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Eileen Farrell & James King "Love-Duet" Tristan und Isolde
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- Опубліковано 9 чер 2013
- Eileen Farrell & James King sing "Love-Duet" from
Tristan und Isolde by Richard Wagner
Nell Rankin (Brangäne)
Boston Symphony Orchestra
William Steinberg, conductor
Boston, IV.1972
I attended the Friday afternoon performance of this all-Wagner concert back in 1972. Really enjoyable to hear it again.
I was in the audience for this on a student ticket. Overwhelming! What the recording doesn't capture is both the chamber music-like delicacy with which the orchestra played, or the ease with which the voices road the crest of the waves of sound. The warmth of the acoustical environment of the BSO's Hall was and is miraculous.
We are soooo fortunate to have this performance!
Farrell's Wagner is always an event!!! And King one of the few true heroic tenors of his time. Thanks!
This is simply amazing! King is in top form here and Farrell presents one of the most sensuous and exquisite renderings of Isolde's Love Duet music I've heard.
I completely agree with you
Yes, I have never heard King sound quite so good...
Kirsten Flagstad
MERAVIGLIOSI!!!STRAORDINARI!!!grazie di ❤👍per la condivisione
From "O sink, hernieder" on this is just magnificent, and what a treat, hearing Nell Rankin in Brangaene's music!
MAGIC!!!!!!!!!!
Magnificently sung with such deep expressivity. A most memorable performance.
7:30 what a duet!
wundervoll magnific Farrell and King
Notably gorgeous. I knew King was a great Wagner tenor, but was not familiar with Farrell's Wagner. Lovely. And my hometown BSO is silky.
A little late, but.... This was a complete act II and was his tryout for Tristan.
*"Anything you can sing, I can sing louder!*
Gänsehaut
Increiblemente hermoso
What about Nell Rankin? Gorgeous!
As always!Perfect & Fearless
Please listen to her concert with Victor de Sabata and NYPO in 1950... wonderfull!!
The amount of advertising on UA-cam has increased lately. It is very disturbing. Especially this video is much bothered by it!
Bravi
Jimmy hat aus heutiger Sicht einen unerklärlichen Bogen um die schweren
Wagner-Partien gemacht. Gerade darum habe ich ihn im Herbst seiner
Laufbahn als Ausnahme-Siegmund in Wien noch in bester Erinnerung !!!
gre brouwenstijn
where are the two high C's????? I can't believe it was deemed acceptable back then to treat the score in this cavalier manner. Generally singers who haven't got the notes for a certain role simply don't sing the role. A high-C-less Isolde was unthinkable to me before I came across this!
And Flagstad? And Traubel? Listen their (lack of) high C`s!
I have never heard a recording of either Traubel or Flagstad where C’s are not attempted? Can you show as a recording where they do not sing the C’s?
Actually I think all the notes are important.
even Flagstad left out the high Cs on many occasions
Bear in mind that a C6 in Wagner's day was probably closer, depending on country and tuning, of course, to a sharp B. I know Verdi definitely advocated for A=432 and fought about it on occasion. Berlioz also complained about raising the concert pitch. In addition, the A=440 tuning of a rehearsal piano may not actually be what orchestras tune to, in fact, they regularly tune upwards to A=444 or even A=446. That pushes those Cs really high. So we want this wonderful sensual weight in the middle and the stamina to sing Isolde, which is a rather low soprano role overall, but at the same time she's got to have near C#s on full voice without any constriction? That's a hard thing to achieve and of course there are singers who could do that, but always something else goes, am I right? I'm ultimately torn on the issue because yes, Isolde's tend to have those Cs now and I do believe in respect to the score, but at the same time, no modern Isolde's with their high Cs, move me quite like the great Isolde's mentioned below. But it is very hard to tell an orchestra to consider tuning down so we CAN actually have it all. Also, cavalier treatment of the score was not such a strange thing back then. Changing keys, cuts, and substitutions were really commonplace.
This must have been late for Farrell...very disappointing. It doesn't show the immense size of her voice...
Yes. Farrell had been singing professionally for 30 years at this point. However, live concert recordings often fail to catch the voice size so it may be this rather than any vocal diminution that we hear. I sawher in concert a few years after this and the voice was still filling a huge hall [the Auditorium Hall in Chicago]. At that concert, Birgit Nilsson, Dietrich Fischer-Dieskau, and Elisabeth Schwarzkopf [all of whom were in Chicago preparing for performances of their own] were present and gave Farrell a standing ovation. Tells you how incredible she really was.