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Theodore Shulman
Приєднався 29 жов 2011
Wer ein Liebchen hat gefunden
This is ad-hoc airway/breathing/vocal therapy for Parkinson's disease
Aria: "Wer ein Liebchen hat gefunden," from Die Entführung aus dem Serail (The Abduction from the Seraglio)
Music by Wolfgang Amadeus Mozart; words (German) by Gottlieb Stephanie
(K 384, First published 1782)
Sung here by Colonel Fred Puntridge, bass vocals
Accompanied by Mun-Tzung Wong, piano
May, 2024
* For educational and counter-cultural purposes only
* I am not monetizing this recording, nor attempting in any way to gain money from it
* Any ads in it are from UA-cam
Aria: "Wer ein Liebchen hat gefunden," from Die Entführung aus dem Serail (The Abduction from the Seraglio)
Music by Wolfgang Amadeus Mozart; words (German) by Gottlieb Stephanie
(K 384, First published 1782)
Sung here by Colonel Fred Puntridge, bass vocals
Accompanied by Mun-Tzung Wong, piano
May, 2024
* For educational and counter-cultural purposes only
* I am not monetizing this recording, nor attempting in any way to gain money from it
* Any ads in it are from UA-cam
Переглядів: 54
Відео
Brahms Requiem Tedesco 07 Oh, beati i morti che muoiono nel Signore
Переглядів 121Рік тому
The Brahms German Requiem sung in Italian, conducted by Bruno Walter
Brahms Requiem Tedesco 06 Stabil sede in terra noi non abbiamo
Переглядів 61Рік тому
The Brahms German Requiem in Italian, conducted by Bruno Walter, with BORIS CHRISTOFF singing the baritone solo
Brahms Requiem Tedesco 05 Voi avete qui dolor
Переглядів 42Рік тому
The Brahms German Requiem in Italian, conducted by Bruno Walter, with Rosanna Cartieri
Brahms Requiem Tedesco 04 Le tue dimore sono dolci invero
Переглядів 41Рік тому
The Brahms German Requiem in Italian, conducted by Bruno Walter
Brahms Requiem Tedesco 03 Dio! Svelami tu with Boris Christoff
Переглядів 131Рік тому
The Brahms Requiem in Italian with BORIS CHRISTOFF singing the baritone solo, conducted by Bruno Walter
Brahms Requiem Tedesco 02 Dell'erba al par la carne e vile
Переглядів 54Рік тому
The Brahms German Requiem in Italian ("Requiem Tedesco") conducted by Bruno Walter.
Brahms Requiem Tedesco 01 Ben e vero che gli afflitti son beati
Переглядів 38Рік тому
I can't believe this recording isn't already up somewhere on UA-cam, but I can't find it, so I'm uploading it. The Brahms Requiem in Italian ("Requiem Tedesco") with Boris Christoff singing the baritone solo! With Rosanna Cartieri, and conducted by Bruno Walter.
Auf wolkigen Höh'n wohnen die Götter
Переглядів 6722 роки тому
Hans Hotter 0:01 Otto Edelmann 2:55 Josef Greindl 5:54 Ferdinand Frantz 8:45 Sigurd Björling 12:04 Donald McIntyre 15:04 Franz Mazura 17:54 Theo Adam 20:43 Hans Sotin 23:43 Otto Wiener 26:26 David Ward 29:25 Dietrich Fischer-Dieskau (imagined) I have no plans to monetize this upload. For educational, entertainment, and counter-cultural purposes only. If there's a copyright problem, contact me, ...
KNA conducts Mozart 39
Переглядів 1322 роки тому
Hans Knappertsbusch conducts The Berlin State Opera Orchestra in a studio recordihg of Mozart's Symphony # 39 in E-flat major (K. 543). From 1929.
KNA Mozart 40
Переглядів 1082 роки тому
Hans Knapptertsbusch conducts the Wiener Philharmoniker, playing Mozart's "Great G-Minor Symphony" #40 (K. 550). The CD describes this as a "Radio Recording, 1941".
KNA Jupiter
Переглядів 512 роки тому
Hans Knappertsbusch conducts Mozart's _Jupiter_ Symphony (Symphony #41, in C-major, K 551). Knappertsbusch is best known now for his very slow, very beautiful performances of PARSIFAL during the 1950s and earlyu 1960s. To me this performance sounds much more lively, but still sensitive and gorgeous. (I have no plans to monetize this, and I own no copyright. For educational and counter-cultural ...
