Film with Gundula Janowitz, Edita Gruberova, Trudelise Schmidt, Walter Berry, Rene Kollo. Karl Böhm conducts. Performance begins at 2:40. Gibt es kein hinüber? 1:59:55
l saw this opera a good 10-12 times in Wien live, in 1979-81, as a student, with a similar cast to this one .. lt was wonderful, every single time, absolutely loved by the audience, of a quality not matched since, really, anywhere that l have heard ..
Absolutely stunning. The whole cast sing with such commitment and beautiful tone, and maestro Böhm is so respectful to the wonderful Strauss' score. The traditional setting is perfect too. Why modern singers do not sing so beautifully these days? And why the directors do not respect the composer's and librettist's ideas anymore? Bravi tutti.
ПОНЯЛА , ЧТО МНЕ НАПОМИНАЕТ ЭТА БЕЗКАРКАСНАЯ МУЗЫКА.ЗДЕСЬ НЕТ МЕЛОДИИ , ЯСНОЙ, КАК ЧЕЛОВЕЧЕСКАЯ МЫСЛЬ. ТО ЧТО ЕСТЬ У ШОПЕНА. ЗДЕСЬ ЛУЧШИЕ МОМЕНТЫ ЛИРИЧЕСКИЕ. МОЯ АССОЦИАЦИЯ , ЭТО ЦВЕТУШИЙ ЯБЛОНЕВЫЙ САД В СОЛНЕЧНУЮ , ИГРИВО- ВЕТРЕННУЮ ПОГОДУ , ИГРА ТЕНЕЙ И СВЕТА. ВСЕ ДВИЖЕТСЯ, ВСЕ ЖИВОЕ. СТИХИЯ ВОЗДУХА И СВЕТА. ❤ В ТАКИЕ МОМЕНТЫ ХОЧЕТСЯ СТОЯТЬ И ЛЮБОВАТЬСЯ ПРИРОДОЙ. 😊
How wonderful to find this. A wonderful memory. I was fortunate to see this distribution live 1982, either Vienna or Munich??. I shall never forget it. Gruberova as Zerbinetta was astonishing. Mme Janowitz was as always inspiring. All were splendid. Another incredible opera of Strauss. Vielen dank. Thank you
How lucky ! Still I have recently (2 years ago though) seen Soile Isokowski in the same role....she was the only to compare with Gundula Janowitz....in my opinion of course.
This is wonderful. I enjoy the folk tune and dancing in the middle. And the ending has one of the most beautiful melodies I've ever heard. How anyone can write something so beautiful is incomprehensible. It brings tears to my eyes. I wish that part was a tad longer.
That melody has often been described as Schubertian. After Strauss' wild younger days writing "shocking" tone poems, he seemingly went into retrograde and wrote so much diatonically conservative music. (The opera section of "Ariadne.") The later, lesser works sometimes contain so much of this, they have been described as "Strauss by the yard."(Die aegyptische Helena")
Oper 00:43:17 Ouverture 00:47:09 Schläft sie? (Najade, Dryade, Echo) 00:52:52 Wo war ich? (Ariadne) 01:02:31 Lieben, Hassen, Hoffen, Zagen (Harlekin) 01:10:10 Die Dame gibt mit trübem Sinn 01:15:34 Großmächtige Prinzessin (Zerbinetta) 01:19:29 Noch glaub ich dem einen ganz mich gehörend (Zerbinetta) 01:21:46 So war es mit Pagliazzo (Zerbinetta) 01:23:33 Als ein Gott kam (Zerbinetta) 01:27:22 Hübsch gepredigt, aber tauben Ohren (Harlekin) 01:32:49 Pst, wo ist sie hin? Wo mag sie sein? (Scaramuccio) 01:35:58 Ein schönes Wunder 01:40:05 Circe, Circe, kannst du mich hören? (Bacchus) 01:43:01 Oh Todesbote (Ariadne) 01:45:37 Theseus! (Ariadne, Bacchus) 01:57:17 Entfernt sich alles von mir (Ariadne, Bacchus) 01:59:55 Gibt es kein Hinüber? (Ariadne, Bacchus) 02:02:55 Töne, töne (Najade, Echo, Dryade) 02:05:10 Deiner habe ich um alles bedurft (Bacchus, Ariadne)
Prima Donna/Ariadne: Gundula Janowitz, soprano Tenor/Bacchus: Rene Kollo, tenor Music Master, Walter Berry, baritone Composer, Trudeliese Schmidt, mezzo soprano Zerbinetta: Edita Gruberova, soprano Dancing Master, Heinz Zednik, tenor Major-Domo: Erich Kunz, spoken An Officer: Peter Weber, tenor A Wigmaker: Georg Tichy, baritone A Lackey: Alfred Sramek, bass Harlequin: Barry McDaniel, baritone Scaramouche: Kurt Equilux, tenor Truffaldino: Manfred Jungwirth, bass Brighella: Heinz Zednik, tenor Naiad: Hilda de Groote, soprano Dryad: Axelle Gall, mezzo soprano Echo: Olivera Miljakovic, soprano Vienna Philharmonic, Karl Böhm Prologue At the home of the richest man in Vienna, preparations for an evening of music are under way. Two troupes of musicians and singers have arrived. One is a burlesque group, led by the saucy comedienne Zerbinetta. The other is an opera company, who will present an opera seria, Ariadne auf Naxos, the work of the Composer. Members of the two