Edda Moser- she was a league of her own! I think she must have had a really big voice not only on recordings, but also live, as she sang A LOT at the Met- a very spacious house, where only voices with the right volume and carrying power can really bloom. In her autobiography „Ersungenes Glück“ she mentiones how Karajan even refers to the sheer volume of her voice. I truly believe she was a number one not only on recordings, but first and formost on the stage- live! One of my favourite singers 🌠 incredible voice, outstanding technique! One of the best of all times
My favourite version of Qui La Voce is Eleanor Steber live at Carnegie Hall accompanied just by the piano, but Edda Moser is also very moving. What a singer!
Love her, one of the greatest voices of our time! Although she has the voice to sing Italian Opera she doesn't seem to be very confident singing it. Shame, I always though she could have been the next great dramatic coloratura for the Italian repertoire.
Pelleas 1902 You are ignorant. Edda had the strongest high F of any soprano of history as she delivered them with dramatic power. And in her prime her coloratura was perfection, she sang the queen of the night at the Met for over a decade.
+chosentenore Have you any live recording proving that ? Did you ever hear her? I did. I heard her high F live. She only could sing it staccato in falsetto. That explains why she nearly never could sustain a long and forte high note above C in public. Listen and learn before telling other people they are "ignorant".
There are life recordings of her Queen of the Night and high Fs are as great as in the studio versions. You can't judge a singer like that because you've seen them live once. Everybody can have "a bad day" and maybe you just happened to see her on one of these. But her voice is huge, wonderful and in her prime moments her high F was the most badass in the history of opera.
Très bonne Vestale. Elle aurait dû rester dans cette tessiture le restant du récital...Faire Don Carlo et Mefistofele ou Adriana... ou le Pace de la Forza.
She didn't feel like it ! AND her voice didn't rest on high E flats. If you want her high notes I'm sure you're aware of the Mozart Concert Arias & The Queen of the Night. We, as fans of this music, have to give these singers a break every once & awhile. Although, it's amazing that any singer would sing The Mad Scene & the other high-note arias in concert. Her upper register sounds very thin -- she must have been tired -- over-taxing herself ... How did she get through "Salome" ?
BEVER29 Oui. elle n'avait plus l'âge depuis longtemps pour faire les vierges du répertoire, et l'aisance vocale était déjà perdue. A la même époque, elle avait fait à Salzburg Antonia des contes d'hoffman... je me souviens avoir tremblé en l'entendant feuler "viens, et tu verras, si j'ai perdu ma voix"...; Pathétique, hélas.
I LOVED Edda Moser! Best Queen of the Night EVER! Only problem was she seemed to tend to sing everything as if it was the Queen of the Night! She had difficulty singing a connected lyric line. Her voice could have been awesome for Bel Canto, but her approach to it was far lacking. But, she was still no less than amazing!
Yes, very true. Everything Moser did was rather intense. She couldn't sing a melting legato line as Caballe did so marvelously. And yet she sang roles such as Gilda and Lucia, which we don't normally associate with her. She would have been a marvelous Abigaille or Lady Macbeth but I don't think she ever got around to singing those parts.
Usually her singing was a little wild, but she was capable of great finesse when singing Mozart, specially his masses. She had great pianissimi, too. I think she was great nontheless. Her Norma would have been great!
@@Wotan123456789 Maybe, who knows. I think she had the coloratura and strength for Norma. The finesse needed may not be evident, but one can hear it in her Addio del passato in La Traviata, her Gilda in Rigoletto and her Iphigenie just to name a few. They show very good line and restrain. As it's been said somewhere else, had she had the training, she would've been great in the Italian repertoire.
