Jon Vickers & Leonie Rysanek. Die Walküre, final del acto 1º (Met, 1965).
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- Опубліковано 21 гру 2024
- Richard Wagner: Die Walküre.
Siegmund: Jon Vickers.
Sieglinde: Leonie Rysanek.
Dirección musical: William Steinberg.
Locución: Milton Cross.
Nueva York, 6 de marzo de 1965.
Acerca de Jon Vickers en este broadcast, escribe Paul Jackson (Sign-off for the Old Met, p. 415):
"If any singer warrants the designation of charismatic, Jon Vickers is the man. His Siegmund was a revelation in the 1960 broadcast and even is more impressive in this 1965 performance. No vagaries of tonal production or excessive crooning intrude to blight the perfection of his portrayal. Baritonal security in the many low-lying phrases of the role, complete freedom at the top of the range, command of dynamics from intimate mezza voce to full-throated splendor -all these technical properties, splendid as they are in themselves, are merely the servants of his quest for interpretive truth in characterization. His reading contains many specific expressive and vocal excellences: the ability to transform a phrase from rhythmic narration to emotional significance merely by a change of vocal color (as he does repeatedly in Siegmund's biographical narrative); the crescendo applied to the 'Wälse' pair, which converts them into living entities rather than examples of tenorial bravado; the aura of quietude he evokes when Brünnhilde predicts Siegmund’s fate; the infinite tenderness of the head tone he voices as he bids his beloved farewell. When Vickers is in full command of his instrument, as he is on this afternoon, he is an inspiring artist".
This is the broadcast that made me a lifelong Vickers fan. (I'd already been a big Rysanek fan for a while by then.)
Vickers’ deeply profound, powerful tone , coupled with his translucent vulnerability puts him forever in class by him self.
This is just amazing - Vickers is in top form and Ms Rysanek is incredible and of course, she delivers the most passionate & incredible scream. Thank you for posting this - Richard Wagner would be pleased and proud.
Stupendo Sigmund!!!
Siegmund e Vickers, la perfezione. ❤ prima e dopo il vuoto
I saw Vickers a number of times in Chicago, London, and New York. Like Callas, he delivered real characters and emotions without ever being "unmusical". His Peter Grimes was one of the most moving dramatic and musical experiences I have had in over 50 years of both theater and opera going in many of the great music and theater cities of America and Europe.
His Peter Grimes was indeed unique. One of the most powerful theatrical experiences I’ve ever had. Profoundly moving.
THOSE were the days!
Zwei überragende Künstler, die wahrlich aus dem Vollsten schöpfen.
This is Opera !
Amazing voice Jon💗
The famous Leonie scream!
Yes!
Wunderbar, wie er singend spricht und das unpatheisch-dramatische Tempo
Not a word about Rysanek but she sang Sieglinde (and Chrysothemis) longer than any other ever I guess...
God! How I love her! Nobody like her!
I heard her 'live' once and it was thrilling!
@@Ruffiello I was fortunate enough to hear her at the Met in '80, those historic Elektra performances, fantastic seat. I thought my hair would blow off! One of the most thrilling, if not THE most thrilling, events of my life. What did you see her in?!!!!
@@josephcollins6033 I saw her as Elisabeth in Tannhauser in 1978(?). She sang in Northrup Auditorium, which was an acoustic barn of about 4, 600 seats. (It's since been redone and seats far fewer people.) What I remember is that her voice was so soft in texture, and radiantly beautiful! It reminded me of Rosa Ponselle's voice because it was round and soft grained. But its size and strength were amazing! And so expressive. Near the end of Act Two she hit a fortissimo high B natural and held it until its impact registered with everyone present. It was astonishing! It is useless to try to describe what some of these "old timers" could do. You had to hear them in the house. Caballe and Price also made indelible impressions live.
@@Ruffiello Hi! I don't know where Northrup Auditorium is. I am in Tennessee. '78!!!!! How wonderful for you. Of course, I have heard her Elizabeth, have it on cd. And, you love Ponselle as well? Me, too. Such a sound! Imagine if we could have heard her with today's equipment! I also have loved Price and Caballe. Both, began to disappoint me in late-mid-career. But, I adored them. I heard Price in concert once, '73- astonishing! Your story about the Bb sounds wonderful. You have heard great things!
They almost make me like Wagner! They are magnificent! No words!
Vocalement c’est transcendant , peut être le meilleur témoignage audio de ces deux géants wagnériens.... dommage que l’orchestre ( et surtout le chef !!!) ne soient pas du tout à la hauteur de cet électrochoc vocal ...
Direction bruyante et brouillonne......vous avez entièrement raison, et quels chanteurs fabuleux que j'ai eu la chance de voir quelques années plus tard dans un état vocal exceptionnel!!
What's wrong with the orchestra and the conducting? Some of the best I've heard! The letdown for me is Rysanek with her wobbly slow vibrato, worst at the start of "Du bist der Lenz" where she drags the tempo so gloriously whipped up by Vickers and Steinberg to a treacly whiny mess devoid of any sense of excitement on her part. Maybe she is confusing Sieglinde with the still half-asleep Brünnhilde?! Janowitz is so much more alive and in character....
The GOAT
I’m I the only one who thought the tempo amazingly fast?
Agrees well with gramophone records made within living memory of Wagner himself (before WW1). No Furtwänglerian "Führer's Funeral Music" stereotype here! The idea of Wagner being slow and stately music is firmly a much later (Weimar Republic and Nazi-era) one, though it defies the idea of Musikdrama, one meaning of which is a sung drama as fluent as a spoken one, without the static posing of older opera. The NY Metropolitan, by some lucky coincidence it seems, stuck to the authentic tradition while Bayreuth degenerated more and more until Furtwängler arrived at something like two-thirds (in Tristan, even half) the correct tempo. As a good rule of thumb, delivering the music at tempi that deliver the sung dialogue at a pace similar to old-school spoken recitation makes the most sense, and that is what Damrosch, Hertz, Bodanzky, Leinsdorf and - we witness it here - Steinberg did so magnificently.
Damn....
And what exactly did the new Met and eventually James Levine contribute?
A huge cost structure was the biggest addition.
He really cleaned up the orchestra. It was often a hot mess before he took over. Also, he probably contributed to standardizing things so that the opera company wasn’t deciding what to perform basically ad hoc year by year. Of course, the quality of singing generally dipped quite a bit. But I don’t think he can be held responsible for that. He was a great opera conductor.
James Levine was one of the best singers' conductor who, when conducting the orchestra, breathed with the singer. This quality should never be taken for granted.
@@ER1CwC Levine was also responsible for scheduling more 20th century works and world premieres, both long overdue. The productions by John Dexter of Berg's Lulu -- with the incredible Teresa Stratas -- Poulenc's Dialogues of the Carmelites and Britten's Billy Budd were particular standouts in the first category, and for me at least John Harbison's The Great Gatsby was a work of real musical substance, and not incidentally gave excellent roles to some terrific singers: Jerry Hadley, Dawn Upshaw, Susan Graham and the late Lorraine Hunt Lieberson.
@@ER1CwC It used to sound like live music. Later it sounded like a studio recording, sterilized and homogenized. No longer interesting to listen to because so utterly predictable. Why should I listen to a performance if I already know what will happen before it starts?