I love seconds 33-35. Moll just opens his mouth and out comes some good-ol-profondo, just as casual as can be. He does a good job of acting this performance, not just singing it; I really dig the relaxed look he has going on :P. Bravo Moll!
+EyeShotFirst then you would love the rendition of the comendatore scene with all three of those singers if you have not seen it yet, it's by far my favourite version of the scene.
Was für ein Fantastische Sänger! Seriously, he is amazing, and sadly there's just nobody now who sounds half as good in the Bass ranks. I wait to be proved wrong, and would be happy at it.
This is excellent! Not only his marvellous singing, but also his acting, his movements, his facial expression. He does not only play a role, but he really is Ochs auf Lerchenau, exactly as Strauss and Hofmannsthal might have visualized the part. And on other evenings, he was, he really was Sarastro, Osmin, Daland, Marke, Hunding, Gurnemanz, Sir Henry Morosus, Sparafucile - what else? R.i.P., Kurt Moll, great, great singer!
Utterly brilliant - words fail me. If you talk abot a definitive performance then look to Kurt Moll. Of course it makes it very hard for all those who come after him!
I don't think I've seen this scene done better. Moll is a bass who will be missed. I don't think he was underappreciated. He appeared consistently on first rate recordings. He often sang small parts that required a good voice....like Monterone in Rigoletto. He's universally recognized as one of the greatest Wagnerian basses of all time.
alléespach I guess you’re right. One should not always trust Wikipedia. Sadly I’m too young to have listened to him live or to have come across one of said recordings, so I have to rely on what Wikipedia says ☹️
He sang LOTS of Wagner! He is on record (recorded live performances or studio recordings, video or audio) as Gurnemanz, Pogner, the Nachtwachter, Fasolt, Fafner, Hunding (at the Met, on the performance broadcast on PBS to the largest audience of the RING in history), King Heinrich the Vogler, the Landgrave, Daland, King Marke. Gurnemanz was one of his signature roles.
@@j.j.schlachtfeld9325 lol... Yeah, as @theodore Shulman wrote below, he was on that Met Broadcast of the Ring on PBS... But, I actually SAW him as Gurnemanz in Parsifal at San Francisco Opera!
BARON Da lieg'ich! Was einem Kavalier nit all's passieren kann in dieser Wiener Stadt! Wär' nicht mein Gusto hier - da ist eins gar zu sehr in Gottes Hand, wär' lieber daheim! DIE LERCHENAUSCHEN Wart', dich hau' i z'samm, wälfischer Filou! Wart', dich hau' i z'samm, dass dich Gott verdamm'! BARON Herr Medicus, verfüg' Er sich voraus! Mach'Er dasBett aus lauterFederbetten. Ich komm'. Erst aber trink' ich noch. Marschier' Er nur indessen. BARON Ein Federbett. Zwei Stunden noch zu Tisch. Werd' Zeitlang haben. »Ohne mich, ohne mich, jeder Tag dir so bang, mit mir, mit mir keine Nacht dir zu lang. « BARON Für mich? ANNINA Von der Bewussten. BARON Wer soll damit gemeint sein? ANNINA Nur eigenhändig, insgeheim zu übergeben. BARON Luft da! Zeig' Sie den Wisch! Such' Sie in meiner Tasch meine Brillen. Nein! Such' Sie nicht! Kann Sie Geschriebenes lesen? Da. ANNINA »Herr Kavalier! Den morgigen Abend hätt' i frei. Sie ham mir schon g'fall'n, nur g'schamt hab' i mi vor der fürstli'n Gnade, weil i noch gar so jung bin. Das bewusste Mariandel, Kammerzofel und Verliebte. Wenn der Herr Kavalier den Nam' nit schon vergessen hat. I wart' auf Antwort. « BARON Sie wart' auf Antwort. Geht all's recht am Schnürl so wie z'Haus und hat noch einen andern Schick dazu. Ich hab' halt schon einmal ein Lerchenauisch Glück. Komm' Sie nach Tisch, geb' Ihr die Antwort nachher schriftlich. ANNINA Ganz zu Befehl, Herr Kavalier. Vergessen nicht die Botin? BARON »Ohne mich, ohne mich jeder Tag dir so lang. « ANNINA Vergessen nicht der Botin, Euer Gnad'n? BARON Schon gut.» Mit mir, mit mir keine Nacht dir zu lang. « BARON Das später. Alls auf einmal. Dann zum Schluss. Sie wart' auf Antwort! Tret' Sie ab indessen. Schaff' Sie ein Schreibzeug in mein Zimmer hin dort drüben, dass ich die Antwort dann diktier'. BARON »Mit mir, mit mir keine Nacht dir zu lang! «
Hunding is not nearly as demanding as Hagen! Hunding only actually sings a few lines--less than ninety seconds of singing total in the whole opera. In contrast, Hagen sings all the time, and he has that air-raid-siren-sounding scene where he summons the Gibichung troops, sustained high notes at the top of his lungs. Completely inappropriate for Kurt Moll's voice. Kurt Moll's best Wagner performance (IMHO) was Gurnemanz. Noble, benevolent, golden-voiced. And while his voice was certainly large, his SOUL was the soul of a lieder-singer. Listen to his recording of Schubert's "Lieder für Bass", it's unbelievable, every syllable is beautiful and he's SO SMART, he makes Dietrich Fischer-Dieskau seem like a clown by comparison.
