Mozart - Le nozze di Figaro - Vienna / Karajan
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- เผยแพร่เมื่อ 17 เม.ย. 2013
- Wolfgang Amadeus Mozart
Le nozze di Figaro
Figaro : Erich Kunz
Susanna : Irmgard Seefried
Il Conte di Almaviva : George London
La Contessa di Almaviva : Elisabeth Schwarzkopf
Cherubino : Sena Jurinac
Bartolo : Marjan Rus
Marcellina : Elisabeth Höngen
Don Basilio : Erich Majkut
Don Curzio : Erich Majkut
Barbarina : Rosl Schwaiger
Antonio : Wilhelm Felden
Wiener Philharmoniker
Herbert von Karajan
Studio recording, Vienna, 17-21.VI, 23-27 & 31.X.1950 - เพลง
What a piece of work!!!! Playing an alto sax for 8 yrs, our high school band took this to Contest one year...achieve a 1st! Music of all types is beyond words....Marriage of Figaro, yes Mozart
Spannende Interpretation dieser fein komponierten Oper mit perfekt synchronisierten und gut harmonisierten Töne aller Instrumente sowie klaren und lebhaften Stimmen aller Solisten. Der unvergleichliche Maestro dirigiert das weltklassige Orcheseter im relativ schnellen Tempo mit völlig effektiver Dynamik. Die Tonqualität ist auch erstaunlich hoch als eine Aufnahme von mehr als sechzig Jahre vor zur Zeit des Hochladens. Bestimmt eine der zehn besten Aufführungen dieses Werks bis heute!
Mozart knew what will please all of us for countless generations
Pure genius that he is, just genius
Nearly an hour of Mozart missing - what a shame - but any Mozart is worth listening to.
Not realy a shame, I think. Most recitatives are cut, which is a blessing - they get to be nagging on repeated home listening, esp' on a flowing endless magic stream like this. (Yes - plus 2 arias that are of lesser quality and traditionaly cut. But "lesser" mozart is heaven too).
Speedy Intro!
52:25 to 53:05 is simply marvellous
This is a truly beautiful fragment of what humanity has to give. Mozart speaks for all of us, I think. Thanks for uploading.
I couldn't have said it better. I would only add, I think that God speaks through Mozart, if there's a God. How else could we explain such beauty?
+RUBEN CARDOSO Well, modern thinkers have given that thought a bit of an uncomfortable twist... lol, but I do agree with you, my friend.
Indeed
Humanity has literally ZERO to give. Only God gives.
Sublime. Interprètes inégalables !
All the singing is superb! I like when HvK was lively like this - brings the music to life and enlivens the singers. Thank you for your excellent taste and vast generosity, incontrario motu.
i dont mean to be so off topic but does any of you know of a trick to get back into an Instagram account?
I stupidly lost the password. I appreciate any tips you can offer me.
Great!!🎻
Who doesn't love Seefried's Susanna? FanFin' tastic. And Shwarzkopf is less gaspy and breathless here. Just lovely all around
Thanks!
La carenza a parer mio del tutto inaccettabile di questa versione - che posseggo da parecchi anni - è data dall'assenza dei recitativi. Senza recitativi è semplicemente monca. E' un peccato in quanto si tratta di una esecuzione splendida, con voci che non nascono più (e con una REGIA VOCALE di Karajan oggi irreperibile nella maggior parte dei direttori à la page).
Voi CE sapete
Voi CE sapete
This early taping of Nozze is quite different from HvK's later one. Tempos are brisk and vital. The cast with the exception of London are Germanic/Austrian. The Cherubino was sung by the incomparable Jurinac proving that the role should be sung ( like the Komponist and Octavian ) a soprano. Seefried is an enchanting Susanna. Kunz is a very Viennese Figaro while London a virile and sexy Count. The recits are cut due to Legge's assumption that only London and ES would be able to manage the Italian. Bad decision as without them the drama makes no sense and the abrupt key changes are jarring. Even so the recording is worth having sing most of the singing justifies the its existence.
Jurinac came from Yugoslavia, she was neither German nor Austrian.
@@aliena2979 Yes I know she was from Yugoslavia but her career was mainly at Staatsoper in Vienna where I saw her Marschallin and her career was mainly based there.
@@aliena2979 Jurinac's mother was Viennese
Karajan also cut all dialogues from his first ZAUBERFLOTE recording (1950 too), which makes no sense at all since the entire opera is thus reduced to a series of arias, duettos and concertantes.
