Quelle merveille ! Des lignes de chant superbes et raffinées, une vocalité en parfaite (en sublime) adéquation, une virtuosité toute au service de Mozart. Quel cadeau ! Merci, Lohengrin, merci encore.
Wow! Its rare to hear a recording of edda moser where she doesn't sound pissed off (and to be fair, she does pissed off so well!) So its wonderful to hear light, playful, happy Edda Moser here. I adore her, and Auger is wonderful too!
I sooo agree with you! As much as I've always loved Moser, the one "criticism" I've had (If you can even call it that) is that she almost always sounded like the Queen of the Night in so much of what she sang. But here, she sounds so very lyric, and mixes so incredibly well with Arlene Auger!
@@artdanks4846 I mean I do love Edda's fire, even in situations where it may not be textually appropriate. Conversely, in martern aller arten, which is usually sung quite lyrically, I found her fiery interpretation even MORE appropriate then the generally expected approach.
@@nathandavis3002 Hmmm. That's interesting that you mention that particular aria. That was the one I actually had in mind when I made my comment. I will go back now and listen to it again within the full context of the drama. You may have a good point there. Thanks for the thought! 👍😁
@@nathandavis3002 Totally agree about Marten: Moser’s voice and expression (fiery defiance/resolve even in the face of torture or death) is way above anyone else I’ve heard. (Callas’ expression is spot on too, but in Italian.) I mean, it IS supposed to be a DRAMATIC aria, isn’t it?
I love the difference in the two voices and approaches to the music and how well they make it work. Auger is such a pristine singer and Moser is grand and a little wild. Of the two, she has the truly glamorous sound.
Ligne de chant, aigus, phrasé, technique, parfaits. Un vrai bonheur lyrique. Du Mozart somptueux. On voit ainsi ce qu’il manque à certaines contemporaines loin de cette perfection... Merci Lohengrin 💚😄
Interesting how beautiful these two voices sound together! Especially when you compare the very different "weights" of their voices, with Moser typically having such a dramatic sound vs. Auger's very lyric sound. Just goes to show the great artistry and musicianship of these phenomenal singers.
What a beautiful rendition. These two voices blend so perfectly Talk about the human voice as a musical instrument. It's like these two ladies were united in their inspiration. Thank you Lohengrin.
@@arnoldamaral7406 well for starters. Both possessed a unique, instantly recognizable timbre, unlike anyone that has come before or since. Auger’s honey sweet and radiant and Moser’s metallic, energized, and gripping. Secondly, I find them to be excellent technicians, at least in the coloratura department. Thirdly, the commitment to the drama is what I value the most and none can deny these two ladies exemplified that in spades. Auger was always involved with the drama and used her abilities to advance the characters emotions. Her Alcina is the finest on record IMO, for its sheer heartbreaking quality and for its musical merits, of which there are countless. She also was excellent in the music of Mozart, of course, Bach, Monteverdi, and lots of other Handel along with assorted others including Orff. Moser was an intense dramatist like none other. Her Donna Anna, along with perhaps Margaret Price is the most complete telling of the role that I’ve heard. With furious outbursts and catatonic sweet coloratura as well. I don’t think I need to explain why her Queen of the Night was so good, but also her Konstanze, her many recordings of Mozart Concert Arias, her turn in Der Schauspieldirektor all sung with dramatic intent and energy. She also had memorable turns in other works, like as Gilda, Liu, and as a soloist in Beethoven’s Missa Solemnis and Mahler 8. There is also an excerpt of her Senta which is really interesting to hear. So the bottom line for me is: did they do everything perfect? No of course not. But did they give 110% and were they riveting performers almost always? To me, yes.
ESPECTACULAR THIS is singing that has heavyweight boxing champion diaphragm muscles and the type the great Louis XIV would have loved sipping cognac petting a domesticated wild fox. Great Post Lohengrin.
Don Giovanni aside, I find Mitridate to be Mozart's finest operatic writing. It's absolutely celestial, you don't touch the ground for a single second from the first note to the last. But you need performers of that stratospheric height, of course.
@@Empoweredwoman1234 well each to his own task in life... if I were asked to join the Marines I would probably kill myself :D different characters and skills for different things and thats how the universal engine functions
"Se viver non degg'io" from Mozart's "Mitridate, Re di Ponto" Act II. Duet of Aspacia (Moser) and Sifare (Auger). Leopold Hager, conductor. Salzburg, August 25, 1971.
A picture of surpassing beauty that surpassed the Auger-Gruberova's.
Great post, Lohengrin! Vielen Dank!
omg they sound super alike
Outstanding performances by both artists!
Quelle merveille ! Des lignes de chant superbes et raffinées, une vocalité en parfaite (en sublime) adéquation, une virtuosité toute au service de Mozart. Quel cadeau ! Merci, Lohengrin, merci encore.
Outstanding, heavenly.
Bravo! Excellent performance. They sound perfect together and make this music live. Truly outstanding. Thank you for posting.
Marvelous! marvelous! both liric singers, two voices pure art !
beautiful voices
.... Magnifico duo... Due voci incomparabili!!! Ciao Lohengrin0
Just wow. By the way, I wanted to say that I simply adore the content you post! Thank you so much!! :)
Wow! Its rare to hear a recording of edda moser where she doesn't sound pissed off (and to be fair, she does pissed off so well!) So its wonderful to hear light, playful, happy Edda Moser here. I adore her, and Auger is wonderful too!
