Musique divinement belle !! Une des scènes capitales de la tétralogie ( il y en a tellement !!!!) C'est par la bouche de Sieglinde qu 'apparaît pour la première fois le motif de la " Rédemption " , par celle de la Walkyrie celui de Siegfried !!! Magistral !!!!
Brava, Brava! Frau Harteros ist eine würdige Nachfolgerin von FlagstadQ Ich kann mich nicht erinnern, als Wagnerianern, Brünhilde auf diesem perfekten und hohen Niveau gehört zu haben! Ich habe Frau Harteos in den 90iger Jahren in der Deutschen OPer Berlin hören dürfen, in anderen Rollen!
Harteros als würdige Nachfolgerin von Kirsten Flagstad zu bezeichnen ist einfach lächerlich. Das Fach von Frau Flagstad wird sie niemals singen. Genaues Hinhören hilft. Selbst Sieglinde geht deutlich über ihre Möglichkeiten.
@@karlheinzkratz8987 Das hatte ich geschrieben, als ich sie als Sieglinde gehört hatte! Und hatte much als Isolde völlig enttäuscht! Da gebe ich Ihnen Recht!
Nun, ich denke dass wir Frau Harteros so schnell nicht wieder auf einer Opernbühne sehen können. Zu schnell, zu viel, zu schwierig. Das Übliche. Wie oft in den letzten Jahrzehnten erlebt.
Kirsten Flagstad recorded a brilliant interview about the requirements for singing Wagner. I'll get back to her, but cover the immediate issues. These two are both incredibly talented singers. It's tragic and shameful, that they and their great gifts aren't being nurtured as they should be. Because of the vile contemporary culture, singers are not being given the chance to develop their craft and instruments. It is a serious and highly delicate process. This has meant that many of the current crop of the most beloved singers, are masking a broken, poorly constructed, and/or well done but only partially built technique. Unlike them, this Sieglinde, from this limited hearing, to my ear, seems to be lined up properly. I wouldn't say that there isn't room for improvement. But, it's a joy to hear a properly aligned machine. She certainly has a voluminous, lustrous instrument. I can't say, ultimately whether this role is for her. It may well be, given time and the right preparation. At this moment however, both of their voices are overwhelmed by the repertoire in this excerpt. It should be a shockingly overwhelming piece of music drama for the audience alone. Instead, their performance is utterly underwhelming. It's proficient in many ways, but they've not executed the brief, what this moment is meant to express and communicate. Flagstad said that Wagner is the ultimate, in terms of #1, requiring time for the voice to properly develop, and #2, putting in inordinate amounts of background work, in the form of lighter roles, performed ad nauseam, in order to prepare the voice to one day, many years later, begin doing Wagner. She said one must realize that it's the musculature in the torso, throughout the body and specifically of the structures around the vocal cords, which endow the voice, once trained, with it's ability to sing opera. These special muscles, she goes on, must be slowly developed over years, like a natural body builder, in order to be able to one day pick up the thousand pound weights - to allow the vocal cords to perform their feats of gymnastic wonder. Thus, she started with a litany of roles that were light for her voice, like Agathe in Der Freischütz, to slowly develop their strength - as one might do with 2, 10 and 25 pound weights. She then cut her teeth, spending an extended time on heavy lyric and spinto roles, like Aida and Tosca - repeating many of these roles numerous times, to build her strength, agility, and skill all around. Obviously this would correlate to, e.g., the 50, 75, 150 and 300 pound weights. Then, she was finally ready for Wagner. But, she said it would've been madness to put her directly into lead roles. For a further extended period, she played supporting Wagnerian roles - in order to get used to the demands of his repertoire, but without the extremity of the demands of a lead role. This allowed her voice to grow into it. This would've been, the equivalent of developing through the 400, 500, 750,1,000 pound weights. Once she was ready to play the lead Wagnerian roles, her voice was comfortably able to handle to repertoire. Just my two cents.
If you listen to all the modern Bayreuth broadcast recordings, the Sieglinde are always better than the Brunhilde vocally. And that really bothers me, as I constantly hope the Sieglinde would sing Brunhilde instead...
La voix de Harteros est somptueuse et ample, même si les attaques manquent de nerf . mais qui croira en cette Sieglinde placide et molle dans le geste comme dans l'intensité vocale en ce moment de profonde angoisse ?
