This and the other Gwyneth Jones master class clip (with Elisabeth Meister) are really remarkable. Based on them, Jones should be giving more master classes. He starts out very good, but after a few precise instructions from her, he's damn thrilling at the end. The voice is freer, more resonant, and seemingly bursting with energy. None of this vague discussion of placement and resonance, but precise instruction about where to put your tongue and how to hold your neck. Jones is firmly directive in a way that contrasts interestingly with the more touchy-feely pep talk banter of younger sopranos. I adore her!
The tenor has a splendid voice with a beautiful natural color and by sticking to the right repertoire he should be able to make something interesting with his great instrument. And Dame Jones is as always her very regal self and her advice is precious. She is one of the last exponents of the not-so-recent operatic golden age.
Very gentle yet exacting instruction. The energy she imbued into young Mr. Philip to use the words to enliven this declamation of love made this into a world class performance rather than a class.
wow i really enjoyed this and frankly, was surprised to! she is so gentle and loving and so willing to connect with him. i love that. wanting to look him in the eyes and showing him what to do. i never much loved her as a singer except for when she was very young, but these few tips really were very helpful to him. she was a pleasure to watch at work! she seems like an absolutely lovely lady!
Thoroughly practical in a way only a true artist can be. None of this BS about ‘imagining a rainbow and singing over it’ or other naff analogies. No - Gwyneth is all about ‘Don’t hold your head like that, it puts stress on your throat.’ ‘Put your tongue on you palate and flick it down.’ ‘Sing this piano.’ Brilliant. Transformative for the student.
God she is so precise. She knows exactly what she is talking about. Wish she did more masterclasses (she did develop a huge wobble later in her career, so perhaps the technical expertise was gained later because of this?)
Great moments of opera Jones was a car accident victim around 1970 that knocked her vocal apparatus out of whack. She said she really learned about technique to overcome it. An operation corrected her spine and neck, but she had a tendency to oversing for more volume, which I think caused the wobble. And yet she still sang quite well, esp Italian roles, well into the 1990s. She even sang a respectable Norma while in her 50s. Her recognition scene in Elektra was remarkable in the way she could scale back and sing lyrically.
I had wondered if he followed her advice in his flourishing career. He certainly sang better in this clip after incorporating her instructions. Sorry to hear that he ignored her advice because all of the sound goes right back into the throat.
Man... she got up and gave advice like she was earnestly trying to be of benefit to Philip. You can tell because she doesn't over summarize but dives straight into the technique she wishes to impart. Not that the vice versa wouldn't be true as well, but it's a nice thought.
Not a Helden Tenor then !!! He was definitely struggling - no sustained legato, he should sing it calmly, smoothly, easily and dreamily ! This beautiful and unusual aria, breaks up Act 1 of Die Walkure, as we know he is not going to have this happy future, but will shortly be killed painfully by his own father - so this aria has special meaning - a dream after a life of horrendous misery. He should listen to Jon Vickers - who sang this to perfection with Karajan.
william Mian Wei Winter storms gave way to the merry moon, Springtime gleams in mild light; On bland airs, gentle and lovely He sways by doing wonders; Through woods and meadows blows his breath, His eye laughs widely apart: - He chimes from overjoyed bird's sweet singing, He exhales lovely fragrances; Delightful flowers reflourish his warm blood, Seed and sprout arise from his strength. With tender weapon's ornament he conquers the world; Winter and storm gave way to the strong fight: Even the rigid door Which defiantly and rigidly seperated us from him Had to give way to the brave strokes. He came here to his sister; Love tempted springtime: It hid deeply in our bosom; Now it smiles overjoyed at the light. The brother unchained the bridal sister, Whatever seperated them lies in ruins: The young couple welcomes each other with jubilation: Love and springtime are united!
Indeed. This is a wonderful video. I also hope the ROH can upload more excerpts from Dame Gwyneth's masterclass, as she's such a source of inspiration!