@@ColonelFredPuntridge absolutely correct. Especially the wrong tone part. But for once, it would've been interesting a light voiced hagen, instead of some yelling caveman that just goes "haihooooow....anf, anf....hoiho-cough-ho!"
Hmm... Yup, you're right. I took the info directly from Amazon: amazon. com/R-Strauss-Rosenkavalier-Tomowa-Sintow-Salzburg/dp/B00005A1SZ/ Not sure exactly when this was then. If you liked the clip, go buy the whole DVD!
To all fans of Kurt Moll understanding German: His great talk with August Everding in "Da Capo" - Heinz th-cam.com/video/kOd1SalLcvs/w-d-xo.html (there is automatic English translation possible, it's mostly okay)
And who, pray tell, is lower than Kurt Moll? Many basses can sing Osmin's low D, but I don't think I've ever heard anyone else sing it with full, relaxed vibrato, as if it were any other note. Only Kurt Moll. Even Josef Greindl loses his vibrato on that note. Herbert Alsen, Gottlob Frick, Ludwig Weber, Matti Salminen, Robert Lloyd, Kurt Bohme, Martti Talvela, Gyorgy Littasy, Cornelius Hauptman, all of them, lose their vibrato on that note too. Only Kurt Moll sings it as if it were an ordinary note!
Theodore Shulman There are plenty of choir singers who can sing notes much lower. Glenn Miller recently won a Grammy for a song in which he sings a G1. Vladimir Miller (no relation) can sing to at least an F1. A few other Russians can go that low and lower, but their names are long and I don't feel like typing them. If you really want, I can look them up... but really, just look up the channel "Oktavism" on here
Vous dites n'importe quoi. Vous mélangez des chanteurs qui chantent dans de grandes salles des rôles parfois immense avec des chanteurs servis par des acoustiques avantageuses, des enregistrements qui mettent en valeur leur voix, des répertoires faciles aux tempis lents et qui demande un registre vocal plus restreint. Glenn Miller chante mal, sans puissance. les russes dont vous parlez chantent comme des casseroles, le timbre est horrible, ils ont souvent des problèmes de justesse. Kurt Moll, quant à lui, est doué d'un organe superbe et peu commun mis au service de l'art, de l'intelligence, de la culture. C'est toute la différence et je doute que vous puissiez la comprendre.
Jake 3752 Well, Moll never sang under Bb1 but it doesn't mean he couldn't. I've heard that Vladimir Miller said once that Moll was able to do a full, loud and resonant F1.
Yes, that's Kurt Moll's weakness: he cannot make himself sound stupid or crude. He always sounds like a deep-souled genius, even when he sings grunting cave-man types like Osmin and Hunding.
![จังหวะนี้ - เม้ก อภิสิทธิ์ [ Official MV ] จอนนี่มิวสิค](http://i.ytimg.com/vi/4gQRZCkRyiU/mqdefault.jpg)
Who ever said opera singers couldn't act? This performance is perfect is every way! Kurt Moll is a master.
Just listen to how easily he hits that top F as well, Crystal clear. This music suits Molls voice so perfectly.