Too brisk (for my liking.)
Thanks
George London, so Grand!
No coincido con renato45222, aunque lo comprendo ya que es italiano, sin embargo para escuchar EXCLUSIVAMENTE los recitativos son muy tediosos, no para ver la obra en escena.
La versión es fantástica mas que nada por la Jurinac y la Schwarzkopf, London también.
Hay una versión de Eric Kleiber buenísima que trataré de encontrar en este viaje a mi infancia y a los discos de mi padre.
Yo tampoco coincido pero NO le comprendo: el ser italiano no le justifica pues Mozart no lo era y sus óperas nada tienen que ver con el estilo italiano ( de hecho muchos ilustres cantantes de ópera italiana como Tito Gobbi o Valdengo son un desastre sin paliativos en Mozart, que les queda grande ) y él mismo hizo versiones en alemán, espléndidas por cierto, y que dan a la música una nueva - y superior - dimensión.
Le plus bel opéra du monde...
28:57 ATTO SECONDO
41:41 scena 7
42:41 Final Atto Secondo
45:13 scena 9
250IQ challenge completed
Brava
This recording leaves out the recitatives which I feel is unfortunate but the work of the principals compensates to some degree. Seefried is in that pantheon of really great Susanna‘s along with Sayou & Freni & even Schwarzkopf, at this point in her career, does some fine work although, IMO, not on the level of Steber & Della Casa. London is also in optimum form here absolutely first rate with his voice rich & sonorous. For a baritone Figaro Kunz does quite well as well although his lower voice disappears in some of the ensembles. Cutting the recitatives allows the recording to be on 2 discs which may have been an economic decision however regrettable.
Es un placer absoluto disfrutar de esta grandiosa pieza musical y que mejor con hvk diriguiendola....lo suficiente para descansar en paz.
Another beautiful moment: Angels fly in heaven - relaxing piano music Enjoy! :)
❤️
3:15 3:50 best part of the Ouverture.
Miaou
TOO FAST NON ? may this master Rest In Peace. He did it. He knew how to perform, listen, learn music. Hope to see Lang Lang playing it....or conducting it..Fayçal GOUSSI France
Yes, in that ouverture, he was in a harry to catch his latest adulatory review.
@Jeffreypick57 => What do you mean ? Karajahn is fast. Best Ouverture ever, for instance. Double Speed.
1:16
Magnifique ! Quel dommage que les récitatifs soient absents, ç'aurait été la version parfaite...
C'est Karajan au commande, je doute qu'il aime les récitatifs...
déjà qu'il est en roue libre là le Karajan j'ose pas imaginer le clavecin dégueu mi 20eme qu'ils auraient utilisés..
Effectivement c'est l'avis unanime. Cette version d’anthologie est classée parmi les plus grandes.
1:10:50
Best Figaro, Susanna, Count Almaviva, Cherubino... EVER.
Ab 55:44
too fast
Go away troll
No
Susanna pessima. Dizione atroce e voce inesistente, un sibilo continuo. Gli altri abbastanza inascoltabili. Resta solo la musica.
The best possible Susanna. Maybe too delicate for YOU. Mozart was not Italian, the diction ( Italian ) is not important at all. Italian singers as Valdengo or Gobbi are so boorish, rude, coarse, pale, boring and hideous singing Mozart.
Seefried was, with Elisabeth Schumann, the finest Susanna.
@@aliena2979 che Mozart non fosse italiano non significa nulla, anche perché l'italiano era parlato fluentemente dai musicisti all'epoca. La dizione è fondamentale in tutte le lingue e lo è anche nel melodramma, che è la fusione tra musica e poesia. Se non le importa la dizione vada a sentire la sinfonica e non l'opera. La dizione nell'opera è fondamentale sia per la musicalità delle parole, sia per il loro stesso significato. Nell'aria iniziale Susanna dovrebbe dire "guarda adesso il mio caPPello" (see now my hat in inglese), mentre in questa versione l'errata dizione le fa dire "guarda adesso il mio caPello" (see now my one hair in inglese). Il fatto che cantanti italiani possano essere pessimi nella dizione del tedesco fa si che siano altrettanto criticabili. I grandi cantanti lirici, a prescindere dalla nazionalità, hanno dizioni perfette: ascolti la Callas o Domingo
@@aliena2979 o se vuole sentire una dizione italiana perfetta da parte di una soprano contemporanea può ascoltare Diana Damrau ne Le nozze di Figaro a La Scala di qualche anno fa