That is the BEST fricking evil laugh in the history of ever. Epic! And then seeing a somewhat overweight man in a huge black beard and a nightgown *bounching* around the stage, acting and singing out his joy at seeing someone strangled, is just beyond hilarious. And Moll does all that while singing one of the most demanding bass arias there is, and makes it all look and sound so easy. I have seen and heard many good Osmins but no-one even comes close to Moll's performance in my opinion.
+ladylaeriel You are absolutely correct. I like Kurt Moll as the Commendatore in Mozart's Don Giovanni also. The final scene in that opera where the Commendatore comes to dine with Giovanni and asks him to repent of all the evil he has done and Giovanni refuses and descends into perdition is one of the greatest scenes in opera.
Another comment from me about Moll.....he's absolutely having the most fun a human being can have singing this, and it's this joy of his that comes out and just smacks us all in the face! The last time Moll sang Osmin at the MET, the people went CRAZY for him...he got the most huge ovation, and well-deserved, too! High notes, low notes, trills, and every other note in between....killin'em, Kurt Baby!
It is the joy that sets him apart ... there is a video here where a close up catches him almost forgetting not to smile as the Commendatore ... but his eyes just sparkled before he hit the highest true note in that ENTIRE scene like, you know, "Hey tenors -- if you need a night off, I've got high notes covered!" ... knowing all the time that in two minutes he just as easily will be busting out that same low D we hear here ... just two octaves and a bit more of sheer mastery, done with so much joy the character ALMOST cannot contain him. There are some audio-only videos of him singing lieder, and you can FEEL him smiling ... you can HEAR it in his voice ... and there is at least one video of him teaching ... and he passes all that love and light on to his student, who you can hear becoming a better singer minute by minute, drawn to the light!
In modern tuning, this aria is unbelievably difficult for a low bass. Every phrase crosses the passaggio, and demands a lot of movement in that tricky register. In mozart's tuning this is more reasonable, but that doesn't help us now! This is one of the best renditions on TH-cam - Moll absolutely crushes the piece. Bravo!
This is definitely the hardest piece a low bass can sing. The d4 to d2 is killer and how much middle voice it uses. Don't forget the incredibly hard trill and arpeggios at the end. Moll is such an amazing singer, and it's no wonder he's considered one of the greatest bassos of all time.
Omg was für eine fantastische Interpretation dieser Arie. Kurt Moll unnachahmlich, gesanglich und schauspielerisch. Der pure Genius und Genuss. Vielen Dank für dieses Upload einer kulturellen Kostbarkeit.
Don't get me wrong, I do love the work of the late,great Solti. However, I think he may have needed to run to the bathroom-- THE TEMPO WAS BLISTERINGLY FAST ! I have sung this role 8 times now, and NEVER at such a breakneck speed. Still enjoyable though.
Oh, this is fantastic. Kurt Moll was one of the greatest bass singers. I liked him when he played The Commendatore in Mozart's Don Giovanni, he was great in that last scene.
I love the audience just cracking up when Moll laughs at the beginning. X'D ...Listening to basses singing is kind of like listening to a tuba player playing. Such a deep and rich sound.
Both his singing voice and speaking voice are equally amazing. Smooth and dark, great balance throughout his range and one of the few basses who trills well.
Better than Frick, Moll is THE Mozart bass. THE Osmin, THE Sarastro, THE Commendatore! Frick may have him beat at Wagner, but Moll has that great vocal flexibility that he so exercises here. Long live the Molllll!
I have a soft spot for Finnish opera singers - my favorite Osmin is Martti Talvela, while Sarastro is Hannu Forsberg (actually bass-baritone). The Magic Flute was my first ever opera and Forsberg played the role back then, so he left quite an impression on me. Same reason why Tom Nyman is my favorite tenor (he was Tamino in that production).
Another octave below that at least? Noone can sing in that range, come on. Low russian profundi don't really go below low G and those notes are only suitable for a choir, not opera. This D is amazing, he's projecting it over an orchestra into a big hall, if he sang this note in your living room you would poop your pants. Moll is a huge profundo in my opinion. With such a huge D he can probably sing a nice A as well.