companies quarrel over which performance should be presented first. However, the preparations are thrown into confusion by an announcement by the Major-domo. The dinner for the assembled guests has run longer than planned. Therefore, both performances must take place at the same time as they have been ordered and paid for. The performances must not run one minute later than scheduled, despite the late start, since at nine o'clock there will be fireworks in the garden. At first, the impetuous young Composer refuses to discuss any changes to his opera. But his teacher, the Music Master, points out that his pay depends on accepting the situation, and counsels him to be prudent, and Zerbinetta turns the full force of her charm on him, so he drops his objections. The cast of the opera seria intrigue against each other, each demanding that his arias be not cut while the other performers' parts are cut instead. A dancing master introduces Zerbinetta into the plot, which she understands from her very own perspective, and she gets ready for the performance. The Composer realizes what he has assented to, plunges into despair and storms out. Opera Ariadne is shown abandoned by her former lover, Theseus, on the desert island of Naxos, with no company other than the nymphs Naiad, Dryad, and Echo. Ariadne bewails her fate, mourns her lost love, and longs for death. Zerbinetta and her four companions from the burlesque group enter and attempt to cheer Ariadne by singing and dancing, but without success. In a sustained and dazzling piece of coloratura singing, Zerbinetta tells the Princess to let bygones be bygones and insists that the simplest way to get over a broken heart is to find another man. In a comic interlude, each of the clowns pursues Zerbinetta. Eventually, she chooses Harlequin, a baritone, and the two sing a love duet together while the other clowns express frustration and envy. The nymphs announce the arrival of a stranger on the island. Ariadne thinks it is Hermes, the messenger of death, but it is the god Bacchus, who is fleeing from the sorceress Circe. At first they do not understand their mistaken identification of each other. Bacchus eventually falls in love with Ariadne, who agrees to follow him to the realm of death to search for Theseus. Bacchus promises to set her in the heavens as a constellation. Zerbinetta returns briefly to repeat her philosophy of love: when a new love arrives, one has no choice but to yield. The opera ends with a passionate duet sung by Ariadne and Bacchus.
Gundula Janowitz ... L' une des plus belles et des plus pures voix de tous les temps ... certainement " LA " meilleure interprete pour les " Quatre derniers Lieders "de Strauss ... et de loin !... même supérieure à Schwarzkoff , pourtant excellente ... C' est à tomber par terre ! Il y aussi la version de Böhm de 1954 avec Lisa della Casa ( magnifique ! )...
Her hard glassy timbre is a taste I've never acquired, her high notes sound horribly strained and her interpretation is usually, as here, nothing special.
No other conductor "got" the music of Richard Strauss as did his close friend KARL BÖHM. No, not even Clemens Krauss, Herbert Von Karajan, Rudolf Kempe, or Fritz Reiner. Of Böhm's conducting, Karajan said "the music is happening."
Even after all this time, this performance still has it! Janowitz great as ever, the same goes for Gruberova, Schmidt, Berry and Kollo. Karl Böhm is perhaps the very best Strauss conductor ever. The production is pretty traditional, I actually prefer the Salzburg production from I believe it was 2012 (or was it 2013?). Kaufmann is perhaps even better than Kollo as Bacchus ...
ЛЮБОПЫТНО, КАК ОТНЕСЛИСЬ СОВРЕМЕННИКИ АВТОРА К ЕГО ТВОРНИЕМ. ДУМАЮ, НЕ МНОГИЕ БЫЛИ ДОВОЛЬНЫ. ПОСЛЕ ВЕЛИКИХ ПРОИЗВЕДЕНИЙ , ЭТОТ ШАГ В НОВОЕ НЕ ВСЕМ ПРИШЕЛСЯ ПО ВКУСУ.НО МЫ ТО ЗНАЕМ КУДА ПОЗЖЕ СКАТИЛАСЬ МУЗЫКА . 😂😂😂
One of the few Strauss scores that Bohm did not butcher with his cuts. Janowitz is better on the EMI Kempe recording. Kollo is just okay (he seems to be in a different acoustic). But Gruberova was the Zerbinetta of her generation.
