oswald wellman I have this with Dame Kiri TEKANAWA and I thought it's really incredible especially the last one her voice just saw resource up to the heavens simply incredible. A beautiful voice singing Mozart Strauss beautiful German Strauss song to the Moon in Rusalka. Thank you Luchia for giving us this beautiful gift and shared it with us. Keri TEKANAWA sang Strauss last four songs beautifully. Listen to that one and see what you think thank you for listening to me I use the microphone when I make a comment do what you're an autoimmune disease not a big deal I'm fine. Arnold Bourbon Amaral
Just about everything Lucia sang brings tears to my eyes, especially when watching her, so effortless, so beautiful in voice and looks, a genuine angel.The orchestration is wonderful.
Solti è stato quel grandissimo direttore che tutti sappiamo e ammiriamo.Detto questo mi chiedo come mai qui corra all'impazzata,togliendo a questa musica quella luce crepuscolare che pervade quest'ultimo lieder dall'attacco fino alle ultime note con le quali Strauss sembra volerci dare un accorato e sublime addio.Lucia Popp è comunque assolutamente magnifica
A friend who, as a member of the Chicago Symphony Chorus, sang under Solti's baton many time once commented to me: "Sometimes I wondered if the man had any soul at all." After hearing this reading of Im Abendrot, I have to agree. Listen to Lucia Popp's wonderful EMI recording with Klaus Tennstedt. For me, it's the one by which all others are measured.
Solti really destroys this sublime piece with an inappropriately hurried tempo. Her 1982 EMI recording with Tennestedt shows that she knows how it should be done. At 8m 17s it's more than two and a quarter minutes longer than this rendition and allows the full beauty and pathos to be revealed. Solti the showman gets this horribly wrong.
This is as Strauss should be sung! The voice and the orchestra forming a perfect harmony and even if Ms Popp CHOSE to use a faster tempo, she does it masterfully and is quite at home with it. Please understand that as great a conductor as Solti is, he will do what the SOLOIST demands and so if you don't like the tempo don't even think of blaming Solti. Ms Popp captures everything that Strauss was writing about dying and even at her tempo she does it sublimely.
If you think you hear the noise from the orchestra like a storm breaking out , it is not the orchestra but the sound of Richard Strauss turning in his grave at Solti's conducting. Popp saved it a bit with her wonderful singing.
Dolcissima interprete...e padrona di una tecnica ...mirabile...di lirico spinto...che non si fa intimidire dalla bachetta che fa suonare l'orchestra come se invece di una tramonto sottolineasse una cielo sotto le bombe....Chapeau a lei!!!!
she's a great soprano. her '4 letzte Lieder' with Tennstedt and the London Philh., recorded five years later in 1982, is imho the best of all '4 letzte Lieder'-recordings
At Sunset We've walked, hand in hand, through hardship and joy. Now we both rest from walking across the silent countryside. All around us the valleys are fading, it has already become dark. Just two larks are still rising, dreamlike, into the heavens. Stand here, and let them fly about, it will soon be time to sleep, lest we go astray in this loneliness. Oh further, silent peace! So profound at sunset. How tired we are of traveling: Is this perhaps death?
Very strange for Solti: he then could be so slow and magisterial in Brahms, yet gets so agitated for this Strauß lied as if he was still 15-20 years younger... Still, I admire his conviction and genuineness while still preferring Masur (Mme. Popp's no-less wonderful voice notwithstanding - and yes, she truly IS ravishing too! - we're lucky on TH-cam to have so many lovely voices, beautiful interpretations and outstanding conductors overall...).
Other than symbolically chopping apart hearts (and chosing laughably fake profile images), is there _anything_ you witchcraft delusionists can do?! And even your username in combination to the age of your comments listed next to it does *not* do what you delude it does. You have been _enlightened_ … no thank to need me.
Jessye Norman is my particular favourite for Strausse's Last Four Songs.I did have the geat pleasure of hearing Cheryl Studer live,and she was terific.
The mount Everest of human singing. Contrary to most, I find Solti's tempo a formidable dramatic progression culminating in the most majestic way as if paying a solemn and grand homage to the voice of this sublime diva.
