This a breath-taking bravura performance. These two had known each other for a long time and were used to each other, BUT this is special. The last minute has a life of its own. I'm plown away every time I hear it,
I definitely enjoy this dazzling rendition of the Ramiro/Angelina duet accomplished by Fritz Wunderlich and Erika Köth. Here is something interesting too. There were also a handful of lyric coloratura sopranos who also sang Angelina such as Mercedes Capsir, Erna Sack, Lotte Schöne, Fritzi Jokl, Adele Kern, Gisela Vivarelli, and, in the 21st century, Alexandra Lubchansky, Isabel Piaginol, and Alexandra Hutton.
Wenn die Hochstablern die Köth kritisiert - dann bedenke: Ohne Charme geht nichts - und Charme hat sie. Kann so schön und hoch pipsen - und mit der Stimme von Wunderlich .... Ich weiss nicht ob es die beste Aufnahme ist .... die sind wohl kaum Teilnehmern in Tour de France ... wenn man nicht zuhören will - dann lasse es.... Ich finde eine liebliche kokette Charme von Wunderlich und Köth.....
Für mich wunderschön gesungen,auch wenn die Rolle ursprünglich wohl nicht für so eine hohe Frauenstimme vorgesehen ist. Zwei tolle Stimmen zusammen ergeben diese wundervolle Aufnahme
Koeth as Cenerentola is thrilling...its written for a mezzo ...and Koeth was a thrilling high Leggero or later a lyric soprano She sung Rosina with Wunderlich and she was sensational...see the live broadcast of Barbiere from Munich ...both where fantastic ...and Hotter..what a cast...koeth also sung Lucia 80 times and she was fantadtic if uou like a Lycia sung by a leggero not by a dramatica agilita like Mose or Deutekom Love u tube
Erika Köth war kein lyrischer Sopran, sondern eine Koloratursopranistin; diese Stimmlage ist die höchste und beweglichste. Erika Köth und Ingeborg Hallstein sind nach m. E, die besten Koloratursopranisten der zweiten Hälfte des 20. Jahrhunderts.
This sounds as if the prince has chosen the stepsister Clorinda instead of Cinderella. So many liberties are taken with Rossini's score it's hardly recognizable, every single bar has changes. Rossini would have asked who wrote it! A nice point is also missed in the German translation at the end of the recit. Ramiro: "Do I look like a monster?" Cinderella: "YES! - No, Sir." So funny and touching, and it goes for nothing here.
helgeevju Something is always “lost in translation”, as you well know. There are nice touches in the famous German recording of Mozart’s Figaro (conductor Otmar Suitner) BECAUSE it is in German. I therefore prefer it to all but less than a handful of Figaros in the original Italian. May I ask you what reason they had to so stray from Rossini’s score here? I think he, being a great improviser, would have appreciated certain departures. Abbado’s to the note versions of his & Mozart’s operas brought no joy to the singers or him, as the accompanying photos testify, whereas in the Suitner recordings of both the Barber & Figaro, where the recits are acknowledged as the finest on earth, & the rest faultless, the photos show that to everyone involved, these ventures were nothing short of pure joy. Have a listen some day. The sound is fabulous on both.
Wunderlich is amazing. His musicality is so exceptional that one forgets that this is sung in German. He even makes the recitativo work. Köth gelingt es weniger gut. It's usually sung by a mezzo so her higher version sounds odd. And Aschenputtel really sounds far away from Cenerentola. Imo.
I would say like Rossini when (I think) Adelina Patti sang an overdecorated version of Rosina's "Una voce poco fa": "That was really lovely. Who wrote it?" One could certainly enjoy this duet if ignorant of what the composer really wrote. But when Köth sings a whole phrase one entire octave up, the text flies out of the window...
Why didn't these excellent singers record another duet suited to their combined voices? Maria Stader and Ernst Haefliger recorded "Lucia di Lammermoor" together in German, and it sounds a little unusual but delightful.
Wunderbar gesungen, aber zu virtuos: die Cenerentola ist keine Rolle für eine Koloratursopranistin. Man sehe und höre sich etwa Frederica von Stade an, dann merkt man, welche Interpretation der Rolle wirklich entspricht.
Cenerentola keine Koloraturrolle für eine Sopranistin? Unsinn! Callas hat vorgemacht, wie es geht. Im Übrigen war zu Rossinis Zeiten die heutige Facheinteilung nicht üblich.
Callas hat nur die Arie aufgenommen, sie hat niemals Cenerentola auf der Bühne gesungen. Und Callas war nie ein reines Koloratursopran gewesen. Und zu Rossinis Zeiten war es wohl ein großes Unterschied zwischen "soprano" und "contralto"!
This a breath-taking bravura performance. These two had known each other for a long time and were used to each other, BUT this is special. The last minute has a life of its own. I'm plown away every time I hear it,
Die beiden singen herrlich! Danke!
Wunderlich was the greatest lyric tenor and Koth sang like an exotic bird. The pairing of them was an inspired idea.