Montserrat Caballe‘s Fan Böhm recorded it in fact live in 1964 from Salzburg, and it's been released on DVD. This is filmed in a studio simulating the Vienna State Opera. And Böhm's lifelong affinity with this delightful score was never outdated, not even in the 70's.
Gruberova was the Zerbinetta of all times. No one before and after reached this level of perfection sung in a brillant sound and technic with such versatility she got after this beginning time in 1976. Listen to her Munich Urfassung of 1983 in the legendary Sonntagskonzert. Or her best Zerbinetta in Zürich arround 1990.
low register, high register anything from Price or Janowitz is great compared to todays crop. I would pay to hear them with laryngitis over what ive heard lately. well id hope theyd cancel but the point is they are both fantastic.
Kollo still singing fairly beautifully and steadily at this point. His voice really declined greatly by the mid-80s (it had developed a quite powerful "beat" much like Peter Seiffert later on).
Sometimes we forget Herr Kollo began as an operetta tenor, as well as appearing in the original German cast of 'Hello, Dolly!', and so perhaps didn't belong in this repertoire. Seems ungrateful to say so, since he was a very fine Siegfried and Tristan for a while, but if you develop a wobble like that in your mid to late 40's, then it wasn't meant to be.
@@kennethwayne6857agree. The greatest and natural heldentenors never looses it even to their 60s 70s, though undoubtedly past their prime. Of course that applies to any type of tebor as long as they match the repertoire they are made for
The Composer is almost unsingable, it is so high for a mezzo. Not surprising that most of the time it is played by singers in the first part of their careers.
Synopsis of the opera: PROLOGUE Vienna, 18th century. Backstage at the private theater in the house of the richest man in Vienna, preparations are in progress for the performance of a new opera seria, Ariadne auf Naxos. The major-domo enters to inform the music master that, immediately after the opera, an Italian comedy will be performed, followed by a fireworks display in the garden. The outraged music master replies that the composer, his young pupil, will never tolerate that, but the major-domo is unimpressed by his objections and leaves. When the composer appears, hoping for a last-minute rehearsal, a disdainful servant tells him that the musicians are still playing dinner music. Suddenly, the tenor rushes in from his dressing room, arguing with the wigmaker. The prima donna furiously comments on the presence of the comedy troupe and their leading lady, Zerbinetta. In the middle of the confusion, the major-domo returns with an announcement: In order for the fireworks to begin on time, the opera and the comedy are to be performed simultaneously. General consternation soon gives way to practical reactions. The dancing master suggests cutting the opera’s score. The music master persuades the despairing composer to do so, while the two lead singers independently urge him to abridge the other’s part. Meanwhile, Zerbinetta gives her troupe a briefing on the opera’s plot. Ariadne, they are told, has been abandoned by her lover Theseus on the island of Naxos, where she now waits for death. Zerbinetta, however, claims that all Ariadne really needs is a new lover. When the composer vehemently disagrees, Zerbinetta begins to flirt with him. Suddenly, the young man finds new hope. Filled with love and enthusiasm for his work, he passionately declares music the greatest of all the arts. But when he catches sight of the comedians, ready to go on stage, he realizes with horror what he has agreed to. He blames the music master for the artistic debacle and runs off. THE OPERA The Ariadne myth tells how Prince Theseus of Athens set out for Crete to kill the Minotaur, a creature half man, half bull, who was concealed in a labyrinth. Princess Ariadne of Crete fell in love with Theseus and gave him a ball of thread that enabled him to find his way out of the labyrinth after he had killed the Minotaur. When Theseus left Crete, he took Ariadne with him as his bride. During their voyage home, they stopped at the island of Naxos. While Ariadne was asleep, Theseus slipped away and continued his journey to Athens without her. The opera Ariadne auf Naxos begins at this point. Ariadne is alone in front of her cave. Three nymphs look on and lament her fate. Watching from the wings, the comedians are doubtful whether they will be able to cheer her up. Ariadne recalls her love for Theseus, then imagines herself as a chaste girl, awaiting death. Harlekin tries to divert her with a song, but Ariadne ignores him. As if in a trance, she resolves to await Hermes, messenger of death. He will take her to another world, where everything is pure. When the comedians’ efforts continue to fail, Zerbinetta finally addresses Ariadne directly, woman to woman, explaining to her the human need to change an old love for a new. Insulted, Ariadne leaves. After Zerbinetta has finished her speech, her colleagues leap back onto the scene, competing for her attention. Zerbinetta gives in to Harlekin’s comic protestations of love and the comedians exit. The nymphs announce the approach of a ship: It carries the young god Bacchus, who has escaped the enchantress Circe. Bacchus’s voice is heard in the distance, and Ariadne prepares to greet her visitor, whom she thinks must be death at last. When he appears, she at first mistakes him for Theseus come back to her, but he majestically proclaims his godhood. Entranced by Ariadne’s beauty, Bacchus tells her that he would sooner see the stars vanish than give her up. Reconciled to a new existence, Ariadne joins Bacchus as they ascend to the heavens. Zerbinetta sneaks in to have the last word: “When a new god comes along, we’re dumbstruck.”