Hi skyeomania, The interview film is currently being edited and should be uploaded in the next week. In the meantime, we've just uploaded another masterclass.
Christiaan d'Hooghe I believe Miss Meister no longer wanted that video to be public, although I don’t know why. She started out timid and unsure, but after quite a few instructions from Dame Gwyneth about technique and character, she was quite brilliant at the end of the masterclass.
She is awesome. It takes a while to get through to tenors. She should have had him sing into her eyes. Singers (in musicals too) are taught (or not taught at all) to just sing into nothingness. It must be very nerve-wracking, and singing is really quite hard until it's not, for the lucky few. But if it looks hard, no one will care.
I am not trying to bash any singer but this person is not a Wagnerian tenor. His voice is stuck in his throat and he is choked on his tongue. He is trying to "make" that big voice instead of singing with his real voice. This guy is a lyric tenor or spinto at most.
I got annoyed on how much he interrupted her ... uggh the talking back when she would interrupt. I just have a thing for people that talk back by trying to show they know, when in fact it shows he’s not really listening. anyways just my opinion.
Karl Delavigne You’re certainly entitled to your feelings, but no one referred to him as a heldentenor. And anyway, if you read the words of this scene, and listen to the shimmering music, it’s all about love and spring and breezes and birdsongs - it would be all wrong for a tenor to be shouting here.
@@wotan10950 A Heldentenor does not need to shout; that is a bit of a stereotype. Siegmund needs a heroic tenor voice which is also capable of tenderness and legato. I just found this singing stuck in a narrative quality, without a stage presence or the projection of character. But obviously these reactions are subjective and based on your experience of other singers in the same role.
Je l entendais j avais 17 ans en 1980 dans la voiture de mon père en direct de Bayreuth chanter la fin du crépuscule des dieux,,, je m en souviens bien mes parents étaient au restaurant avec des amis mais pas MOI
Amadeus Radio I think Jones gave him a lot of advice, both in technique, pronunciation and interpretation. It’s a lot to assimilate in little time and in front of an audience.
Tipsis1 He knows very well that it’s Wagner, not Schubert. The remark is sarcastic because so many people expect singers of Wagner to scream and shout. It’s a pleasure when Wagner is sung with a lyric voice that is also capable of expanding during the climaxes. But listening to singers who simply holler, it’s very exhausting for the listener too.
He has a very large voice in the theatre, but it is properly produced with bel canto technique. This aria is marked piano and pianissimo for much of it. The great Wagnerians of the past also sang Schubert lieder. It’s only the last 50 years that the two repertoires separated
I always thought that was odd - certainly in concert performances Joan would sing with her head pointing straight up to the ceiling. Worked for her. Not for most people!
Gwyneth Jones ist eine wunderbare Frau. Sie hatte eine große Stimme. Leider bildete sie einen kräftigen Wobbel, der einen seekrank werden lies. Dennoch sang sie unbeirrt weiter.
There's nothing wrong with tilting your head up a little bit when singing the high notes. But first of all, you are not simply "lifting" your head. You are lifting your soft palate and it looks like you are looking upward. Second, what Dame Jones says is what is always ignored by the opera singers nowadays -- acting. You are singing a love song and you must always focus on your lover. What's the point of singing a love song while you are looking at the ceiling of the opera house? So the singers should try to control and balance singing techniques and acting.
Ist das geeignet für so eine junge Stimme? Das hält er doch nicht durch und am Ende kommt der Riesenwobbel. Schon am Ende der Arie hört man Schwächen in der Tiefe, sie spricht nicht mehr voll an. Gwyneth Jones ist ja eine sehr sympathtische Person, aber die lange Mundposition ist halt nicht alles.
There's a context in all this subject. It is not promoting it...though it is worst marriage without love.!!....And relationships or sex without love. / Something yo think about thoroghly.
