- Taschenbuch: 300 Seiten
- Verlag: iUniverse (27. März 2006)
- Sprache: Englisch
- ISBN-10: 0595388981
- ISBN-13: 978-0595388981
- Größe und/oder Gewicht: 22,9 x 15,2 x 1,7 cm
- Amazon Bestseller-Rang: Nr. 1.788.046 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Produktbeschreibungen
Kurzbeschreibung
This is the fascinating story of one of America's greatest singers, Norman Treigle (1927?1975). Born in the South's most exotic city, New Orleans, he was acclaimed as one of history's finest singing-actors, specialising in rôles that evoked villainy and terror, and was a resident star at the adventurous New York City Opera.In this, the first biography of the legendary bass-baritone, you will read of his colourful life in New Orleans, his self-destructive life-style, the seeming contradictions in his complex character, his passion for the race-track, his enormous voice and emaciated physique, his electrifying stage-presence and astonishing acting ability, why he never sang at the Metropolitan Opera, and his mysterious, sudden death at the age of forty-seven. Read also of his relationships with his closest colleagues, including Beverly Sills, Phyllis Curtin, Jon Vickers, Plácido Domingo, Michael Devlin, Carlisle Floyd, Julius Rudel, Tito Capobianco and Frank Corsaro.Based on the singer's private files, years of extensive research, and interviews with many of his relatives, friends and colleagues, Strange Child of Chaos (a quote from Mefistofele, his greatest triumph) is a tale of the troubled life of an incomparable artist of an elemental power, who bestrode the stage for too brief a moment.
Synopsis
This is the fascinating story of one of America's greatest singers, Norman Treigle (1927-1975). Born in the South's most exotic city, New Orleans, he was acclaimed as one of history's finest singing-actors, specialising in roles that evoked villainy and terror, and was a resident star at the adventurous New York City Opera. In this, the first biography of the legendary bass-baritone, you will read of his colourful life in New Orleans, his self-destructive life-style, the seeming contradictions in his complex character, his passion for the race-track, his enormous voice and emaciated physique, his electrifying stage-presence and astonishing acting ability, why he never sang at the Metropolitan Opera, and his mysterious, sudden death at the age of forty-seven. Read also of his relationships with his closest colleagues, including Beverly Sills, Phyllis Curtin, Jon Vickers, Placido Domingo, Michael Devlin, Carlisle Floyd, Julius Rudel, Tito Capobianco and Frank Corsaro.Based on the singer's private files, years of extensive research, and interviews with many of his relatives, friends and colleagues, Strange Child of Chaos (a quote from Mefistofele, his greatest triumph) is a tale of the troubled life of an incomparable artist of an elemental power, who bestrode the stage for too brief a moment.
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10 von 11 Kunden fanden die folgende Rezension hilfreich
Long Overdue
3. August 2006
Format:Taschenbuch
I was privileged to know Norman Treigle professionally during the last six years of his life and have many fond memories of him as a dedicated artist and a very gentle gentleman. Therefore it was with mixed feelings that I anticipated the publication of this first biography. While the story is long overdue I did not want to see a "celebrity bio" pandering to the myriad urban legends that have grown up around Treigle almost from the first time he set foot on a New York stage.
Brian Morgan has done extensive research and given us a chronological account of events while admirably resisting any temptation to speculate where the facts are not known. This can be frustrating to the reader at times as the known facts are frequently scarce. While we are given the what, when, where and with-whom of hundreds of performances along with the critical reaction, there isn't much of what happened offstage to make those performances happen. An opera performance is much like the proverbial tip of the iceberg - what one sees onstage is only about 10% of what went into the whole production. It would have been very interesting to have been given more insight into the working methods that made Treigle's style (in the words of a journalist of the time) "so unique it might as well be patented." Perhaps Mr. Morgan found his sources as unable to explain those working methods as Mr. Treigle's many imitators have been unable to equal the results.
On the whole I feel that I can strongly recommend this biography both to those of us who were lucky enough to have seen Mr. Treigle perform and to those who have only the handful of recordings and scraps of video that survive. Sadly, Mr. Morgan is, himself, amongst the latter group. Considering all of his dedicated work on this book it would be a just reward if he could be allowed to time travel back to some of those performances.
Brian Morgan has done extensive research and given us a chronological account of events while admirably resisting any temptation to speculate where the facts are not known. This can be frustrating to the reader at times as the known facts are frequently scarce. While we are given the what, when, where and with-whom of hundreds of performances along with the critical reaction, there isn't much of what happened offstage to make those performances happen. An opera performance is much like the proverbial tip of the iceberg - what one sees onstage is only about 10% of what went into the whole production. It would have been very interesting to have been given more insight into the working methods that made Treigle's style (in the words of a journalist of the time) "so unique it might as well be patented." Perhaps Mr. Morgan found his sources as unable to explain those working methods as Mr. Treigle's many imitators have been unable to equal the results.
On the whole I feel that I can strongly recommend this biography both to those of us who were lucky enough to have seen Mr. Treigle perform and to those who have only the handful of recordings and scraps of video that survive. Sadly, Mr. Morgan is, himself, amongst the latter group. Considering all of his dedicated work on this book it would be a just reward if he could be allowed to time travel back to some of those performances.
