You and me too! That final scene just keeps pushing the tension higher and higher, from the Färberin's pronouncement of the magic words sealing the wicked bargain, to her gentle husband's final breakdown and call for a sack with stones so that he can drown her, then her plea for a quick death, and that final hideous orchestral peroration culminating in those three brutal, final chords. By that time I am a weeping, sobbing mess.
This is amazingly gorgeous singing. And I'm so impressed with the (hot) conductor. All this crazy, wacky, dramatic music, and he remains calm, then -bam- the gesture for an attack, an entrance, a dynamic change. He's so alive, but on an even, high energy, keel. It's so unexpected. I imagined all sorts of Bernstein hair flying, von Karajan weaving. I like this better.
In answer to birgitnilsson: Yes, I attended two of the Oct. 1977 performances at the Staatsoper in Vienna (I was in school there at the time). The entire cast was stellar, Nilsson was superb, and Rysanek showed why she owned the role of the Empress for so many years. Interestingly, her sister Lotte sang the voice of the Falcon. The recording is still available, and remains one of my favorite of all opera recordings.
I saw Rysanek at the Met back in the 70's with James King, Berry and Bohm. Was great! I have a recording of Marton and Nilsson from The Met in 1980. Also great! Saw most of this performance's cast at The Met in 2013. Jurkowski, Schwanewilms, orchestra and chorus, Rueter were absolutely fantastic! Kerl exciting in the house but always sings rather sharp as here. Goerke is so pressured sounding and almost always is flat except when singing at full pressure and then takes a bit to get up to pitch. What a great opera! Always fascinating.
goerke’s powerful voice is appropriate for the färberin, elektra and ortrud (although that heavy vibrato is worrying), but not so much for turandot or brünnhilde. not enough beauty in the voice, in my opinion.
Odsłona 2 w akcie II (13:06-25:58) jest moim prywatnym liderem. Jedną z najpiękniejszych 10 odsłon operowych wszech-czasów. Rola cesarza jest na powyższym przedstawieniu wysmakowana, choć szkoda, że bez gry aktorskiej. Taka jest cena wersji koncertowych, które odbywają się często po to, by nagrać wersję radiową lub na CD. Zupełnie nie rozumiem, czemu Karajan skrócił ten fragment, opracowując swoją interpretację. Na szczęście inni dyrygenci odeszli od jego pomysłów.
i always remember those repeated, insistent falcon chords on the flutes. the whole orchestration is amazing. by the way, i love his chinese jacket and shirt.
Richard Strauss is not from this world! His musik is so WUNDERFUL!!!!!!!
Great work by all! Wonderful to hear this conducted so rigorously.
I have no idea how singers can perform this without breaking down from the overwhelming drama and music. I'm pretty devastated by the end of the act.
You and me too! That final scene just keeps pushing the tension higher and higher, from the Färberin's pronouncement of the magic words sealing the wicked bargain, to her gentle husband's final breakdown and call for a sack with stones so that he can drown her, then her plea for a quick death, and that final hideous orchestral peroration culminating in those three brutal, final chords. By that time I am a weeping, sobbing mess.
Brava! Gorgeous singing from all!
This is amazingly gorgeous singing. And I'm so impressed with the (hot) conductor. All this crazy, wacky, dramatic music, and he remains calm, then -bam- the gesture for an attack, an entrance, a dynamic change. He's so alive, but on an even, high energy, keel. It's so unexpected. I imagined all sorts of Bernstein hair flying, von Karajan weaving. I like this better.
57:01 "Sie wirft keine Schatten!" A key line in the whole opera. Pure magic!
In answer to birgitnilsson: Yes, I attended two of the Oct. 1977 performances at the Staatsoper in Vienna (I was in school there at the time). The entire cast was stellar, Nilsson was superb, and Rysanek showed why she owned the role of the Empress for so many years. Interestingly, her sister Lotte sang the voice of the Falcon. The recording is still available, and remains one of my favorite of all opera recordings.
Does anybody hace any memories of this opera sung by Birgit Nilsson and Leonie Rysanek?
Truly Strauss' masterpiece.
Definitely - heard them do it quite often.
bravoooo!
I saw Rysanek at the Met back in the 70's with James King, Berry and Bohm. Was great! I have a recording of Marton and Nilsson from The Met in 1980. Also great! Saw most of this performance's cast at The Met in 2013. Jurkowski, Schwanewilms, orchestra and chorus, Rueter were absolutely fantastic! Kerl exciting in the house but always sings rather sharp as here. Goerke is so pressured sounding and almost always is flat except when singing at full pressure and then takes a bit to get up to pitch. What a great opera! Always fascinating.
i went to two of those performances. the cast was mostly excellent except komlosi as the nurse, very underpowered and ineffective portrayal.
Yes and Ludwig too.
goerke’s powerful voice is appropriate for the färberin, elektra and ortrud (although that heavy vibrato is worrying), but not so much for turandot or brünnhilde. not enough beauty in the voice, in my opinion.
This is not a healthy vibrato and not many years after this her voice is plain horrific…
Where is this recorded?
Concertgebouw, Amsterdam, 16 februari 2013
Odsłona 2 w akcie II (13:06-25:58) jest moim prywatnym liderem. Jedną z najpiękniejszych 10 odsłon operowych wszech-czasów. Rola cesarza jest na powyższym przedstawieniu wysmakowana, choć szkoda, że bez gry aktorskiej. Taka jest cena wersji koncertowych, które odbywają się często po to, by nagrać wersję radiową lub na CD. Zupełnie nie rozumiem, czemu Karajan skrócił ten fragment, opracowując swoją interpretację. Na szczęście inni dyrygenci odeszli od jego pomysłów.
i always remember those repeated, insistent falcon chords on the flutes. the whole orchestration is amazing. by the way, i love his chinese jacket and shirt.
Superb orchestra.. terrible High D6 from the Empress....ugh
@ 50:00 Terrible sliding into the High D6.....oh my...just terrible. She cannot tackle this role at all...
where are the dozens of people in the world that can do this better? are you judging the entire performance based on one note?
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