Was für eine Besetzung!! Hotter als Gunther, Varnay als dritte Norn: Luxus! Mir stellt sich auch wieder einmal eine Grundsatzfrage: z.B. in der Nornenszene verstehe ich jedes Wort, die Sängerinnen können dynamisch gestalten, auch echtes Pianosingen ist möglich. Niemand muss "durchbrüllen", um gehört zu werden. Das liegt sicherlich auch daran, wie die Damen damals singen konnten. Aber es wurde doch auch anders dirigiert damals, oder?
Die 3. Nornen der 50er und 60er Jahre zeigen besonders die Qualität des Bayreuther "Ensembles": Mödl, Nilsson, Varnay, Gorr, Crespin, Resnik, Bjoner. Ich war letzten August beim Ring in Bayreuth - die dünnstimmige 3. Norn ist schon am Ende ihrer ersten phrase beim g abgestürzt...
I hope the English is OK. I think there are a few considerations with the singing, that are actually interesting. A big voiced singer when they sing softly is still relatively loud. The invisible pianissimo of Caballe is another thing. A well placed properly supported voice will create these beautiful contrasts of mood without exaggeration. The conductor question is interesting. I remember the first time I heard Varnay's Isolde with Jochum conducting, and her quiet, fragile singing was clearly supported by the conductor. A conductor will of course react to the dynamics of the singer - sometimes it is the singer who 'forces' the conductor into this. It's like a teacher in a classroom - if there is noise the trick is not to shout, but to speak at a lower level to force them to listen to you!
@alandun27 Thanks for your thoughts! Sure English is ok. I'm not a native speaker but I'll try my best. Your point with the proper pp-singing in older times is absolutely right. There's a passage in Varny's autobiography where she points out how she tried in rehearsal if she's audible singing absolut pp. And for sure she had a really big voice!! To stay at the Norn scene, I'm not sure how big the voices of the other two singers were. I think a bit less than Varnay's in comparison. And my impression is, the conductor gives space to their possibilities so they can shape their phrases as they want. At some points the orchestra steps really to the background. That's something I hear very seldom in our days. I'm asking myself if that's one (of many) reasons voices in opera don't develop in a proper way as they did in former times.
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Exzellente Tonaufnahme und Grandiose Interpreten, danke.
Beautiful recording. Thank you!
Supremo. Soberbio. Insuperable.
❤❤❤❤
Thank you very much
Thank you for posting this!
Prologue: 0:00
Act 1, s.1: 37:05
Act 1, s.2: 1:21:34
Act 2: 1:56:47
Act 3, s.1: 3:03:00
Act 3, s.2: 3:50:10
Vielen Dank !
Was für eine Besetzung!! Hotter als Gunther, Varnay als dritte Norn: Luxus!
Mir stellt sich auch wieder einmal eine Grundsatzfrage: z.B. in der Nornenszene verstehe ich jedes Wort, die Sängerinnen können dynamisch gestalten, auch echtes Pianosingen ist möglich. Niemand muss "durchbrüllen", um gehört zu werden. Das liegt sicherlich auch daran, wie die Damen damals singen konnten. Aber es wurde doch auch anders dirigiert damals, oder?
Die 3. Nornen der 50er und 60er Jahre zeigen besonders die Qualität des Bayreuther "Ensembles": Mödl, Nilsson, Varnay, Gorr, Crespin, Resnik, Bjoner. Ich war letzten August beim Ring in Bayreuth - die dünnstimmige 3. Norn ist schon am Ende ihrer ersten phrase beim g abgestürzt...
I hope the English is OK. I think there are a few considerations with the singing, that are actually interesting. A big voiced singer when they sing softly is still relatively loud. The invisible pianissimo of Caballe is another thing. A well placed properly supported voice will create these beautiful contrasts of mood without exaggeration. The conductor question is interesting. I remember the first time I heard Varnay's Isolde with Jochum conducting, and her quiet, fragile singing was clearly supported by the conductor. A conductor will of course react to the dynamics of the singer - sometimes it is the singer who 'forces' the conductor into this. It's like a teacher in a classroom - if there is noise the trick is not to shout, but to speak at a lower level to force them to listen to you!
@alandun27 Thanks for your thoughts! Sure English is ok. I'm not a native speaker but I'll try my best. Your point with the proper pp-singing in older times is absolutely right. There's a passage in Varny's autobiography where she points out how she tried in rehearsal if she's audible singing absolut pp. And for sure she had a really big voice!! To stay at the Norn scene, I'm not sure how big the voices of the other two singers were. I think a bit less than Varnay's in comparison. And my impression is, the conductor gives space to their possibilities so they can shape their phrases as they want. At some points the orchestra steps really to the background. That's something I hear very seldom in our days.
I'm asking myself if that's one (of many) reasons voices in opera don't develop in a proper way as they did in former times.