Customer Reviews

DEAR ROGUE: A Biography of the American Baritone Lawrence Tibbett (Opera Biography Series, No. 6)

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I've read a considerable number of biographies of great opera singers and this has to rank as one of the best. It is told in a forthright manner and actually makes it possible to visualize the singer and his personality. Tibbett was a very great singer and a great man as well during the best periods of his life (not much of a father though). The authors describe his abilities extremely well and cover his life very thoroughly from his childhood and early successes to his eventual downfall. Tibbett's later vocal problems and then social and physical decline made the last part of the book somewhat depressing, but the authors seemed to be trying to cover these parts honestly. I would very highly recommend this book to anyone who wants to know more about this singer.

This book does lack a discography unfortunately, but that is to be found in a companion volume by the same publisher.

I would also strongly suggest that any reader listen to a number of Tibbett's recordings to understand how truly great a singer and performer he was.

This is an outstanding look at the life of the opera super star Lawrence Tibbett. I could not put it down. Weinstadt & Wechsler do wonderful justice to this singer and complicated man who had a rags to riches to disgrace life. At the same time time paint a colorful picture of the world he grew up in; a father killed by outlaws in the old west, raised by his mother, tumultuous marriages and love affairs with movie stars all at the height of one of the heaviest of performing schedules. His fame could be compared to Caruso's and one that no baritone has reached since. This lifestyle, fame and alcoholism destroyed him and his popularity to the point where he was virtually forgotten. Great read for opera fans, music fans and movie buffs.

Lawrence Tibbett was arguably one of the finest (I try to avoid the word "greatest" but it is also applicable) baritones ever. In fact, to my mind only Titta Ruffo can approach him vocally and at his best his interpretations were a match for any singer. Strangely, there are only two biographys of Tibbett available and this is by far the best (the Andrew Farkas one is more a short appreciation combined with a photo book.)

Tibbett had an incredible voice, but he was never content to use that voice simply for beautiful sounds. He always considered himslf an actor first and, together with his athletic body and considerable good looks, this made him a great star, both in opera and on film. For a touch of his personality, go to YouTube and search for "Tibbett." His sex appeal is obvious in the Carmen "Toreador" song. His seductive charm is on display in "Cuban Love Song" and his greatness in the (audio only) duet with Rosa Ponselle in "La Traviata."

Tibbet's many character failings (a distant father, an alcoholic, a serial adulterer) are dealt with in this book and not dismissed, but the emphasis is on his art - how and why he mattered and how he became what he was. This is one of the best operatic biographies available, altho admittedly there aren't a whole lot of really good ones for comparison.

The only thing missing from this biography are Lawrence Tibbett's own thoughts about his performances and career but that was not available to the authors. They have done extensive research and interviews with Tibbett's surviving son Richard and many of Tibbett's colleagues in the opera world. One comes away with a balanced view of this great artist and his life which turned out tragically. Nevertheless, a recorded legacy remains which shows the incredible talent of this artist. There has really not been a comparable baritone singing-actor to match him in acting intensity matched with vocal splendor. Perhaps Tito Gobbi and Maria Callas were his equals in this regard, with their dedication to acting with singing. Tibbett was the sort of artist who dominated the stage and kept the audience's attention on himself by virtue of his charisma and artistry. His movies from 1930-1936 have mostly been lost over the years and unavailable. What a shame, seeing that his first film, The Rogue Song, was the first American movie musical.