very well, seems to be reading a PhD at Cambridge. In "Carmen" fails all or nearly all, under the flamboyant leadership of Bernstein we have an eminent vocalist desnortada in the dramatic scenes and a Don Jose's, which surprisingly took good intentions but never stopped being vocal personality Parpignol. Open bar

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