@Hattingh: Would it bring tears to _yours_ to hear that Satan brought her back in a pre-prepared vessel, knowing she'd get killed? Do yourself the favor and google a so-called "human" called Jeanette Biedermann. And try to see through the make-up. Remind you of anyone?! Then check her IMDB and understand Satan's own sense of "humour" in her roles and the name of the series she's been in … And then spread the word! Aaaaaaaargh! Popp is back … Quasi: Pop(p)o - that's _back/behind_ you know?! (In German.)
Lucia Popp - unbearably beautiful rendition Georg Solti - Tremendous as always!! Right in sync with her if you really listen to it. Why do morans complains about his conducting. Name someone who comes anywhere near him!
Other than symbolically chopping apart hearts (and utterly kidding yourselves on _all_ counts), is there anything you witchcraft delusionists can do?! You have been enlightened … no thank to need me. (No, really: you _have_ … see if you get in _what_ way by yourself.)
I love Solti's treatment of the orchestration, it's so lush in this recording. As for the tempi, I tend to believe that Dame Popp may have had a say to that as a singer of her calibre would probably have done. I've listened to at least 2 other great singers and Popp's version comes close to Shwarzkopf and Norman's tend to be too spiritual which drags the music a bit but her Beim Schlafengen is by far my favorite. To me, Solti's orchestral reading here is very touching and profound.
Solti was the last assistant to Richard Strauss before Strauss died. He even played for his funeral. It may not be what you want to hear but it may be very close to what Strauss wanted the music to sound like. An interesting thought!
@MrAndredekock Was it Miss Pop's idea or Solti's to use this tempo? When Solti recorded the cycle with Kiri Te Kanawa for Decca and Sony in 1990, the same slow tempo for this title was adopted. I just think that Solti must have a preference for this treatment; what's more, it was often said that Solti did work for R. Strauss in his younger days, so he might know the guy fairly well and know his intentions better than other conductors do.
@jfpb Agreed, that is an Interesting point. At the same time it should be pointed out that Karl Bohm takes a different, more classical approach to the Lieder and he had a far longer professional relationship with Strauss. IMO, however, the sound from this live performance simply got mixed badly. Although I prefer other interpretations (particularly Tennstedt's), really Solti's is not that bad!
BTW, which orchestra is this? Otherwise, with Masur the original "Mäßig langsam" becomes "Breit" (It."largo" - which I like as showing off the big vision of the song); with Solti it's "Sehr bewegt" (especially at the beginning)!! The latter does match the "beruhigend" markings that follow afterwards; however, it's still much too fast for my taste (but then, I can see how he's convincing in his interpretation - one disagrees but respectfully so!)... Certainly thought-provoking all the same..
not arguing about the tempo, but in norman/masur's case i think it's "deliberately",not "ridiculously". The lingering&neverending sunset, like after a magnificent summer day, as if symbolizing the incredibly long lifespan of the whole romantic era of which this cycle is the amazingly surviving last glow and its definite end. (and perhaps most singers just cannot sing it so slow - but i have no clue what the originally intended tempo was - or if it even matters. sounds good both ways.)
lisa della casa also uses a fast tempo. At first I was shoked because I was used to jessy norma but now I like it. And Ms Lucia Popp is really good for me.
I agree that Solti's tempo for this song is too fast. But Popp saves everything with her voice and interpretation. Of course her performance of the song (and of the whole cycle) with Tennstedt is better than this one because the conductor chooses the right tempo. As for Jessye Norman with Kurt Masur, I like the other songs of this cycle better than this one. Masur does exactly the opposite Solti did. He chooses an extremely slow tempo, which, in a certain way, also spoils the whole thing.
Solti absolutely butchers the music, missing entirely the soulful and mystical atmosphere which is the essence of these Vier Letste Lieder. Everything about this music should shine, but gently, like a halo, or a cloud of light surrounding the singer's voice. Solti's tempi are ridiculous. In his hands, the sublime becomes --- mundane, tawdry. Nevertheless, Popp is glorious.
Butcher is the word. It's like Solti is executing a deeply unpleasant chore of butchery that he wants to get over with as quickly and cleanly as possible. But Popp is not glorious, merely cute. She would have been glorious if she had refused to accept Solti's perverse tempo.
