Martha Mödl is truly at her best when she portrays ambiguously sided, anti-heroic, and villainous roles such as Ulrica, Azucena, Klytämnestra, Amme, Herodias, Ortrud, Kundry, Eboli, and Venus. I also enjoy her interpretations of Sieglinde, Marina Mniszek, Preziosilla, Carmen, and Countess Geschwitz because I enjoy it when a mezzo sings these roles, and Martha Mödl was naturally a mezzo-soprano with good high notes. Yes, I cherish her Isolde and Brünnhilde too, but roles such as Ulrica, Azucena, Carmen, Amme, Ortrud, Sieglinde, and Kundry demonstrate her penchant for playing mysterious characters who are neither good nor evil yet border on the dark side. This is attributed to her fine use of the chest tones and really taking great advantage of those deep tones with everything she has got. Furthermore, she would have made for an awesome Amneris, Gioconda, Santuzza, Zia Principessa, and Marfa.
I love Modl - incredible expression and attention to the text in everything she did, incredible legato, and a face that looked like it was chiselled from marble! She must have been amazing on stage, as Brunhilde Isolde, Klytemnestra etc. Etc. Thanks for posting!
Mödl's voice is what I call my operatic fetish - there is something about that voice that seduces me to the point I forgive technical shortcomings and let the voice 'walk all over me'. It's such an OVERWHELMING feminine sound, PACKED with emotion, colour, cavernous mystery. A true 1st grade voice, inhabited by a 1st grade interpretive artist
@N. Lidar Thank you so much for your extraordinary and beautiful description of Mödl. You named exactly what I love about her as an artist. I just couldn’t put it as good in words as you did. All the best!
Che vuoi che ti dica Nuri?? Mi fa un certo effetto sentire questa Ballo in Maschera in lingua tedesca... comunque sia Giuseppe Verdi anche se lo traduci in ostragoto ( lingua inventata) Verdi è sempre Verdi!!! Piuttosto grandissima questa Soprano che evito di nominare per non incorrere sicuramente a storpiarle il nome.. Voce molto potente ed incisiva!! Ciao Nuri e buon lavoro.. Elsa.
To think I had never heard of her until rather recently. What an amazing wall of sound. Did you know she also sang Lady Macbeth? She skips a few phrases so its not complete but I never expected her to even attempt that role.
N. Lidar Siegfried finale, a few in Macbeth. The Macbeth is rather interesting. I’ve only listened to excerpts and ofc it is in German. Her voice was massive and brooding!!! Reminds me of a darker and lower Simionato.
Manoli S. Modl is fantastic as Lady Macbeth. She nudges some of the fioritura and ducks the d flat in the sleepwalking scene. But she mesmerizes. She also sings the part in a way close to the German dramatic mezzo version
Ein Beweis mehr, dass die Sprache sekundär ist, wenn große Künstler singen. Andere Beispiele Cebotari, Rosswänge, frühe Aufnahmen von Rysanek und Ludwig, Metternich, Greindl, Frick ...
I wish someone could help me understand that, although there are sopranos, tenors, and basses, there are no altos. Instead, vocalists who sing Ulrica and the other roles for that voice range, are called "mezzo sopranos." I for one would not want to be considered a "half" anything. Perhaps a tenor should be called a "mezzo alto," or a bass should be called a "mezzo tenor."
@@NLidarThat's typical Emily Gloeggler for you (A.K.A. Emily Greene if I recall correctly her former username), all over the Internet to degrade your favorite singers. I would say more but for her sake I will stop there, haha ! I think Mödl did very well here, this is the first time I heard of her. I did not think she would be able to deliver on the low G, but in the end she did ! Lovely strong and clear lower head voice as well.