9 von 10 Kunden fanden die folgende Rezension hilfreich
Treigle deserves a biography but one written better
24. Februar 2008
Format:Taschenbuch
Norman Treigle was a major star of the 60s and 70s and it is a disgrace that Bing so high-handedly resisted bringing him to the Met (as he did Beverly Sills). MEFISTOFELE has long been a favorite opera of mine and Treigle's interpretation of the Evil One was unique. Too bad this was never telecast from NYCO. As a major star of the operatic stage, Treigle has long deserved a biography. This one will serve only until a better one comes along.
The failings here are poor writing (very amateurish and still plus a love for putting anything he can into parenthese), lack of photos (if he really did have such close contact with the people he mentions couldn't someone have loaned him photos??), and lack of reasearch, that digging out the facts which does take time and effort. Morgan takes what he was given in interviews but that's about it. And for the increasing number of opera fans who rave for mediocre singers, readers are given little of what made Treigle unique. The writer also had a problem with page breaks, often leaving half a page blank and putting a short paragraph on the following page. Including a CD of Treigle would've been helpful for those who never heard him.
Other reviwers seem to think a better biography would come from someone who heard Treigle. Not necessarily. Sometimes (such as with Baskerville Press' biography of Corelli), such a biography is short on research but long on the subjective gushings of a fan. Or a relative as was the case in the recent biography of Leonard Warren. Perhaps a writer more versed in writing musician biographies could give us the biography Treigle deserves. This isn't it, sorry to say.
The failings here are poor writing (very amateurish and still plus a love for putting anything he can into parenthese), lack of photos (if he really did have such close contact with the people he mentions couldn't someone have loaned him photos??), and lack of reasearch, that digging out the facts which does take time and effort. Morgan takes what he was given in interviews but that's about it. And for the increasing number of opera fans who rave for mediocre singers, readers are given little of what made Treigle unique. The writer also had a problem with page breaks, often leaving half a page blank and putting a short paragraph on the following page. Including a CD of Treigle would've been helpful for those who never heard him.
Other reviwers seem to think a better biography would come from someone who heard Treigle. Not necessarily. Sometimes (such as with Baskerville Press' biography of Corelli), such a biography is short on research but long on the subjective gushings of a fan. Or a relative as was the case in the recent biography of Leonard Warren. Perhaps a writer more versed in writing musician biographies could give us the biography Treigle deserves. This isn't it, sorry to say.
3 von 3 Kunden fanden die folgende Rezension hilfreich
Good Book - Fabulous Bass!
11. Januar 2008
Format:Taschenbuch|Von Amazon bestätigter Kauf
When I was in my early teens about 1960 or 1961, the interim pastor at our church, Temple Baptist of Hattiesburg, Mississippi, would bring Norman Treigle to sing religious music for us periodically. Norman Treigle's voice filled the whole, big, new auditorium - people's jaws dropped. It was announced ahead of time when he would be singing, so it got to the point that it was SRO when he sang - normally the auditorium was only about 1/3-1/2 filled. The calls for him to sing 'Ole Man River' got so strong that he eventually sang it in church - how I wish I had recorded it! I can remember remarking how amazing it was that his voice could fill the entire sanctuary without 'even a microphone'! :)
The fact that I still remember his stunning voice after all these years shows what an impression he made on me and everybody else, but I figured, well, he's an opera singer, so maybe they all sing like that - I had never heard an operatic voice in person. After reading this book, I realize that his voice was an unique as I thought back then!
An interesting side note - my grandmother was the church pianist/organist. She was amazingly talented, something of a local, small town star. Mr. Treigle was so impressed with her ability to transpose a song from one key to another on the spot that he asked her to travel with him on the road as his personal accompanist. My grandmother declined, because she didn't want to leave Hattiesburg, which he could understand, not liking travel himself, but it was always her biggest 'claim to fame' that Norman Treigle asked her to be his accompanist! He may not have been serious, but my grandmother thought he was!
I'm sorry this book didn't have any more information about the details of his singing and life in general, but I'm glad there's at least this one book. I'm going to be buying some of the few CDs available with his voice on it - he was a treasure!
The fact that I still remember his stunning voice after all these years shows what an impression he made on me and everybody else, but I figured, well, he's an opera singer, so maybe they all sing like that - I had never heard an operatic voice in person. After reading this book, I realize that his voice was an unique as I thought back then!
An interesting side note - my grandmother was the church pianist/organist. She was amazingly talented, something of a local, small town star. Mr. Treigle was so impressed with her ability to transpose a song from one key to another on the spot that he asked her to travel with him on the road as his personal accompanist. My grandmother declined, because she didn't want to leave Hattiesburg, which he could understand, not liking travel himself, but it was always her biggest 'claim to fame' that Norman Treigle asked her to be his accompanist! He may not have been serious, but my grandmother thought he was!
I'm sorry this book didn't have any more information about the details of his singing and life in general, but I'm glad there's at least this one book. I'm going to be buying some of the few CDs available with his voice on it - he was a treasure!
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