+Ferdinando Fresia Based on what? Other "interpretations"? Furtwangler? Tennstedt? Take a look at the score, listen to Strauss conducting his own works.....when I mention that Strauss conducted the beginning of Salome and many other of his works "alla breve", I always get the same reaction - "Then why did he write a 4/4 time signature?" Well, they'll just have to ask Strauss himself...LOL!! Solti conducts the last song "Im Abendrot" in four but tries to create the feel of "alla breve" (actually, IMHO, he should have gone for the alla breve!).....if the opening tempo is not fast enough, how are you going to convincingly conduct the endless ritardando at the end of the song without it falling apart or not actually being performed as written?? Check out the score......as for those who disagree with Strauss's tempi in other works which he himself conducts, I have only one answer...go and compose your own music!!
+Jan Jozef Wnek Hello, my friend. I do not understand why you are so angry. "Too fast" based on what? My taste, I suppose. I know that score almost par coeur and, by the way, I said "Too fast" and the key word is, actually, "too" not "fast". Do you really think that the idea of Sir Georg Solti was: "Ok, I run at the beginning, so I can go slowly at the end?". Well, I'm not a big fan of Solti, but I'm pretty sure that He was smarter than this. And I'm sure that He is a great musician; not my kind of conductor, but great. By the way, this Tempo is a bit too fast, above all with words like: "O weiter, stille Friede, so tief im Abendrot". Should a conductor think of the words in choosing a Tempo? I think so. Oh, and I love Strauss as conductor. So, take it easy, my friend. LIfe is too short; 4/4 or "alla breve"...
Hello, Ferdinando. Thanks for the reply. What anger? That was not my intent. In any case, I concur with you when you say in your reply "a BIT too fast"...Je suis d'accord. However , at the words you quote, Solti makes a ritardando before that and it certainly is "noch ruhiger" as Strauss indicated. Where I differ with him is that he doesn't continue the ritardando in the bars that follow until the end, which clearly seems to be Strauss's intention. By the way, are you familiar with della Casa/Böhm? Talk about fast!...and Böhm was an intimate friend and professional colleague of Strauss, (and very familiar with Strauss's conducting), who dedicated Daphne to him. Any interpretation you particularly like? Of course you're right...a conductor should think of the words in choosing a tempo....the question is: how much time will one spend milking the words to excess? As for Solti, I always found him relatively cold and, actually,a better pianist, as regards expressivity, than as a conductor. On the other hand, narcissism is also to be avoided, don't you agree?...and there are plenty of examples of those...especially these days. Are you a professional musician?
+Jan Jozef Wnek Hello. So You are not angry; I'm happy. You know, English is not my mother tongue and sometimes I have some difficulties to understand the mood of another person. I agree with You: the writing of the opening phrase suggests an "alla breve" stacco; and of course, it's very, very hard to choose the tempo for taste the words without letting the music fall in pieces; but I think that you can allow yourself a bit more "respiro". With Böhm I've the same problem which I've with Solti: both are perfect Kapellmeister: nothing wrong, never. But also nothing right. I know that Strauss and Böhm were good friends and work-partner; but Strauss is just on another planet (just to translate an idiomatic Italian sentence). I love Karajan conducting; hélàs never with a soprano who sings like he conducts. And no, I'm not a professional musician; I'm an amazing amateur: I can piano (badly); saxophones (very good) and clarinet. I enjoy to read music, while I'm listening to it. Have a nice day.
The recording is awful and plays up Solti's tendency towards quick and without warmth. The actual performance was likely something all together different. Check out Solti in the same Strauss song with te Kenawa. Quick but very warm.
Solti's tempo is nonsensical and he euthanizes the music as quickly and clinically as possible like an impatient death doctor. This is Strauss' swan song and should linger as much as possible; it's a glorious sunset, not a race to clock out first at the end of a factory shift. Such a pity that Popp can't save this performance from Solti's wilful misconduct. There is no comparison to be made between this six minutes of impatient clock-watching, and the ten minutes of prolonged fond farewell of Masur's performance with Jessye Norman. th-cam.com/video/envQ-ZqGQu8/w-d-xo.html
But why this excited tempo !? Lucia Popp was absolutely able to sing the long ecstatic phrases that Strauss wrote to sublime the soprano voice. Here, everything is dispatched as a vulgar product. Solti would have better practice a yoga session before the concert...
Wrong!! BOTH spellings are OK: the one with the regular 2 S's is more modern, the other one is older. Germans accept both of them as equally valid. I used the older one in an attempt to keep the character count as low as possible (500 total isn't that much...).