Is there anything better than seeing a basso profundo magnifico jumping and prancing around and singing the crap out of a VERY difficult aria? NOOOOOOO
I suspect some 'purists' might complain of the tempo, but I love it! All to often we don't make tweaks to performances to make a classic piece more relevant to the ears of our modern audiences. For me, I'd love to sing it at this piece -- if I had the bottom register Herr Moll possessed -- as it adds so very much to the dramatic delivery of this awesome aria. Solti was a genius to afford us this rendering.
For me Moll is the best Osmin ever even compared to Frick and others. I hope I'll get this DVD soon, because in this performance Moll shows everybody how to combine great technique, perfect voice and extraordinary acting.
What does Tim Storms have to do with singing low notes? We're talking about real singers here, and not fryers, aren't we? It is one thing to vocalize, and quite another to SING.
Kurt Moll was always excellent when I listened to the MET broadcasts, but my favourite for the triumph aria is Frick in 1956 his first recording. His voice wasn't so good second time around. Henry Webb
Watching again! THIS is a clip to come back to time after time! After a fantastically comedic performance, who could NOT love this man! God, he was wonderful!
I saw this at the MET in 05(ish?) And Moll was AMAZING! They had to stop for a few minutes cuz people kept clapping so he did this funny look-at-the-audience-and-sort-of-bow-backwards thing. It was FANTASTIC. He's amazing...old, but amazing :)
(Warning bad english , am swedish) I will join in the praising choir. Lord Kurt Moll IS unbeatable when it comes to this aria! Artisticly, bassowise PERIOD! He preforms it musicly to the note and as everybody says he preforms it like it was nothing. My uncle who was a basso said he used to get an anxeity attack when he was asked to sing this. This is NOT a simple song to sing and I morn that so far i haven´t seen a new genartion basso how peforms it as good as Moll did.
El personaje SELIM que interpreta éste bajo profundo debe tener una voz consistente,amplia y rotunda en los registros graves .los papeles para esta tesitura se hallan básicamente en el reportorio alemán,por bien que en el repertorio italiano también lo han incorporado.(el Inquisidor de don carlos, el Sparafusile de rigoletto sería dos buenos ejemplos.
What I love about this is just the joy one can often feel from Herr Moll when he is singing ... that laugh at the beginning that just cracked up the entire audience is what you get when a joyful master of his craft takes a stereotype already worn out and just sends it all the way up to something lovely and expressive. And then there's also the speed here ... REALLY fast, but Herr Moll's attitude seems to be "All right! I can skip, I can dance, AND SO CAN MY HUGE VOICE, and I get to be a grown man and paid to play in public! Ah, another fantastic opportunity!" One forgets Osmin is a villain ... Herr Moll swamps his character's sadism with his joy and love!
@WhiteProfondo Nearly all the great bassos change the text. I have recordings of Frick, Rydl and others doing it. Grammatically it works in German. It's really not a big deal, so I don't see what sense it makes to harp on it. It doesn't in anyway change the performance quality of the overall aria.
Yes you are right, too fast! I guess it's not too sing the low D for too long. But Kurt Moll remains a model of bass singing in the high notes, beautiful. His high Es are a bit missed but never mind, the timbre is beautiful.
C'est tout simplement prodigieux! La voix invraisemblable, le charisme, l'interprétation, l'énergie, l'humour, l'équilibre avec l'orchestre... IMMENSE Kurt Moll! ❤
Oh, yessssssssssss . . . that WAS magnificent! Moll was in a class by himself. However . . . I have a CD from a 1949 (yes, nineteen forty-nine) studio recording conducted by Ferenc Fricsay with the RIAS symphony and chorus in which Osmin is sung by Josef Greindl, a fine German bass of an earlier generation. The CD is on the MYTO label; Sari Barabas, Anton Dermota, Helmut Krebs and Rita Streich appear in the other roles. It's worth looking for.
@@brunegilda2453 I bumped into it at a used CD shop and snapped it up, not knowing what a treat lay ahead! There's also a clip from "Don Carlo" on YT of Greindl as Philip II and Marti Talvela as the Grand Inquisitor; it's positively chilling! Talvela's appearance will make the hair on the back of your neck stand up!