СТРАННЫЕ ОПЕРЫ Р. ШТРАУСА. БОЛЬШЕ ПОХОЖИ НА ПОВЕСТВОВАТЕЛЬНЫЕ МУЗЫКАЛЬНЫЕ СПЕКТАКЛИ . ОЧЕНЬ МНОГО ДИАЛОГОВ . МАЛО МЕЛОДИЙ . НО ЛЮБОПЫТНО, ЕЩЕ БЫ ЗНАТЬ О ЧЕМ РЕЧЬ . ТИТРОВ НЕ ХААТАЕТ.
Janowitz, Berry and Kunz are magnificent, Kollo doesn't have the voice of Bacchus, and Gruberova is horrible as always. But Karl Bohm is the real star here.
СТРАННОЕ МУЗЫКАЛЬНОЕ ПРОИЗВЕДЕНИЕ. МУЗЫКА В ЛУЧШИХ ЛИРИЧЕСКИХ МОМЕНТАХ ПОХОЖА НА СВЕТ И ТЕНИ В ЦВЕТУЩЕМ ЯБЛОНЕВОМ САДУ, ГДЕ СОЛНЦЕ И ГУЛЯЕТ ВЕТЕР. СТИХИЯ ВОЗДУХА И СВЕТА .НЕТ КАРКАСА В МЕЛОДИИ.
l saw this opera a good 10-12 times in Wien live, in 1979-81, as a student, with a similar cast to this one ..
lt was wonderful, every single time, absolutely loved by the audience, of a quality not matched since, really, anywhere that l have heard ..
Lucky you, Ms Zimmerman!
Gundula Janowitz ist göttlich!
МНЕ ПОНРАВИЛАСЬ ,, КОМПОЗИТОР ,, ТРУДЕЛИЗ ШМИДТ.
pures gold! was für eine wunderbare aufführung - welcher musikalische glanz, welche frische in der verköerperung der einzelnen rollen. UNERHÖRT!
und von wann? und wo? (salzburg?)
The little moment of "connection" between the Composer and Zerbinetta, in the Prologue, is one of the most precious scenes in all of opera-dom.
agreed
A fantastic moment of music and theater
Absolutely stunning. The whole cast sing with such commitment and beautiful tone, and maestro Böhm is so respectful to the wonderful Strauss' score. The traditional setting is perfect too. Why modern singers do not sing so beautifully these days? And why the directors do not respect the composer's and librettist's ideas anymore? Bravi tutti.
Outstanding from start to finish.
ПОНЯЛА , ЧТО МНЕ НАПОМИНАЕТ ЭТА БЕЗКАРКАСНАЯ МУЗЫКА.ЗДЕСЬ НЕТ МЕЛОДИИ , ЯСНОЙ, КАК ЧЕЛОВЕЧЕСКАЯ МЫСЛЬ. ТО ЧТО ЕСТЬ У ШОПЕНА. ЗДЕСЬ ЛУЧШИЕ МОМЕНТЫ ЛИРИЧЕСКИЕ. МОЯ АССОЦИАЦИЯ , ЭТО ЦВЕТУШИЙ ЯБЛОНЕВЫЙ САД В СОЛНЕЧНУЮ , ИГРИВО- ВЕТРЕННУЮ ПОГОДУ , ИГРА ТЕНЕЙ И СВЕТА. ВСЕ ДВИЖЕТСЯ, ВСЕ ЖИВОЕ. СТИХИЯ ВОЗДУХА И СВЕТА. ❤ В ТАКИЕ МОМЕНТЫ ХОЧЕТСЯ СТОЯТЬ И ЛЮБОВАТЬСЯ ПРИРОДОЙ. 😊
Erich Kunz - what a wonderful Haushofmeister!