Prager/Prague, Beecham
Переглядів 482 роки тому
Mozart's Prague Symphony (Number 38) conducted by Sir Thomas Beecham, London Philharmonic Orchestra, March 19 - 21, 1940. I have no plans to monetize this upload. For entertainment and countercultural purposes only.
Linz, Beecham
Переглядів 352 роки тому
Sir Thomas Beecham conducts the London Philharmonic Orchestra in Mozart's Linz Symphony (Number 36, K.425) Recorded between December 1938 and February 1939. (I have no plans to monetize this upload. For educational, entertainment, and counter-cultural purposes only.)
Haffner, Beecham
Переглядів 692 роки тому
Sir Thomas Beeham conducts Mozart's Symphony Number 35 (K 385). Featuring the London Philharmonic Orchestra, November 25, 1939.
Songs from Krokodil Shostakovich Sotin
Переглядів 2442 роки тому
Songs from Krokodil Shostakovich Sotin
Two and a half minutes of DON GIOVANNI
Переглядів 4932 роки тому
Two and a half minutes of DON GIOVANNI
"The Raven" ("Die Krähe") from Winterreise (Schubert), in ordinary lounge/folk-music English
Переглядів 3122 роки тому
"The Raven" ("Die Krähe") from Winterreise (Schubert), in ordinary lounge/folk-music English
Haydn St. Cecilia Mass Greindl Höffgen Jochum
Переглядів 1363 роки тому
Haydn St. Cecilia Mass Greindl Höffgen Jochum
How to assess a recording of GÖTTERDÄMMERUNG in 40 seconds
Переглядів 5873 роки тому
How to assess a recording of GÖTTERDÄMMERUNG in 40 seconds
Don Giovanni, complete, with Plinio Clabassi
Переглядів 2803 роки тому
Don Giovanni, complete, with Plinio Clabassi
Which side is the real one, and which is the parody? (Are you sure?)
Переглядів 943 роки тому
Which side is the real one, and which is the parody? (Are you sure?)
Divino
Best team ever!!! (And not to forget to mention the wonderful Jean Cox as Siegfried!)
Franz Mazura - the best Alberich ever!! Thanks you for uploading this precious document!
Some problems with intonation!
How did you find this recording? I heard Talvela refused to sing Hagen and later only reluctantly did a very few performances...this is a grwat document of this great bass.
I met him once, in the 1980s. I asked was he going to sing Hagen again, and he shook his head, smiling into his beard. Then he chuckled and said "I don't sing _that_ any more." Many basses won't go near Hagen - the music is too dangerous, it can hurt your voice. Kurt Moll, Hans Sotin, neither of them ever sang it.
@@ColonelFredPuntridge Kurt Moll's voice did not suit for Hagen. Beautiful round, dark and deep bass with fine singing legato, a formidable Osmin, Ochs, ...but he did not posses the dramtic edge needed for Hagen. Gottlob Frick did well. Hans Peter König is great as Hagen.
Aage Haugland! My greatgreatgreatgrand cousin as I use to call him as we were distant relatives through my Danish Mothers lineage. Heard him several times. Especially memorable a formidable Ochs, a menacing Hunding and in a concertante Boris Godunov where he sang all three major bass parts in the same performance under Dimitri Kitajenko. A Larger than Life person!
Impressive!!! Thanks so much for posting!!!
He had such a lovely voice ... thanks for these ... I enjoy him so much in lieder that I rarely listen to him in opera! Addendum: he also is wonderful singing his native hymnody with an organ ... if you have not experienced that, I recommend it!
I am 90 I still get goose bumps! Lovely,Actually I think A major is the RIGHT key. No Liszt arr-so I will have to modify it for piano. Grechen Spinning wheel is another to play in the Liszt arr-that is a busy piece to play-no brain fog with me!
