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Cecile Cooper newspaper clippings, 1966-1987
1980-12-10 ""Estes: Virtuoso of voice""
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This is a friend I've known from Davenport. QUAD-CITY TIMES Wednesday, Dec. 10, 1980 Estes -- virtuoso of voice By Julie Jensen of the Times IOWA CITY, Iowa -- If Simon Estes never sang a note, his audiences would be thrilled with his stage presence alone, but that beautiful vocal instrument was in fine fettle for his benefit concert with the University of Iowa symphony orchestras last Wednesday night. The program opened with Mozart's "Serenata Notturna" featuring a string quartet: Allen Ohmes, Don Ilaines, William Purcell and Eldon Obrecht, backgrounded by the University of Sinfonietta. James Dixon conducted the serenade as delicately as if he were pulling a silken thread through the fine eye of a needle, and the musicians performed the virtuoso themes with finesse. When Estes took the stage for three Mozart arias accompanied by the Sinfonietta, it was all his. The first basso thrill was the concert aria, "Mentre ti lascio, of figlia," but long before Estes opened his mouth, his body was into the music. THAT VOICE goes through the one like a ray gun shooting pleasure -- a flow of warm honey under total control. "In diesen heil'gen Hallen" from "The Magic Flute" was next, and the beauty Estes imparts to an essentially guttural language rests on the perfection of his tone -- exquisite at each end of its range. Estes literally sparkled in "Madamina! il catalogo" from "Don Giovanni," using eyes, brows and body to express this quicksilver aria. Following intermission, the Iowa-born artist plunged into the deeper waters of Verdi, opening with the moving "Il lacerato spirito" from "Simon Boccanegra." Fiesco's heavy grief emanated from the usually-cheerful Estes with stunning force. THE FULL University Symphony Orchestra accompanied the artist in the second half of the program, justifying Estes's later remark, "James Dixon has done a magnificent job with this orchestra." Margaret Brooke's cello solo in "Ella giamma m'amo" from "Don Carlos" was particularly impressive. This dramatic aria, "She never loved me," was charged with emotion and Estes crescendoed to the crest of full orchestral sound. As the last note died away, he was held in the hopeless despair of the role for a long moment before he could acknowledge the fervent applause. How much heavier can opera get? Try Wagner's "Die Walkure." Estes fully claimed the passion of Wotan's farewell, moving on the stage, spreading his arms, splaying his fingers and unleashing the full magnificence of his voice. The audience now needed a moment to recover and begin the clamorous applause that brought Estes back at least five times. His was a standing ovation that meant something. At last he held up those eloquent hands for silence and said, "I don't know if there's anything you can do after Wotan." THE AUDIENCE had to agree and stop clamoring for more, but its members sat down to listen with pleasure to a few remarks from one of Iowa's favorite musical sons. Estes spoke of his gratitude to the University; to his professors; to Himie Voxman, newly-retired chairman of the School of Music who gave 51 years to the University. Estes is not bashful about expressing gratitude, and he puts it into action, helping his alma mater and individual music students. He spoke of Professor Beaumont Glass, a Swiss now teaching at the University of Iowa who helped him with the Ring operas, saying he couldn't have sung Wotan's farewell without him. Simon Estes said, "I wish you great happiness, lots of love and God's blessings," and left the stage radiating his possession of all three. One reason for his unusually bright glow is his bride, the daughter of a Swiss banking family (music lovers). The lovely brunette was a proud member of the audience and equally radiant. A Simon Estes concert is a peerless musical occasion, but it's also a love feast. When somebody in the audience shouted, "Welcome home!" all of us meant it. A review Simon Estes stops for a hamburger at the University of Iowa Memorial Union.
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This is a friend I've known from Davenport. QUAD-CITY TIMES Wednesday, Dec. 10, 1980 Estes -- virtuoso of voice By Julie Jensen of the Times IOWA CITY, Iowa -- If Simon Estes never sang a note, his audiences would be thrilled with his stage presence alone, but that beautiful vocal instrument was in fine fettle for his benefit concert with the University of Iowa symphony orchestras last Wednesday night. The program opened with Mozart's "Serenata Notturna" featuring a string quartet: Allen Ohmes, Don Ilaines, William Purcell and Eldon Obrecht, backgrounded by the University of Sinfonietta. James Dixon conducted the serenade as delicately as if he were pulling a silken thread through the fine eye of a needle, and the musicians performed the virtuoso themes with finesse. When Estes took the stage for three Mozart arias accompanied by the Sinfonietta, it was all his. The first basso thrill was the concert aria, "Mentre ti lascio, of figlia," but long before Estes opened his mouth, his body was into the music. THAT VOICE goes through the one like a ray gun shooting pleasure -- a flow of warm honey under total control. "In diesen heil'gen Hallen" from "The Magic Flute" was next, and the beauty Estes imparts to an essentially guttural language rests on the perfection of his tone -- exquisite at each end of its range. Estes literally sparkled in "Madamina! il catalogo" from "Don Giovanni," using eyes, brows and body to express this quicksilver aria. Following intermission, the Iowa-born artist plunged into the deeper waters of Verdi, opening with the moving "Il lacerato spirito" from "Simon Boccanegra." Fiesco's heavy grief emanated from the usually-cheerful Estes with stunning force. THE FULL University Symphony Orchestra accompanied the artist in the second half of the program, justifying Estes's later remark, "James Dixon has done a magnificent job with this orchestra." Margaret Brooke's cello solo in "Ella giamma m'amo" from "Don Carlos" was particularly impressive. This dramatic aria, "She never loved me," was charged with emotion and Estes crescendoed to the crest of full orchestral sound. As the last note died away, he was held in the hopeless despair of the role for a long moment before he could acknowledge the fervent applause. How much heavier can opera get? Try Wagner's "Die Walkure." Estes fully claimed the passion of Wotan's farewell, moving on the stage, spreading his arms, splaying his fingers and unleashing the full magnificence of his voice. The audience now needed a moment to recover and begin the clamorous applause that brought Estes back at least five times. His was a standing ovation that meant something. At last he held up those eloquent hands for silence and said, "I don't know if there's anything you can do after Wotan." THE AUDIENCE had to agree and stop clamoring for more, but its members sat down to listen with pleasure to a few remarks from one of Iowa's favorite musical sons. Estes spoke of his gratitude to the University; to his professors; to Himie Voxman, newly-retired chairman of the School of Music who gave 51 years to the University. Estes is not bashful about expressing gratitude, and he puts it into action, helping his alma mater and individual music students. He spoke of Professor Beaumont Glass, a Swiss now teaching at the University of Iowa who helped him with the Ring operas, saying he couldn't have sung Wotan's farewell without him. Simon Estes said, "I wish you great happiness, lots of love and God's blessings," and left the stage radiating his possession of all three. One reason for his unusually bright glow is his bride, the daughter of a Swiss banking family (music lovers). The lovely brunette was a proud member of the audience and equally radiant. A Simon Estes concert is a peerless musical occasion, but it's also a love feast. When somebody in the audience shouted, "Welcome home!" all of us meant it. A review Simon Estes stops for a hamburger at the University of Iowa Memorial Union.
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