Ich habe noch nie jemanden gehoert der so charmant, lieb und auf kindische Art so schoen singen kan. Ich bin bewaeltigt. I have never heard anybody who can sing so beautifully in such a charming, simple and childlike manner. I am speechless.
Totally sincere and into the music and the song. No ego ..no diva ...just a true musician doing her fabulous job ! With my greatest respect for Mrs, Seefried. Peter S.
I remember Irmgard Seefried very well.She sang many delightful roles in the opera in Vienna and many moving performances in the beautiful Musikvereinssaal. She died at an early age from cancer.How sad it was!!!!
Una versión hermosa por una magnífica artista. Demasiado poco recordada. Pocos artistas abordan las obras con tanto respeto y sencillez como lo ha hecho Irmgard Seefried
you cannot lose with this song, so many wonderful interpretations. i LOVE Seefried's -- like that of a child who's had a vision, it's unaccountably happy, but you have to believe her...... ou HAVE to, the conviction is so powerful. Rosenthal is wonderful, too. Him I'd never heard of before, but he's transfigured by the greatness of hte song, also, they all are, we all are.
I have always been impressed by the amount of love and understanding of music shown by people who post their comments here, in English and do not speak or write German. I always thought (falsely, it appears) that undestanding the words adds up significantly to understanding to what is being expressed in music.
This is an unconventional interpretation of this well-know song. An almost mocking commentary of death and fate. A departure with nothing to be sorrowful, but with a proud celebration of solitude and a brave new world of love and songs. The faster tempo helps to convey an uplifting spirit to the listener.
Watch how before her last line 'in meinen Lied' at 4:09 she almost looses emotional control as all the power of the words and what 'meinen Lied' means to a singing artist. Almost breaks down, bites her lip, regroups and finishes as a true artist. I love this woman.
This is my favourite interpretation of this piece. Beautiful. She just sings it, more or less straight, so that we can hear the music, no excessive mannerisms (as in the case of the popular version, sung by some famous person's girlfriend ...).
@mizzothify mizzothifi I suspect that he was referring to Elizabeth Schwarzkopf. ES was asked by Bruno Walter to sing it as his farwell concert. The singer had reservations feeling her voice did not have the reserves required but "when Walter asks "...............Incidentally she wasn't the girl friend but his wife.
Her phrasing is exquisite! She often sang with Elisabeth Schwarzkopf, who said in interview that Seefried was naturally able to achieve results effortlessly which other singers, including Schwarzkopf herself, had to work hard to produce.
I agree, normandevalois, although I do appreciate the Ferrier version. Seefried gets this childlike simplicity with a touch of heavenly angel mixed in. Perfection with a perfect orchestral accompaniment. Does anyone sing like this anymore?
...it is more a happy song about feeling luck in being in music & love => And I rest in a quiet realm ! I live alone in my heaven, In my love and in my song ! LES
I agree with you although I appreciate Irmgard very much. But of course Ferrier had an extra touch to it because of the special situation. And the Ferrier interpretation here on youtube is my alltime favorite.
John Arthur. Brother. Died May 03.at 39.🖤🙏 Live durfte ich Renee Flemimg erleben. Carnegie Hall. 1998, Berliner Philharmoniker, Claudio Abbado. Love version of Jessye Norman.
...thousands of voices can make me more smile than Satchmo ! Sorry, we are here in a classical section ! di Stefano, Gigli, Gobbi, Raimondi, Wunderlich, Anders, ............. ! LES
14 years later, I agree - and she breathes there, rather abruptly -which is very understandable if you've ever tried to sing it! - but compare Christa Ludwig, who makes time stand still at that moment and through the whole amazing phrase that follows. On the other hand, the last two lines are done so well here, just perfect.
document très intéressant en ce qu'il est sans fard, sans "glamour" aucun : juste le travail, le dur travail du chant. Et quel regard, en elle-même regardant ! qui est le chef ? ressemble à un chef français mais peu probable ? dp
Kindlich ist gemeint, nicht kindisch - ist ein Unterschied ;-) Childlike und childish ist genau das gleiche - im Englischen ist es richtig gewählt. Aber Seefried hat das gut umgesetzt, keine Frage.
the tempo is too fast for me, but she's great anyway, singing it as if she really were "abhanden", but without any sentimentality and pianissimo-legatissimos.