MARVELOUS DIVINE🙏😇🕊️🎶
I only have time for an AI translation, but looks correct enough to me: Finnish: Tunturille mennä tahdon, sinne mieli halaa, siellä tuuli tuivertaapi, päivän lieska palaa. Tunturille mennä täytyy sinne vetää veri. Siellä soivat taaton virret, poika jotka peri. Tunturille mennä tahdon, tahdon korkealle. Sieltä katson niinkuin kotka kauas maailmalle. English: I want to go to the fell, my heart yearns for it, there the wind whispers, the sun's glow flickers. I must go to the fell, it draws my blood. There resound the songs of my father, songs I have inherited. I want to go to the fell, I want to go high up. From there I will look out as the eagle does, far into the world.
This piece is really too high for a bass. A dramatic baritone like Schorr, Tibbett, Bockelmann, or the younger Hotter is preferable. (Chaliapin was actually a dramatic baritone rather than a bass.) Yet Greindl brings it off very convincingly, both vocally and dramatically.
Greindl sang a lot of bass-baritones in the 1960s-- Wandrer,, Hans Sachs, Dutchman, even (according to the NYTimes obit) Don Alfonso in _Cosi fan tutte_ !!
the first piece is "Predislovie" ("Preface to the complete collection of my works and brief reflections on this preface")
Wunderbar gesungen, die beste Version die ich kenne.
Has Mazura ever played Wotan in Die Walkure? If so where can i find it?
Yes. It was May 19, 1974 Orchestre Philharmonique de Strasbourg Alain Lombard, conductor I got the recording from OperaDepot-dot-com, for a ridiculously low price.
@@ColonelFredPuntridge thank you kind sir👍
Losing Talvela at such a young age was tragic. I'm still not over the shock. He was my favorite singer. He was unique. The greatest.
We forget, today, what a dreadful scourge diabetes used to be, when we had to extract insulin from animal-pancreas rather than making it by genetic programming.
Absolutley beautiful rendition George London gives here, beautiful singing indeed!
Time stamps for the songs 0:00 - lullaby 5:00 - serenade 9:15 - trepak 14:05 - field marshal 19:05 - song of the flea
she did two of them in 1970.
evryone encountering Mazura could hear that Hans Hotter and Franz Mazura had no equals in post-war wotan-walhall ( only record prducers where deaf)
I'd have to say George London and Gustav Neidlinger were their equals though.
This was performed in Rome on 7 January 1970.
Thank you!
Thank you for sharing this amazing performance! Do you know who is the pianist?
Either Irwin Gage or Ralf Gothoni; I'm not sure which.
Also if you compare- or rather just listen- to Wunderlich and London you notice the tremendous difference in interpretation of two marvelous renditions...
It's hard to think of two singers as different as Wunderlich and George London!
@@ColonelFredPuntridge Yes, indeed...leading to such different views/perspectives with the very same notes and words...it's fascinating and a good example of how much the singer contributes to the perception. It is so exciting to listen to several recordings of one written piece...worlds
The horns are great on this. Just an absolutely filthy sound
is this mazuras wotan under george sebastian from brussels in the 70s ? heard that half a century ago on radio....
Pilar Lorengar ♥️!
The truth is that the plot has little to do with the novel. The screenwriter took a lot of liberties with the original. There are characters missing, events totally changed, and to me, the biggest mistake of all was revealing the identity of the villain mastermind fifteen or twenty minutes into the film. If one is looking for a good adaptation of the novel, this is the wrong place. But, if one is looking for a fairly good adventure movie of smugglers, yes, they will not be disappointed. Hitchcock didn't want to make it in the first place because he felt that costume dramas were not his cup of tea, but he was obliged to do it for contractual reasons. So, he didn't put his soul in it, and actually, it doesn't look like a Hitchcock film at all. Nevertheless, there are some beautiful shots of the inn that look very Expressionistic, with no sound, only the images like a silent movie. Charles Laughton totally overacts here, but his character is fun. Maureen O'Hara and Bobby Newton are also there. Yes, it is a decent adventure romp as long as you are not comparing it to the original novel.
What about as Poppagena?
Lucia Popp? That's not exactly her fach.
a god
Es Pilar Lorengar, la mejor Pamina. Dulce, intensa y luminosa.
the trombone sucks.
Maestro London was always my favorite singer of any Fach in the world....earthshaking gravitas and endless beauty and mystery in that magisterium of a voice. Incomparable, sublime!
Splendissimo!
Great! I will pass this recording on to my musical friends.