I sooo agree with you! As much as I've always loved Moser, the one "criticism" I've had (If you can even call it that) is that she almost always sounded like the Queen of the Night in so much of what she sang. But here, she sounds so very lyric, and mixes so incredibly well with Arlene Auger!
@@artdanks4846 I mean I do love Edda's fire, even in situations where it may not be textually appropriate. Conversely, in martern aller arten, which is usually sung quite lyrically, I found her fiery interpretation even MORE appropriate then the generally expected approach.
@@nathandavis3002 Hmmm. That's interesting that you mention that particular aria. That was the one I actually had in mind when I made my comment. I will go back now and listen to it again within the full context of the drama. You may have a good point there. Thanks for the thought! 👍😁
@@nathandavis3002 Totally agree about Marten: Moser’s voice and expression (fiery defiance/resolve even in the face of torture or death) is way above anyone else I’ve heard. (Callas’ expression is spot on too, but in Italian.) I mean, it IS supposed to be a DRAMATIC aria, isn’t it?
I love the difference in the two voices and approaches to the music and how well they make it work. Auger is such a pristine singer and Moser is grand and a little wild. Of the two, she has the truly glamorous sound.
Ultra Luxurious sounds, make you wanna listen to them doing other female duets: Norma / Adalgisa, Arabella / Zdenka etc
Ligne de chant, aigus, phrasé, technique, parfaits. Un vrai bonheur lyrique. Du Mozart somptueux. On voit ainsi ce qu’il manque à certaines contemporaines loin de cette perfection...
Merci Lohengrin 💚😄
Thank you for this...
Interesting how beautiful these two voices sound together! Especially when you compare the very different "weights" of their voices, with Moser typically having such a dramatic sound vs. Auger's very lyric sound. Just goes to show the great artistry and musicianship of these phenomenal singers.
What a beautiful rendition. These two voices blend so perfectly Talk about the human voice as a musical instrument. It's like these two ladies were united in their inspiration. Thank you Lohengrin.
The human voice is the most beautiful instrument my friend. 🙏🌏🌎🌍❤💚💜💙💛
Exceptionnel, d une rare beauté.
OMG !!!!! HEAVENNNNNNNNN
I love these two... glad they did Mitridate together
What do you love about these 2 voices my friend EXPLAIN ?? Arnold 🍷🇷🇺💙
@@arnoldamaral7406 well for starters. Both possessed a unique, instantly recognizable timbre, unlike anyone that has come before or since. Auger’s honey sweet and radiant and Moser’s metallic, energized, and gripping. Secondly, I find them to be excellent technicians, at least in the coloratura department. Thirdly, the commitment to the drama is what I value the most and none can deny these two ladies exemplified that in spades. Auger was always involved with the drama and used her abilities to advance the characters emotions. Her Alcina is the finest on record IMO, for its sheer heartbreaking quality and for its musical merits, of which there are countless. She also was excellent in the music of Mozart, of course, Bach, Monteverdi, and lots of other Handel along with assorted others including Orff. Moser was an intense dramatist like none other. Her Donna Anna, along with perhaps Margaret Price is the most complete telling of the role that I’ve heard. With furious outbursts and catatonic sweet coloratura as well. I don’t think I need to explain why her Queen of the Night was so good, but also her Konstanze, her many recordings of Mozart Concert Arias, her turn in Der Schauspieldirektor all sung with dramatic intent and energy. She also had memorable turns in other works, like as Gilda, Liu, and as a soloist in Beethoven’s Missa Solemnis and Mahler 8. There is also an excerpt of her Senta which is really interesting to hear. So the bottom line for me is: did they do everything perfect? No of course not. But did they give 110% and were they riveting performers almost always? To me, yes.
ESPECTACULAR
THIS is singing that has heavyweight boxing champion diaphragm muscles and the type the great Louis XIV would have loved sipping cognac petting a domesticated wild fox.
Great Post Lohengrin.
your brain synapses have the freedom of the air
OMG this comment is just too good xD
Don Giovanni aside, I find Mitridate to be Mozart's finest operatic writing. It's absolutely celestial, you don't touch the ground for a single second from the first note to the last. But you need performers of that stratospheric height, of course.
Superbe enregistrement tiré de Mitridate de Mozart. Merci.
Merci!
Mitridate - Mozart
I can almost see Callas singing this, despite the lightness of the song. Beautifully sung.
too boring piece of music for Callas to sing... as 90% of Mozart, lullabies
@@LohengrinO you are right. I did think along those lines, but just thought she could have made it wonderful. I agree with Callas on Mozart’s operas.
@@Empoweredwoman1234 well each to his own task in life... if I were asked to join the Marines I would probably kill myself :D different characters and skills for different things and thats how the universal engine functions
@@LohengrinO I think the only Callas opera she would've sang is Don Giovanni. Although I actually think she would've been perfect as Fiordiligi.
@@LohengrinO To be sure Theo. 🌏🌎🌍👭👬👪👫🙏🙏🙏❤💚💜💙💛💑💏
What's the title?
"Se viver non degg'io" from Mozart's "Mitridate, Re di Ponto" Act II. Duet of Aspacia (Moser) and Sifare (Auger). Leopold Hager, conductor. Salzburg, August 25, 1971.