Seefried n’était pas très en voix ici, cela semble l’inquiéter et l’oblige à parcourir rapidement le lied sans pouvoir s’épanouir. Cette magnifique mélodie est ici chantée comme une “conversation “ straussienne pleine d’inquiétude. Cela me fait plutôt penser à Agathe dans l’attente anxieuse de Max…
....ooh, ok, but let us hear di Stefano until 1959 ! you can not mean, he is shouting ??? awful highs ??? are you serious ??? and btw, hear F. von Stade with Mahler, you'll cry on the first notes (=SONY-CD) ! this video reminds me on her a bit ! LES
Sie singt es mehr in der positiven Variante, nicht in der bevorzugten Trauervariante. Sie drückt ja auch ihr Glück mimisch aus. Damit trifft sie eigentlich den wahren Kern des Gedichts von Rückert, der hier begründet oder gar still feiert, warum er sich von Politik und Gesellschaft zurückgezogen hat in seine geliebte Poesie. Ich sagte "eigentlich", denn man muss es auch nicht übertreiben und fast schon sprechen. Auch positives Schwelgen kann langsam und artikuliert rüberkommen. Sonst gehen, wie hier, doch einige Nuancen verloren. Selbst der sonst so schnelle Karajan ließ sich bei seiner Aufnahme mit Christa Ludwig mehr Zeit als die meisten. Der Effekt: Man hat mehr vom Lied, mehr Genuss. Das hier jedenfalls war ein Quickie. Musste nicht sein.
Ich habe nie an "Freischutz" gedacht, wenn ich diese schone interpretation angelauscht hatte. Die englisch horn- und oboe-soli waren wunderschone und das ganze stuck ist von einer "bluhende Leerheit" gepragt, finde ich.
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Ich habe noch nie jemanden gehoert der so charmant, lieb und auf kindische Art so schoen singen kan. Ich bin bewaeltigt.
I have never heard anybody who can sing so beautifully in such a charming, simple and childlike manner. I am speechless.
Totally sincere and into the music and the song.
No ego ..no diva ...just a true musician doing her fabulous job !
With my greatest respect for Mrs, Seefried.
Peter S.
I remember Irmgard Seefried very well.She sang many delightful roles in the opera in Vienna and many moving performances in the beautiful Musikvereinssaal. She died at an early age from cancer.How sad it was!!!!
voce29 How sad indeed. 💔
She was 69 when she died. Not old, but not "at an early age."
She just about kills me here. No sentimentality, only pure sentiment.
Yes, from a time people dared to be honest.
this is still and will probably remain my favourite rendition of my favourite Mahler song
Oh my GOODNESS, Thank You. Never heard it done so well ... never will again.
Una versión hermosa por una magnífica artista. Demasiado poco recordada. Pocos artistas abordan las obras con tanto respeto y sencillez como lo ha hecho Irmgard Seefried
Her voice is perfectly placed. The sound flows without effort, swelling and ebbing with pinpoint accuracy. The atmosphere is absolutely magical.
Yes, her emission of tone was absolutely effortless, and the tone was as beautiful as it was free-flowing...
There cannot be a more inspired performance of this lied
you cannot lose with this song, so many wonderful interpretations. i LOVE Seefried's -- like that of a child who's had a vision, it's unaccountably happy, but you have to believe her...... ou HAVE to, the conviction is so powerful.
Rosenthal is wonderful, too. Him I'd never heard of before, but he's transfigured by the greatness of hte song, also, they all are, we all are.
Excellent performance! Delightful to see how she really gets into the song. :)
I have always been impressed by the amount of love and understanding of music shown by people who post their comments here, in English and do not speak or write German. I always thought (falsely, it appears) that undestanding the words adds up significantly to understanding to what is being expressed in music.
This is an unconventional interpretation of this well-know song. An almost mocking commentary of death and fate. A departure with nothing to be sorrowful, but with a proud celebration of solitude and a brave new world of love and songs. The faster tempo helps to convey an uplifting spirit to the listener.
wow... this is fantastic in every way.
Beautiful pure clearance and warm voice!
A pure and simple interpretation of great beauty
Watch how before her last line 'in meinen Lied' at 4:09 she almost looses emotional control as all the power of the words and what 'meinen Lied' means to a singing artist. Almost breaks down, bites her lip, regroups and finishes as a true artist. I love this woman.
ikmarchini Totally agree! At the point you mention, her facial expression alone made me cry! What an artist!
Bellísimo! Qué gran artista! Gracias por subir el video.
great and soft voice in this very nice interpretation
Thanks for uploading this amazing Lied and voice. Brava!
❤️ Une magnifique interprétation.
This is my favourite interpretation of this piece. Beautiful. She just sings it, more or less straight, so that we can hear the music, no excessive mannerisms (as in the case of the popular version, sung by some famous person's girlfriend ...).
Gustave Mélomann Exactly.
@mizzothify mizzothifi I suspect that he was referring to Elizabeth Schwarzkopf. ES was asked by Bruno Walter to sing it as his farwell concert. The singer had reservations feeling her voice did not have the reserves required but "when Walter asks "...............Incidentally she wasn't the girl friend but his wife.
@@davy91101 She was the wife of Walter Legge, not in any universe of Bruno Walter!
Music, the highest of the arts, transcends mere words.
doe6171 But words were never "mere" to Miss Seefried. She wasn't interested in just making lovely tone... tho' she does that w such seeming ease.