Oh, you misinterpreted me; i am alluding to the three Operatic Profundi: Wichniakov, Miller & Pasuikov. Also, like i said, the D is not meant to be held for more than 15. In the score it is not marked as a fermata or opzionale sostenere, therefore it must be held for 15.
I can't tell you how many times I've seen young bassos here on TH-cam SAY how great they are & how so-and-so sucks compared to them. Prove it. Nothing more, nothing less. Just Prove it. When I was 18 I talked to a world renowned basso after he sang Sarastro & he expressed how hard Mozart was to sing. At the time I thought he was an f'ing idiot. 20 years later, I now understand the wisdom of his words. ANYONE can sing Mozart; it's a rare find when you find someone who can sing it well.
Moll is a profundo in the italian tradition, meaning a bass with large sound and with a large range, often ranging C2-F4. This is a slightly different voice type than the Russian profundo, which is a singer often with a raw timbre and approximated range of G1-C4. Let me just shoot in here that the notion of there only being three russian profundi is a misunderstanding. I could mention at least ten active today.
Splendid bit of cheating with the words here. First time round it goes "Denn nun hab' ich vor euch Ruh'". With the bottom D, though, he changes the words to "Denn nun hab' ich Ruh', vor euch". The 'eu' vowel is much easier to get across an orchestra on a bottom D than the German 'u' vowel, with its almost closed lips. The final 'ch' vowel can also be spat out, further clarifying the word on that long note. It also allows him to snatch a breath before the long note. It doesn't change the meaning or the correctness of the German grammar.
@@voran6711Classical singing teachers train their students to modify 'oo' and 'ee' because these sounds close the throat. That's not cheating. It's called technique.
Moll was the best basso profondo since Emanuel List and Alexander Kipnis emerged in the 1920's. He even did the triplets cleanly and without slowing down, produced fine trills, and was fabulous all the way down.
Who's this WhiteProfondo guy? Should I have heard of you, or are you one of the countless YT commenters who have no shortage of strong opinions on other singers, but nothing of their own to show? Just curious.
@WhiteProfondo I understand you feel it's cheating to change the word order to get the low note better...but if you listen to all the other german singers they did the exact same thing for that low D
Righteous. Opera is one of the last true meritocracies in the world. Audiences in the great opera houses are demanding, and the notion that Moll, Frick, etc., weren't "great" is absurd, given their immense popularity, recording legacy, long careers and so forth. You'd hardly get conductors like Karajan, Bernstein, Bohm, Reiner, etc. working with singers they thought weren't truly excellent. So anyone you claims to be better then these giants better be on his way to La Scala right away.
@WhiteProfondo I don't think anyone with serious knowledge of opera and singing would assert that Moll, Frick, et al. aren't "high-quality" basses. When you're appearing in big roles at Covent Garden, La Scala and the Met, you can come back and crow about how great your low notes are compared to these masters. :)
I can't see Siepi doing Osmin. German singspiel? Not likely. I also disagree about Moll--I think he's terrific. The D is certainly more audible than most Osmins.
Doing this song for solo contest this year... Have all the notes and stuff but id kill to be able to do it as easily as he does it. It doesn't look like hes even trying... I don't think he is actually.
@BassosaurusRex amen. If no one has asked your opinion on how well an established pro sings, it may be because you have delusions of adequacy. They certainly haven't asked mine.
that's just because few people understand Mozart - and the overwhelming majority of singers have no good timing. Mozart needs to flow and timing is key to that
That is the BEST fricking evil laugh in the history of ever. Epic! And then seeing a somewhat overweight man in a huge black beard and a nightgown *bounching* around the stage, acting and singing out his joy at seeing someone strangled, is just beyond hilarious. And Moll does all that while singing one of the most demanding bass arias there is, and makes it all look and sound so easy. I have seen and heard many good Osmins but no-one even comes close to Moll's performance in my opinion.
+ladylaeriel You are absolutely correct. I like Kurt Moll as the Commendatore in Mozart's Don Giovanni also. The
final scene in that opera where the Commendatore comes to dine with Giovanni and asks him to repent of all the evil he has done and Giovanni refuses and descends into perdition is one of the greatest scenes in opera.
couldnt agree more !
True. Moll is the best Osmin ever. Can't get enough of this. I first heard his Sarastro when I was few years old. He was a very nice, humble human.