How wonderful to find this. A wonderful memory. I was fortunate to see this distribution live 1982, either Vienna or Munich??. I shall never forget it. Gruberova as Zerbinetta was astonishing. Mme Janowitz was as always inspiring. All were splendid. Another incredible opera of Strauss. Vielen dank. Thank you
How lucky ! Still I have recently (2 years ago though) seen Soile Isokowski in the same role....she was the only to compare with Gundula Janowitz....in my opinion of course.
@@dardanustr1 Actually Jessye Norman blew them both out of the water.
@@NYCOPERAFAN I Can't judge....But Norman, I think we should put her aside; she was so different, unique, almost.
Phänomenale Aufführung! Großartig!
"Ariadne auf Naxos" von Richard Strauss unter Karl Böhm mit Bestbesetzung. Dass das filmisch festgehalten wurde, ist eine wahre Wohltat.
Einfach wunderbar!
39:50 is the BEST moment of this opera... BEAUTIFUL!
Beautiful. Totally in keeping with Strauss and the subtext and the original intentions.
This is wonderful. I enjoy the folk tune and dancing in the middle. And the ending has one of the most beautiful melodies I've ever heard. How anyone can write something so beautiful is incomprehensible. It brings tears to my eyes. I wish that part was a tad longer.
Jan96106 try the Le Bourgouis Gentilhomme for the instrumental dances. Rudolf Kempe is most likely on YT.
That melody has often been described as Schubertian. After Strauss' wild younger days writing "shocking" tone poems, he seemingly went into retrograde and wrote so much diatonically conservative music. (The opera section of "Ariadne.") The later, lesser works sometimes contain so much of this, they have been described as "Strauss by the yard."(Die aegyptische Helena")
there is a longer version of the Opera
Un monument musical servi par de très grands interprètes. Danke schöne Meister Richard Strauss.
Thanks for posting this. Trudelise Schmidt is new to me -- and a new Composer is always a welcome sight and sound. (And Gruberova is so young!)
So is Janowitz!
Beautiful, and Gruberova is sentational, truly fantastic! Thank you for sharing!
And the lovely self satisfied look on her face!
@@edwardtodd9734I have that look every single time I've nailed this aria in performance 😂
Ich achte sehr gut Dr.Karl Boehm, weil ich diese Auffuehrung am besten finde.
Wunderschoen !!
Vielen Dank fuer Dr.Karl Boehm !!
Outstanding! Thank you very much!
Oper
00:43:17 Ouverture
00:47:09 Schläft sie? (Najade, Dryade, Echo)
00:52:52 Wo war ich? (Ariadne)
01:02:31 Lieben, Hassen, Hoffen, Zagen (Harlekin)
01:10:10 Die Dame gibt mit trübem Sinn
01:15:34 Großmächtige Prinzessin (Zerbinetta)
01:19:29 Noch glaub ich dem einen ganz mich gehörend (Zerbinetta)
01:21:46 So war es mit Pagliazzo (Zerbinetta)
01:23:33 Als ein Gott kam (Zerbinetta)
01:27:22 Hübsch gepredigt, aber tauben Ohren (Harlekin)
01:32:49 Pst, wo ist sie hin? Wo mag sie sein? (Scaramuccio)
01:35:58 Ein schönes Wunder
01:40:05 Circe, Circe, kannst du mich hören? (Bacchus)
01:43:01 Oh Todesbote (Ariadne)
01:45:37 Theseus! (Ariadne, Bacchus)
01:57:17 Entfernt sich alles von mir (Ariadne, Bacchus)
01:59:55 Gibt es kein Hinüber? (Ariadne, Bacchus)
02:02:55 Töne, töne (Najade, Echo, Dryade)
02:05:10 Deiner habe ich um alles bedurft (Bacchus, Ariadne)
We can argue about the singers, but for me the glory of this is in Böhm's orchestra. Strong and confident, yet clear and nuanced too.