I definitely enjoy this dazzling rendition of the Ramiro/Angelina duet accomplished by Fritz Wunderlich and Erika Köth. Here is something interesting too. There were also a handful of lyric coloratura sopranos who also sang Angelina such as Mercedes Capsir, Erna Sack, Lotte Schöne, Fritzi Jokl, Adele Kern, Gisela Vivarelli, and, in the 21st century, Alexandra Lubchansky, Isabel Piaginol, and Alexandra Hutton.
Fritz! Immer Fritz! Thanks for sharing this. I needed a dose o' Fritz today and didn't even know it, until I listened.
Wenn die Hochstablern die Köth kritisiert - dann bedenke: Ohne Charme geht nichts - und Charme hat sie. Kann so schön und hoch pipsen - und mit der Stimme von Wunderlich ....
Ich weiss nicht ob es die beste Aufnahme ist .... die sind wohl kaum Teilnehmern in Tour de France ... wenn man nicht zuhören will - dann lasse es....
Ich finde eine liebliche kokette Charme von Wunderlich und Köth.....
Für mich wunderschön gesungen,auch wenn die Rolle ursprünglich wohl nicht für so eine hohe Frauenstimme vorgesehen ist. Zwei tolle Stimmen zusammen ergeben diese wundervolle Aufnahme
Koeth as Cenerentola is thrilling...its written for a mezzo ...and Koeth was a thrilling high Leggero or later a lyric soprano
She sung Rosina with Wunderlich and she was sensational...see the live broadcast of Barbiere from Munich ...both where fantastic ...and Hotter..what a cast...koeth also sung Lucia 80 times and she was fantadtic if uou like a Lycia sung by a leggero not by a dramatica agilita like Mose or Deutekom
Love u tube
Sandor Konya Who is Mose? Do you mean Edda Moser by chance? Thx.
Erika Köth war kein lyrischer Sopran, sondern eine Koloratursopranistin; diese Stimmlage ist die höchste und beweglichste.
Erika Köth und Ingeborg Hallstein sind nach m. E, die besten Koloratursopranisten der zweiten Hälfte des 20. Jahrhunderts.
Who cares the “real” Cenerentola and the original score when voices and singing are such a high level?
You couldn't find a flattering picture of Koth?
2 ,voix splendides, inoubliables...
This sounds as if the prince has chosen the stepsister Clorinda instead of Cinderella. So many liberties are taken with Rossini's score it's hardly recognizable, every single bar has changes. Rossini would have asked who wrote it! A nice point is also missed in the German translation at the end of the recit. Ramiro: "Do I look like a monster?" Cinderella: "YES! - No, Sir." So funny and touching, and it goes for nothing here.
helgeevju Something is always “lost in translation”, as you well know. There are nice touches in the famous German recording of Mozart’s Figaro (conductor Otmar Suitner) BECAUSE it is in German. I therefore prefer it to all but less than a handful of Figaros in the original Italian. May I ask you what reason they had to so stray from Rossini’s score here? I think he, being a great improviser, would have appreciated certain departures. Abbado’s to the note versions of his & Mozart’s operas brought no joy to the singers or him, as the accompanying photos testify, whereas in the Suitner recordings of both the Barber & Figaro, where the recits are acknowledged as the finest on earth, & the rest faultless, the photos show that to everyone involved, these ventures were nothing short of pure joy. Have a listen some day. The sound is fabulous on both.
Wunderlich is amazing. His musicality is so exceptional that one forgets that this is sung in German. He even makes the recitativo work. Köth gelingt es weniger gut. It's usually sung by a mezzo so her higher version sounds odd. And Aschenputtel really sounds far away from Cenerentola. Imo.
I would say like Rossini when (I think) Adelina Patti sang an overdecorated version of Rosina's "Una voce poco fa": "That was really lovely. Who wrote it?" One could certainly enjoy this duet if ignorant of what the composer really wrote. But when Köth sings a whole phrase one entire octave up, the text flies out of the window...
Why didn't these excellent singers record another duet suited to their combined voices? Maria Stader and Ernst Haefliger recorded "Lucia di Lammermoor" together in German, and it sounds a little unusual but delightful.
helgeevju Just as this does to me.
Wunderbar gesungen, aber zu virtuos: die Cenerentola ist keine Rolle für eine Koloratursopranistin.
Man sehe und höre sich etwa Frederica von Stade an, dann merkt man, welche Interpretation der Rolle wirklich entspricht.
Cenerentola keine Koloraturrolle für eine Sopranistin? Unsinn! Callas hat vorgemacht, wie es geht.
Im Übrigen war zu Rossinis Zeiten die heutige Facheinteilung nicht üblich.
Callas hat nur die Arie aufgenommen, sie hat niemals Cenerentola auf der Bühne gesungen. Und Callas war nie ein reines Koloratursopran gewesen. Und zu Rossinis Zeiten war es wohl ein großes Unterschied zwischen "soprano" und "contralto"!