Everything about him says 'comprimario'......I'm not trying to be mean at all... There's no way i would sit through this in a production. She says , 'wonderful!' The instrument is small and dry; he has no beauty or virility...Siegmund? please.... Sieglinde would have gone back to bed with Hunding.....
He shouldn't be. Just listened again. I stand by my comments. Here in NYC the general taste at the MET is often (not always) dreadful also. Wow...'the powers that be' everywhere really out to get their act together.... Actually, Gwyneth's career reputation is also somewhat of a mystery to me.... Not wild 'bout her voice. Good actress though.....
Were you there to feel the size of the voice? It is impossible to talk about volume without hearing live. This is the most primordial think to know when we talk about voices. Second, a dry sound? I strongly disagree. One thing that is clear in this video is that he has a lot of overtones and has more balance in the chiaroscuro then most of the Helden tenors of nowadays. So, there is absolutely nothing that says "comprimario".
This “comprimario” just sang Florestan in “Fidelio” at Covent Garden, to excellent notices. You’ve been listening to too many screaming tenors on recordings.
I don't like how she fixates his mouth and head position. It's going to inhibit his expression. But fine, he'll be standing there with a stiff neck and bore his audience to death. He'll need an hour with DiDonato after this.
Then you're deaf. This voice isn't weak. He sounds pretty good here. Listen to him sing Pourquoi me réveiller - strong and full high notes. He's probably a full lyric, which isn't really a "light tenor". Definitely not a Nemorino. Not every helden tenor needs to sound like Melchior. There have been many great lyrical helden tenors like Heppner, Kollo, etc.
HammondDER I’m sure you mean Vogt. And I think Vogt is wonderful. If you look at Wagner’s scores, it’s piano and pianissimo everywhere; only some moments call for a lot of noise. I’m happy to hear more lyric voices singing Wagner. I’m so exhausted when I hear so-called heldentenors screaming their way through a role.
This and the other Gwyneth Jones master class clip (with Elisabeth Meister) are really remarkable. Based on them, Jones should be giving more master classes. He starts out very good, but after a few precise instructions from her, he's damn thrilling at the end. The voice is freer, more resonant, and seemingly bursting with energy. None of this vague discussion of placement and resonance, but precise instruction about where to put your tongue and how to hold your neck.
Jones is firmly directive in a way that contrasts interestingly with the more touchy-feely pep talk banter of younger sopranos. I adore her!
She is brilliant as an instructor, and she was brilliant in her Wagner roles!
The tenor has a splendid voice with a beautiful natural color and by sticking to the right repertoire he should be able to make something interesting with his great instrument. And Dame Jones is as always her very regal self and her advice is precious. She is one of the last exponents of the not-so-recent operatic golden age.
His voice is so beautifull... but she is soooooo kind!!! I'd love to have a teatcher like her... thanks for the video!!
Just so you know, this aria is sung by Siegmund, not Siegfried. Siegfried is not in Die Walküre. Somebody should correct that in the description.
Thanks Christopher - good spot. It's corrected now.
Very gentle yet exacting instruction. The energy she imbued into young Mr. Philip to use the words to enliven this declamation of love made this into a world class performance rather than a class.
wow i really enjoyed this and frankly, was surprised to! she is so gentle and loving and so willing to connect with him. i love that. wanting to look him in the eyes and showing him what to do. i never much loved her as a singer except for when she was very young, but these few tips really were very helpful to him. she was a pleasure to watch at work! she seems like an absolutely lovely lady!
Thoroughly practical in a way only a true artist can be. None of this BS about ‘imagining a rainbow and singing over it’ or other naff analogies. No - Gwyneth is all about ‘Don’t hold your head like that, it puts stress on your throat.’ ‘Put your tongue on you palate and flick it down.’ ‘Sing this piano.’
Brilliant. Transformative for the student.
Why there isn't any other masterclasses of her? She's stunning guiding students! Magnificent!