La mort arrive trop vite ! ! ! Ont-ils un train à prendre ? ? ? Version T.G.V. Nous avons Lucia Popp dans une autre version sur TH-cam bien meilleure et surtout . . . moins rapide.
This is a startling interpretation! The ending in Solti's hands is excellent; however, I was simply APPALLED at the way he just rushed through the prelude before the voice comes in. With Mme. Popp's entry (& she's superb too!!), things calmed down just a little bit, and the violin-solo and things afterwards are fine for a while; however, I can't accept Solti until the last few bars. Even if that's Richard Strauß's intention (in line with his general shallowness), I'm sorry but Masur wins!!
There is too much "sound" in Solti´s interpretation and Popp sounds very vague. The intimacy this last song needs, a singing which is almost focused on one note, is totally gone here. Not the most subtle version of "Im Abendrot", to be honest.
There seem to be 2 schools of thought concerning the tempo. Solti just seems to want to get it over and done with. The wonderful voice won't be hurried and puts a break on things thank goodness. Those marvellous opening chords are lost. Incidentally Solti also destroys Te Kanawa's performance. I prefer Fleming and Eschenbach.
Lucia is probably the greatest (deep, gentle & touching voice) unique soprano, opera artist of XX c.
i agree with you !!!
Sublime Lucia Popp ❤💐
One of Strauss' greatest pinnacles, sung by an Angel
I cannot listen to this without a tear. There is an "other world" beauty in this performance
oswald wellman I have this with Dame Kiri TEKANAWA and I thought it's really incredible especially the last one her voice just saw resource up to the heavens simply incredible. A beautiful voice singing Mozart Strauss beautiful German Strauss song to the Moon in Rusalka. Thank you Luchia for giving us this beautiful gift and shared it with us. Keri TEKANAWA sang Strauss last four songs beautifully. Listen to that one and see what you think thank you for listening to me I use the microphone when I make a comment do what you're an autoimmune disease not a big deal I'm fine. Arnold Bourbon Amaral
Just about everything Lucia sang brings tears to my eyes, especially when watching her, so effortless, so beautiful in voice and looks, a genuine angel.The orchestration is wonderful.
She has been so wonderful. Rest in Peace Lucia Popp!!!
...and also maestro Solti
Beautiful lady with a beautiful voice.Popp and Richard Strauss magical.
Fast approaching one of my all-time favourite pieces of music ever. Adore this woman.
I am sold on this babe. Haven't heard another female's voice like Lucia!
I can't stop watching... this is magic.
Fantastic. For me THE singer for the Last songs: LUCIA POPP. Great artist. Rest in peace.
grande Lucia, grazie!!!
great singer, elegant dame.
Solti è stato quel grandissimo direttore che tutti sappiamo e ammiriamo.Detto questo mi chiedo come mai qui corra all'impazzata,togliendo a questa musica quella luce crepuscolare che pervade quest'ultimo lieder dall'attacco fino alle ultime note con le quali Strauss sembra volerci dare un accorato e sublime addio.Lucia Popp è comunque assolutamente magnifica
A friend who, as a member of the Chicago Symphony Chorus, sang under Solti's baton many time once commented to me: "Sometimes I wondered if the man had any soul at all." After hearing this reading of Im Abendrot, I have to agree.
Listen to Lucia Popp's wonderful EMI recording with Klaus Tennstedt. For me, it's the one by which all others are measured.
I don't understand his take on this, but Lucia is above it. He didn't treat dear Margaret Price well.
Solti really destroys this sublime piece with an inappropriately hurried tempo. Her 1982 EMI recording with Tennestedt shows that she knows how it should be done. At 8m 17s it's more than two and a quarter minutes longer than this rendition and allows the full beauty and pathos to be revealed. Solti the showman gets this horribly wrong.
This is as Strauss should be sung! The voice and the orchestra forming a perfect harmony and even if Ms Popp CHOSE to use a faster tempo, she does it masterfully and is quite at home with it. Please understand that as great a conductor as Solti is, he will do what the SOLOIST demands and so if you don't like the tempo don't even think of blaming Solti. Ms Popp captures everything that Strauss was writing about dying and even at her tempo she does it sublimely.
Oirte y poder verte una alegría infinita.POR SIEMPRE LUCIA POPPOVA.
Великая певица! Прекрасная! очень люблю ее!
because of great art and talent !!!
