Sudden death of a Grammy-winning US tenor, 73
UncategorizedThe conductor James Conlon has reported the death of his lifelong friend John Aler, a tenor who sang major roles in Vienna, Munich, Salzburg and other European venues.
He was a four-time Grammy winner who never got booked at the Met.
UPDATE: A friend of John Aler’s assures us that he was once offered a role by the Met but he turned it down, saying the size of the house was ill-suited to his voice. He preferred smaller, European houses,
In the middle of the night in Torino Italy I have learned of the passing of my colleague and friend, @John Aler. Just last week we discussed how to celebrate the fiftieth anniversary of our first collaboration and friendship.
— James Conlon (@JamesJConlon) December 11, 2022
Best swan I ever heard in Carmina Burana. RIP
also be Quint in Turn of the Screw
Rest in peace. Saddened to read news of his passing.
So very sad to hear this. He was a sweetie.
Very sad news. Although I have never experienced John Aler’s voice ‘live’, his beautiful and expressive singing has graced many recordings over the years. Thank you Sir, and may you Rest In Peace.
It’s really heartbreaking. John was such an elegant and magnificent artist.
He was also the most supportive of colleagues. And his sense of humour was deeply funny, sometimes twisted and always contagious.
John shall always be missed as long as anyone of our generation is still drawing breath.
R. I. P. you great guy
Hello, dear Craig—we’ve met only online in Italy, but we share a love for John Aler! John was a dear friend and the best colleague (I taught with him at Mason U). He is sorely missed—and will be for all my days. Such a mensch!
John had a remarkably beautiful voice. Very special.
Fine tenor: at a Wigmore concert he sang the wonderful MADRIGAL by D’Indy. I know of only one recording which is by F-Dieskau. Aler’s French was more convincing and the song suits a tenor better. Anyone know another recordning?
I’m so sorry to learn of his passing. I saw him sing the Sanctus in the Berlioz Requiem in San Francisco back in the 1970s, when the conductor was John Nelson (now working his way through the major Berlioz works). Then, I saw him sing the same work in Pasadena under Jorge Mester about twenty years ago. I spoke with him briefly after a “Damnation of Faust” at the Hollywood Bowl a few years later, and told him this, and he remarked, “Then you saw my first and last performances of it. I’ve decided that it doesn’t fit my voice any more.” But no matter what repertoire he sang, he produced a strong but sweet tone that always engaged the ear. RIP.
A brilliant musician, a tremendous colleague, and a fine gentleman. It was my honor to work with him many times. His Gerontius was magesterial. We shall all miss his charm, humor and voice.
I first heard John Aler at the regional auditions the Met held in Philadelphia’s Academy of Music back in the mid 70’s and found him to be an excellent lyric tenor. Though he was quite suited to the Academy’s 2,500 seat emulation of La Scala, he was also certainly correct in assessing the Met as too large a house, and by eschewing it managed to keep his voice fresh and unstrained. Sad to hear of his passing!
John Aler was the complete package. His was a beautiful voice used with a rock solid technique and consummate artistry. I met him about 30 years ago, as I was interviewing him at the radio station where I worked, for his upcoming St. Louis Symphony appearance. I turned on the Revox reel to reel recorder (these were still the analogue days) and had a great conversation of about 13 minutes duration. At it’s conclusion, as I turned the machine off, I noticed that the “record” switches had not been switched on, which meant I had a tape with absolutely nothing on it. John was still there to see my error. Mortified, I sheepishly asked him for a – shorter – redo. John Aler could not have been nicer nor more gracious and good humored about the whole thing. He set a then young, fledgling, announcer at ease to the point where we were laughing about it when it was over. We never met again, but I continued to enjoy his mellifluous artistry now knowing that his grace and warmth were qualities that extended well beyond whatever music he happened to be singing.