Moser had a wonderful soprano voice. The studio recordings were kinder than live.The technique was almost all there. Her essential situation was that she had hormonal problems that really played against the nature of her singing career. At times we hear her blaring a high F above see in full sustained lunga, at other times as here she is a bat squeak Eb just below that high high F barely audible. She was safest at high c in a fairly more meaty high soprano repertoire. Hence Donna Anna and Konstanze were successful for longer. The voice has a boy soprano with a dramatic soprano scale of volume with enough agility for the coloratura. A frustrating artist but there were MANY in the 1970's. Her Lucia and Elvira are really haunting and she was not horrible at belcanto. That written the voice seems a little tired overall in these pieces and the placement not quite right in the middle voice thru the acuti top and the body support seems off kilter in this 1977 recital. But what a gorgeous voice and such artistry.
She never could sing correctly a sustained high note in public. All she could do above the high C were pianississimo staccato notes, as the Queen of the Night's high F. She never was a real coloratura dramnatico.
I agree with you. Her stacatti above high C, even though thin compared to the B-C, had a dramatic flair to them, but sustained them was not her strongest characteristic.
She really ruined what were otherwise relatively nice interpretations with those climax high notes, I don't know how she could possibly have thought that sounded good. She had a nice voice, but it was really quite poorly suited to bel canto roles, it was really just too big to be dexterous enough to sing this kind of fast slurred running coloratura well. There's a video from a MET gala where she's singing something from Rossini's L'Italiana and she's really white knuckling it.
Edda Moser- she was a league of her own!
I think she must have had a really big voice not only on recordings, but also live, as she sang A LOT at the Met- a very spacious house, where only voices with the right volume and carrying power can really bloom.
In her autobiography „Ersungenes Glück“ she mentiones how Karajan even refers to the sheer volume of her voice. I truly believe she was a number one not only on recordings, but first and formost on the stage- live!
One of my favourite singers 🌠 incredible voice, outstanding technique! One of the best of all times
My favourite version of Qui La Voce is Eleanor Steber live at Carnegie Hall accompanied just by the piano, but Edda Moser is also very moving. What a singer!
WOW! just WOW!!!
Norma, I puritani, Turandot she should do all these!
Love her, one of the greatest voices of our time!
Although she has the voice to sing Italian Opera she doesn't seem to be very confident singing it. Shame, I always though she could have been the next great dramatic coloratura for the Italian repertoire.
+chosentenore No, her coloratura was heavy, and above all she never could sustain high notes above high C.
Pelleas 1902
You are ignorant. Edda had the strongest high F of any soprano of history as she delivered them with dramatic power. And in her prime her coloratura was perfection, she sang the queen of the night at the Met for over a decade.
+chosentenore Have you any live recording proving that ? Did you ever hear her? I did. I heard her high F live. She only could sing it staccato in falsetto. That explains why she nearly never could sustain a long and forte high note above C in public. Listen and learn before telling other people they are "ignorant".
+Pelleas 1902 You having heard her live is at best anecdotal and you can't make broad statements about what she could and couldn't do based on that.
There are life recordings of her Queen of the Night and high Fs are as great as in the studio versions. You can't judge a singer like that because you've seen them live once. Everybody can have "a bad day" and maybe you just happened to see her on one of these. But her voice is huge, wonderful and in her prime moments her high F was the most badass in the history of opera.
Bella voz bella mijer
Très bonne Vestale. Elle aurait dû rester dans cette tessiture le restant du récital...Faire Don Carlo et Mefistofele ou Adriana... ou le Pace de la Forza.
oooooooh
Suggest Edda is one of the 10 greatest sopranos of all times like Lucia Popp, Anna Moffo, Janet Baker, Beverly Seels...
What happened with the high e flat???
She didn't feel like it ! AND her voice didn't rest on high E flats. If you want her high notes I'm sure you're aware of the Mozart Concert Arias & The Queen of the Night.
We, as fans of this music, have to give these singers a break every once & awhile.
Although, it's amazing that any singer would sing The Mad Scene & the other high-note arias in concert. Her upper register sounds very thin -- she must have been tired -- over-taxing herself ...
How did she get through "Salome" ?
