The bass that makes other basses sound like baritones. Just an incredible voice, incredible control, and incredible acting. He was the complete package, and I'm thankful that he existed in the era of great recording technology, and his voice isn't hidden in tinny 78s from a century ago.
According to Vladimir Miller, who was a student of Moll, he could hit F1s in his vocal warmup exercises. No doubt the greatest operatic bass of all time.
Man was simply amazing! I am happy hitting the occasional C2 and C#2 with a couple of Bflat1s thrown in from time to time. His resonance was always mind blowing!
This is me. Without any vocal warm-up, I can hit an effortless E2, warming a good D2, but I can hit a not so good C#2, C2 as well. I know that I have a Bflat1 too, but I think that below D2 there must be some kind of tricky shit that I have to do with the tongue that I didn't figure it out yet... Truth be told: I'm not even a singer, I just do it for fun, hahaha
Three octaves in full voice F1-F4 The human contrabasson Edit: He never recorded the contra F, but Vladimir Miller heard this live Edit2: Tree octaves and one semitone, he had a lovely F#4
Hugh Mungus most of these are recorded from off stage, so he is projecting these notes incredibly loud in a room. I could believe him singing a F1, considering that he by far has one of the loudest C2s I have ever heard from a bass.
Hugh Mungus, Kurt Moll is a basso profundo by definition. I don’t know where you are coming from. It literally his classification. He has a lower and richer tone than most of his basso profundo colleagues. Bass-baritone is simply a bass/baritone with a range that covers both fachs. A good example of a bass-baritone is Sam Ramey. Edit: I am also bass-baritone, though I have not gone very much into training yet. I’m young, so maybe some of my high range is just youth, but I have a much higher tesitura than moll. My strongest note (forte) is usually an F or E, but I can go down to low C easily on a good day. The lowest extreme I had was a Bb1. I understand your skepticism but I could totally believe moll singing an F1 in the right circumstances. And I don’t take Miller, who was trained by him (and has a lower tesitura than him), as someone who would make that up.
There is a lengthy interview with him on youtube where he goes down to somewhere between F1 and G1 in speech without trying at all. I would even believe you if you me he bottomed out at E1
@@boundary2580 can you go higher than F4? Because i.e. E2-F4 is easily a bass, It strongly depends on what your voice sounds like. Bass-baritones usually can actually go lower than basses because of the longer vocal folds, but the bass vocal folds are thicker.
thank you very much for the upload! about Don Giovanni, Gottlob Frick also sang the low D as the Commendatore, but his low notes weren't as big as Herr Moll's, so it's barely audible in live recordings (which can be found easily on Spotify). once again, thanks for the video!
He talked about that in an interview with Bruce Duffie: he said (not in so many words, but the basic point was) that he was afraid to sing Hagen-- it would have destroyed his voice. Also, it's not his personality. Here, I'll quote the relevant part of the interview: BD: Are there any Wagner roles you haven’t sung yet that you’d like to? KM: I’ve sung all the Wagner roles except Hagen and I’m really not interested in that one because it doesn’t seem to suit my nature particularly well. You need a kind of a raw voice, one that’s like a knife. You need to almost yell more than sing. You must cry out rather than sing in a bel canto style. BD: Is that the way Wagner wrote it, or has it just come down to us that way today? KM: It’s possible that we’ve come to the point today where Hagen is a role for someone who really can’t sing other parts any more. BD: Is it a voice-killer? KM: Yes, but there are certain special voices that can stand the punishment of this role. As a matter of fact, I was singing in a production of the Ring in Paris with Solti conducting, and we were supposed to do all four operas, but the last two were dropped because of difficulties with the stage-direction team. I was supposed to sing Hagen, and despite the fact that they were dropped, I was paid anyway, and I decided at that time that there was no way that I could ever earn that much money again by not singing a part. [Laughter all around] I also find that Hagen is so rough on the voice that it interferes with other parts of my career which I really enjoy, such as Lieder recitals.
So interesting, his comment on Hagen's music. 'You need a kind of raw voice, one that's like a knife.' That's how Gottlob Frick sounds to me as Hagen. 'Like a knife.' Incredibly wonderful. As Moll says: 'There are certain special voices that can stand the punishment of this role.' Of course, singing King Philip, Frick is so gentle.
I can go from C2 to G4 but won't never sound as HUGE as Kurt sounded. ¿does anyone Know his Height in feet or meters?. taller men usually have very dark bass voices like Glenn Miller's.
Well, Moll was a basso profundo so he could sing low notes with ease, even with an orchestra behind. I am a baritone an I struggle a bit to sing a C2 :) As I've seen in some performances, he appears to be a very tall man.
Nekros97 most sources say that Zlatopolsky was around 5 ft 7. Honestly height is very loosely correlated with voice type. I’m one of the taller basses in my choir and I’m only 6 ft. The lowest bass we have is this short skinny guy who speaks around C2.