My 3rd favorite interpretation.
No. 1 Lucia + Klaus Tennstedt
No. 2 Lucia + Michael Tilson Thomas
If you think you hear the noise from the orchestra like a storm breaking out , it is not the orchestra but the sound of Richard Strauss turning in his grave at Solti's conducting.
Popp saved it a bit with her wonderful singing.
Sir Georg Solti conducted the music at Strauss's funeral. Why? Because Strauss had recognized a very promising young conductor.
Dolcissima interprete...e padrona di una tecnica ...mirabile...di lirico spinto...che non si fa intimidire dalla bachetta che fa suonare l'orchestra come se invece di una tramonto sottolineasse una cielo sotto le bombe....Chapeau a lei!!!!
she's a great soprano. her '4 letzte Lieder' with Tennstedt and the London Philh., recorded five years later in 1982, is imho the best of all '4 letzte Lieder'-recordings
yes. Agree. Also love Norman's Beim Schl
One of my favourite recordings is the one with Elizabeth Schwarzkopf, I think Lucia Popp was one of the best sopranos I’ve ever heard!
As a young man I came across her singing the Carmina. Thanks to you tube, we’re together again.
Yes, and Jessye Norman (so slow but magnificent with Im Ambendrot)
Mr Solti seems to be in a hurry to catch a limo. Popp is superb. Please listen to Jessey Norman´s interpretation. It is sublime !
que esta voz tan maravillosa y este arte este ya bajo tierra... que injusta es la vida
I think that even Jehovah would be blown away by her voice!
La plus grande soprano du siècle dernier...
IMMORTAL!
Sublime !
At Sunset
We've walked, hand in hand,
through hardship and joy.
Now we both rest
from walking across the silent countryside.
All around us the valleys are fading,
it has already become dark.
Just two larks are still rising,
dreamlike, into the heavens.
Stand here, and let them fly about,
it will soon be time to sleep,
lest we go astray
in this loneliness.
Oh further, silent peace!
So profound at sunset.
How tired we are of traveling:
Is this perhaps death?
Quizas la obra mas excelsa de Strausscon una exquisita interpetacion y tranpsarente Gracias desde Argentina
I think this is one of my favorite things.
ADORABLE!!!!!!!!!!!!!!!
My favourite singer and one of my favourite songs, heaven.
Very strange for Solti: he then could be so slow and magisterial in Brahms, yet gets so agitated for this Strauß lied as if he was still 15-20 years younger... Still, I admire his conviction and genuineness while still preferring Masur (Mme. Popp's no-less wonderful voice notwithstanding - and yes, she truly IS ravishing too! - we're lucky on TH-cam to have so many lovely voices, beautiful interpretations and outstanding conductors overall...).
fantastic!
Unvergleichlich 👏👏❤️
So divine & oh too soon.
Other than symbolically chopping apart hearts (and chosing laughably fake profile images), is there _anything_ you witchcraft delusionists can do?!
And even your username in combination to the age of your comments listed next to it does *not* do what you delude it does.
You have been _enlightened_ … no thank to need me.
Mil gracias por poder ver el rostro de mi admirada Lucia
Why Solti started with such a violent tempo?? Fortunatly he conducts decrescendo and in other tempo while the DIVA sings!
Adorable!!
Álvaro García Barbosa
Solti used to interpret by varying the tempo making the performances mode lively, expressive.
verissimo... è incredibile!
Jessye Norman is my particular favourite
for Strausse's Last Four Songs.I did have the geat pleasure of hearing Cheryl Studer live,and she was terific.
The Tempo is very juste for me/ Pour moi le Tempo est parfait
It is murder.
@@williamdiffin28 Shut up, Diffin Troll.
U'r right Bill Salem about Solti, but Popp is really fantastic... I was so sad when she died. Thanks for posting this.
Ich mag diese "schnellere" Version mehr, ist Geschmackssache.
In jedem Fall, das Lied ist unglaublich schön und berührend, wie der ganze Zyklus.
It works because Solti's heat so wonderfully contrasts with her cool.
The world lost Lucia far too soon.
lovely
The mount Everest of human singing. Contrary to most, I find Solti's tempo a formidable dramatic progression culminating in the most majestic way as if paying a solemn and grand homage to the voice of this sublime diva.
Solti's tempo is more like he's in a hurry to efficiently commit a sex crime and then get away from the scene as quickly as possible.