Martha Mödl is truly at her best when she portrays ambiguously sided, anti-heroic, and villainous roles such as Ulrica, Azucena, Klytämnestra, Amme, Herodias, Ortrud, Kundry, Eboli, and Venus. I also enjoy her interpretations of Sieglinde, Marina Mniszek, Preziosilla, Carmen, and Countess Geschwitz because I enjoy it when a mezzo sings these roles, and Martha Mödl was naturally a mezzo-soprano with good high notes. Yes, I cherish her Isolde and Brünnhilde too, but roles such as Ulrica, Azucena, Carmen, Amme, Ortrud, Sieglinde, and Kundry demonstrate her penchant for playing mysterious characters who are neither good nor evil yet border on the dark side. This is attributed to her fine use of the chest tones and really taking great advantage of those deep tones with everything she has got. Furthermore, she would have made for an awesome Amneris, Gioconda, Santuzza, Zia Principessa, and Marfa.
Formidable conducting!
The opening here is like lashes...
Indeed! Incredibly infernal, if that could be interpreted as a good thing ;)
I love Modl - incredible expression and attention to the text in everything she did, incredible legato, and a face that looked like it was chiselled from marble! She must have been amazing on stage, as Brunhilde Isolde, Klytemnestra etc. Etc.
Thanks for posting!
Mödl's voice is what I call my operatic fetish - there is something about that voice that seduces me to the point I forgive technical shortcomings and let the voice 'walk all over me'. It's such an OVERWHELMING feminine sound, PACKED with emotion, colour, cavernous mystery. A true 1st grade voice, inhabited by a 1st grade interpretive artist
N. Lidar haha agreed! Easily my favourite of the post war Wagnerians.
@N. Lidar Thank you so much for your extraordinary and beautiful description of Mödl. You named exactly what I love about her as an artist. I just couldn’t put it as good in words as you did. All the best!
@@Beadle_Bamford Thank you so much!
Mödl brings power to every single role she performed. Thank you!
Che vuoi che ti dica Nuri?? Mi fa un certo effetto sentire questa Ballo in Maschera in lingua tedesca... comunque sia Giuseppe Verdi anche se lo traduci in ostragoto ( lingua inventata) Verdi è sempre Verdi!!! Piuttosto grandissima questa Soprano che evito di nominare per non incorrere sicuramente a storpiarle il nome.. Voce molto potente ed incisiva!! Ciao Nuri e buon lavoro.. Elsa.
Sono completamente d'accordo! Verdi è Verdi, e Verdi è per sempre!
To think I had never heard of her until rather recently. What an amazing wall of sound. Did you know she also sang Lady Macbeth? She skips a few phrases so its not complete but I never expected her to even attempt that role.
N. Lidar Siegfried finale, a few in Macbeth.
The Macbeth is rather interesting. I’ve only listened to excerpts and ofc it is in German.
Her voice was massive and brooding!!! Reminds me of a darker and lower Simionato.
@@manolis.799 Grazie mille!! Or more suitable: Danke schoen!
N. Lidar yes, oui, si, ja, ne!
Manoli S. Modl is fantastic as Lady Macbeth. She nudges some of the fioritura and ducks the d flat in the sleepwalking scene. But she mesmerizes. She also sings the part in a way close to the German dramatic mezzo version
Зачем сопрано исполнять партии контральто?
Is MORAG BEATON the only other dramatic soprano to have sung Ulrica, apart from the great MARTHA MODL?
Ein Beweis mehr, dass die Sprache sekundär ist, wenn große Künstler singen. Andere Beispiele Cebotari, Rosswänge, frühe Aufnahmen von Rysanek und Ludwig, Metternich, Greindl, Frick ...
I wish someone could help me understand that, although there are sopranos, tenors, and basses, there are no altos. Instead, vocalists who sing Ulrica and the other roles for that voice range, are called "mezzo sopranos." I for one would not want to be considered a "half" anything. Perhaps a tenor should be called a "mezzo alto," or a bass should be called a "mezzo tenor."
¡Bella Martha Mödl! Gracias por compartir premiobatuta.com/milenio-del-gremio
Not her best.
And why is that?
Yes, why is this NOT her best?
@@NLidarThat's typical Emily Gloeggler for you (A.K.A. Emily Greene if I recall correctly her former username), all over the Internet to degrade your favorite singers. I would say more but for her sake I will stop there, haha ! I think Mödl did very well here, this is the first time I heard of her. I did not think she would be able to deliver on the low G, but in the end she did ! Lovely strong and clear lower head voice as well.