Her phrasing is exquisite! She often sang with Elisabeth Schwarzkopf, who said in interview that Seefried was naturally able to achieve results effortlessly which other singers, including Schwarzkopf herself, had to work hard to produce.
A touch faster than I am accustomed to hearing but I find it refreshing !
Exquisite!
Thankyou so dearly for uploading this!
RinatyaNessim 4
I agree, normandevalois, although I do appreciate the Ferrier version. Seefried gets this childlike simplicity with a touch of heavenly angel mixed in. Perfection with a perfect orchestral accompaniment. Does anyone sing like this anymore?
Best one!!
Tão sincero, tão real...
I agree. It's poignant but doesn't wallow, which actually makes it even more poignant.
Her phrasing is incomparable !!
...it is more a happy song about feeling luck in being in music & love => And I rest in a quiet realm !
I live alone in my heaven, In my love and in my song ! LES
Who is the conductor, which orchester??????? Is that not interesting???
...one of the better Mahler-Rückert-Videos here on YT ! LES
@Doromir
Orchestre national de l' ORTF, Manuel Rosenthal, 1967
podkivanok Thank you.
I like it in the orig. key., but Irmgard gives a transcendent performance,,,,fast immer!
I agree with you although I appreciate Irmgard very much. But of course Ferrier had an extra touch to it because of the special situation.
And the Ferrier interpretation here on youtube is my alltime favorite.
this is the best I've heard not too maudlin like the hooty Ferrier version. Christa Ludwig with Gerald Moore is good , too
John Arthur. Brother. Died May 03.at 39.🖤🙏 Live durfte ich Renee Flemimg erleben. Carnegie Hall. 1998, Berliner Philharmoniker, Claudio Abbado. Love version of Jessye Norman.
...thousands of voices can make me more smile than Satchmo ! Sorry, we are here in a classical section ! di Stefano, Gigli, Gobbi, Raimondi, Wunderlich, Anders, ............. ! LES
Am I the only one missing a certain pinch more feeling in the famous "und ruh'..."?
14 years later, I agree - and she breathes there, rather abruptly -which is very understandable if you've ever tried to sing it! - but compare Christa Ludwig, who makes time stand still at that moment and through the whole amazing phrase that follows. On the other hand, the last two lines are done so well here, just perfect.
What's the name of the conductor ?
Himmlisch!
Who is the conductor?
precioso
document très intéressant en ce qu'il est sans fard, sans "glamour" aucun : juste le travail, le dur travail du chant. Et quel regard, en elle-même regardant !
qui est le chef ? ressemble à un chef français mais peu probable ? dp
villebaston Je me demandais justement.
Wonderful performance.The conductor is probably Manuel Rosenthal, ORTF orchestra. Not unimportant....
Kindlich ist gemeint, nicht kindisch - ist ein Unterschied ;-) Childlike und childish ist genau das gleiche - im Englischen ist es richtig gewählt. Aber Seefried hat das gut umgesetzt, keine Frage.
Manuel Rosenthal.
the tempo is too fast for me, but she's great anyway, singing it as if she really were "abhanden", but without any sentimentality and pianissimo-legatissimos.
Seefried n’était pas très en voix ici, cela semble l’inquiéter et l’oblige à parcourir rapidement le lied sans pouvoir s’épanouir. Cette magnifique mélodie est ici chantée comme une “conversation “ straussienne pleine d’inquiétude. Cela me fait plutôt penser à Agathe dans l’attente anxieuse de Max…
....ooh, ok, but let us hear di Stefano until 1959 ! you can not mean, he is shouting ??? awful highs ??? are you serious ??? and btw, hear F. von Stade with Mahler, you'll cry on the first notes (=SONY-CD) ! this video reminds me on her a bit ! LES
I thot she was in pretty good shape
Traurig wie sie das Lied gefühllos singt...
Sie singt es mehr in der positiven Variante, nicht in der bevorzugten Trauervariante. Sie drückt ja auch ihr Glück mimisch aus. Damit trifft sie eigentlich den wahren Kern des Gedichts von Rückert, der hier begründet oder gar still feiert, warum er sich von Politik und Gesellschaft zurückgezogen hat in seine geliebte Poesie.
Ich sagte "eigentlich", denn man muss es auch nicht übertreiben und fast schon sprechen. Auch positives Schwelgen kann langsam und artikuliert rüberkommen. Sonst gehen, wie hier, doch einige Nuancen verloren.
Selbst der sonst so schnelle Karajan ließ sich bei seiner Aufnahme mit Christa Ludwig mehr Zeit als die meisten. Der Effekt: Man hat mehr vom Lied, mehr Genuss. Das hier jedenfalls war ein Quickie. Musste nicht sein.
Ich habe nie an "Freischutz" gedacht, wenn ich diese schone interpretation angelauscht hatte.
Die englisch horn- und oboe-soli waren wunderschone und das ganze stuck ist von einer "bluhende Leerheit" gepragt, finde ich.