How much I admire the two artist I can't help it but they both have a voice that are one size too small for their roles... But I wouldn’t either sing Elsa, Marschallin, Elisabeth or Desdemona if I was offered heavier roles...
It's already happened. Listen to how the original soft, warm center of her timbre has turned to harshest iron. The same thing happened to Freni after singing big Verdi roles for Karajan and Muti, and she never recovered the beauty of tone she had enjoyed previously. I am afraid this is the beginning of the end for Harteros.
@@jasonhurd4379 There's always been a harsh quality to her middle notes, and the insipient wobble has been there from the beginning. I think this might be her best repertoire. She is nowhere near incisive enough for Verdi.
Mira gloria izquierdo mir sor Lourdes, dominicas del sagrado corazón fedac Santa coloma, mariajo ortega ramón mur gimeno, marí Paz pellisa, asociacion incultural de belmonte de san jose, maría luisa albesa, mercedes Martínez albesa, José Javier de Miguel Martín Miguel Angel de Miguel Martín Javier angosto Alberto ezequiel, bayod camarero,, comarca del matarraña, pachin y corita la difunta Teresa Tomás Serrano, etc, con 8, días de diferencia llegó Brunilde a belmonte de san jose, con ratas y con 🐍
She sings so beautiful! She is so delicated and artistic, i love her job
Harteros is absolutely magnicifent.
Musique divinement belle !! Une des scènes capitales de la tétralogie ( il y en a tellement !!!!) C'est par la bouche de Sieglinde qu 'apparaît pour la première fois le motif de la " Rédemption " , par celle de la Walkyrie celui de Siegfried !!! Magistral !!!!
Merveilleuse Anja !
Anja(s) ?
@@gaetangroppi1112 oui
She sings Verdi, Wagner and Strauss with the same intensitiy, great. I love her 4 last Songs (Strauss).
Her "four last songs" in München 2009 is absolut stunning!
I agree - the most beautiful recording of the 4 last songs(beside Schwarzkopf)
Amazing singers! What a level! Amazing Conductor!!
Wunderschöhn
wonderful, Anja !!!
Anja(s) ?
Brava, Brava! Frau Harteros ist eine würdige Nachfolgerin von FlagstadQ Ich kann mich nicht erinnern, als Wagnerianern, Brünhilde auf diesem perfekten und hohen Niveau gehört zu haben!
Ich habe Frau Harteos in den 90iger Jahren in der Deutschen OPer Berlin hören dürfen, in anderen Rollen!
Sie hat aber nicht die Brünnhilde (mit 2 n!) gesungen, sondern die Sieglinde
Harteros als würdige Nachfolgerin von Kirsten Flagstad zu bezeichnen ist einfach lächerlich. Das Fach von Frau Flagstad wird sie niemals singen. Genaues Hinhören hilft. Selbst Sieglinde geht deutlich über ihre Möglichkeiten.
@@karlheinzkratz8987 Das hatte ich geschrieben, als ich sie als Sieglinde gehört hatte! Und hatte much als Isolde völlig enttäuscht! Da gebe ich Ihnen Recht!
Und im italienischen Fach finde ich sehr gut, insbesondere als sie noch mit Jonas Kaufmann zusammen war
Nun, ich denke dass wir Frau Harteros so schnell nicht wieder auf einer Opernbühne sehen können. Zu schnell, zu viel, zu schwierig. Das Übliche. Wie oft in den letzten Jahrzehnten erlebt.
grande harteros
You have to listen this area sung
By the great. Helen. Traubel!!for
Me this area is the truly dramatic
Soprano voice!!of. Helen. Traubel!!
Kirsten Flagstad recorded a brilliant interview about the requirements for singing Wagner. I'll get back to her, but cover the immediate issues. These two are both incredibly talented singers. It's tragic and shameful, that they and their great gifts aren't being nurtured as they should be. Because of the vile contemporary culture, singers are not being given the chance to develop their craft and instruments. It is a serious and highly delicate process. This has meant that many of the current crop of the most beloved singers, are masking a broken, poorly constructed, and/or well done but only partially built technique.