God she is so precise. She knows exactly what she is talking about. Wish she did more masterclasses (she did develop a huge wobble later in her career, so perhaps the technical expertise was gained later because of this?)
Great moments of opera Jones was a car accident victim around 1970 that knocked her vocal apparatus out of whack. She said she really learned about technique to overcome it. An operation corrected her spine and neck, but she had a tendency to oversing for more volume, which I think caused the wobble. And yet she still sang quite well, esp Italian roles, well into the 1990s. She even sang a respectable Norma while in her 50s. Her recognition scene in Elektra was remarkable in the way she could scale back and sing lyrically.
I just loved watching this very talented tenor and Dame Gwyneth was a delight!
I attended opera performances by Gwyneth Jones, as well as Jon Vickers, and they were magnificent voices, HUGE voices. So awesome.
Gwyneth Jones is one of the great Wagnerian sopranos. Her Brunnhilde was magnificent.
Kraftvoll gesungen und einfühlsam von ihr geleitet.
What a great teacher.
Bravo, great voice and a great maestra!!!Bravo!!!
What a great masterclass. Gwyneth Jones is such an amazing soprano and teacher too.
Might be mean to say, but I recently saw Mister Philip as Lohengrin in 2022 and he literally still did all the things Dame Jones told him not to.
I had wondered if he followed her advice in his flourishing career. He certainly sang better in this clip after incorporating her instructions. Sorry to hear that he ignored her advice because all of the sound goes right back into the throat.
Unfortunately, a 30-min masterclass cannot effectively correct every bad habit his teacher might instill in him.
It seems he doesn't interpret the libretto or even understand what he's singing. Wagner requires acting as well as just the singing
Tr@@andrew1598
Brilliant tenor! So much potential. And wonderful teacher
Man... she got up and gave advice like she was earnestly trying to be of benefit to Philip. You can tell because she doesn't over summarize but dives straight into the technique she wishes to impart. Not that the vice versa wouldn't be true as well, but it's a nice thought.
Not a Helden Tenor then !!! He was definitely struggling - no sustained legato, he should sing it calmly, smoothly, easily and dreamily ! This beautiful and unusual aria, breaks up Act 1 of Die Walkure, as we know he is not going to have this happy future, but will shortly be killed painfully by his own father - so this aria has special meaning - a dream after a life of horrendous misery. He should listen to Jon Vickers - who sang this to perfection with Karajan.
...she gave good tips for keeping the throat clear and he sang better for it.
❤🌹 I love this Woman so much, one of the best Soprano of ever 🌹🌹🌹❤❤❤
Such beautiful voice... although I have no clue what he is singing about🤣... still the sound of his singing is enough to capture my ears...
william Mian Wei
Winter storms gave way to the merry moon,
Springtime gleams in mild light;
On bland airs, gentle and lovely
He sways by doing wonders;
Through woods and meadows blows his breath,
His eye laughs widely apart: -
He chimes from overjoyed bird's sweet singing,
He exhales lovely fragrances;
Delightful flowers reflourish his warm blood,
Seed and sprout arise from his strength.
With tender weapon's ornament he conquers the world;
Winter and storm gave way to the strong fight:
Even the rigid door
Which defiantly and rigidly seperated us from him
Had to give way to the brave strokes.
He came here to his sister;
Love tempted springtime:
It hid deeply in our bosom;
Now it smiles overjoyed at the light.
The brother unchained the bridal sister,
Whatever seperated them lies in ruins:
The young couple welcomes each other with jubilation:
Love and springtime are united!
Such wonderfull teacher ❤❤❤❤
love it!
where can I see the videos advertised at the end of this one - I mean Dame Gwyneth talking about her life and career?
Indeed. This is a wonderful video.
I also hope the ROH can upload more excerpts from Dame Gwyneth's masterclass, as she's such a source of inspiration!
Hi skyeomania,
The interview film is currently being edited and should be uploaded in the next week. In the meantime, we've just uploaded another masterclass.
