I just love Voigt’s voice here. Unlike all other Wagnerians, she sings with such precision. All those B flats are right in tune. It’s so satisfying to listen to her sing this repertoire!
From the LA Phil website: Upon removing the ring from Siegfried’s finger, Brünnhilde orders his funeral pyre to be built and launches into the “Immolation” aria. The fire spreads to Valhalla, bringing about the death of the gods and the destruction of the old order, accompanied by many of the leitmotifs heard throughout all four operas... Possession of power and gold usurps love at every level of The Ring. This is true even for Siegfried and Brünnhilde..until the very end, when Brünnhilde, in the ultimate act of self-sacrifice [for love of Siegfried], rides horseback onto his funeral pyre with the ring, thereby cleansing it of its curse and destroying the old order of the gods.
No. She really did sound like this in the opera house. I think it might be more generous in the video because the engineers can play around with volume.
@@annhatchet3799 All the roles in the entire Ring were sung audibly (and I sat in the cheapest nosebleed seats!) but in my opinion only Brunnhilde was mismatched in timbre and volume. James Levine (as the conductor) really and truly supported his singers.
She's Deborah Voigt. I saw her in this production and she was wonderful. Such an affecting actress, and a compelling singer with excellent German diction. Best scene is when she turns and sees Siegfried with Gutrune: so moving! Also, she's a gracious and kind person.
Tanto presupuesto para crear una puesta en escena tan monotona y con falta de ¨mise en scene¨/ so much budget for this lack of inventive and real theater. How bad for them and the work / instead of spending on machinery ,how about spending in real directors?
I disagree. Most singers I've found strain to hit notes in the face of a monstrous Wagner orchestra. Mics give more control to the singers. Wagner was writing for the future anyway.
@@python_7179 yes they do because of BAD TECHNIQUE. Do you really think Wagner did write for micked singers? Or the singers like Flagstad, Traubel, Nilsson did need microphones to cut through the orchestra???? Today they have NO TECHNIQUE. producing hot air is not singing opera.
I hate this production. Hate Hate Hate it. The singers are fine and I'm usually open to new concepts but this one is horrible and does not serve the singers well as they can't possibly focus on the singing while trying to navigate that monstrosity.
compared to most productions I've found this to be the perfect blend of tradition and futurism. I've found many productions to be corny in their attempts to be modern while this isn't ashamed to borrow from the past.
@python_7179 Can't agree more. It was a good production. Most modern productions are trash. There were some technical difficulties for sure. The immolation scene was really bad, though. Absolutely not suitable for the finale of the entire cycle. But besides that, it was a good production.
I just love Voigt’s voice here. Unlike all other Wagnerians, she sings with such precision. All those B flats are right in tune. It’s so satisfying to listen to her sing this repertoire!
From the LA Phil website: Upon removing the ring from Siegfried’s finger, Brünnhilde orders his funeral pyre to be built and launches into the “Immolation” aria. The fire spreads to Valhalla, bringing about the death of the gods and the destruction of the old order, accompanied by many of the leitmotifs heard throughout all four operas... Possession of power and gold usurps love at every level of The Ring. This is true even for Siegfried and Brünnhilde..until the very end, when Brünnhilde, in the ultimate act of self-sacrifice [for love of Siegfried], rides horseback onto his funeral pyre with the ring, thereby cleansing it of its curse and destroying the old order of the gods.
I think modern microphones make singers sound bad in recordings.
No. She really did sound like this in the opera house. I think it might be more generous in the video because the engineers can play around with volume.
@@brumels1570 apparently Stephanie Blythe was the only singer people could hear over the orchestra and the machine
@@annhatchet3799 All the roles in the entire Ring were sung audibly (and I sat in the cheapest nosebleed seats!) but in my opinion only Brunnhilde was mismatched in timbre and volume. James Levine (as the conductor) really and truly supported his singers.
Pretty damn good! It's fashionable to criticize Voigt, and she isn't Flagstad or Nilsson, but she's outstanding on her own terms.
Who is the soprano? She is very good for current Wagnerian sopranos. No Flagstad, but who is?
Deborah Voigt
She's Deborah Voigt. I saw her in this production and she was wonderful. Such an affecting actress, and a compelling singer with excellent German diction. Best scene is when she turns and sees Siegfried with Gutrune: so moving! Also, she's a gracious and kind person.
@@wyheadintx "excellent German diction"? Certainly not. She omits half of the letters.
Su voz era perfecta para wagner antes de perder peso.😣
Can't imagine she was pleased with this.
Sehr Gute!
One word : UNDERPOWERED.
Would love to see this version. The 1989 Met ring broadcast was the first opera I saw.
Her diction is terrible, she leaves out half of the letters
German is tricky.
@@nostoon4332 Not as tricky as to justify such sloppiness
Letters? There's no letters in speech or singing. Letters are on the paper. Did you mean phones?
@@erniknyc There are letters in words, and she is singing (trying to sing) words.
I was a fan of miss voigt but not now, not since her intervention. And yes it sounds as if they`re wearing the mics in their chests!...awfull!
Tanto presupuesto para crear una puesta en escena tan monotona y con falta de ¨mise en scene¨/ so much budget for this lack of inventive and real theater. How bad for them and the work / instead of spending on machinery ,how about spending in real directors?
ASTOUNDING!
They need to stop miking singers and let the true voice ring.. if you can't sing Brünhilde without a body Mike, then don't attempt it at all...
I disagree. Most singers I've found strain to hit notes in the face of a monstrous Wagner orchestra. Mics give more control to the singers. Wagner was writing for the future anyway.
What mic? I saw Voigt in this production from the front row. No amps, no mics.
She is not being amplified.
Of course she is bodymiked, you dont see it. Are you deaf? A voice sounds different from far, one can hear that the mic is close to her mouth.
@@python_7179 yes they do because of BAD TECHNIQUE. Do you really think Wagner did write for micked singers? Or the singers like Flagstad, Traubel, Nilsson did need microphones to cut through the orchestra???? Today they have NO TECHNIQUE. producing hot air is not singing opera.
2:40 no.45
voice lacking power
She is awful....
I hate this production. Hate Hate Hate it. The singers are fine and I'm usually open to new concepts but this one is horrible and does not serve the singers well as they can't possibly focus on the singing while trying to navigate that monstrosity.
compared to most productions I've found this to be the perfect blend of tradition and futurism. I've found many productions to be corny in their attempts to be modern while this isn't ashamed to borrow from the past.
jamie crete I loved it! Wonderful evocation of the scenery, great acoustic. And it doesn’t take place on Mars!
@@wotan10950 Would have been more visually interesting on Mars.
@python_7179 Can't agree more. It was a good production. Most modern productions are trash. There were some technical difficulties for sure. The immolation scene was really bad, though. Absolutely not suitable for the finale of the entire cycle. But besides that, it was a good production.
I saw this live and she was excellent, especially her acting!
Such bad singing. Nasal and obviously enhanced. No squillo, no core, we would never hear her so well through the massive orchestra without enhancment.