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| '''Martti Talvela''' (born in Hiitola, Finland ], ] – died in ], Finland ], ]) was a ] ]tic ]. He studied in ] and ], and |
'''Martti Talvela''' (born in Hiitola, Finland ], ] – died in ], Finland ], ]) was a ] ]tic ]. He studied in ] and ], and made his operatic debut in ] in ] as ]. At 6' 7", he was the tallest singer of his century. He was especially acclaimed as '']'' and as Pimen from the same work, as ] in '']'', as a ] singer (], ], ], ] and ]), as ] and as ]. His last recording is also the most moving{{fact}}: terribly thinned out by illness, he left a memorable version of ]'s ''Die Winterreise''. | ||
| He had one of the most remarkable bass voices in opera history: for the combination of depth and timbre few have ever matched him, and his bass seemed to extend effortlessly without the "break" that most basses have to resort to to hit their low notes, and without the unmusical quality often found with those basses capable of the lowest notes. | He had one of the most remarkable bass voices in opera history: for the combination of depth and timbre few have ever matched him{{fact}}, and his bass seemed to extend effortlessly without the "break" that most basses have to resort to to hit their low notes, and without the unmusical quality often found with those basses capable of the lowest notes. | ||
| == External links == | == External links == | ||
Revision as of 18:19, 16 September 2006
Martti Talvela (born in Hiitola, Finland February 4, 1935 – died in Juva, Finland July 22, 1989) was a Finnish operatic bass. He studied in Lahti and Stockholm, and made his operatic debut in Helsinki in 1960 as Sparafucile. At 6' 7", he was the tallest singer of his century. He was especially acclaimed as Boris Godunov and as Pimen from the same work, as Paavo Ruotsalainen in Viimeiset Kiusaukset, as a Wagner singer (King Marke, Hunding, Fasolt, Fafner and Titurel), as Sarastro and as Prince Gremin. His last recording is also the most moving: terribly thinned out by illness, he left a memorable version of Schubert's Die Winterreise.
He had one of the most remarkable bass voices in opera history: for the combination of depth and timbre few have ever matched him, and his bass seemed to extend effortlessly without the "break" that most basses have to resort to to hit their low notes, and without the unmusical quality often found with those basses capable of the lowest notes.