How deep could he sing?! At least bottom C, but it sounds so easy I guess his voice could sing deeper ...
@@1donpizarro f1 with comfort allegedly :)
@@1donpizarro I heard him interpolate an A1 in a performance of Seraglio at the Met
I love seconds 33-35. Moll just opens his mouth and out comes some good-ol-profondo, just as casual as can be. He does a good job of acting this performance, not just singing it; I really dig the relaxed look he has going on :P. Bravo Moll!
This good-ol-profondo is actually a bottom D
@@1donpizarro But how powerful, full and dark it is!
What a perfect Ochs. Genius Moll!
Number One... whitout any effort....
I buy anything sang by Moll... His voice, never disappont....
That's exactly the way I am. Kurt Moll, Samuel Ramey, and Ferruccio Furlanetto are my go to singers.
+EyeShotFirst then you would love the rendition of the comendatore scene with all three of those singers if you have not seen it yet, it's by far my favourite version of the scene.
Sgt. Hartman Can you link it?
@@MultiKamil97 th-cam.com/video/hY_bQpmEBc0/w-d-xo.html
@@EyeShotFirst Furlanetto in this trio sounds out of place. But tastes are personal, I suppose.
And an amazing actor. I can watch (and listen to him) over and over.
I'm a huge Moll fan! What a pleasure to watch and listen to this! Hear him go down there
The finale is breathtaking!
Unequalled singer and great actor - what more need be said?
In dieser Musik hört man eines sofort: Wien!
Für mich die schönste und tollste Stadt der Welt, bin immer wieder gerne dort.
Was für ein Fantastische Sänger! Seriously, he is amazing, and sadly there's just nobody now who sounds half as good in the Bass ranks. I wait to be proved wrong, and would be happy at it.
Magnificent! Adorable performance. Love it.
This is excellent! Not only his marvellous singing, but also his acting, his movements, his facial expression. He does not only play a role, but he really is Ochs auf Lerchenau, exactly as Strauss and Hofmannsthal might have visualized the part.
And on other evenings, he was, he really was Sarastro, Osmin, Daland, Marke, Hunding, Gurnemanz, Sir Henry Morosus, Sparafucile - what else?
R.i.P., Kurt Moll, great, great singer!
I second this. He was one of the best. Sic Transit Gloria Mundi. Vale Kurt Moll.
epic!!!! how can you POSSIBLY not like it...like these two dislikes??? in which universe do you live???
You are right, he's truly the Master. Thanks for downloading!
Such a versatile artist. Who else can switch between Gurnemanz, Ochs and Commendatore so effortlessly?
O melhor de todos!👏👏
Great, great artist. RIP
Großartig!!!!
Une grande basse que Kurt Moll !
Thank you so much for this. Just to hear the final waltz brought tears.
he is the best!!!!!!!!
Utterly brilliant - words fail me. If you talk abot a definitive performance then look to Kurt Moll. Of course it makes it very hard for all those who come after him!
Einfach unübertroffen. Great guy, too.
R.I.P. :'(
And he LOOKS like a basso!
Unglaublich stimmhaftes D, unglaublich...
Voce imponente, grandi capacità recitative. Strauss sarebbe soddisfatto.
The Best Ever and forever.
Buffoon or not, the Baron gets the best tune.
But he is so funny too. His character is so sure of himself.
I don't think I've seen this scene done better. Moll is a bass who will be missed. I don't think he was underappreciated. He appeared consistently on first rate recordings. He often sang small parts that required a good voice....like Monterone in Rigoletto. He's universally recognized as one of the greatest Wagnerian basses of all time.
An awesome bass, yeah, but to my understanding he never sang Wagner. How can he be Wagnerian?
alléespach I guess you’re right. One should not always trust Wikipedia. Sadly I’m too young to have listened to him live or to have come across one of said recordings, so I have to rely on what Wikipedia says ☹️
He sang LOTS of Wagner! He is on record (recorded live performances or studio recordings, video or audio) as Gurnemanz, Pogner, the Nachtwachter, Fasolt, Fafner, Hunding (at the Met, on the performance broadcast on PBS to the largest audience of the RING in history), King Heinrich the Vogler, the Landgrave, Daland, King Marke. Gurnemanz was one of his signature roles.
