Interesting comments here. The Met streaming service doesn't offer this particular recording. According to a lengthy NY Times archival article she went through a harrowing car accident which led to serious health problems that directly affected her throat: " But things weren't all right, and as the months went by she started experiencing dizzy spells on stage. she couldn't sleep, she got into the habit of tilting her head to one side. This led to a development of the muscles on one side of her neck, seen by others as some kind of bump at the throat. “About four years ago I was being massaged, and the lady suddenly noticed that something didn't feel right about one of the bones. And then I went to a Harley Street specialist, who called for X‐rays through my open mouth. These showed clearly that the bone on the very top of my spine-I don't know what you call it, the swivel perhaps-had been pushed over to one side. He decided to manipulate it back into place-and that was very dangerous, because if he did it .”
One simply has to accept that Jones' vibrato is wide and that she sings approximate pitches occasionally, but what annoys the *@!( out of me is that she is almost always behind the conductor's beat - like a second or more behind the beat. She's an intelligent lady, with great stamina and often thrilling high notes and more than ample volume. She's one of the best Marschallin's I've ever heard and I admired her Fidelio and even Tosca, but why o why does she not respect the conductor, with whom, one presumes, she rehearsed prior? Maddening!
Considering the urban lore about how terrible Jones was in this run at the Met, this performance finds her not bad actually. Not her most beautiful singing, but is far from her worst. Comments below that indicate she was past her prime in the 80’s are frankly wrong. Jones had bad nights, but continued to sing beautifully more times than not until she was nearly 60 y.o. (mid 90’s). The comment about her poor technique also is unfounded. In fact, it was technique that allowed Jones to sing as long and as varied a repertoire as she did. My sense of the problem was the relentlessness of her schedule and that she nearly never canceled, even when ill. She also had an accident in 1970 when she was hit from behind while seated in a stationary car, throwing her neck out of joint. That accounts, she has said, for the shake and stridency of some of her performances from about 1970-72, before a chiropractor ironed out the problem. She was in intense pain and her spinal column out of joint. Unfortunately, some of her most important recordings were made during that period and set up a perception in some of the public mind that she was past it after 1970.
@@ransomcoates546 Jones was not pleased with her work in that recording. She knew she was unable to perform to her standard at that point after her accident and she was saddened by the release of her contribution but was contractually bound. What’s interesting is that, in hindsight and given the Ortruds one hears nowadays, it actually sounds surprisingly ok, even if quite rough for her. There are a lot of beautiful tones, word painting and vocal effects.
Gwyneth could vary from night to night. I saw some mediocre performances in the 1980s, and some great ones in the 1990s. It really depended on your luck in getting one of her great nights.
Jones’ problem was a poor technique and a relentless schedule, NOT the roles she sang. Anyone who knows the music and heard her voice would know she had a Brunnhilde voice. It was an effortlessly huge voice. Beyond that Jones continued to have good night up until the mid-nineties and there is plenty of evidence that proves it. Certainly one of the most uneven sopranos on record and when she was bad she was BAD. But your comment is factually inaccurate.
@@petercallahan7321 It was not necessarily the technique but her overexaggerated mannerisms and the intolerable way she attacked notes. Either excruciatingly scooping from below or hitting them directly but (unlike Nilsson who did that as well) in a seemingly hit-or-miss uncontrollable fashion - the result sounded often like a head on train collision. 😂
Yikes! Jones is flat in many place and her wabble doesn't help any. She was a great soprano in he sixties. The "Liebestod" should have come sooner. Much sooner. Levine attemps to drown her with the orchestra, probably out of anger.
@@Yves_Ka My goodness, she's actually singing almost a whole step sharp at the end of that passage. Couple that the the shrillness, wobble, and incessant scooping and you have a terrible disaster. The less said about the Liebestod the better. At this point she sounds like she's getting tortured and screaming for mercy. Just dreadful all around.
AMAZING CAST GREAT SOUND THANK YOU VERY MUCH
Fantastic Jones.
Fantastic ....the critics are stupid
These performances marked the first time New York heard Tristan und Isolde without cuts.
Endlich
Levine war phantastische
A long over due punishment New York has long deserved.
@@barney6888 Naughty, naughty!
Meanwhile I can’t remember hearing a more beautiful Brangaene. Troyanos in ‘81 what a treat
I love Ms. Troyanos. Such a loss! Thanks for putting that out!
Interesting comments here.
The Met streaming service doesn't offer this particular recording.
According to a lengthy NY Times archival article she went through a harrowing car accident which led to serious health problems that directly affected her throat:
" But things weren't all right, and as the months went by she started experiencing dizzy spells on stage. she couldn't sleep, she got into the habit of tilting her head to one side. This led to a development of the muscles on one side of her neck, seen by others as some kind of bump at the throat. “About four years ago I was being massaged, and the lady suddenly noticed that something didn't feel right about one of the bones. And then I went to a Harley Street specialist, who called for X‐rays through my open mouth. These showed clearly that the bone on the very top of my spine-I don't know what you call it, the swivel perhaps-had been pushed over to one side. He decided to manipulate it back into place-and that was very dangerous, because if he did it .”