Prima Donna/Ariadne: Gundula Janowitz, soprano
Tenor/Bacchus: Rene Kollo, tenor
Music Master, Walter Berry, baritone
Composer, Trudeliese Schmidt, mezzo soprano
Zerbinetta: Edita Gruberova, soprano
Dancing Master, Heinz Zednik, tenor
Major-Domo: Erich Kunz, spoken
An Officer: Peter Weber, tenor
A Wigmaker: Georg Tichy, baritone
A Lackey: Alfred Sramek, bass
Harlequin: Barry McDaniel, baritone
Scaramouche: Kurt Equilux, tenor
Truffaldino: Manfred Jungwirth, bass
Brighella: Heinz Zednik, tenor
Naiad: Hilda de Groote, soprano
Dryad: Axelle Gall, mezzo soprano
Echo: Olivera Miljakovic, soprano
Vienna Philharmonic, Karl Böhm
Prologue
At the home of the richest man in Vienna, preparations for an evening of music are under way. Two troupes of musicians and singers have arrived. One is a burlesque group, led by the saucy comedienne Zerbinetta. The other is an opera company, who will present an opera seria, Ariadne auf Naxos, the work of the Composer. Members of the two companies quarrel over which performance should be presented first. However, the preparations are thrown into confusion by an announcement by the Major-domo. The dinner for the assembled guests has run longer than planned. Therefore, both performances must take place at the same time as they have been ordered and paid for. The performances must not run one minute later than scheduled, despite the late start, since at nine o'clock there will be fireworks in the garden. At first, the impetuous young Composer refuses to discuss any changes to his opera. But his teacher, the Music Master, points out that his pay depends on accepting the situation, and counsels him to be prudent, and Zerbinetta turns the full force of her charm on him, so he drops his objections. The cast of the opera seria intrigue against each other, each demanding that his arias be not cut while the other performers' parts are cut instead. A dancing master introduces Zerbinetta into the plot, which she understands from her very own perspective, and she gets ready for the performance. The Composer realizes what he has assented to, plunges into despair and storms out.
Opera
Ariadne is shown abandoned by her former lover, Theseus, on the desert island of Naxos, with no company other than the nymphs Naiad, Dryad, and Echo. Ariadne bewails her fate, mourns her lost love, and longs for death. Zerbinetta and her four companions from the burlesque group enter and attempt to cheer Ariadne by singing and dancing, but without success. In a sustained and dazzling piece of coloratura singing, Zerbinetta tells the Princess to let bygones be bygones and insists that the simplest way to get over a broken heart is to find another man. In a comic interlude, each of the clowns pursues Zerbinetta. Eventually, she chooses Harlequin, a baritone, and the two sing a love duet together while the other clowns express frustration and envy. The nymphs announce the arrival of a stranger on the island. Ariadne thinks it is Hermes, the messenger of death, but it is the god Bacchus, who is fleeing from the sorceress Circe. At first they do not understand their mistaken identification of each other. Bacchus eventually falls in love with Ariadne, who agrees to follow him to the realm of death to search for Theseus. Bacchus promises to set her in the heavens as a constellation. Zerbinetta returns briefly to repeat her philosophy of love: when a new love arrives, one has no choice but to yield. The opera ends with a passionate duet sung by Ariadne and Bacchus.
ОГРОМНОЕ СПАСИБО. ТЕПЕРЬ ВСЕ ЯСНО.
Some people prefer live performances; some like films, even if lip-synched. I like both. This is an ideal cast, and very well done.
no question that these are all world class singers and so I was very surprised by the magnificent voice of Barry Macdaniel.
One of my favorite Silvio's. The Santi recording with Caballe and Domingo.
Representative, comprehensive and altogether marvelous, on all fronts. Thank you ever so much for uploading it.
Beautiful!!!!
Einfach göttlich
Thanks for uploading this marvellous recording
Buyed the DVD via amazon seconds ago
Good idea. That would have subtitles.
Gundula Janowitz, Edita Gruberova are superb. Karl Bohm rocks. as always.
Thank God, Boehm never rocked, which is why he was a great conductor. But, I agree this is a superb performance :)
un grazie a filippo sanjust scenografo costumista e regista di questa produzione, indimenticabile maestro e preziosissimo amico
I love this!
Gundula Janowitz ... L' une des plus belles et des plus pures voix de tous les temps ... certainement " LA " meilleure interprete pour les " Quatre derniers Lieders "de Strauss ... et de loin !... même supérieure à Schwarzkoff , pourtant excellente ...
C' est à tomber par terre !
Il y aussi la version de Böhm de 1954 avec Lisa della Casa ( magnifique ! )...
Her hard glassy timbre is a taste I've never acquired, her high notes sound horribly strained and her interpretation is usually, as here, nothing special.
@@henrygingercatэто ваш вкус! На мой вкус - Гундула Яновиц в Рихарде Штраусе прекрасна!
Stunning! Thank you for sharing
Superbe distribution, superbe chef, superbes perruques.
my favorite part is 1:19:02 - aria - the BEST!!!!
1:26 🤣🤣🤣 Super überzeichnet gesungen und gespielt
No other conductor "got" the music of Richard Strauss as did his close friend KARL BÖHM. No, not even Clemens Krauss, Herbert Von Karajan, Rudolf Kempe, or Fritz Reiner. Of Böhm's conducting, Karajan said "the music is happening."
He could also be stolid and boring. Listen to his Capriccio with Janowitz - captures none of that work’s or lucid delicacy.