@@williamdiffin28 You have a dirty mind!
The greatest voice that ever lived. Solti's tempo is perfect. Furtwängler would have had the same.
Perfecto!
This would have brought tears to Hermann Hesse' eyes.
+Jan Hattingh Likely, given how awful it sounds. A terrible recording.
Maybe, but Im Abendrot was written by Joseph von Eichendorff
@Hattingh: Would it bring tears to _yours_ to hear that Satan brought her back in a pre-prepared vessel, knowing she'd get killed?
Do yourself the favor and google a so-called "human" called Jeanette Biedermann. And try to see through the make-up. Remind you of anyone?!
Then check her IMDB and understand Satan's own sense of "humour" in her roles and the name of the series she's been in …
And then spread the word!
Aaaaaaaargh!
Popp is back …
Quasi: Pop(p)o - that's _back/behind_ you know?! (In German.)
Lucia Popp - unbearably beautiful rendition
Georg Solti - Tremendous as always!! Right in sync with her if you really listen to it. Why do morans complains about his conducting. Name someone who comes anywhere near him!
+Jean An unbearable rendition that is for sure.
voici le monde ancien: la beauté pur !
a beautiful voice. tragic death at 53.
Death is always tragic, no ?
@@normanzurich2781 not necessarily
Che brava, che voce, che occhi!!! E' un angelo!!!!!!!
She is magnificent, Solti too fast
It's not too fast. I like it. It works somehow
Transcendant.
Other than symbolically chopping apart hearts (and utterly kidding yourselves on _all_ counts), is there anything you witchcraft delusionists can do?!
You have been enlightened … no thank to need me.
(No, really: you _have_ … see if you get in _what_ way by yourself.)
I love Solti's treatment of the orchestration, it's so lush in this recording. As for the tempi, I tend to believe that Dame Popp may have had a say to that as a singer of her calibre would probably have done. I've listened to at least 2 other great singers and Popp's version comes close to Shwarzkopf and Norman's tend to be too spiritual which drags the music a bit but her Beim Schlafengen is by far my favorite. To me, Solti's orchestral reading here is very touching and profound.
In fact, I've seen both spellings used by the same publisher (Adolph Fürstner) of his operas "Salome", "Elektra" and "Der Rosenkavalier".
Solti was the last assistant to Richard Strauss before Strauss died. He even played for his funeral. It may not be what you want to hear but it may be very close to what Strauss wanted the music to sound like. An interesting thought!
I think you're mixing up Richard and Johann II.
Divina!
I prefer Schwartzkopf & Sczell, but this is very good. Relax, Solti does a great job
@MrAndredekock Was it Miss Pop's idea or Solti's to use this tempo? When Solti recorded the cycle with Kiri Te Kanawa for Decca and Sony in 1990, the same slow tempo for this title was adopted. I just think that Solti must have a preference for this treatment; what's more, it was often said that Solti did work for R. Strauss in his younger days, so he might know the guy fairly well and know his intentions better than other conductors do.
@jfpb Agreed, that is an Interesting point. At the same time it should be pointed out that Karl Bohm takes a different, more classical approach to the Lieder and he had a far longer professional relationship with Strauss. IMO, however, the sound from this live performance simply got mixed badly. Although I prefer other interpretations (particularly Tennstedt's), really Solti's is not that bad!
It s funny i really like what she does.
Grande Lucia.
Scomparsa troppo prematuramente.
tempo schmempo... Popp is great.
BTW, which orchestra is this?
Otherwise, with Masur the original "Mäßig langsam" becomes "Breit" (It."largo" - which I like as showing off the big vision of the song); with Solti it's "Sehr bewegt" (especially at the beginning)!! The latter does match the "beruhigend" markings that follow afterwards; however, it's still much too fast for my taste (but then, I can see how he's convincing in his interpretation - one disagrees but respectfully so!)... Certainly thought-provoking all the same..
Tears.Flawless
not arguing about the tempo, but in norman/masur's case i think it's "deliberately",not "ridiculously". The lingering&neverending sunset, like after a magnificent summer day, as if symbolizing the incredibly long lifespan of the whole romantic era of which this cycle is the amazingly surviving last glow and its definite end.
(and perhaps most singers just cannot sing it so slow - but i have no clue what the originally intended tempo was - or if it even matters. sounds good both ways.)
