Tag Archives: Sherrill Milnes

bari, bari good baritones

Walter Berry, D. Fischer-Dieskau, Hakan Hagegard, Sherrill Milnes, Hermann Prey, Bernd Weikl. 

With the exception of Sherrill Milnes, the names of these great baritones might not be household words, but they are arguably on par with well-known opera greats such as Marilyn Horne, Renata Scotto, Beverly Sills, Leontyne Price, and Montserrat Caballé.

Here are some clips of these great baris. All very different.

Which is your favorite?

We’ll start with a clip of Walter Berry from Beethoven’s lone opera Fidelio.

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Listen to D. Fischer-Dieskau in this 1960 clip from Strauss’s Arabella, which I’m seeing this weekend in Philadelphia.

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And now for something completely different, here’s Hakan Hagegard, from the film The Magic Flute directed byIngmar Bergman:

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Next up is Sherrill Milnes in Pagliacci singing “Si Puo” from 1978:

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Now a clip from Hermann Prey singing the ever popular “Largo al Factotum” from The Barber of Seville:

YouTube Preview ImageLastly, a clip of Bernd Weikl (1994) as Wolfram von Eschenbach in TANNHÄUSER.

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Filed under Best of Operatoonity, Performers, Poll

Sherrill Milnes . . . a ‘bari’ microtale

Since we are basking in bass-baritones this month on “Operatoonity,” it’s the ideal time to recognize the contributions of Sherrill Milnes, an American baritone most famous for his Verdi roles, who made his Metropolitan Opera debut in 1965 and continued appearing there through 1997. 

Sherrill Milnes as Rigoletto


In an English-language adaptation of Rigoletto produced by Russian conductor and impresario Boris Goldovsky, a young Sherrill Milnes was singing the title role in English. Nearing the end of one of Rigoletto’s monologues, Pari siamo, instead of “it is an evil omen; ah, no, it’s madness,” Sherrill sang, “It is an oval eeman.” Then realizing his mistake, he ad libbed, “Ah, no. It is a round one.” 


(adapted from Opera: Aria Ready for a Laugh by Stephen and Nancy Tanner)

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