Even after all this time, this performance still has it! Janowitz great as ever, the same goes for Gruberova, Schmidt, Berry and Kollo. Karl Böhm is perhaps the very best Strauss conductor ever. The production is pretty traditional, I actually prefer the Salzburg production from I believe it was 2012 (or was it 2013?). Kaufmann is perhaps even better than Kollo as Bacchus ...
beautiful
Sublime
18.19 : that Tanzmeister is a rock star.
Herr Richard Strauß, hat aus Tristan und Isolde ein Happy End gemacht, umgeschrieben :-)
1:41:16 2:02:50 Beautiful.
Un rêve ❤😢
1:10:00 Bohemian Rhapsody
ЛЮБОПЫТНО, КАК ОТНЕСЛИСЬ СОВРЕМЕННИКИ АВТОРА К ЕГО ТВОРНИЕМ. ДУМАЮ, НЕ МНОГИЕ БЫЛИ ДОВОЛЬНЫ. ПОСЛЕ ВЕЛИКИХ ПРОИЗВЕДЕНИЙ , ЭТОТ ШАГ В НОВОЕ НЕ ВСЕМ ПРИШЕЛСЯ ПО ВКУСУ.НО МЫ ТО ЗНАЕМ КУДА ПОЗЖЕ СКАТИЛАСЬ МУЗЫКА . 😂😂😂
Okay I came here from a Reddit thread about Dark Series
At 1 hour 5 min starts "Es gibt ein Reich..." sung by Adriane.
Kempe kept the pace better than Böhm in part 2. it drags here but Janowitz and Gruberova are supreme.
cant we have split bar on "tracks" or parts of music theme.
like in new playlist compikations feautere
it would be very helpful to analyze
One of the few Strauss scores that Bohm did not butcher with his cuts. Janowitz is better on the EMI Kempe recording. Kollo is just okay (he seems to be in a different acoustic). But Gruberova was the Zerbinetta of her generation.
cause kempe’s was nearly ten years before this recording。janowitz surely declined 。bohm did this too late。should record this in 1960s
Montserrat Caballe‘s Fan Böhm recorded it in fact live in 1964 from Salzburg, and it's been released on DVD. This is filmed in a studio simulating the Vienna State Opera.
And Böhm's lifelong affinity with this delightful score was never outdated, not even in the 70's.
Boehm said Strauss approved of his cuts. BS I say. Well, mebbe he did once after too many schnapps.
Gruberova was the Zerbinetta of all times. No one before and after reached this level of perfection sung in a brillant sound and technic with such versatility she got after this beginning time in 1976. Listen to her Munich Urfassung of 1983 in the legendary Sonntagskonzert. Or her best Zerbinetta in Zürich arround 1990.
Haushofmeister - Heinz Zednik
47:15 Trio Nayade Driade Ecco
most EGGZELLENT !!!
+Matthew Stull but the volume is a bit low....a lot bit low actually
low register, high register anything from Price or Janowitz is great compared to todays crop. I would pay to hear them with laryngitis over what ive heard lately. well id hope theyd cancel but the point is they are both fantastic.
Kollo still singing fairly beautifully and steadily at this point. His voice really declined greatly by the mid-80s (it had developed a quite powerful "beat" much like Peter Seiffert later on).
Sometimes we forget Herr Kollo began as an operetta tenor, as well as appearing in the original German cast of 'Hello, Dolly!', and so perhaps didn't belong in this repertoire. Seems ungrateful to say so, since he was a very fine Siegfried and Tristan for a while, but if you develop a wobble like that in your mid to late 40's, then it wasn't meant to be.
@@kennethwayne6857agree. The greatest and natural heldentenors never looses it even to their 60s 70s, though undoubtedly past their prime. Of course that applies to any type of tebor as long as they match the repertoire they are made for
55:50
Großmachtige Prinzessin - 1:15:33
significado do.meu nomd
Ah
Um 1:38 und kurz davor :Walküren..😅
1:10:09
1:28:50
1:10:09
The Composer is almost unsingable, it is so high for a mezzo. Not surprising that most of the time it is played by singers in the first part of their careers.
1:02:18
Synopsis of the opera:
PROLOGUE
Vienna, 18th century. Backstage at the private theater in the house of the richest man in Vienna, preparations are in progress for the performance of a new opera seria, Ariadne auf Naxos. The major-domo enters to inform the music master that, immediately after the opera, an Italian comedy will be performed, followed by a fireworks display in the garden. The outraged music master replies that the composer, his young pupil, will never tolerate that, but the major-domo is unimpressed by his objections and leaves. When the composer appears, hoping for a last-minute rehearsal, a disdainful servant tells him that the musicians are still playing dinner music. Suddenly, the tenor rushes in from his dressing room, arguing with the wigmaker. The prima donna furiously comments on the presence of the comedy troupe and their leading lady, Zerbinetta. In the middle of the confusion, the major-domo returns with an announcement: In order for the fireworks to begin on time, the opera and the comedy are to be performed simultaneously.