I FEEL DEATH HERE and peace
lisa della casa also uses a fast tempo. At first I was shoked because I was used to jessy norma but now I like it. And Ms Lucia Popp is really good for me.
I agree that Solti's tempo for this song is too fast. But Popp saves everything with her voice and interpretation. Of course her performance of the song (and of the whole cycle) with Tennstedt is better than this one because the conductor chooses the right tempo. As for Jessye Norman with Kurt Masur, I like the other songs of this cycle better than this one. Masur does exactly the opposite Solti did. He chooses an extremely slow tempo, which, in a certain way, also spoils the whole thing.
Solti absolutely butchers the music, missing entirely the soulful and mystical atmosphere which is the essence of these Vier Letste Lieder. Everything about this music should shine, but gently, like a halo, or a cloud of light surrounding the singer's voice.
Solti's tempi are ridiculous. In his hands, the sublime becomes --- mundane, tawdry.
Nevertheless, Popp is glorious.
Butcher is the word. It's like Solti is executing a deeply unpleasant chore of butchery that he wants to get over with as quickly and cleanly as possible. But Popp is not glorious, merely cute. She would have been glorious if she had refused to accept Solti's perverse tempo.
@@williamdiffin28 What crap you both talk. You are clearly unmusical. Lucia herself said this was one one of the greatest evenings of her life.
You idiot! Solti worked intensely with Popp in preparing this performance. Obviously they agreed on tempi, dynamics and phrasing.
Too fast, too fast; but she's great.
+Ferdinando Fresia Based on what? Other "interpretations"? Furtwangler? Tennstedt? Take a look at the score, listen to Strauss conducting his own works.....when I mention that Strauss conducted the beginning of Salome and many other of his works "alla breve", I always get the same reaction - "Then why did he write a 4/4 time signature?" Well, they'll just have to ask Strauss himself...LOL!! Solti conducts the last song "Im Abendrot" in four but tries to create the feel of "alla breve" (actually, IMHO, he should have gone for the alla breve!).....if the opening tempo is not fast enough, how are you going to convincingly conduct the endless ritardando at the end of the song without it falling apart or not actually being performed as written?? Check out the score......as for those who disagree with Strauss's tempi in other works which he himself conducts, I have only one answer...go and compose your own music!!
+Jan Jozef Wnek Hello, my friend. I do not understand why you are so angry. "Too fast" based on what? My taste, I suppose. I know that score almost par coeur and, by the way, I said "Too fast" and the key word is, actually, "too" not "fast". Do you really think that the idea of Sir Georg Solti was: "Ok, I run at the beginning, so I can go slowly at the end?". Well, I'm not a big fan of Solti, but I'm pretty sure that He was smarter than this. And I'm sure that He is a great musician; not my kind of conductor, but great.
By the way, this Tempo is a bit too fast, above all with words like: "O weiter, stille Friede, so tief im Abendrot". Should a conductor think of the words in choosing a Tempo? I think so.
Oh, and I love Strauss as conductor. So, take it easy, my friend. LIfe is too short; 4/4 or "alla breve"...
Hello, Ferdinando. Thanks for the reply. What anger? That was not my intent. In any case, I concur with you when you say in your reply "a BIT too fast"...Je suis d'accord. However , at the words you quote, Solti makes a ritardando before that and it certainly is "noch ruhiger" as Strauss indicated. Where I differ with him is that he doesn't continue the ritardando in the bars that follow until the end, which clearly seems to be Strauss's intention. By the way, are you familiar with della Casa/Böhm? Talk about fast!...and Böhm was an intimate friend and professional colleague of Strauss, (and very familiar with Strauss's conducting), who dedicated Daphne to him. Any interpretation you particularly like? Of course you're right...a conductor should think of the words in choosing a tempo....the question is: how much time will one spend milking the words to excess?
As for Solti, I always found him relatively cold and, actually,a better pianist, as regards expressivity, than as a conductor. On the other hand, narcissism is also to be avoided, don't you agree?...and there are plenty of examples of those...especially these days.
Are you a professional musician?
+Jan Jozef Wnek Hello. So You are not angry; I'm happy. You know, English is not my mother tongue and sometimes I have some difficulties to understand the mood of another person.
