horizontal line

If Vogt ever tackles the crossover market it might be an idea to call him the Marmite Tenor – you either love him or loathe him. Detractors consider his voice blanched and worthy of a jumped-up Tamino at best, his fans rhapsodise about his pure tone, elegant phrasing and acuity of expression. Having heard him live just once, as Walther in Die Meistersinger, I found his voice a true Heldentenor but infinitely more dynamically refined than we are used to these days. As far as studio engineering allows us to judge, this disc supports this view. Vogt’s Lohengrin and Parsifal are beautifully judged and performed, and possess true radiance; Rienzi and Erik provide almost bel canto pleasure too. Siegmund and Tristan reveal a certain lack of baritonal richness normally heard in these roles, yet are well matched by Camilla Nylund’s relatively light soprano as Sieglinde and Isolde. Good support from Jonathan Nott and the Bamberger Symphoniker, though the recording mix slightly over-favours Vogt’s voice, perhaps to provide a little more warmth to its tone?

Francis Muzzu Read the full review on Agora Classica


   Read full review   


To continue reading, please upgrade to a premium account. You will have immediate full access.



Read more classical music reviews online here:



Opera Now, 2013 - ©Rhinegold Publishing