Kurt Moll also faintly sings a B1 while giving a lesson in this video: ua-cam.com/video/rnLSxNdy1u4/v-deo.htmlm44s And an F#4 in Beethoven's 9th: ua-cam.com/video/t4N5-OALObk/v-deo.htmlm32s
What I love about his voice is it’s clear 🔔 sounds. Without squillo the Bass voice is just a novelty but a voice like Moll is as rare as a white elephant and beautiful to the ear.
I have to correct you here. Both Ludwig Weber and Gottlob Frick frequently hit the low D at the end of the commendatore scene, and so did I. Please do get your facts right
Kurt me gusta porque tiene la voz muy pesada, como si fuera que se levantó de despertar todo el tiempo xD. Aunque no es de los bajos más bajos que hay, si el hubiese aprendido el strobass o como se diga, Fijo llegaba a un E1
incontestablement la voix de basse la plus naturelle avec le registre grave le plus timbré, et là encore le plus naturel et un médium de même facture. Mais au delà des caractéristiques techniques, Kurt Moll fut et reste un artiste et un chanteur majeur dans l'art du chant. Un très grand, un immense, un géant qu'on n'aura de cesse de redécouvrir, une fois la mode des haute-contre passée.
You forgot when he sang a #F4 in Beethovens 9th, Watch this video [ua-cam.com/video/EiiymIX_V_U/v-deo.html] and fast forward to 2:13. Very good video though. Moll is also my favorite
The bass that makes other basses sound like baritones. Just an incredible voice, incredible control, and incredible acting. He was the complete package, and I'm thankful that he existed in the era of great recording technology, and his voice isn't hidden in tinny 78s from a century ago.
Indeed! I regret I will never see him live :(
Because he’s TRUE basso profondo ,i love him so much
According to Vladimir Miller, who was a student of Moll, he could hit F1s in his vocal warmup exercises. No doubt the greatest operatic bass of all time.
I've already learned about the high F#4 in Beethoven's 9th Symphony, the man was astounding...
Man was simply amazing! I am happy hitting the occasional C2 and C#2 with a couple of Bflat1s thrown in from time to time. His resonance was always mind blowing!
This is me. Without any vocal warm-up, I can hit an effortless E2, warming a good D2, but I can hit a not so good C#2, C2 as well. I know that I have a Bflat1 too, but I think that below D2 there must be some kind of tricky shit that I have to do with the tongue that I didn't figure it out yet... Truth be told: I'm not even a singer, I just do it for fun, hahaha
@@ivomoreira42 is this opera?
@@ivomoreira42 keep in mind he projected and sustained that D over an orchestra, went down to a c even a bb1 for funnit sounded.
Lo acabo de descubrir. Su voz es genial y fuera de este mundo.
Magnificent clear and most resonant Basso
That stellar Don Giovanni D2 absolutely blew my mind, which is how i discovered the beauty of Moll's voice.
Ooof he was my favorite singer
:'U
Still is
Three octaves in full voice F1-F4
The human contrabasson
Edit: He never recorded the contra F, but Vladimir Miller heard this live
Edit2: Tree octaves and one semitone, he had a lovely F#4
Hugh Mungus most of these are recorded from off stage, so he is projecting these notes incredibly loud in a room. I could believe him singing a F1, considering that he by far has one of the loudest C2s I have ever heard from a bass.
Hugh Mungus, Kurt Moll is a basso profundo by definition. I don’t know where you are coming from. It literally his classification. He has a lower and richer tone than most of his basso profundo colleagues.
Bass-baritone is simply a bass/baritone with a range that covers both fachs. A good example of a bass-baritone is Sam Ramey.
Edit: I am also bass-baritone, though I have not gone very much into training yet. I’m young, so maybe some of my high range is just youth, but I have a much higher tesitura than moll.
My strongest note (forte) is usually an F or E, but I can go down to low C easily on a good day. The lowest extreme I had was a Bb1. I understand your skepticism but I could totally believe moll singing an F1 in the right circumstances. And I don’t take Miller, who was trained by him (and has a lower tesitura than him), as someone who would make that up.
There is a lengthy interview with him on youtube where he goes down to somewhere between F1 and G1 in speech without trying at all. I would even believe you if you me he bottomed out at E1
Lukas Lukas now I actually know he can sing those. I honestly did not know his speaking voice was that low.
@@boundary2580 can you go higher than F4? Because i.e. E2-F4 is easily a bass, It strongly depends on what your voice sounds like. Bass-baritones usually can actually go lower than basses because of the longer vocal folds, but the bass vocal folds are thicker.
thank you very much for the upload!
about Don Giovanni, Gottlob Frick also sang the low D as the Commendatore, but his low notes weren't as big as Herr Moll's, so it's barely audible in live recordings (which can be found easily on Spotify). once again, thanks for the video!
What a voice! Brilliant Commendatore! A shame he never sang Hagen from Gotterdammerung.
He talked about that in an interview with Bruce Duffie: he said (not in so many words, but the basic point was) that he was afraid to sing Hagen-- it would have destroyed his voice. Also, it's not his personality. Here, I'll quote the relevant part of the interview:
BD: Are there any Wagner roles you haven’t sung yet that you’d like to?