Hopefully now we'll start to see more of these types of recordings from the Met.
Thank you for posting this!
Prelude: 0:00
Act 1: 12:03
Act 2: 1:22:04
Act 3: 2:40:08
👍🏻
One simply has to accept that Jones' vibrato is wide and that she sings approximate pitches occasionally, but what annoys the *@!( out of me is that she is almost always behind the conductor's beat - like a second or more behind the beat. She's an intelligent lady, with great stamina and often thrilling high notes and more than ample volume. She's one of the best Marschallin's I've ever heard and I admired her Fidelio and even Tosca, but why o why does she not respect the conductor, with whom, one presumes, she rehearsed prior? Maddening!
Considering the urban lore about how terrible Jones was in this run at the Met, this performance finds her not bad actually. Not her most beautiful singing, but is far from her worst. Comments below that indicate she was past her prime in the 80’s are frankly wrong. Jones had bad nights, but continued to sing beautifully more times than not until she was nearly 60 y.o. (mid 90’s). The comment about her poor technique also is unfounded. In fact, it was technique that allowed Jones to sing as long and as varied a repertoire as she did. My sense of the problem was the relentlessness of her schedule and that she nearly never canceled, even when ill. She also had an accident in 1970 when she was hit from behind while seated in a stationary car, throwing her neck out of joint. That accounts, she has said, for the shake and stridency of some of her performances from about 1970-72, before a chiropractor ironed out the problem. She was in intense pain and her spinal column out of joint. Unfortunately, some of her most important recordings were made during that period and set up a perception in some of the public mind that she was past it after 1970.
Yep.
James King blamed her for sabotaging his ‘Lohengrin’ recording.
@@ransomcoates546 Jones was not pleased with her work in that recording. She knew she was unable to perform to her standard at that point after her accident and she was saddened by the release of her contribution but was contractually bound. What’s interesting is that, in hindsight and given the Ortruds one hears nowadays, it actually sounds surprisingly ok, even if quite rough for her. There are a lot of beautiful tones, word painting and vocal effects.
Seems to have some difficulties. Says no stream, but I hope it get fixed because I want this!!
Thank you!!! Do you have a recording of the December 18, 1971 broadcast of Tristan, conducted by Erich Leinsdorf?
There are some wonderful sounds in her voice, but so unsteady at times. Still, this is a lot better than some of her later performances
Gwyneth could vary from night to night. I saw some mediocre performances in the 1980s, and some great ones in the 1990s. It really depended on your luck in getting one of her great nights.
@@wotan10950 She was better in the 1970s I think.
@@petatap Everyone was better in the 1970s.
Love Dame Gwyneth Jones but I think both Isolde and Brunnhilde are beyond her reach
@@wotan10950 There was a fine Senta, Elisabeth & Venus.
Merci. Pouvez vous préciser la date de l'enregistrement. Est-ce un enregistrement de la radio ou un pirate. Merci
C'est la date mentionnée, émission radio!
C'est donc le 31 janvier 1981. Merci beaucoup.
The wobble you take for granted, but I’ve never heard her so out of tune.
Even by her own standards, this was an infamously bad run for Jones.
This is one soprano who never should have sung Brunnhilde. Her voice did not recover afterwards.
Jones’ problem was a poor technique and a relentless schedule, NOT the roles she sang. Anyone who knows the music and heard her voice would know she had a Brunnhilde voice. It was an effortlessly huge voice.
Beyond that Jones continued to have good night up until the mid-nineties and there is plenty of evidence that proves it. Certainly one of the most uneven sopranos on record and when she was bad she was BAD. But your comment is factually inaccurate.
@@petercallahan7321 It was not necessarily the technique but her overexaggerated mannerisms and the intolerable way she attacked notes. Either excruciatingly scooping from below or hitting them directly but (unlike Nilsson who did that as well) in a seemingly hit-or-miss uncontrollable fashion - the result sounded often like a head on train collision. 😂
Yikes! Jones is flat in many place and her wabble doesn't help any. She was a great soprano in he sixties. The "Liebestod" should have come sooner. Much sooner. Levine attemps to drown her with the orchestra, probably out of anger.
She is also very sharp in other places from 1:35:06 that is VERY sharp - almost a semitone!
@@Yves_Ka My goodness, she's actually singing almost a whole step sharp at the end of that passage. Couple that the the shrillness, wobble, and incessant scooping and you have a terrible disaster.
The less said about the Liebestod the better. At this point she sounds like she's getting tortured and screaming for mercy. Just dreadful all around.
@@jabber12345😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