Adam, Le postillon de Longjumeau,
Fulton/Anderson-J/Aler/Le Roux/Lafont,
1985, live in Monte-Carlo, EMI
Adam, Le toréador,
Bonynge/Jo/Aler/Trempont,
1996, Decca
Auber, La muette de Portici,
Fulton/Anderson-J/Aler/Kraus,
1986, EMI
Bellini, La sonnambula,
López Cobos/Aliberti/Giering/Aler/d’Artegna,
1990, live in Berlin, Eurodisc
Bizet, Les pêcheurs de perles,
Plasson/Hendricks/Aler/Quilico-G/Courtis,
1989, studio: Halle aux Grains, Toulouse, EMI
Cherubini, Lodoïska,
Brüggen/Patterson/Aler/Litaker/Chaignaud/Fourcade,
1994, live in Amsterdam, House of Opera
Dvořák, Svatebnà košile,
Mácal/Krovytska/Aler/Kusnjer,
2001, Delos
Gazzaniga, Don Giovanni Tenorio,
Soltész/Coburn/Kaufmann-Ju/Aler/Swensen-R/Kannen/Chaignaud,
1989, Orfeo
Gluck, Iphigénie en Aulide,
Gardiner/Dawson/von Otter/Aler/van Dam,
1987, Erato
Gluck, Iphigénie en Tauride,
Gardiner/Montague/Aler/Allen/Massis,
1985, Philips
Händel, Semele,
Nelson/Battle/Horne/Aler,
1990, studio: Abbey Road, DG
Händel, Sosarme, re di Media,
Somary/Baird/Minter/Fortunato/Aler/Watson-N,
1993, Newport
Haydn, La fedeltà premiata,
Golub/Ciofi/Barcellona/Groop/Aler/Edwards/Schalkenbrand/Austin,
1999, Arabesque
Haydn, L’isola disabitata,
Golub/Huang/Mentzer/Aler/Schalkenbrand,
1997, Arabesque
Hérold, Le pré aux clercs,
Serebrier/Farley/Dale/Christie/Aler/Winfield/Richardson,
1987, live in Glasgow, House of Opera, CD 6749
Honegger, Jeanne d’Arc au bûcher,
Ozawa/Pollet/Keller/Aler/Wilson-Gg/Courtis,
1989, live in Paris, DG
Honegger, Jeanne d’Arc au bûcher,
Ozawa/Barbaux/Keller/Aler/Wilson-Gg/Matthews-B,
1993, DVD, Matsumoto, Fun House
Honegger, Jeanne d’Arc au bûcher,
Masur/Murphy/Keller/Aler/Wilson-Johnson/Watson-N,
1994, live in New York, NYP
Lehár, Die lustige Witwe,
Welser-Möst/Lott/Szmytka/Aler/Hampson,
1993, live in London, EMI
Messiaen, Saint François d’Assise,
Salonen/Upshaw/Hamilton/Aler/van Dam,
1992, live in Salzburg, ORF
Messiaen, Saint François d’Assise,
Nagano/Upshaw/Merritt/Aler/van Dam,
1998, live in Salzburg, DG
Mozart, Così fan tutte,
Haitink/Vaness/Ziegler/Watson-Lln/Aler/Duesing/Desderi,
1986, EMI
Mozart, Don Giovanni,
Karajan/Tomowa-Sintow/Varady/Battle/Aler/Furlanetto-F/Ramey,
1988, live in Salzburg, Fachmann
Mozart, La finta giardiniera,
Bychkov/Alexander/von Otter/Aler/Rolfe Johnson/Cachemaille,
1984, live at Aix-en-Provence, Celestial Audio
Mozart, Der Schauspieldirektor,
Pearlman/Sieden/Baker/Aler/Deas,
2000, Telarc
Offenbach, La belle Hélène,
Plasson/Norman/Alliot-Lugaz/Burles/Aler/Bacquier/Lafont,
1984, EMI
Rameau, Hippolyte et Aricie,
Gardiner/Yakar/Smith-J/Norman/Aler/van Dam,
1983, DVD, Aix-en-Provence, Encore
Rameau, Les Boréades,
Gardiner/Smith-J/Rodde/Langridge/Aler/Cachemaille/Lafont,
1982, Erato
Rossini, Le comte Ory,
Gardiner/Jo/Montague/Pierotti/Aler/Quilico-G/Cachemaille,
1988, Philips
Stravinsky, Renard,
Salonen/Aler/Robson/Wilson-Johnson/Tomlinson,
1990, Sony
Stravinsky, Renard,
Wolff-H/Aler/Kelley/Opalach/Cheek,
1994, Teldec
Stravinsky, Renard,
Craft/Aler/Spears/Evitts/Pauley,
2005, Naxos
requiescat in pace
Nice work in listing his impressive discography. For those of you interested in seeing him on film, here he is in Beethoven’s Choral Fantasy in C minor, Op 80.