Unlike them, this Sieglinde, from this limited hearing, to my ear, seems to be lined up properly. I wouldn't say that there isn't room for improvement. But, it's a joy to hear a properly aligned machine. She certainly has a voluminous, lustrous instrument. I can't say, ultimately whether this role is for her. It may well be, given time and the right preparation. At this moment however, both of their voices are overwhelmed by the repertoire in this excerpt. It should be a shockingly overwhelming piece of music drama for the audience alone. Instead, their performance is utterly underwhelming. It's proficient in many ways, but they've not executed the brief, what this moment is meant to express and communicate.
Flagstad said that Wagner is the ultimate, in terms of #1, requiring time for the voice to properly develop, and #2, putting in inordinate amounts of background work, in the form of lighter roles, performed ad nauseam, in order to prepare the voice to one day, many years later, begin doing Wagner. She said one must realize that it's the musculature in the torso, throughout the body and specifically of the structures around the vocal cords, which endow the voice, once trained, with it's ability to sing opera.
These special muscles, she goes on, must be slowly developed over years, like a natural body builder, in order to be able to one day pick up the thousand pound weights - to allow the vocal cords to perform their feats of gymnastic wonder. Thus, she started with a litany of roles that were light for her voice, like Agathe in Der Freischütz, to slowly develop their strength - as one might do with 2, 10 and 25 pound weights. She then cut her teeth, spending an extended time on heavy lyric and spinto roles, like Aida and Tosca - repeating many of these roles numerous times, to build her strength, agility, and skill all around. Obviously this would correlate to, e.g., the 50, 75, 150 and 300 pound weights. Then, she was finally ready for Wagner. But, she said it would've been madness to put her directly into lead roles. For a further extended period, she played supporting Wagnerian roles - in order to get used to the demands of his repertoire, but without the extremity of the demands of a lead role. This allowed her voice to grow into it. This would've been, the equivalent of developing through the 400, 500, 750,1,000 pound weights. Once she was ready to play the lead Wagnerian roles, her voice was comfortably able to handle to repertoire. Just my two cents.
If you listen to all the modern Bayreuth broadcast recordings, the Sieglinde are always better than the Brunhilde vocally. And that really bothers me, as I constantly hope the Sieglinde would sing Brunhilde instead...
Thanks so much for posting. Harteros is sensational as always. And Kampe is no slouch either!
No hay como JESSYE NORMAN
No words available, unfortunately.
Can the conductor please follow the singers
Exactly this!
5:18 ugly flat!
La voix de Harteros est somptueuse et ample, même si les attaques manquent de nerf .
mais qui croira en cette Sieglinde placide et molle dans le geste comme dans l'intensité vocale en ce moment de profonde angoisse ?
What do they say? ‘Once you go Black there’s no going back’?
Great singing. But, it’s not Jessayye.
How much I admire the two artist I can't help it but they both have a voice that are one size too small for their roles...
But I wouldn’t either sing Elsa, Marschallin, Elisabeth or Desdemona if I was offered heavier roles...
She is going to damage her voice singing Sieglinde...
It's already happened. Listen to how the original soft, warm center of her timbre has turned to harshest iron. The same thing happened to Freni after singing big Verdi roles for Karajan and Muti, and she never recovered the beauty of tone she had enjoyed previously. I am afraid this is the beginning of the end for Harteros.
@@jasonhurd4379 There's always been a harsh quality to her middle notes, and the insipient wobble has been there from the beginning. I think this might be her best repertoire. She is nowhere near incisive enough for Verdi.
@@jasonhurd4379 o
Haute cuisine
Mira gloria izquierdo mir sor Lourdes, dominicas del sagrado corazón fedac Santa coloma, mariajo ortega ramón mur gimeno, marí Paz pellisa, asociacion incultural de belmonte de san jose, maría luisa albesa, mercedes Martínez albesa, José Javier de Miguel Martín Miguel Angel de Miguel Martín Javier angosto Alberto ezequiel, bayod camarero,, comarca del matarraña, pachin y corita la difunta Teresa Tomás Serrano, etc, con 8, días de diferencia llegó Brunilde a belmonte de san jose, con ratas y con 🐍
la seule vraie chanteuse actuelle. Une diva?
De quelle "chanteuse" parlez-vous ?
DE RECLINATORI.
so nasal. weak. wobbly. what a disgrace. i thought brunhilde's tongue was gonna jump out