Who would’ve thought, Martha Argerich and Sylvia McNair on the same stage. Not surprising, given that both were among Abbado’s favorite collaborators, but still. I SO wish Argerich had done more Mozart, besides a few concertos.
What a treat, what a great trio - and wonderful to hear Argerich in this repertoire. Her mozart was always brilliant. Do you have the rest of the concert?
11. 4. 1993, 11:00, Großes Festspielhaus Franz Schubert Symphonie Nr. 7 h-Moll D 759 "Unvollendete" Wolfgang Amadeus Mozart Szene mit Rondo "Ch'io mi scordi di te" KV 505 Giuseppe Verdi "Non t'accostare all'urna" aus "Sechs Romanzen" Ruggero Leoncavallo Aprile Richard Strauss Zueignung op. 10/1 Richard Strauss Allerseelen op. 10/8 Gustav Mahler Aus den Kindertotenliedern: Nr. 1 "Nun will die Sonn' so hell aufgehn" und Nr. 5 "In diesem Wetter, in diesem Braus" Richard Wagner Aus Tristan und Isolde: Vorspiel zum ersten Akt und Isoldes Liebestod Soprano (Mozart): Sylvia McNair Baritone (Leoncavallo): Leo Nucci Soprano (Strauss): Carol Vaness Mezzo-soprano (Mahler): Marjana Lipovsek Piano (Mozart): Martha Argerich Orchestra: Berliner Philharmoniker Conductor, Piano: Sir Georg Solti Conductor: Claudio Abbado Presenter: Sir Peter Ustinov
I think, and I could be wrong, that Abbado was pushing Martha to play things she would have not played otherwise. @Charles I was already following your Instagram but I wasn't aware of all the beautiful videos here on youtube! Thank you for uploading!
At Mozart's time, only four words were used to classify the voices: Baß and Tenor for the men; Alt and Sopran for the women. With that, the composers wrote for specific soloists with their specific voices. The result is that when you are a deep baß, or a baryton, or a mezzo, or a high soprano (as Sylvia Mac Nair), not all the arias set very well with your own voice. This aria, although written for "Sopran, Klavier und Orchester" is very often sung by mezzo-soprani (Berganza, Bartoli...) because the ambitus is from he low A-flat to the high B-flat. The mezzi are more comfortable with this tessitura. But I must admit that Sylvia Mc Nair does a good job with his pretty voice, although she's not here in the best part of her register.
I have watched her in other concerts (2nd S. by G.Mahler, C.Abbado, BPO) and she always (like here) applauded to the other musicians, something that not many singers do in this way.
Sylvia sounds liked she was born to sing this aria.....it fits her like a glove!
OH MY GOODNESS! What a treasure.
Oh! Thank you SO much!
Never heard this piece before until now
Wonderful. Thanks so much, Charles
Too, too fabulous, Charles. Huge thanks, Hywel x
Thank you very much!! ☺️
The great Sylvia McNair, with Miss Argerich! Thanks for posting this.
5:50
Who would’ve thought, Martha Argerich and Sylvia McNair on the same stage. Not surprising, given that both were among Abbado’s favorite collaborators, but still. I SO wish Argerich had done more Mozart, besides a few concertos.
What a treat, what a great trio - and wonderful to hear Argerich in this repertoire. Her mozart was always brilliant. Do you have the rest of the concert?
No I don’t have it unfortunately. I don’t know what else was on the program
11. 4. 1993, 11:00, Großes Festspielhaus
Franz Schubert
Symphonie Nr. 7 h-Moll D 759 "Unvollendete"
Wolfgang Amadeus Mozart
Szene mit Rondo "Ch'io mi scordi di te" KV 505
Giuseppe Verdi
"Non t'accostare all'urna" aus "Sechs Romanzen"
Ruggero Leoncavallo
Aprile
Richard Strauss
Zueignung op. 10/1
Richard Strauss
Allerseelen op. 10/8
Gustav Mahler
Aus den Kindertotenliedern: Nr. 1 "Nun will die Sonn' so hell aufgehn" und Nr. 5 "In diesem Wetter, in diesem Braus"
Richard Wagner
Aus Tristan und Isolde: Vorspiel zum ersten Akt und Isoldes Liebestod
Soprano (Mozart): Sylvia McNair
Baritone (Leoncavallo): Leo Nucci
Soprano (Strauss): Carol Vaness
Mezzo-soprano (Mahler): Marjana Lipovsek
Piano (Mozart): Martha Argerich
Orchestra: Berliner Philharmoniker
Conductor, Piano: Sir Georg Solti
Conductor: Claudio Abbado
Presenter: Sir Peter Ustinov
I think, and I could be wrong, that Abbado was pushing Martha to play things she would have not played otherwise. @Charles I was already following your Instagram but I wasn't aware of all the beautiful videos here on youtube! Thank you for uploading!
You will see that there are many amazing things to come on this TH-cam channel !
@@CharlesCouineau :-) Do you think there is any audio of Martha playing the Empereor Piano Concerto?
At Mozart's time, only four words were used to classify the voices: Baß and Tenor for the men; Alt and Sopran for the women. With that, the composers wrote for specific soloists with their specific voices. The result is that when you are a deep baß, or a baryton, or a mezzo, or a high soprano (as Sylvia Mac Nair), not all the arias set very well with your own voice.
This aria, although written for "Sopran, Klavier und Orchester" is very often sung by mezzo-soprani (Berganza, Bartoli...) because the ambitus is from he low A-flat to the high B-flat. The mezzi are more comfortable with this tessitura. But I must admit that Sylvia Mc Nair does a good job with his pretty voice, although she's not here in the best part of her register.
Dull! Dull! Dull! Sylvia McNair is a cut above Dawn Upshaw, but still colorless and without a trace of frisson.
Martha fait chanter son piano aussi bien que la Soprano ne chante…
No room for improvement from what I can see.
what happened at the end? the singer make a "disgusted" gesture when shaking argerich's hands
I didn’t see anything like that. Sylvia smiled graciously at Martha, shook her hand, then made a gesture as if to say “Let’s make room for you here.”
Beautiful! See no disgusting gesture
I have watched her in other concerts (2nd S. by G.Mahler, C.Abbado, BPO) and she always (like here) applauded to the other musicians, something that not many singers do in this way.
???
La pubblicità che impietosamente interrompe un opera d’arte…TH-cam di m….a! Non passerò mai alla versione a pagamento!!!!
9:45