Thanks for letting me know about this upload- don't think I ever got around to watching this one, so another Hitchcock is off the list now!
Glad you enjoyed it
Who was the conductor?
Also Glaubwurdig ! Ich verstehe diese Oper besser . ⭐️
Great Hagen.
what a treat to see Lucia as the the 1.boy in salzburg all those years ago...Thank you!
Zu langsam, tolle Stimme, wenngleich hier nicht in Hochform, und für Lied zu träge, was aber dem eher zähen Tempo geschuldet sein kann. Man höre sich die Version mit Fischer Dieskau an, und auch mit Thomas Quasthoff.
not Lucia Popp, Pamina is Pilar Lorengar, Popp is one of the boys
Stonata lei.
Bravooooooo* utube smile by john bavas
Old but gold.
A future königin as the first boy?! That might be a first.
I don't think it's all that surprising! A young voice can mature.
@allesmogliche6795 thanks!
You can’t tell how singers sound just from a recording, so don’t judge.
Then why bother listening to recordings? Why bother posting them?
@@ColonelFredPuntridge The fact that singers don't sound like they sound on recordings as they do onstage, and the ability to enjoy recordings are two things that don't need to be conflated.....it's just a fact that the overtones and the size of the voice doesn't come through over recordings very well, but you can still absolutely get an idea of Wagner's work, the music, the story, etcetera, by listening.
@@OfficialWorldChampion That is certainly true! The recording reduces the quality of the sound relative to hearing it live. But the reduction is usually pretty consistent across the board - a singer who sounds better than another when both are live usually also sounds better when both are recorded, provided the recording conditions aren similar. There are exceptions, but not very often. I don't usually hear two singers in a concert and think one is better than the other and then hear a recording of the same concert and think the other is better than the one. And I don't think that Matti Salminen's unique delivery of this part is a recording-artifact!
I didn’t know he ever played Hagen???
A very small number of times, he did. I actually asked him, in the mid 1980s, if he were going to sing it again, and he laughed and said no. Hagen is a very special role. Kurt Moll sang every low-bass role Wagner wrote - every single one, including Gurnemanz and Titurel, Fasolt and Fafner, Pogner and the _Nachtwächter,_ but not Hagen. He was afraid to try it.
Great voice, but is anyone else bothered by the rather mushy Latin diction? Maybe I'm hypercritical after having worked with maybe a half dozen or more basses and conductors, performing this piece, and diction is something I think is important. I've noticed the same issue with some other Finns, for example Martti Talvela singing "Ella giammai m'amo." Magnificent sound, but don't depend on being able to understand all the text.
You're quite right (IMHO) about Matti Salminen. (Less so about Talvela, I think.) Frank Sinatra was able to sing opera-music too -- there's a movie in which he sings _"La ci darem la mano"_ from _Don Giovanni_ and you can hear he's actually good at adapting his lounge-singer style to the operatic music. (The movie is _It Happened in Brooklyn_ (1947)). But it's clearly an adaptation, not his core. Even if he had sung lots of opera, he'd still be a lounge-singer at heart, just as Nelson Eddy was a Broadway man even when he was performing as Gurnemanz in _Parsifal_ and just as Dietrich Fischer-Dieskau and Fritz Wunderlich were lieder/chamber singers who managed to adapt their technique for some operatic parts. Rudolf Schock was at heart an operetta-guy even when he sang Wagner. And James Morris never quite shed his adolescent obsession with Rock-n-Roll. At his core (or center) Matti Salminen is really a singer of Finnish tangos. That is the singing-style closest to his heart. He earned money for voice lessons and opera-training when he was young, by singing tangos in night-clubs in Finland. He just happens to be able to adopt that style for some operatic roles, and of course, he has his huge size, and his terrifying aspect and demeanor which make him so much fun to watch.
Ok, but what shuould be a good Latin diction? For sure it's not the one a contemporary italian speaker would pronounce. It's quite silly to complain about that: at least a singer should pronounce latin according to the language of the composer (even the great ones composed music on latin texts without giving a damn about accents, rythm and so on)
There is nothing for it, even with good singers, I don't appreciate the three boys sung by women. A part of the charm disappears. Lucia Popp is sublime.
It's largely a matter of taste. These particular women do an outstanding job, I think, of playing boy-spirits.
Danke für diese wunderbare Aufnahme