Evgeny Kissin – Piano
Cheryl Studer – Soprano
Kristina Clemenz – Soprano
Camille Capasso – Mezzo-soprano
John Aler – Tenor
Hiroshi Oshima – Tenor
Friedrich Molsberger – Bass
Berliner Philharmoniker
Claudio Abbado
RIAS Chorus
Marcus Creed – Chorus Master
Berlin, Schauspielhaus, 1991
https://www.youtube.com/watch?v=5QmoIKQZX8Y
John Aler recorded as long ago as the mid-1970’s, when he sang on a New World LP of Civil War Songs, issued in connection with the U.S. Bicentennial.
“All Quiet Along the Potomac Tonight” was one of those songs.
Liszt, Songs
John Aler with Daniel Blumenthal, piano
Newport Classic – NC 60028. 1986
Nice list. Where is his Handel Joshua recording on Newport with Palmer/Baird/Fortunato/Ostendorf?
I knew him well because of his performances in the Chicago area. As Craig said earlier, his unique sense of humor was special. Beautiful singer and special person! RIP John. EB
I saw him perform several times, more than I would have liked. He was self-taught, he told me, and it showed. He had to force to project his voice over an orchestra. It was not very large in size, and did not have strong focus. He accomplished quite a lot, and performed constantly. I imagine he worked cheaper than more-famous singers, so he got the jobs. He sang all the time with orchestras. His voice would not have carried at the Met. He was a pleasant performer, and audiences enjoyed him. But I certainly wish I’d been able to hear more great singers more often. When second-tier guest artists are chosen, it cheats not only the audiences, but young musicians of the chance to learn what great artists have to give, and how they perform. But they have all too little access to them, speaking from the USA.
Read the room. Sourcream indeed.
In 1994, I switched from a piano major to voice major, as a tenor, and in one of my music history classes my professor played John’s Berlioz Requiem with Shaw and the Atlanta Symphony (on vinyl). I was riveted by John’s singing and knew at that moment that the switch from piano to voice was the right one. I can still picture the classroom and that moment like it was yesterday. I was able to find a mint copy of that recording on vinyl and will pour one out for dear John. RIP and what a loss of spirit and talent.
Just finished listening to the amazing recording of Semele with John Aler as Jupiter to find the sad news. R. I. P.
John sang several times for Richard Vogt and the Greenwich Choral Society, and he often stayed at my mother’s. I was able to join with the chorus and sing behind him one of those times.
After my mother’s death, I played her copy of Aler singing Liszt songs, a wonderful recording, which prompted an exchange of emails back six years ago. In them, he said:
“The Lizst songs are a favorite recording of mine. I love them dearly, and I am happy you enjoy them.”
This recording does not seem to be in the discography above:
Liszt Songs
John Aler with Daniel Blumenthal, piano
Newport Classic – NC 60028
A fine man and a fine singer.
I recall his performances at the Washington Opera while I sang in the chorus of Mozart’s Abduction. He was very encouraging, as we chatted about music and our both being from Baltimore.
Also recall the great 1989 recording of Handel’s Messiah with John Aler, Kathleen Battle, Florence Quivar, Samuel Ramey, Sir Andrew Davis conducting the TSO and the Toronto Mendelssohn Choir. My favourite Messiah recording.