I agree with You: the writing of the opening phrase suggests an "alla breve" stacco; and of course, it's very, very hard to choose the tempo for taste the words without letting the music fall in pieces; but I think that you can allow yourself a bit more "respiro".
With Böhm I've the same problem which I've with Solti: both are perfect Kapellmeister: nothing wrong, never. But also nothing right. I know that Strauss and Böhm were good friends and work-partner; but Strauss is just on another planet (just to translate an idiomatic Italian sentence).
I love Karajan conducting; hélàs never with a soprano who sings like he conducts.
And no, I'm not a professional musician; I'm an amazing amateur: I can piano (badly); saxophones (very good) and clarinet. I enjoy to read music, while I'm listening to it.
Have a nice day.
Operettemusik
Mein Tipp: Kurt Masur und Jessye Norman. Sehr langsam, sehr gefühlvoll von beiden, einfach himmlisch!
According to Amazon this is the Chicago Symphony.
رائع
yeh Popp is the biz
Am I dreaming? These comments! Lol!
A strange response to beautiful music
One word does it BALDERDASH
Why does he rush through this?
At other performances of this Lied he didn't.
I agree , ruined it for me and for my favourite soprano .
Was wondering the same thing. Still - Lucia Popp is total perfection!
@GuidoKaiserBariton1
Ja, schade nur, daß hier das Tempo so gehetzt ist.
Solti clearly thought he was conducting Johann rather than Richard.
Poor Popp, even she can't rescue this.
@fredvogels - and poor Popp, too
LOL @ this performance.
The recording is awful and plays up Solti's tendency towards quick and without warmth.
The actual performance was likely something all together different.
Check out Solti in the same Strauss song with te Kenawa. Quick but very warm.
Solti's tempo is nonsensical and he euthanizes the music as quickly and clinically as possible like an impatient death doctor. This is Strauss' swan song and should linger as much as possible; it's a glorious sunset, not a race to clock out first at the end of a factory shift. Such a pity that Popp can't save this performance from Solti's wilful misconduct. There is no comparison to be made between this six minutes of impatient clock-watching, and the ten minutes of prolonged fond farewell of Masur's performance with Jessye Norman.
th-cam.com/video/envQ-ZqGQu8/w-d-xo.html
Fuck you, you have no taste!🤣🤣🤣
One of the great voices but unfortunately drowned out by the too loud orchestra.
But why this excited tempo !? Lucia Popp was absolutely able to sing the long ecstatic phrases that Strauss wrote to sublime the soprano voice. Here, everything is dispatched as a vulgar product. Solti would have better practice a yoga session before the concert...
Wrong!!
BOTH spellings are OK: the one with the regular 2 S's is more modern, the other one is older. Germans accept both of them as equally valid.
I used the older one in an attempt to keep the character count as low as possible (500 total isn't that much...).
Strauss's tbh
Das war eine ganz grosse Sängerin !
ß
La mort arrive trop vite ! ! !
Ont-ils un train à prendre ? ? ?
Version T.G.V.
Nous avons Lucia Popp dans une autre version sur TH-cam bien meilleure et surtout . . . moins rapide.
Overly aggressive conducting. Solti wasn’t known for his subtlety. Lucia Popp tried her best to counteract his bullish conducting.
I absolutely agree.
This is a startling interpretation! The ending in Solti's hands is excellent; however, I was simply APPALLED at the way he just rushed through the prelude before the voice comes in. With Mme. Popp's entry (& she's superb too!!), things calmed down just a little bit, and the violin-solo and things afterwards are fine for a while; however, I can't accept Solti until the last few bars. Even if that's Richard Strauß's intention (in line with his general shallowness), I'm sorry but Masur wins!!
There is too much "sound" in Solti´s interpretation and Popp sounds very vague. The intimacy this last song needs, a singing which is almost focused on one note, is totally gone here. Not the most subtle version of "Im Abendrot", to be honest.
Was Solti worried the band would run into overtime?
lei è perfetta e regale, ma con fatica sta nel ruolo sotto a tanto isterismo di Solti
Beautifully sung, Solti far too fast!
There seem to be 2 schools of thought concerning the tempo. Solti just seems to want to get it over and done with. The wonderful voice won't be hurried and puts a break on things thank goodness. Those marvellous opening chords are lost. Incidentally Solti also destroys Te Kanawa's performance. I prefer Fleming and Eschenbach.
Yes she does calm and save it