There was also a clip with Elisabeth Meister. 🌹 Hope you'll repost it.
Christiaan d'Hooghe I believe Miss Meister no longer wanted that video to be public, although I don’t know why. She started out timid and unsure, but after quite a few instructions from Dame Gwyneth about technique and character, she was quite brilliant at the end of the masterclass.
She is Wonderful!
Nice. So where is the link to the full masterclass? Can it be shared/posted? Bravo/a.
Certainly different. I don't think you could hear above a full Wagnerian orchestra
Ela é incrível demais... Vida longa a esse ser humano e q passe tudo q aprendeu ao próximo
So very intelligent!!
Bravo....!
He's choking on his tongue
She is awesome. It takes a while to get through to tenors. She should have had him sing into her eyes. Singers (in musicals too) are taught (or not taught at all) to just sing into nothingness. It must be very nerve-wracking, and singing is really quite hard until it's not, for the lucky few. But if it looks hard, no one will care.
Wow
I am not trying to bash any singer but this person is not a Wagnerian tenor. His voice is stuck in his throat and he is choked on his tongue. He is trying to "make" that big voice instead of singing with his real voice. This guy is a lyric tenor or spinto at most.
I got annoyed on how much he interrupted her ... uggh the talking back when she would interrupt. I just have a thing for people that talk back by trying to show they know, when in fact it shows he’s not really listening.
anyways just my opinion.
Que homem incrível
I found this too Lieder-ish. He is not a Heldentenor. Gwyneth Jones is very kind to him.
Karl Delavigne You’re certainly entitled to your feelings, but no one referred to him as a heldentenor. And anyway, if you read the words of this scene, and listen to the shimmering music, it’s all about love and spring and breezes and birdsongs - it would be all wrong for a tenor to be shouting here.
@@wotan10950 A Heldentenor does not need to shout; that is a bit of a stereotype. Siegmund needs a heroic tenor voice which is also capable of tenderness and legato. I just found this singing stuck in a narrative quality, without a stage presence or the projection of character. But obviously these reactions are subjective and based on your experience of other singers in the same role.
@@wotan10950Based on your knowledge in your comment, you are far less than your nickname would be.
Je l entendais j avais 17 ans en 1980 dans la voiture de mon père en direct de Bayreuth chanter la fin du crépuscule des dieux,,, je m en souviens bien mes parents étaient au restaurant avec des amis mais pas MOI
still waiting for the interview footage...
He's not listening.
Amadeus Radio I think Jones gave him a lot of advice, both in technique, pronunciation and interpretation. It’s a lot to assimilate in little time and in front of an audience.
Is he really signing Wagner? The sound is not Wagner but more Schubert. Are you sure to be in the right opera????
Das ist Winterstürme wichen dem Wonnemond aus Wagners Walküre. Falls die Frage ernst gemeint war... Google it
Tipsis1 He knows very well that it’s Wagner, not Schubert. The remark is sarcastic because so many people expect singers of Wagner to scream and shout. It’s a pleasure when Wagner is sung with a lyric voice that is also capable of expanding during the climaxes. But listening to singers who simply holler, it’s very exhausting for the listener too.
He has a very large voice in the theatre, but it is properly produced with bel canto technique. This aria is marked piano and pianissimo for much of it. The great Wagnerians of the past also sang Schubert lieder. It’s only the last 50 years that the two repertoires separated
O inglês dela é muito bom de entender
And yet Joan Sutherland seemed to be singing to the Ceiling much of the time. Head thrown back - chin tilted upward.
Sutherland sang bel canto, bel canto is more show than acting in comparison to Wagner
Joan had breath support which this guy obviously doesn’t. His voice is completely in his throat.
I always thought that was odd - certainly in concert performances Joan would sing with her head pointing straight up to the ceiling. Worked for her. Not for most people!