Another comment from me about Moll.....he's absolutely having the most fun a human being can have singing this, and it's this joy of his that comes out and just smacks us all in the face! The last time Moll sang Osmin at the MET, the people went CRAZY for him...he got the most huge ovation, and well-deserved, too! High notes, low notes, trills, and every other note in between....killin'em, Kurt Baby!
It is the joy that sets him apart ... there is a video here where a close up catches him almost forgetting not to smile as the Commendatore ... but his eyes just sparkled before he hit the highest true note in that ENTIRE scene like, you know, "Hey tenors -- if you need a night off, I've got high notes covered!" ... knowing all the time that in two minutes he just as easily will be busting out that same low D we hear here ... just two octaves and a bit more of sheer mastery, done with so much joy the character ALMOST cannot contain him. There are some audio-only videos of him singing lieder, and you can FEEL him smiling ... you can HEAR it in his voice ... and there is at least one video of him teaching ... and he passes all that love and light on to his student, who you can hear becoming a better singer minute by minute, drawn to the light!
I cannot remember any other basso profondo that can do colorature of this quality.
please do me a favor and listen moll singing hier im ird'schen Jammertal! one of the best coloratures i have ever heard
That's because there aren't any!
Josef Greindl
In modern tuning, this aria is unbelievably difficult for a low bass. Every phrase crosses the passaggio, and demands a lot of movement in that tricky register. In mozart's tuning this is more reasonable, but that doesn't help us now! This is one of the best renditions on TH-cam - Moll absolutely crushes the piece. Bravo!
This is definitely the hardest piece a low bass can sing. The d4 to d2 is killer and how much middle voice it uses. Don't forget the incredibly hard trill and arpeggios at the end. Moll is such an amazing singer, and it's no wonder he's considered one of the greatest bassos of all time.
Omg was für eine fantastische Interpretation dieser Arie. Kurt Moll unnachahmlich, gesanglich und schauspielerisch. Der pure Genius und Genuss. Vielen Dank für dieses Upload einer kulturellen Kostbarkeit.
not only a wonderful bass but also a great comic actor..I miss him...RIP Herr Kurt Moll.
best Osmin's laugh ever! great performance!
Kurt Moll was the greatest opera bass singer ever. He was also great in Mozart's
opera Don Giovanni as The Commendatore.
William H. Burke, Jr. No he wasn't! Just listen to Franz Crass (IMHO much better)! Here the tempo Solti chose is by far too fast!
+MusikPiratCH i listened to Franz's version I did not like it
Marybeth Langendorf I love Franz Crass and especially his voice - more impressive than Kurt Moll! xD
+MusikPiratCH you are entitled to your opinion. Personally I like Kurt Moll better
+MusikPiratCH Moll is the greatest. Franz Crass? Never heard of him.
R.I.P Kurt Moll.
No-one could hit Osmin's D2 like he did.
I thought Josef Greindl did a pretty good job.
What about Gottlob Frick?
Thanks for your learned opinion.
" *worse* than Moll" That's such a clear opinion...
Martti Talvela!
Don't get me wrong, I do love the work of the late,great Solti. However, I think he may have needed to run to the bathroom-- THE TEMPO WAS BLISTERINGLY FAST ! I have sung this role 8 times now, and NEVER at such a breakneck speed. Still enjoyable though.
20 people hit dislike because they thought it means "dis I like"!
😂😂😂👍🏻
Oh, this is fantastic. Kurt Moll was one of the greatest bass singers. I liked him when he played The Commendatore in Mozart's Don Giovanni, he was great in that last scene.
The laugh is hilarious and the aria is fantastic!
That bit between 1:26 and 1:32, especially the very start - thats some unbeliavablly rich singing.
As soon as you mentioned rich singing I knew exactly what part you were talking about.
I love the audience just cracking up when Moll laughs at the beginning. X'D
...Listening to basses singing is kind of like listening to a tuba player playing. Such a deep and rich sound.
Mozart went full derp with Si---------ngen, literally. I swear it. I've sung that one :D
What do you mean?
+jacob lahr The part is just extremely weird. Around 2:15 to 2:32.
