DIY History | Transcribe | Campus Culture | Cecile Cooper newspaper clippings, 1966-1987 | 1982-01-06 ""Simon Estes 'fine addition to Met'""

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Cecile Cooper newspaper clippings, 1966-1987

1982-01-06 ""Simon Estes 'fine addition to Met'""

QUAD-CITY TIMES Wednesday, Jan. 6, 1982

Simon Estes 'fine addition to Met'

EDITOR'S NOTE: Opera bass Simon Estes, making his Met debut, is an Iowan who has performed many times in Davenport. He is the nephew of Cecile Cooper, former Davenporter now living in Coralville.

By Mary Campbell

NEW YORK (AP) -- An inspired third act of "Tannhauser" held the Metropolitan Opera audience rapt Monday night. It went from strength to strength and the Met aisles remained empty of people who usually bustle out during the last acts of long operas.
Previously, the main interest of the evening had been the superlative Elisabeth of Leonie Rysanek, the commendable Met debut of bass Simon Estes and the fine Wagnerian sound, though not overpowering the singers, of the orchestra conducted by James Levine.
In the last act, Miss Rysanek's prayer that Tannhauser will be forgiven is moving. Often in opera, when a bad woman and a good woman appear, the good woman is just boring. But Miss Mysanek's Elisabeth was glorious, with depths of love, caring and joy and -- in the last act -- sorrow. After her prayer, when she walked up the mountain path, she moved jerky and slow, like someone who couldn't possibly move faster.
Then baritone Bernd Weikl sang the operas best-known aria, "Song to the Evening Star" with a compassionate sound, his notes round and warm. Tannhauser comes in to tell his story. Tenor Richard Cassily had some trouble projecting much passion is his profane and sacred loves songs during the first two acts, but he fairly burst with emotion -- and did his finest singing -- in act three.
Simon Estes, a native of Centerville, Iowa, is a fine addition to the Met Operaroster. As the Landgrave, most of whose singing is in act two, Estes commanded a hall full of people by virtue of his imposing voice quality. He didn't, as some Landgraves, rely on looking and sounding like the oldest man present.

Estes' voice is a clear, vital, focused bass, capable of going very low without any quality of strain. He also has a pleasing tone quality and can shade his voice. Estes has been making his career in major European opera houses, including Bayreuth, since 1978.
Mignon Dunn sang Venus. She looked seductive, in her low-cut gown, her arms bare. She sounded seductive, too, and tried all the tricks from imperiousness to softness to hold Tannhauser.

Kathleen Battle had a sound of rustic, natural innocence as the shepherd.
The opera was last heard at the Met during the 1978-79 season.

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QUAD-CITY TIMES Wednesday, Jan. 6, 1982 Simon Estes 'fine addition to Met' EDITOR'S NOTE: Opera bass Simon Estes, making his Met debut, is an Iowan who has performed many times in Davenport. He is the nephew of Cecile Cooper, former Davenporter now living in Coralville. By Mary Campbell NEW YORK (AP) -- An inspired third act of "Tannhauser" held the Metropolitan Opera audience rapt Monday night. It went from strength to strength and the Met aisles remained empty of people who usually bustle out during the last acts of long operas. Previously, the main interest of the evening had been the superlative Elisabeth of Leonie Rysanek, the commendable Met debut of bass Simon Estes and the fine Wagnerian sound, though not overpowering the singers, of the orchestra conducted by James Levine. In the last act, Miss Rysanek's prayer that Tannhauser will be forgiven is moving. Often in opera, when a bad woman and a good woman appear, the good woman is just boring. But Miss Mysanek's Elisabeth was glorious, with depths of love, caring and joy and -- in the last act -- sorrow. After her prayer, when she walked up the mountain path, she moved jerky and slow, like someone who couldn't possibly move faster. Then baritone Bernd Weikl sang the operas best-known aria, "Song to the Evening Star" with a compassionate sound, his notes round and warm. Tannhauser comes in to tell his story. Tenor Richard Cassily had some trouble projecting much passion is his profane and sacred loves songs during the first two acts, but he fairly burst with emotion -- and did his finest singing -- in act three. Simon Estes, a native of Centerville, Iowa, is a fine addition to the Met Operaroster. As the Landgrave, most of whose singing is in act two, Estes commanded a hall full of people by virtue of his imposing voice quality. He didn't, as some Landgraves, rely on looking and sounding like the oldest man present. Estes' voice is a clear, vital, focused bass, capable of going very low without any quality of strain. He also has a pleasing tone quality and can shade his voice. Estes has been making his career in major European opera houses, including Bayreuth, since 1978. Mignon Dunn sang Venus. She looked seductive, in her low-cut gown, her arms bare. She sounded seductive, too, and tried all the tricks from imperiousness to softness to hold Tannhauser. Kathleen Battle had a sound of rustic, natural innocence as the shepherd. The opera was last heard at the Met during the 1978-79 season.