Quel gâchis!
BEVER29 Oui. elle n'avait plus l'âge depuis longtemps pour faire les vierges du répertoire, et l'aisance vocale était déjà perdue. A la même époque, elle avait fait à Salzburg Antonia des contes d'hoffman... je me souviens avoir tremblé en l'entendant feuler "viens, et tu verras, si j'ai perdu ma voix"...; Pathétique, hélas.
+Matthieu Degott Et dire qu'elle avait volé la première des ces Contes d'Hoffmann salzbourgeois à Christiane Eda-Pierre, qui, elle, était l'idéal !
I LOVED Edda Moser! Best Queen of the Night EVER! Only problem was she seemed to tend to sing everything as if it was the Queen of the Night! She had difficulty singing a connected lyric line. Her voice could have been awesome for Bel Canto, but her approach to it was far lacking.
But, she was still no less than amazing!
Yes, very true. Everything Moser did was rather intense. She couldn't sing a melting legato line as Caballe did so marvelously. And yet she sang roles such as Gilda and Lucia, which we don't normally associate with her. She would have been a marvelous Abigaille or Lady Macbeth but I don't think she ever got around to singing those parts.
Usually her singing was a little wild, but she was capable of great finesse when singing Mozart, specially his masses. She had great pianissimi, too. I think she was great nontheless. Her Norma would have been great!
+Arena Arena Netrebko should most certainly stay away from Bellini; she doesn't have a clue of what Bel canto means.
@@AulendilElessar Her Norma would have been a disaster!
@@Wotan123456789 Maybe, who knows. I think she had the coloratura and strength for Norma. The finesse needed may not be evident, but one can hear it in her Addio del passato in La Traviata, her Gilda in Rigoletto and her Iphigenie just to name a few. They show very good line and restrain. As it's been said somewhere else, had she had the training, she would've been great in the Italian repertoire.
Moser had a wonderful soprano voice. The studio recordings were kinder than live.The technique was almost all there. Her essential situation was that she had hormonal problems that really played against the nature of her singing career. At times we hear her blaring a high F above see in full sustained lunga, at other times as here she is a bat squeak Eb just below that high high F barely audible. She was safest at high c in a fairly more meaty high soprano repertoire. Hence Donna Anna and Konstanze were successful for longer. The voice has a boy soprano with a dramatic soprano scale of volume with enough agility for the coloratura. A frustrating artist but there were MANY in the 1970's. Her Lucia and Elvira are really haunting and she was not horrible at belcanto. That written the voice seems a little tired overall in these pieces and the placement not quite right in the middle voice thru the acuti top and the body support seems off kilter in this 1977 recital. But what a gorgeous voice and such artistry.
This is not in her prime time ... she lost her voice (climax)
Too many vowells on U - oooh ugly
*****
The question is "why" not "why not"
She never could sing correctly a sustained high note in public. All she could do above the high C were pianississimo staccato notes, as the Queen of the Night's
high F. She never was a real coloratura dramnatico.
+Pelleas 1902 The queen of the nights high F's are not pianissimo, and she didn't sing them pianissimo.
I heart her often in public ..... a dark voice with a highly dramatic intensive power!!!
@Pelleas 1902 There is only one possible reaction to your absolutely wrong comment: Hahahahahaha!
I agree with you. Her stacatti above high C, even though thin compared to the B-C, had a dramatic flair to them, but sustained them was not her strongest characteristic.
Ha Ha Ha : sweets are my sweetyyyyaaaa !
She really ruined what were otherwise relatively nice interpretations with those climax high notes, I don't know how she could possibly have thought that sounded good. She had a nice voice, but it was really quite poorly suited to bel canto roles, it was really just too big to be dexterous enough to sing this kind of fast slurred running coloratura well. There's a video from a MET gala where she's singing something from Rossini's L'Italiana and she's really white knuckling it.
Just everything you have written here is total rubbish.