+iamQuiliamQuil weird and extremely hard to sing
I have too. It's pretty weird, but who am I to question the master?
That part sounds and looks like Osmin has to go to the toilet, but someone else occupied it already. Moll just jumps so much. :D
And I still miss you, Herr Kurt Moll....not only a great singer, but also a great actor....
Both his singing voice and speaking voice are equally amazing. Smooth and dark, great balance throughout his range and one of the few basses who trills well.
Better than Frick, Moll is THE Mozart bass. THE Osmin, THE Sarastro, THE Commendatore! Frick may have him beat at Wagner, but Moll has that great vocal flexibility that he so exercises here. Long live the Molllll!
I have a soft spot for Finnish opera singers - my favorite Osmin is Martti Talvela, while Sarastro is Hannu Forsberg (actually bass-baritone).
The Magic Flute was my first ever opera and Forsberg played the role back then, so he left quite an impression on me. Same reason why Tom Nyman is my favorite tenor (he was Tamino in that production).
Y don Bartolo en las bodas de Fígaro.
Eccezionale Kurt Moll, grande cantante ed ottimo attore.Il migliore Osmino che abbia sentito.
#RIP :(( Danke f.Alles! Maerz 6 2017
Another octave below that at least? Noone can sing in that range, come on. Low russian profundi don't really go below low G and those notes are only suitable for a choir, not opera.
This D is amazing, he's projecting it over an orchestra into a big hall, if he sang this note in your living room you would poop your pants. Moll is a huge profundo in my opinion. With such a huge D he can probably sing a nice A as well.
R.I.P. Kurt Moll
Is there anything better than seeing a basso profundo magnifico jumping and prancing around and singing the crap out of a VERY difficult aria? NOOOOOOO
Another legend is lost. RIP Kurt Moll
I suspect some 'purists' might complain of the tempo, but I love it! All to often we don't make tweaks to performances to make a classic piece more relevant to the ears of our modern audiences.
For me, I'd love to sing it at this piece -- if I had the bottom register Herr Moll possessed -- as it adds so very much to the dramatic delivery of this awesome aria.
Solti was a genius to afford us this rendering.
OMG, that second trill.....INCREDIBLE! And he owns the stage!!!!
What a great laugh! And a great low D!!
A freakin' trill, for Pete's sake! What other basso profundo can even think about doing that??? Moll RULES ALL!
Arranged the music score of this amazing aria, with Kurt Moll (this exact recording): th-cam.com/video/RoLrFwpKEbE/w-d-xo.html
For me Moll is the best Osmin ever even compared to Frick and others. I hope I'll get this DVD soon, because in this performance Moll shows everybody how to combine great technique, perfect voice and extraordinary acting.
Kurt Moll is one of my fav Basses of all time. IvanDavidLippens, you need to get your coat, partner... you are barking up the wrong tree.
This strikes me as a bit too fast. Still awesomely executed, but the speed is off-putting for me. Just as well. F*ing great work.
Je ne me tanne jamais de l'écouter, ce grand Kurt Moll.
Yes! That's the way to do it! And what a laugh as an entrance!
What does Tim Storms have to do with singing low notes? We're talking about real singers here, and not fryers, aren't we?
It is one thing to vocalize, and quite another to SING.
Kurt Moll was always excellent when I listened to the MET broadcasts, but my favourite for the triumph aria is Frick in 1956 his first recording. His voice wasn't so good second time around. Henry Webb
it doesnt get any better AND funnier than this !!!! What a voice ,what a sound
Will be missed.
El rapto en el serrallo, una de las óperas más lindas jamás compuesta
Watching again! THIS is a clip to come back to time after time! After a fantastically comedic performance, who could NOT love this man! God, he was wonderful!
RIP
I saw this at the MET in 05(ish?) And Moll was AMAZING! They had to stop for a few minutes cuz people kept clapping so he did this funny look-at-the-audience-and-sort-of-bow-backwards thing. It was FANTASTIC. He's amazing...old, but amazing :)
(Warning bad english , am swedish)
I will join in the praising choir. Lord Kurt Moll IS unbeatable when it comes to this aria!
Artisticly, bassowise PERIOD!