@@j.j.schlachtfeld9325 lol... Yeah, as @theodore Shulman wrote below, he was on that Met Broadcast of the Ring on PBS... But, I actually SAW him as Gurnemanz in Parsifal at San Francisco Opera!
He's also amazing in small venues, when he sings lieder.
BARON
Da lieg'ich! Was einem Kavalier nit all's passieren kann in dieser Wiener Stadt! Wär' nicht mein Gusto hier - da ist eins gar zu sehr in Gottes Hand, wär' lieber daheim!
DIE LERCHENAUSCHEN
Wart', dich hau' i z'samm, wälfischer Filou! Wart', dich hau' i z'samm, dass dich Gott verdamm'!
BARON
Herr Medicus, verfüg' Er sich voraus! Mach'Er dasBett aus lauterFederbetten. Ich komm'. Erst aber trink' ich noch. Marschier' Er nur indessen.
BARON
Ein Federbett. Zwei Stunden noch zu Tisch. Werd' Zeitlang haben. »Ohne mich, ohne mich, jeder Tag dir so bang, mit mir, mit mir keine Nacht dir zu lang. «
BARON
Für mich?
ANNINA
Von der Bewussten.
BARON
Wer soll damit gemeint sein?
ANNINA
Nur eigenhändig, insgeheim zu übergeben.
BARON
Luft da!
Zeig' Sie den Wisch!
Such' Sie in meiner Tasch meine Brillen.
Nein! Such' Sie nicht! Kann Sie Geschriebenes lesen? Da.
ANNINA
»Herr Kavalier! Den morgigen Abend hätt' i frei. Sie ham mir schon g'fall'n, nur g'schamt hab' i mi vor der fürstli'n Gnade, weil i noch gar so jung bin. Das bewusste Mariandel, Kammerzofel und Verliebte. Wenn der Herr Kavalier den Nam' nit schon vergessen hat. I wart' auf Antwort. «
BARON
Sie wart' auf Antwort. Geht all's recht am Schnürl so wie z'Haus und hat noch einen andern Schick dazu.
Ich hab' halt schon einmal ein Lerchenauisch Glück. Komm' Sie nach Tisch, geb' Ihr die Antwort nachher schriftlich.
ANNINA
Ganz zu Befehl, Herr Kavalier. Vergessen nicht die Botin?
BARON
»Ohne mich, ohne mich jeder Tag dir so lang. «
ANNINA
Vergessen nicht der Botin, Euer Gnad'n?
BARON
Schon gut.» Mit mir, mit mir keine Nacht dir zu lang. «
BARON
Das später. Alls auf einmal. Dann zum Schluss. Sie wart' auf Antwort! Tret' Sie ab indessen. Schaff' Sie ein Schreibzeug in mein Zimmer hin dort drüben, dass ich die Antwort dann diktier'.
BARON
»Mit mir, mit mir keine Nacht dir zu lang! «
0:34 the low C!!!
Correction: That’s actually a low D. I would know, because I can sing along to that bit, and I can’t do a low C.
definitive. genius. perfection.
Ein weiter Rosenkavalier bei den Salzburger Festspielen mit Herbert von Karajan
Fantastisch, einfach fantastisch... geradezu ausserirdisch, dieses D! Unerreicht!
Es ist ein C.
@@borkal969 nop… das C ist im ersten Akt, das hier ist ein d…wär net mein gusto hier…:)
R.I.P.
If I remember correctly, in the previous scene he and Octavian crossed swords and Ochs was stabbed in the arm.
Long live Mr Kurt Moll. So unrecorded
Master
Wow.
rest in peace
RIP
OMG Ochs sounds like Hagen !! :)))
Kurt Moll never sang Hagen. Too loud for him. Wrong tone. Kurt Moll was able to do many things, but he could not make himself sound nasty.
Theodore Shulman true, he didn't sing Hagen, as far as I know, but not because he lacked the capacity. I saw him sing an overpowering Hunding.
Hunding is not nearly as demanding as Hagen! Hunding only actually sings a few lines--less than ninety seconds of singing total in the whole opera. In contrast, Hagen sings all the time, and he has that air-raid-siren-sounding scene where he summons the Gibichung troops, sustained high notes at the top of his lungs. Completely inappropriate for Kurt Moll's voice.
Kurt Moll's best Wagner performance (IMHO) was Gurnemanz. Noble, benevolent, golden-voiced.
