This is so great. Hotter loads this unsurpussable scenes of the walküre with a sheer emotionality that's simple deeply moving. The orchestra is fantastic as well.
A great moment for a great singer & in a recording new to me. One knows that Hotter‘s voice could be variable day to day partly due to his allergies but here he is in optimum form which demonstrates why he was, I feel, the supreme Wotan of his time in both vocal timbre & dramatic interpretation.
@@marksmith3947 His voice was big in such a way that one imagines - and don't get me wrong, there's nothing ugly about it hehe - his throat inflating like a toad's when he sang! There is such spacious size.
Farewell to farewell. Magnificent.This extraordinary masterpiece with its philosophical background had a great effect in my life, met fourty years long with many resonances. This is very precious. Young man I listened younger Hotter with Astray and Kraus. Old man... Thanks!.
It's a fair question but I don't think London had a huge ring in his voice like Hotter. London was incredibly loud, with a generally pleasant sound. I feel his musicianship was a big plus. For vocal beauty, depth of expression and huge, ringing sound I pick Hotter
@@marksmith3947 I very slightly prefer Hotter too (but i am very flicker minded, after listening to one, i will vote for him, only till the next time i hear another, then i change my mind again). I did several head-to-head competition, i think London (who lack that metallic ring, if i may say so) has better interpretation, and that lack of metallic ring ,seems appropriate for the farewell.....
Denn einer nur freie dir Braut, der freier als ich, der Gott!!!. Has anybody ever sang it like that??The best Wotan and sadly the last great one...Still, I prefer him in 1953, better voice, even more inspired and expressive, and Krauss conducting. But this is my second favorite recording. Afterwards the wobble became a bit annoying.
Wonderful singing- but, let’s be honest, some of the intonation in the orchestra was shocking. The flautist at 4.23 should have been strung up by the thumbs for that note, and the wind and upper brass were little better towards the end. I loved it, though!
He was Wotan.Commanding god with extraordinary voice.I was lucky to see and listen him.
This is so great. Hotter loads this unsurpussable scenes of the walküre with a sheer emotionality that's simple deeply moving. The orchestra is fantastic as well.
Together with Martha Mödl as Brunhilde.....unforgettable performance of Walküre
Hans Hotter is Wotan. The anguish in his voice is unforgettable.
yes!!! till today I couldn't find anybody who is really Wotan and I listened the best... probably Alexander Sved
A great moment for a great singer & in a recording new to me. One knows that Hotter‘s voice could be variable day to day partly due to his allergies but here he is in optimum form which demonstrates why he was, I feel, the supreme Wotan of his time in both vocal timbre & dramatic interpretation.
I love Hotter. I feel that his voice had a huge ringing sound which couldn't be beat. I think his voice was much bigger than London's
@@marksmith3947 His voice was big in such a way that one imagines - and don't get me wrong, there's nothing ugly about it hehe - his throat inflating like a toad's when he sang! There is such spacious size.
The greatest Wotan of the entire 20th century
One of the greatest
I would even go so far as to say the greatest.
An unforgettable Wagnerian bass-baritone combining an expressive voice with an imposing stature.
Thank you, dear Manoli.
This is simply sublime. Superb. Spectacular. Divine.
Unwiderbringlich großartig. Nie wieder so erreicht. Göttlich eben!
Farewell to farewell. Magnificent.This extraordinary masterpiece with its philosophical background had a great effect in my life, met fourty years long with many resonances. This is very precious. Young man I listened younger Hotter with Astray and Kraus. Old man... Thanks!.
Did you see him perform live perhaps?
@Bravilor helas not. However I could when he sang at Paris very old in Lulu of Alban Berg.
magnificent and spine tingling
Extraordinaria la interpretación de Hotter pero no menos extraordinaria la de la orquesta
❤❤❤
Thanks for posting this.
Unbelievably eloquently inspired- many many thanks !
George London, or Hans Hotter? That is the ultimate question.
...or James Morris? Question answered!
@@killmrdarcy4367 James Morris ? Choking back bile rising in my throat gak gak ... James Morris 🤢🤮
Hotter of course
It's a fair question but I don't think London had a huge ring in his voice like Hotter. London was incredibly loud, with a generally pleasant sound. I feel his musicianship was a big plus. For vocal beauty, depth of expression and huge, ringing sound I pick Hotter
@@marksmith3947 I very slightly prefer Hotter too (but i am very flicker minded, after listening to one, i will vote for him, only till the next time i hear another, then i change my mind again).
I did several head-to-head competition, i think London (who lack that metallic ring, if i may say so) has better interpretation, and that lack of metallic ring ,seems appropriate for the farewell.....
Ein Sänger-Gott nimmt Abschied von seiner Tochter. Hotter, unerreicht bis heute!
#BOTD in 1909 🌹🌹🌹
Denn einer nur freie dir Braut, der freier als ich, der Gott!!!. Has anybody ever sang it like that??The best Wotan and sadly the last great one...Still, I prefer him in 1953, better voice, even more inspired and expressive, and Krauss conducting. But this is my second favorite recording. Afterwards the wobble became a bit annoying.
Creo que es mejor George London, sobre todo en el tiempo, y en la emoción versión de 1958, las grabaciones malas todas, horribles
Hotter wasn't the only major opera singer with a wobble: Callas had one too!
That wobbling doesn' matter. What he achieves here goes far beyond technique.
What version is this -- the year, etc.? And on what label is it available on CD?
Hans Hotter *was* Wontan.
Creo que es mejor London
Wonderful singing- but, let’s be honest, some of the intonation in the orchestra was shocking. The flautist at 4.23 should have been strung up by the thumbs for that note, and the wind and upper brass were little better towards the end. I loved it, though!
That's a bit Teutonic for a off flute, isn't it?😂 I can play it over and over now! 4:23....never to be repeated 'live' again. Priceless comment.
Not to mention the state of Mr Hotter's voice by then, such a wobble pace Legge
@@cmclean6475Do you find there are already significant vocal frailties in this reading?
@@geoffreyriggs2397 Hotter categorically does not wobble here. This is a healthy vibrato.
I think his 1958 version with Hans Knappertbusch at Bayreuth is better.
The orchestra were of course better.
This IS the Bayreuth Festival orchestra in 1956.
Can you pinpoint what it is that you prefer about the 1958?
@@geoffreyriggs2397 I appreciate your inquisitiveness and your search for the truth!