He preforms it musicly to the note and as everybody says he preforms it like it was nothing. My uncle who was a basso said he used to get an anxeity attack when he was asked to sing this.
This is NOT a simple song to sing and I morn that so far i haven´t seen a new genartion basso how peforms it as good as Moll did.
El personaje SELIM que interpreta éste bajo profundo debe tener una voz consistente,amplia y rotunda en los registros graves .los papeles para esta tesitura se hallan básicamente en el reportorio alemán,por bien que en el repertorio italiano también lo han incorporado.(el Inquisidor de don carlos, el Sparafusile de rigoletto sería dos buenos ejemplos.
Jordi Fuentes Andres el personaje es OSMIN , Selim es un personaje hablado dentro de esta maravillosa ópera
Kurt Moll is the man !
Orchestra is too fast How he can do the D2 wow
Really good performance! His low D's are the best I've heard so far.
tout simplement grandiose...
O ihr Spitzbuben!
He is - to me - the best singer for Osmin. From 2"18 to 2"50 is my favorite part, of course. Brilliant as an actor, too. Thanks for the upload.
Meilleur Osmin de tous les temps...RIP Herr Moll!
All the other basses ,wood be ashame....
SnuggeP No! But that's simply your opinion. I prefer Franz Crass at this aria! :P
Rest In Peace Kurt Moll , the best bass ever u.u
What I love about this is just the joy one can often feel from Herr Moll when he is singing ... that laugh at the beginning that just cracked up the entire audience is what you get when a joyful master of his craft takes a stereotype already worn out and just sends it all the way up to something lovely and expressive. And then there's also the speed here ... REALLY fast, but Herr Moll's attitude seems to be "All right! I can skip, I can dance, AND SO CAN MY HUGE VOICE, and I get to be a grown man and paid to play in public! Ah, another fantastic opportunity!" One forgets Osmin is a villain ... Herr Moll swamps his character's sadism with his joy and love!
@WhiteProfondo
Nearly all the great bassos change the text. I have recordings of Frick, Rydl and others doing it. Grammatically it works in German. It's really not a big deal, so I don't see what sense it makes to harp on it. It doesn't in anyway change the performance quality of the overall aria.
Superb!!
that laugh in the beginning is damn scary
Yes you are right, too fast! I guess it's not too sing the low D for too long. But Kurt Moll remains a model of bass singing in the high notes, beautiful. His high Es are a bit missed but never mind, the timbre is beautiful.
I LOVE Kurt Moll !!! What a gorgeous bass voice ! And fine technique , too !
C'est tout simplement prodigieux! La voix invraisemblable, le charisme, l'interprétation, l'énergie, l'humour, l'équilibre avec l'orchestre... IMMENSE Kurt Moll! ❤
Oh, yessssssssssss . . . that WAS magnificent! Moll was in a class by himself.
However . . . I have a CD from a 1949 (yes, nineteen forty-nine) studio recording conducted by Ferenc Fricsay with the RIAS symphony and chorus in which Osmin is sung by Josef Greindl, a fine German bass of an earlier generation. The CD is on the MYTO label; Sari Barabas, Anton Dermota, Helmut Krebs and Rita Streich appear in the other roles. It's worth looking for.
I've got that CD as well and you're right.
@@brunegilda2453 I bumped into it at a used CD shop and snapped it up, not knowing what a treat lay ahead! There's also a clip from "Don Carlo" on YT of Greindl as Philip II and Marti Talvela as the Grand Inquisitor; it's positively chilling! Talvela's appearance will make the hair on the back of your neck stand up!
Coloratura. It's not just for sopranos anymore.
Oh, you misinterpreted me; i am alluding to the three Operatic Profundi: Wichniakov, Miller & Pasuikov. Also, like i said, the D is not meant to be held for more than 15. In the score it is not marked as a fermata or opzionale sostenere, therefore it must be held for 15.
The musical conductor wanted to get home or had to go to the loo. Speedclassics...
Это был великий бас!!!!!
I can't tell you how many times I've seen young bassos here on TH-cam SAY how great they are & how so-and-so sucks compared to them.
Prove it.
Nothing more, nothing less. Just Prove it.
When I was 18 I talked to a world renowned basso after he sang Sarastro & he expressed how hard Mozart was to sing. At the time I thought he was an f'ing idiot.