And while his voice was certainly large, his SOUL was the soul of a lieder-singer. Listen to his recording of Schubert's "Lieder für Bass", it's unbelievable, every syllable is beautiful and he's SO SMART, he makes Dietrich Fischer-Dieskau seem like a clown by comparison.
@@ColonelFredPuntridge absolutely correct. Especially the wrong tone part. But for once, it would've been interesting a light voiced hagen, instead of some yelling caveman that just goes "haihooooow....anf, anf....hoiho-cough-ho!"
@@diegoreviati5166 Kurt Moll said in an interview that he was afraid to sing Hagen; he feared that it would damage his voice. He was probably right.
Hmm... Yup, you're right. I took the info directly from Amazon:
amazon. com/R-Strauss-Rosenkavalier-Tomowa-Sintow-Salzburg/dp/B00005A1SZ/
Not sure exactly when this was then. If you liked the clip, go buy the whole DVD!
+BassosaurusRex I thought this was the Met production from 1982.
Salzburg Festival 1984
To all fans of Kurt Moll understanding German: His great talk with August Everding in "Da Capo" - Heinz
th-cam.com/video/kOd1SalLcvs/w-d-xo.html
(there is automatic English translation possible, it's mostly okay)
Don't hold back, now. say what you think.
Kurt Moll: the lowest of the low. Rock bottom.
Theodore Shulman he's not the lowest, but he is a damn good singer
And who, pray tell, is lower than Kurt Moll? Many basses can sing Osmin's low D, but I don't think I've ever heard anyone else sing it with full, relaxed vibrato, as if it were any other note. Only Kurt Moll. Even Josef Greindl loses his vibrato on that note. Herbert Alsen, Gottlob Frick, Ludwig Weber, Matti Salminen, Robert Lloyd, Kurt Bohme, Martti Talvela, Gyorgy Littasy, Cornelius Hauptman, all of them, lose their vibrato on that note too. Only Kurt Moll sings it as if it were an ordinary note!
Theodore Shulman There are plenty of choir singers who can sing notes much lower. Glenn Miller recently won a Grammy for a song in which he sings a G1. Vladimir Miller (no relation) can sing to at least an F1. A few other Russians can go that low and lower, but their names are long and I don't feel like typing them. If you really want, I can look them up... but really, just look up the channel "Oktavism" on here
Vous dites n'importe quoi. Vous mélangez des chanteurs qui chantent dans de grandes salles des rôles parfois immense avec des chanteurs servis par des acoustiques avantageuses, des enregistrements qui mettent en valeur leur voix, des répertoires faciles aux tempis lents et qui demande un registre vocal plus restreint. Glenn Miller chante mal, sans puissance. les russes dont vous parlez chantent comme des casseroles, le timbre est horrible, ils ont souvent des problèmes de justesse. Kurt Moll, quant à lui, est doué d'un organe superbe et peu commun mis au service de l'art, de l'intelligence, de la culture. C'est toute la différence et je doute que vous puissiez la comprendre.
Jake 3752 Well, Moll never sang under Bb1 but it doesn't mean he couldn't. I've heard that Vladimir Miller said once that Moll was able to do a full, loud and resonant F1.
He's been lightly stabbed by Octavian in a short sword-scuffle
I like this but the video is not synced his mouth starts moving before the singing
Karajan's conducting is painfully slow here.
This recording was made in the 80s when Karajan was suffering from back problems. That was the cause for his slow conducting.
It is a C
2
@@orion2116 D2 actually . It's just that Moll's timbre makes it sound lower.
This can not be 1993! Karajan was dead by 1989...
it's a great rendition, though sometimes it seems to be singing Gurnemanz instead of Ochs
Yes, that's Kurt Moll's weakness: he cannot make himself sound stupid or crude. He always sounds like a deep-souled genius, even when he sings grunting cave-man types like Osmin and Hunding.
Gonzalo Gallardo Bareyre his acting here is great though!
Aage Haugland's acting as Ochs is better. Haugland gets the character's BABYISHNESS right.
And yet in 1990, the NYT called him elephantine, boorish and brutish in the role. I wish I had seen it, though.
I think this is an ocd thing but this really annoys me
if only this opera wasn't god fucking awful
RIP