KM: I’ve sung all the Wagner roles except Hagen and I’m really not interested in that one because it doesn’t seem to suit my nature particularly well. You need a kind of a raw voice, one that’s like a knife. You need to almost yell more than sing. You must cry out rather than sing in a bel canto style.
BD: Is that the way Wagner wrote it, or has it just come down to us that way today?
KM: It’s possible that we’ve come to the point today where Hagen is a role for someone who really can’t sing other parts any more.
BD: Is it a voice-killer?
KM: Yes, but there are certain special voices that can stand the punishment of this role. As a matter of fact, I was singing in a production of the Ring in Paris with Solti conducting, and we were supposed to do all four operas, but the last two were dropped because of difficulties with the stage-direction team. I was supposed to sing Hagen, and despite the fact that they were dropped, I was paid anyway, and I decided at that time that there was no way that I could ever earn that much money again by not singing a part. [Laughter all around] I also find that Hagen is so rough on the voice that it interferes with other parts of my career which I really enjoy, such as Lieder recitals.
@@ColonelFredPuntridge Still would've been awesome.
So interesting, his comment on Hagen's music. 'You need a kind of raw voice, one that's like a knife.' That's how Gottlob Frick sounds to me as Hagen. 'Like a knife.' Incredibly wonderful. As Moll says: 'There are certain special voices that can stand the punishment of this role.' Of course, singing King Philip, Frick is so gentle.
I can go from C2 to G4 but won't never sound as HUGE as Kurt sounded. ¿does anyone Know his Height in feet or meters?. taller men usually have very dark bass voices like Glenn Miller's.
Well, Moll was a basso profundo so he could sing low notes with ease, even with an orchestra behind. I am a baritone an I struggle a bit to sing a C2 :)
As I've seen in some performances, he appears to be a very tall man.
@@JoaquínVillazuela i just figured it out, he is 6f 2inches. Or 1,88m. There are other basso profundos whose height is almost 2 m.
One interesting exception is Zlatopolsky who could sing down to loud C1 though in the recordings he appeared to be quite short, like about 165-170.
yesss all of you are tenors hitting C0 good luck and have fun taking these stupidities
Nekros97 most sources say that Zlatopolsky was around 5 ft 7. Honestly height is very loosely correlated with voice type. I’m one of the taller basses in my choir and I’m only 6 ft. The lowest bass we have is this short skinny guy who speaks around C2.
Good video my friend.
is there a technique in the world that can make you sing a Bb0? K.Moll was really unique.
Growl, fry...and if youre bass with subharmonic you can.
@@mcmerry2846 you can use ingressive phonation if you know how to use it
By the way, can you tell me if that Don Giovanni has ever been released on CD/Vinyl?
I'm afraid I could only find that part in UA-cam, the rest of the opera is not allowed :(
It was A1 because he hits a little bit under Bb1 and slides up
Was the Bb1 at the end improvised/spontaneous? Certainly sounds so and I'd love that if he just mocked the horn like that. :D
Thanks, I was lookin for a video like this :)
B flat amazing
Kurt Moll also faintly sings a B1 while giving a lesson in this video:
ua-cam.com/video/rnLSxNdy1u4/v-deo.htmlm44s
And an F#4 in Beethoven's 9th:
ua-cam.com/video/t4N5-OALObk/v-deo.htmlm32s
What I love about his voice is it’s clear 🔔 sounds. Without squillo the Bass voice is just a novelty but a voice like Moll is as rare as a white elephant and beautiful to the ear.
I miss him...The best Commendatore ever...
Extraordinário
4:33 4:54 5:01 5:49 6:08
3:46 B2
I have to correct you here. Both Ludwig Weber and Gottlob Frick frequently hit the low D at the end of the commendatore scene, and so did I. Please do get your facts right
Stefán Arngrímsson a vos sos un bobo amigo
Love his clear voice it’s remarkably pristine and glorious
Kurt me gusta porque tiene la voz muy pesada, como si fuera que se levantó de despertar todo el tiempo xD. Aunque no es de los bajos más bajos que hay, si el hubiese aprendido el strobass o como se diga, Fijo llegaba a un E1
I think you should add Gunter Wewel to this List....
This was a really entertaining video.
Thank you.
What a voice!
I love him
What an extraordinary artist. He is missed.
3:02 3:15
3:50 4:12
incontestablement la voix de basse la plus naturelle avec le registre grave le plus timbré, et là encore le plus naturel et un médium de même facture. Mais au delà des caractéristiques techniques, Kurt Moll fut et reste un artiste et un chanteur majeur dans l'art du chant. Un très grand, un immense, un géant qu'on n'aura de cesse de redécouvrir, une fois la mode des haute-contre passée.
You forgot when he sang a #F4 in Beethovens 9th, Watch this video [ua-cam.com/video/EiiymIX_V_U/v-deo.html] and fast forward to 2:13. Very good video though. Moll is also my favorite
2:25
내 쌤의 쌤의 쌤인데 ㅎㅎ
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