Michael Bohnen: Vous qui faites l'endormie from Faust (Gounod)
Вставка
- Опубліковано 14 жов 2024
- The great German bass-baritone sings Mephisto's serenade in German (Scheinst zu schlafen du im Stübchen), grammophone recording made in 1930. Bohnen is the best Mephistofeles I have ever heard. He is a brilliant vocal actor. He is vulgar, nasty, very evil. The video clips of the great Emil Jannings in Murnau's Faust movie (1926) are a perfect match. Btw, Emil Jannings was the first person ever to win an Oscar for Best Actor.
Einer der Größten seiner Zeit und gewissermaßen die deutsche Antwort auf Fjodor Schaljapin - ein herausragender Sänger-Schauspieler… 🌹🌹🌹
Umwerfend seine Interpretation dieser Arie - und auch stimmlich und gesanglich großartig! ⭐️⭐️⭐️
Vielen Dank fürs Hochladen! 🙏🍀
What an interesting and unusual interpretation. IIt's the first time I've heard Michael Bohlen: thank you very much for it! It's always a pleasure to discover something (or somebody) new!
Bohnen is one of the most exciting of singers. He had a wonderfully expressive voice and his timbre is beautiful. Simply put, a great artist!
Excellent singing &great acting! Bravo! TY.
Excellent ! Bravo! TY.
Thank you very much! I love this serenade very much (especially in German) and like to compare the interpretations. Bohnen is the most cynical Mephistopheles, assured of his power on his victim. Like a cat playing with the mouse.
Bravo!! thank you for a great vid! the best Mephisto I have ever heard!
Wow! One of my fav singers! I will tend to your quizzes in the near future, although they are ungodly difficult ,-)
Как он роскошно раскатисто ухмыляется!
Роскошь
Будущий первый в истории "Оскар" за лучшую роль.
"Фауст" Мурнау вообще моё любимый фильм из немецкого экспрессионизма.
The best Mephistos sing in a Mozartian vein and were, in fact, famous Mozart singers: Plançon, Journet (a legendary Leporello), Pinza, Siepi, Pernet, José Van Dam, Samuel Ramey.
Das ist wirklich höchste stimmliche Darstellung = unglaublich, er war ja auch Schaispieler...wo gibt es eine solche Identifizierung mit einer Partie heute????
He has a gold plate on his house?
Where in Koeln did he live?
What luck to be related to such a marvelous singer! :)
Yes, he notated the laughter note by note, exactly as Plançon and Journet SING it. He wasn't writing Mussorgsky's Song of the Flea, after all.
You mean, you KNOW how Gounod wanted his devils to laugh and you KNOW that Plancon does it right and you KNOW that Bohnen does it wrong...?
Explanation: both the opera and the movie are based on the same play by Goethe. You know Goethe?
YES!
Plançon, and other singers on record like Léon Mechissedec and Pedro Gailhard, not to mention people like Nellie Melba and Emma Eames, actually knew Gounod personally, coached with him. Plançon created roles in Gounod world premières, having studied them with GOUNOD. YOU didn't know that?
I think you got confused again. Plancon never sang in the world premiere of Faust. Get your facts right, Herr Professor...
He is a CHARACTER. He calls *himself* whatever his creators want him to call himself. Yes, there's irony in an elegant fiend calling *himself* "a perfect gentleman". I'm glad you noticed. All the more reason why he should not behave like Varlaam, or laugh like a drunken cossack.
Bohnen is superior to Plancon. The only French bass I like in this piece is Journet. The real Devil is vulgar, and he cannot hide it. Most French singers are too noble for my taste.
By the 1920s expressionistic claptrap was taking over and Chaliapin's Russian circus shenanigans came to be considered theatrically valid. All kinds of secondary figures, like Bohnen, began to imitate him. The eventual result were monstrosities like Christoff's, Plishka's and Nesterenko's Mephisto, predicated on record producers' notion that Mephisto was something that Chaliapin had made a "triumph" of. Thus are conceptualities born which take decades to die.
Wrong. Styles of singing, music making, staging, composing, performing etc. change all the time. Music is a performative art and is always renewed. If you want singers to sing like in 1859, my God, how horrible it would be for our ears...
Yes darling, I know Goethe. I know Jacques Cazotte and Luis Vélez de Guevara, too. All irrelevant. Gounod has always been criticised because his opera bears little or no relation to Goethe's philosophical poem. In Germany, they won't even call it "Faust". It is known as "Margarethe". Faust is a romantic, Second-Empire Parisian setting of the mere outline of the relationship between Faust and Gretchen. It is not Goethe's Faust. What an idea.
Music-making changes all the time, but not necessarily for the better.
1859 would not be horrible for MY ears; certainly not as horrible as Maria Gulegina or Anna Netrebko.
I confuse nothing. Mephisto is a literary manifestation of the Archfiend, call him Lucifer, call him Satan, call him what you will: a fallen angel. GOUNOD calls him: "a perfect gentleman"-un vrai gentilhomme. He is not a muzhik. You should read Barbier & Carré's libretto.
I never said that Plançon created ANY role in Gounod's Faust. You should work on your reading comprehension.
Excuse me, if you want singing à la 1859, you seem to look for anachronistic interpretations. What is then the point of putting negative comments under more recent interpretations since you admit that performing is changing anyway and "not necessarily for the better"?
We agree, however, about Netrebko. Awful. She was a shame for Russia, now she is a shame for Austria (not that I care for Austria, but anyway).
Precisely. And can somebody explain to me what Murnau has to do with Gounod?
Bohnen had a good voice but his exhibitionistic pseudo-Chaliapinesque exaggerations here are totally ludicrous.
Besides being completely alien to the style and spirit of the music.
These are your words: "Plançon created roles in Gounod world premières". Which roles, just name one, snotface.
The basso who actually "created roles in Gounod world premières" was Melchissédec. Which does not alter the fact that Plançon knew Gounod and worked and was coached by him. His début at the Paris Opéra in occurred in 1883. It is laughable that I have to point out such simple notions.
Bohnen was universally criticised, when he appeared at the Metropolitan, for his exaggerated and unstylish antics in roles like Mephisto. His desire to imitate Chaliapin brought him ridicule.
„His desire to imitate Chaliapin…“? He didn‘t need to imitate anyone. He had a huge acting talent and there was no need for him to imitate others. Chaliapin was Chaliapin, Bohnen was Bohnen. Period.
Btw, he sang at the Met from 1922 until 1933, a pretty long time for someone who was criticized so much for being nothing but a laughing stock, don‘t you think? 😉
@@hrbooksmusic7878 Obviously the ignorant populace who loved Chaliapin was entertained by his imitator as well.
@@AulicExclusiva
Just because they both tended to overdo their acting every now and then doesn‘t mean that Bohnen was an imitator. And an audience isn‘t ignorant just because they enjoy singing actors - as long as the voice is persuasive and the singing is convincing . It is known that Bohnen sometimes paid more attention to his immersion into a role than to musical accuracy… he got swept away. But that‘s a sign of true passion - a stark difference to what we are generally offered nowadays: poor acting and deplorable singing.
Though, of course, there was a time when acting wasn‘t of much importance at all, with singers standing at the ramp, almost immobile, delivering the music like there wasn‘t any plot at all in an opera. 😅
Mein Herr, you make no sense at all.