Paul Plishka, an American singer acclaimed for his sonorous, liquid bass tones and near-perfect diction throughout a profession on the Metropolitan Opera that spanned a half-century, died on Monday in Wilmington, N.C. He was 83.
His dying was confirmed by his spouse, Sharon Thomas, who didn’t cite a trigger or specify the place in Wilmington he died.
Identified for a disciplined method to picking roles and a fantastic concern for the event of his voice, Mr. Plishka was one of the prolific solo singers on the Met, the place he appeared in 88 roles over 1,672 performances.
“I feel the key of my longevity was having the nice sense to show down repertoire that wasn’t proper for my voice on the time,” he stated in an interview for this obituary in 2023.
Early in his profession he most popular buffo, or comedian, roles, particularly in operas by Verdi. “My voice was extra of the basso cantante — with a lyric sort of sound — not a villain’s voice,” he stated.
However as his voice modified, Mr. Plishka accepted extra dramatic roles, together with the title one in Mussorgsky’s “Boris Godunov,” as Philip II of Spain in Verdi’s “Don Carlos” and as Mephistopheles in Gounod’s “Faust” — all stellar performances.
Late in his profession he once more embraced buffo roles, drawing acclaim particularly for his rendition of the growing old cavalier in Verdi’s “Falstaff.”
“To me, it put the whole lot collectively — stunning singing, performing and a personality I used to be so hooked up to that I missed him between performances,” Mr. Plishka recalled.
Some singers method a brand new function by first making an attempt to probe that character — however not Mr. Plishka. “I all the time went for the vocals, as a result of I wished to be safe with every be aware I needed to sing,” he stated within the 2023 interview. “For those who go to character first, you finish doing ugly issues to your throat.”
Amongst his few regrets was not getting sufficient alternatives to play one in all his favourite characters, the title function in Mozart’s “The Marriage of Figaro.” He additionally lamented by no means being supplied the title function in Mozart’s “Don Giovanni” — a slight he attributed to his stout physique.
“All through most of my profession, I weighed between 240 and 300 kilos,” he stated. “And I don’t assume there are numerous Don Giovannis on the market who appear like that.”
When Mr. Plishka retired at 71, his voice was nonetheless sturdy and in a position to hit excessive notes in addition to the low ones anticipated from a bass. “My listening to grew to become an issue and was the principle motive I finished singing,” he stated.
Paul Plishka was born on Aug. 28, 1941, in Previous Forge, a former coal-mining neighborhood in northeastern Pennsylvania, the place his grandparents, immigrants from Ukraine, labored within the mines and factories. His father, Peter, was a stockroom worker. His mom, Helen (Patrician) Plishka, was a seamstress in a gown manufacturing unit. He had a youthful brother, Peter.
The household moved to Paterson, N.J., the place Paul starred in the highschool refrain. After singing the function of Jud Fry in “Oklahoma!” he was invited to hitch the Paterson Lyric Opera Theater. Its founder and director, Armen Boyajian, grew to become Mr. Plishka’s voice trainer all through his profession.
Mr. Plishka studied as a voice main at close by Montclair State College, the place he met Judith Ann Colgan. They married and had three sons.
Ms. Plishka and Mr. Boyajian each suggested Mr. Plishka on his performances. “They have been the 2 individuals who knew my voice even higher than I did,” he stated. “Judith was a passionate opera lover and attended virtually all my performances.”
Mr. Plishka dropped out of school after two years and drove a truck for an ice cream firm whereas persevering with to sing with the Paterson firm.
At 23, he auditioned for the Metropolitan Opera and toured with its nationwide firm. When the corporate folded three years later, he was invited to hitch the Met in New York.
He auditioned in entrance of Rudolf Bing, the longtime autocratic supervisor of the Met, who supplied him buffo roles. However Mr. Plishka agreed to simply accept the work provided that he have been allowed to do occasional dramatic roles as effectively. “I don’t understand how I discovered the braveness to insist,” he stated.
He made his Met debut in 1967, because the Monk in Ponchielli’s “La Gioconda.” Over the following three years he carried out some 30 different roles, primarily buffo ones, together with the lawyerly physician Bartolo in “The Marriage of Figaro” and the bumbling friar Melitone in Verdi’s “La Forza del Destino.”
However by 1970 the Met had determined that his voice had grow to be extra appropriate for dramatic roles. He was quickly requested to painting main characters, like Philip in “Don Carlos” and the chaplain and tutor Raimondo in Donizetti’s “Lucia di Lammermoor.”
Out of concern for his voice, Mr. Plishka for a few years declined to sing roles like Boris Godunov, the delusional czar, or Scarpia, the villainous chief of police, in Puccini’s “Tosca.”
“Each these characters have a substantial amount of rigidity and violence of their voice,” he defined, “and when you find yourself a younger singer, you can’t management these feelings and find yourself screaming and hurting your voice.” He by no means sang Scarpia, however he lastly debuted as Boris Godunov on the Met in 1974.
Mr. Plishka had no qualms about accepting “graybeard” elements — like Raimondo in “Lucia di Lammermoor,” King Marke in Wagner’s “Tristan und Isolde” and the touring patent-medicine peddler Dulcamara in Donizetti’s “L’Elisir d’Amore” — that different singers may reject out of concern of being typecast in secondary roles. “Many basses simply wish to sing the title roles — Figaro, Don Giovanni, Boris,” he stated.
Mr. Plishka himself thrived on a gentle mixture of secondary and lead roles. Even early in his profession on the Met, he was singled out for his distinctive efficiency because the satan in Gounod’s “Faust.”
“Mr. Plishka’s Mephistopheles was a harsher, extra plainly malevolent character than is normally seen,” the critic Donal Henahan of The New York Occasions wrote in a single evaluate, in 1976, “and supplied just a few chills along with his real looking outbursts of annoyed rage.”
Wanting again on his lengthy years on the Met, Mr. Plishka rated Falstaff, which he started performing in 1992, as his favourite and finest rendered function.
Critics agreed. “Mr. Plishka gave the function an virtually touchingly human high quality,” Edward Rothstein wrote in The Occasions in reviewing a 1992 efficiency on the Met. “He was a Falstaff virtually enticingly filled with himself.”
Offstage, Mr. Plishka endured appreciable grief. In 1984, his youthful brother, Dr. Peter Plishka, chief of youngsters’s companies on the state-run Youngsters’s Psychiatric Heart in New York, was discovered useless from a self-inflicted knife wound in his Bronx house.
Mr. Plishka’s spouse, Judith, died in 2004. He subsequently married Ms. Thomas, a former resident stage director on the Met. Mr. Plishka’s three sons, Paul Jr., Nicolai and Jeffrey, additionally died. (In 1991, Jeffrey was accused of the rape and homicide of Laura Ronning, a younger camp counselor within the Pocono Mountains of Pennsylvania, however he was acquitted of the crimes in 2010.)
Along with his spouse, Mr. Plishka is survived by his daughter-in-law, Fatima Plishka, and a granddaughter.
Mr. Plishka formally retired from the Metropolitan Opera after enjoying the Sacristan in “Tosca” on Jan. 28, 2012. However he was invited again for post-retirement performances as Benoît and Alcindoro in Puccini’s “La Bohème,” 15 within the 2016-17 season and 15 in 2017-18.
Mr. Plishka typically insisted that he by no means wished to have been born a tenor, the same old male star of the stage.
“The function for a tenor is generally one-dimensional,” he stated. “He’s in love with the lady — and that’s it. With a bass, the characters are far more advanced.”
Ash Wu contributed reporting.