20 years later, I now understand the wisdom of his words.
ANYONE can sing Mozart; it's a rare find when you find someone who can sing it well.
I smile every time I watch this! It's just so funny and well done.
Old Singers Project 2018 💜 #voiceit
good interpretation
Moll is a profundo in the italian tradition, meaning a bass with large sound and with a large range, often ranging C2-F4.
This is a slightly different voice type than the Russian profundo, which is a singer often with a raw timbre and approximated range of G1-C4.
Let me just shoot in here that the notion of there only being three russian profundi is a misunderstanding. I could mention at least ten active today.
Wow fast tempo! No wonder it's such a short clip.
Bravo, braaaaavoooooo.........Kurt.
I almost cried over how true this statement is. Thank you so much for clarifying this. :)
Wonderful stuff. I only wish that he was still performing. It's sad that in my youth I've been unable to see such a masterful singer live.
Magnificent! Thanks
Haha. that's the most evil chuckle I've ever heard. :D
Kurt Mole IS a god! Absolutely wonderful performance, I can't stop watching it.
RIP
Splendid bit of cheating with the words here. First time round it goes "Denn nun hab' ich vor euch Ruh'". With the bottom D, though, he changes the words to "Denn nun hab' ich Ruh', vor euch".
The 'eu' vowel is much easier to get across an orchestra on a bottom D than the German 'u' vowel, with its almost closed lips. The final 'ch' vowel can also be spat out, further clarifying the word on that long note. It also allows him to snatch a breath before the long note.
It doesn't change the meaning or the correctness of the German grammar.
Agreed. I hate trying to sing 'oo' vowels loudly.
@@voran6711Classical singing teachers train their students to modify 'oo' and 'ee' because these sounds close the throat. That's not cheating. It's called technique.
master meets master
What a voice!!! I'm my number one fan
Moll was the best basso profondo since Emanuel List and Alexander Kipnis emerged in the 1920's. He even did the triplets cleanly and without slowing down, produced fine trills, and was fabulous all the way down.
that laugh at the beginning!!!
Great !
That low D! So very sublime.
woah he sings this well!!
Mr Mozart. Everything just 'fits ' at every phrase and how could it be possible?
Who's this WhiteProfondo guy? Should I have heard of you, or are you one of the countless YT commenters who have no shortage of strong opinions on other singers, but nothing of their own to show? Just curious.
bravo Maestro!
@WhiteProfondo I understand you feel it's cheating to change the word order to get the low note better...but if you listen to all the other german singers they did the exact same thing for that low D
Righteous.
Opera is one of the last true meritocracies in the world. Audiences in the great opera houses are demanding, and the notion that Moll, Frick, etc., weren't "great" is absurd, given their immense popularity, recording legacy, long careers and so forth. You'd hardly get conductors like Karajan, Bernstein, Bohm, Reiner, etc. working with singers they thought weren't truly excellent.
So anyone you claims to be better then these giants better be on his way to La Scala right away.
@WhiteProfondo
I don't think anyone with serious knowledge of opera and singing would assert that Moll, Frick, et al. aren't "high-quality" basses.
When you're appearing in big roles at Covent Garden, La Scala and the Met, you can come back and crow about how great your low notes are compared to these masters. :)
I can't see Siepi doing Osmin. German singspiel? Not likely. I also disagree about Moll--I think he's terrific. The D is certainly more audible than most Osmins.
Wunderbar welch grandiose Stimme! Das ist Kunst❤️
Doing this song for solo contest this year... Have all the notes and stuff but id kill to be able to do it as easily as he does it. It doesn't look like hes even trying... I don't think he is actually.
@BassosaurusRex amen. If no one has asked your opinion on how well an established pro sings, it may be because you have delusions of adequacy. They certainly haven't asked mine.
@WhiteProfondo Cool so what are you waiting for? I'm trying to learn to sing right now even though I'm already 24 but I'm doing pretty good so far.
@LifeJuice90 Don't forget the Russians, where bass singing is a specialty. And Verdi has a lot of great bass roles in his operas, too.
that's just because few people understand Mozart - and the overwhelming majority of singers have no good timing. Mozart needs to flow and timing is key to that