General consternation soon gives way to practical reactions. The dancing master suggests cutting the opera’s score. The music master persuades the despairing composer to do so, while the two lead singers independently urge him to abridge the other’s part. Meanwhile, Zerbinetta gives her troupe a briefing on the opera’s plot. Ariadne, they are told, has been abandoned by her lover Theseus on the island of Naxos, where she now waits for death. Zerbinetta, however, claims that all Ariadne really needs is a new lover. When the composer vehemently disagrees, Zerbinetta begins to flirt with him. Suddenly, the young man finds new hope. Filled with love and enthusiasm for his work, he passionately declares music the greatest of all the arts. But when he catches sight of the comedians, ready to go on stage, he realizes with horror what he has agreed to. He blames the music master for the artistic debacle and runs off.
THE OPERA
The Ariadne myth tells how Prince Theseus of Athens set out for Crete to kill the Minotaur, a creature half man, half bull, who was concealed in a labyrinth. Princess Ariadne of Crete fell in love with Theseus and gave him a ball of thread that enabled him to find his way out of the labyrinth after he had killed the Minotaur. When Theseus left Crete, he took Ariadne with him as his bride. During their voyage home, they stopped at the island of Naxos. While Ariadne was asleep, Theseus slipped away and continued his journey to Athens without her. The opera Ariadne auf Naxos begins at this point.
Ariadne is alone in front of her cave. Three nymphs look on and lament her fate. Watching from the wings, the comedians are doubtful whether they will be able to cheer her up. Ariadne recalls her love for Theseus, then imagines herself as a chaste girl, awaiting death. Harlekin tries to divert her with a song, but Ariadne ignores him. As if in a trance, she resolves to await Hermes, messenger of death. He will take her to another world, where everything is pure. When the comedians’ efforts continue to fail, Zerbinetta finally addresses Ariadne directly, woman to woman, explaining to her the human need to change an old love for a new. Insulted, Ariadne leaves. After Zerbinetta has finished her speech, her colleagues leap back onto the scene, competing for her attention. Zerbinetta gives in to Harlekin’s comic protestations of love and the comedians exit.
The nymphs announce the approach of a ship: It carries the young god Bacchus, who has escaped the enchantress Circe. Bacchus’s voice is heard in the distance, and Ariadne prepares to greet her visitor, whom she thinks must be death at last. When he appears, she at first mistakes him for Theseus come back to her, but he majestically proclaims his godhood. Entranced by Ariadne’s beauty, Bacchus tells her that he would sooner see the stars vanish than give her up. Reconciled to a new existence, Ariadne joins Bacchus as they ascend to the heavens. Zerbinetta sneaks in to have the last word: “When a new god comes along, we’re dumbstruck.”
44:33/55:34/57:58
32:35
2:02:10
СТРАННЫЕ ОПЕРЫ Р. ШТРАУСА. БОЛЬШЕ ПОХОЖИ НА ПОВЕСТВОВАТЕЛЬНЫЕ МУЗЫКАЛЬНЫЕ СПЕКТАКЛИ . ОЧЕНЬ МНОГО ДИАЛОГОВ . МАЛО МЕЛОДИЙ . НО ЛЮБОПЫТНО, ЕЩЕ БЫ ЗНАТЬ О ЧЕМ РЕЧЬ . ТИТРОВ НЕ ХААТАЕТ.
Janowitz, Berry and Kunz are magnificent, Kollo doesn't have the voice of Bacchus, and Gruberova is horrible as always. But Karl Bohm is the real star here.
>>Gruberova is horrible as always.
obviously very hard of hearing and this seems to be not the only handicap - poor soul :-)
This is honestly the most annoying opera I’ve ever listened to
Lol
Tough
Seriously? I assume you just don't understand anything. I think it as perhaps the best opera ever written...
СТРАННОЕ МУЗЫКАЛЬНОЕ ПРОИЗВЕДЕНИЕ. МУЗЫКА В ЛУЧШИХ ЛИРИЧЕСКИХ МОМЕНТАХ ПОХОЖА НА СВЕТ И ТЕНИ В ЦВЕТУЩЕМ ЯБЛОНЕВОМ САДУ, ГДЕ СОЛНЦЕ И ГУЛЯЕТ ВЕТЕР. СТИХИЯ ВОЗДУХА И СВЕТА .НЕТ КАРКАСА В МЕЛОДИИ.
1:28:09