that low c from Moll at 1:34 is powerful and effortless. It fills even big theatres like the Met. He is one of the only true Basso profondo, or for sure a true operatic basso profondo. Moll is an exellent actor as well. He is my favorite singer.

Kurt looks very pleased with himself on hitting that low C. I was pleased, too... :)

A perfect Marschallin! She was one of the singers, who were able to walk in the big footsteps of Lotte Lehmann in this role.

After seeing this, I simply cannot understand how anyone could say that Te Kanawa couldn't act or was cold. She is "in" every moment....it's all there in the face, the eyes, and the voice. Sublime!

@greatmomentsofopera7170

5 жыл бұрын

I like Te Kanawa, and I don’t think she is terrible and there is plenty of subtlety here, but it’s in places like 2:20 - there are three clauses in the way that Strauss has interpreted the sentence “und bildet sich noch ein dass er es ist der sich was vergibt” in the way he has composed it, which is the height of the build up of her irritation with Ochs, and then she catches herself in the pause, and says “was erzürn ich mich den?” Which should be a huge shift when she almost mocha herself for being angry at something she can’t change (ie “der Lauf der Welt”) Most of this isn’t very clear in this performance, the shifts are not decisive enough, and instead of a nuanced character living through a subtle emotional journey which would be a drama, we get a charming, beautiful woman philosophising, which is beguiling perhaps but not very dramatic. The way she moves her body also displays a slight disconnect from the words - when she chooses to pause and walk doesn’t seem to be in time with the words - her body isn’t the same instrument as the voice. Elsewhere she is better, but I thought I would give you a detailed analysis of one little section as illustration.

Oh my God that C! I'm gonna dream about that damn thing...

The loveliest of all of the Marschallins, as sweet and gracious in person as she has always been on the stage..

Even as a baritone, I will admit that there are few timbres more gratifying than that of a true bass like Moll.

It's amusing: as much as kiri gets controversial comments for her Puccini, her Mozart and Strauss are all voted unanimously: AMAZING! I don't care what anyone else says: she will probably be my favorite singing any composer! She has such a good sense of what she can bring justice to!

Totally agree- this is one of Kiri's best. She's always good in aristocratic roles!! Beautiful voice, stage presence and looks!!!! Very surprising there is not much of her in her famous roles on video eg Pamina, Fiordiligi

Because they listen to the wrong people. It's just like the Fleming-bashing that has become all the rage, and for no reason. Silliness. I swear some of my fellow opera queens just can't stand ANYTHING that isn't over the top every minute of a production. The mere turn of her head to the right when he leaves says volumes......

She is fabulous in this role. I just purchased the ROH version which, I think, is much later. She OWNS this role!

Bonjour comment peut on prendre des cours de chants avec madame kiri te kanawa ? Je l adore elle a une voix qui reflète du cristal merci beaucoup a tous dans l attente de votre réponse qui a des années de cours de chant derrière elle .qui voudrais exaucer son rêve monter sur les planches .bien cordialement a vous sabine

How I miss that production! The new one is way off base.

To those who are confused by the Critical comments on the acting: I like Te Kanawa, and I don’t think she is terrible here dramatically - plenty of subtlety and she gets the idea. But it’s in places like 2:20 - there are three clauses in the way that Strauss has interpreted the sentence “und bildet sich noch ein dass er es ist der sich was vergibt” in the way he has composed it, which is the height of the build up of her irritation with Ochs, and then she catches herself in the pause, and says “was erzürn ich mich den?” Which should be a huge shift when she almost mocks herself for being angry at something she can’t change (ie “der Lauf der Welt”) Most of this isn’t very clear in this performance, the shifts are not decisive enough, and instead of a nuanced character living through a subtle emotional journey which would be a drama, we get a charming, beautiful woman philosophising, which is beguiling perhaps but not very dramatic. The way she moves her body also displays a slight disconnect from the words - when she chooses to pause and walk doesn’t seem to be in time with the words - her body isn’t the same instrument as the voice. Elsewhere she is better, but I thought I would give you a detailed analysis of one little section as illustration.

@Bumblebeebeebee

3 жыл бұрын

That's a nice analyzis but I don't agree at all. All you seem to miss dramatically I find in her voice and interpretation. It is not just beautiful, but vulnerable, delicate, intelligent and on the highest level of interpretation. I especially love that there are no attempts of pseudo-dramatical acting. We are shown a young woman (which the Marschallin is!) keeping her outer contenance and experiencing her inner monologue. I don't need anything more in that moment.

@greatmomentsofopera7170

3 жыл бұрын

@@Bumblebeebeebee Of course, some people will like it, and other want something more detailed. Different people are drawn to different things!

@Bumblebeebeebee

3 жыл бұрын

@@greatmomentsofopera7170 The Marschallin doesn't need a dramatical overload like maybe Violetta. In this case definitely less is more.

@greatmomentsofopera7170

3 жыл бұрын

@@Bumblebeebeebee It's not about overload, so much as detail. Things can be very subtle, but they must react with razor precision to the music and words - this is one of the most moving and subtle of all opera texts, to music that is unbelievably refined and precise in how it sets the words. Some will like a plainer approach, others a more detailed one. Thank god for differences!

@charlesdarnay5455

3 жыл бұрын

@@greatmomentsofopera7170 I enjoyed your comments here, especially regarding Strauss' treatment of the text. Hoffmannsthal's libretto is one of the rarities that can stand on its own as a theater piece. One of my favorite interpretations of this passage is by Lotte Lehmann giving a master class in Santa Barbara in 1961. She imbues it with all the detail it wants, such that any viewer can understand even without knowing the Austrian text. Of course as a native speaker, Lehmann brings nuances to the word and music that non-native speakers won't quite be able to pull off as convincingly. If you have not seen that clip, I strongly urge you to search for it here on youtube. Even retired and singing an octave lower in what she calls her "croaking voice" her artistry shines through at every note. Well worth searching for it.

My favorite Marschallin after Schwarzkopf the 'ne plus ultra'. Kiri is magnificent in this classic production.

JESUS CHRIST

I find Te Kanawa a more direct and balanced, forward voice than Fleming. After hearing RF, one wonders if everyone who did the role constantly does portamenti, overstretching of the phrases, rubati, etc, and they DON'T! It's like she wants to milk every phrase. If u do that, the entire thing is too rich..u have to carefully choose where to give more. I like Kiri much better.