She was a really exciting singer for a number of years...she sings the hell out of this killer aria. Exactly the kind of voice I want to hear as konstanze.
I recorded this broadcast myself (almost 20 years ago?!?!) and remember being blown away at the time and thinking, as you say, that she was ideal for Konstanze. Now I think it holds up very well indeed!
The instrumental figure at 3:13 is marked 'ad libitum' in the score by Mozart at each of its appearances. Some conductors have interpreted this as a tempo modification, some as an opportunity for melodic embellishment, and some as a combination thereof. In addition, the passage at 6:45 - 7:39 is a written-out, accompanied cadenza, but the only Konstanze thus far to recognise it as such and sing it that way is Yvonne Kenny, on the complete studio Entführung led by Nikolaus Harnoncourt.
She was a really exciting singer for a number of years...she sings the hell out of this killer aria. Exactly the kind of voice I want to hear as konstanze.
I recorded this broadcast myself (almost 20 years ago?!?!) and remember being blown away at the time and thinking, as you say, that she was ideal for Konstanze. Now I think it holds up very well indeed!
@@songbirdwatcherit certainty does!
Beautifully done! I went to school with her!
I heard her in the role in concert with the NYPhilharmonic . She was marvelous.
Is the orchestra improvising a little? I'm hearing details I've never heard before.
The instrumental figure at 3:13 is marked 'ad libitum' in the score by Mozart at each of its appearances. Some conductors have interpreted this as a tempo modification, some as an opportunity for melodic embellishment, and some as a combination thereof. In addition, the passage at 6:45 - 7:39 is a written-out, accompanied cadenza, but the only Konstanze thus far to recognise it as such and sing it that way is Yvonne Kenny, on the complete studio Entführung led by Nikolaus Harnoncourt.