Torsten Kerl has another website complete with anything you'd expect there,
except his date of birth (1967, Gelsenkirchen). Kerl is one of the biggest idiots I've ever seen & heard on a stage. He was
such a good lyrical
comprimario in the late 1990s. Then, he slowly ventured into larger roles such as Alfredo, much to my delight; even though
the top register was
a weak point, there was definitely hope the voice would develop in that (upper) direction, too. Then, all of a sudden,
he left the ensemble of
the Wiener Staatsoper and was considered a heldentenor, Paul in Die tote Stadt being his new cheval-de-bataille.
Well... I heard it on the radio
and preferred not to attend the performance when he came back to the Staatsoper (after a period of absence) to sing it
on stage. And I did hear
him again (as a "heldentenor") in Jonny spielt auf at the Staatsoper. What a failure, what a nightmare, what a misunderstanding.
Hardly anybody has
ever ruined a promising second-rank voice (a typical comprimario-that-sings-main-parts-sometimes) by pushing and forcing
it into a far too heavy
repertory in the astonishingly crazy manner Torsten Kerl did it.
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