COMMANDOpera is in an extremely difficult position; the pressure to move or not move on this story is intense. The artist, who is based in Texas has indeed recorded these 2 airs which I present here, suggesting this tenor without question is unreservedly on track to become one of the most critically important voices of the decade. End of Story. This morning I received various mails as usual, however there was one from a site called ’classicaltenors‘ which indicated they were now following COMMANDOpera on TWITTER. Naturally I went to see who these people were, and found this man, a 32 year old German tenor voice in training running the site. Further research illuminated his nik to be ‘lyric tenor high F’. COMMANDOpera has sent emails, attempted telephone calls around the globe to Mr. Mayer requesting further discussion on this stunning, brilliantly trained vocal instrument. What is discernible is that the gentleman in question has trained in both Salzburg and Los Angeles, and this artist deifies Mr. Mario Lanza, Mr. Jussi Bjoerling, and Mr. Alfredo Kraus. The evidence of Mr. Mayers interest in the early styles of vocalisation is quite evident from the minute the first notes are executed.
UPDATE:
COMMANDOpera has received a rather interesting mail from Mr. Mayer which illuminates a great deal about this young artist. At the age of 20 Mr. Mayer who hails from the Bavarian (seriously German) region of Germany, was not accepted into the prestigious Munich Conservatoire. Rather than give up on a vocal career, the artist embarked on the route of private tutoring. To finance such an expensive approach to this level of training, Mr. Mayer became a therapist, which in Europe is a practical and highly regarded form virtually of medical standing. His main tutor was the impressive Russian soprano Miss Nadja Kromer, who taught him the rigorous Italian disciplines; Evarati, Garcia, and Rosati. This particularly intense schooling of the oldest traditions and techniques enabled the artist to reach F # in full voice with no hint of falsetto. Mr. Mayer also studied with the Armenian baritone Mr. Garegin Housepian in Passau, and Dr. Dimi Palos in Munich. Most recently, Mr. Mayer’s determination to receive further training brought him to the U.S. in Los Angeles with Mr. Mike Stevens. COMMANDOpera is impressed with the magnitude of this artists training within the confines of the old traditions, which is clearly reflected through his extraordinary vocal instrument. Mr. Mayer unbelievably has not sought representation. Good Lord. Whoever signs this artist, holds under their banner one of the most unique, stylistically exceptional tenor voices not witnessed since the 1950′s. Currently, Mr. Mayer is preparing Chapelou in Postillion, Arturo of Puritani, Almaviva of Barbiere, and Tamino for Zauberfloete.
The first air is the final tenor aria from Bellini’s I Puritani. This air includes F # and has only been taken by a few tenors; most with no dignity. Is it a squally assault to the ears from another over reaching tenor? If it was, it would not be found on COMMANDOpera. The entire air is so perfectly executed, I remain in complete and utter disbelief. Not only is the F# far richer than that of Mr. Pavarotti, but the air as a whole is rendered with an emotion I did not believe existed today…. save one other tenor. The second air is Mes amis d’ecoutez from Adam’s Le Postillion de Lonjemeau.
Credeasi Misera. I Puritani.
Mes amis d’ecoutez. Le Postillion de Lonjemeau.
COMMANDOpera will be following the career of this phenomenal artist with great interest.
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I found these arias of Mr. Mayer’s on youtube along with postings suggesting that Mr. Mayer’s has taken recordings of William Matteuzzi and claims that he himself is singing the arias. Have a listen to both artists and judge for yourself. I think there may be something to this.
Mr. Rian Mayer perhaps is one of those individuals who looks for something more in life than what is his lot. A flicker in time.