Gwyneth Jones ist eine wunderbare Frau. Sie hatte eine große Stimme. Leider bildete sie einen kräftigen Wobbel, der einen seekrank werden lies. Dennoch sang sie unbeirrt weiter.
Sea schöne stimme 🙏🏻
Nilsson always sang with her head up.
There's nothing wrong with tilting your head up a little bit when singing the high notes. But first of all, you are not simply "lifting" your head. You are lifting your soft palate and it looks like you are looking upward. Second, what Dame Jones says is what is always ignored by the opera singers nowadays -- acting. You are singing a love song and you must always focus on your lover. What's the point of singing a love song while you are looking at the ceiling of the opera house? So the singers should try to control and balance singing techniques and acting.
@@ey8767 Dame Gwyneth
❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤
He's a wonderful tenor, but a bit of a Mr. Know-it-all.
am up to minute 2:17.... he is should be singing Ottavio at most.
Ist das geeignet für so eine junge Stimme? Das hält er doch nicht durch und am Ende kommt der Riesenwobbel. Schon am Ende der Arie hört man Schwächen in der Tiefe, sie spricht nicht mehr voll an.
Gwyneth Jones ist ja eine sehr sympathtische Person, aber die lange Mundposition ist halt nicht alles.
Around 8:20 is out of line
Minute 11:19.... Ottavio... at best and most.
What a promising tenor! These scene is so beautiful until you realize it's about incest.
There's a context in all this subject. It is not promoting it...though it is worst marriage without love.!!....And relationships or sex without love. / Something yo think about thoroghly.
like the sound, though I do worry about his over groomed eyebrows ....!
minute 4:11... still an Ottavio.
Everything about him says 'comprimario'......I'm not trying to be mean at all...
There's no way i would sit through this in a production. She says , 'wonderful!'
The instrument is small and dry; he has no beauty or virility...Siegmund? please....
Sieglinde would have gone back to bed with Hunding.....
He shouldn't be. Just listened again. I stand by my comments. Here in NYC the general taste at the MET is often (not always) dreadful also. Wow...'the powers that be' everywhere really out to get their act together....
Actually, Gwyneth's career reputation is also somewhat of a mystery to me....
Not wild 'bout her voice. Good actress though.....
No.
Were you there to feel the size of the voice? It is impossible to talk about volume without hearing live. This is the most primordial think to know when we talk about voices. Second, a dry sound? I strongly disagree. One thing that is clear in this video is that he has a lot of overtones and has more balance in the chiaroscuro then most of the Helden tenors of nowadays. So, there is absolutely nothing that says "comprimario".
This “comprimario” just sang Florestan in “Fidelio” at Covent Garden, to excellent notices. You’ve been listening to too many screaming tenors on recordings.
I don't like how she fixates his mouth and head position. It's going to inhibit his expression. But fine, he'll be standing there with a stiff neck and bore his audience to death. He'll need an hour with DiDonato after this.
His German pronuciation is actually pretty good, only too bad that he's got a terrible set of English teeth ....
boeser wolf .(lame comment)
Simply the WEAKEST (except Fogt) operatic voice I've ever heard. This is light tenor who tries to sing Helden's repertoire.
Light tenor?
Then you're deaf. This voice isn't weak. He sounds pretty good here. Listen to him sing Pourquoi me réveiller - strong and full high notes. He's probably a full lyric, which isn't really a "light tenor". Definitely not a Nemorino. Not every helden tenor needs to sound like Melchior. There have been many great lyrical helden tenors like Heppner, Kollo, etc.
HammondDER I’m sure you mean Vogt. And I think Vogt is wonderful. If you look at Wagner’s scores, it’s piano and pianissimo everywhere; only some moments call for a lot of noise. I’m happy to hear more lyric voices singing Wagner. I’m so exhausted when I hear so-called heldentenors screaming their way through a role.
@@wotan10950 thats how TIO fans think Wagner should be sung : all fortissimo