i think 2017 rosenkav was so good because the singers were really feeling their roles: erin is a young singer just beginning the rise of her career, elina is shifting identities from young to more mature, and renee is about to leave a chapter of her life behind forever as she grows older. it's like a coming of age for all three of them...
I weep uncontrollably every time I hear the Final Trio. Every . . . single . . . time. Music that touches the soul. Opera at its finest. The other day I was discussing the Final Trio with a friend and I was tearing up just thinking about it.
Oh me too.... Especially when you understand that she loves the young man so much to give him to the young girl. Sigh... The most brilliant 3-soprano aria ever! A masterpiece!
And she captures perfectly the physicality of a young man too -- the way a young man would walk, hold and move his body. Pretty incredible. Some serious thought and study has gone into the development of the character.
Elena Garanca is one of my most favourite opera singers but speaking of the best Octavian ever, I would point my finger toAnne Sofie von Otter…tall, blonde, aristocratic (a Baroness in real life) who Richard Strauss envisioned for such role. I read somewhere that when Strauss was composing Der Rosenkavalier, he had in mind the Australian-Hungarian Prince Esterhazy. Ms von Otter epitomises those qualities added by her rich mezzo soprano voice. (Just saying…..)
I had the great fortune to be able to see this live at the Met. It was exquisite. Morley, as always, was perfection. Fleming, of course . . . beyond amazing.
I can't write a single coherent sentence while listening to this trio. Everything that has been expressed before and cannot be expressed since is contained within this capsule.
When I listen to this wonderful final scene I think that at one time, in another life, that I was at its first performance with a lady who I deeply loved
Wie Kiri Te Kanawa ist Renée Fleming eine Traumbesetzung für die Marschallin im Rosemkavalier. Man kann als Opernliebhaber den beiden Damen nicht genug danken, was sie für das German Fach großartiges weltweit geleistet haben. - Grüße, Heinz
Its an immortal trio-- touches the heart Depending on the character of letting go or finding oneself-or both. Its life and passages we go thru of grace and acceptance or new love...
Sachez que parmi les milliers d'espèces qui pullulent dans l'univers , nous sommes la seule ayant ce don ... jusqu'à ce jour on n'en a pas découvert d'autres
Agreed. Short of the Hapsburg period at the turn of the century (around the time this opera was composed) setting being perfectly logical and fitting, I did not like this production. There are simply things that are completely out of place and make no sense - like the Ancient Greek art motifs in the Fanninal manor, and the falling down little dance those figures in the dark do at the very end of the opera right as the last notes are played before the curtain falls. Just completely arbitrary, random, and distracting.
This should only be staged in an 18th century setting. the story is formed around that specific society and period. Why does it have to be changed? It is a major artistic mistake
Great singing, typically horrible updated production. The Met's a disgrace for so many reasons. Get rid of Peter Gelb before he completely destroys the institution!
If there was ever operatic music that demanded the singers to stand in one place and sing this is it. More stupid staging. (Fleming’s slurpy mewing doesn’t help either.)
It is nice to explore new music around. Please make sure before you make a comment, that at least you have read a wikipedia article or something. Have no time for this.
@@charmeueueur What are you talking about? Of course, the homoerotic aspect is fully intended by the authors.and discussed at length in the letters between Strauss and Hoffmannsthal. So I think that Mrs. Karamzina has understood more about the piece than whoever wrote that Wikipedia article.
@@tomhase7007 the only think that I am going to say is that if you think my reference is a Wikipedia article and this is what my comment was about, you are very welcome.
@@tomhase7007 That's why Strauss wanted a mezzo en travestì. If he wanted, along with Hoffmannsthal, to be clear about the fact that was a straight relationship he could've easily chosen a tenor. But, as you say, their intention was clear in their letters. Of course Wikipedia wanna-be music critics or "historians" often, if not always, impose some casual erasure of homosexuality in music and in history.
Christa Ludwig and Elizabeth Schwarzkopf still own these roles. Renee Fleming looks like a drag queen. Garanca is ok but still lacks emotion and depth Christa Ludwig had. Schwarzkopf powered through this. Fleming is clearly struggling with the demands of the role
Christa Ludwig and Elizabeth Schwarzkopf were phantastic - but - no one owns these roles. If you like thme so much just don't listen to others. But stop making other singers bad.
a disaster, compared to historical versions--not musically but in action. Why do the two lovers stay in bed, and why did not the blackamoor page come in at the very end to pick up the Marschalin's hankerchief? Concessions to popular and politically correct taste? Bah!!!
If they does the Mohammed as a black servant during this tieme in 2020 there would be a riot outside of the MET protesting, and I personally consider this a better ending, where Marschallin keeps her dignity and gets redemption.
I'll never forget seeing Der Rosenkavalier with these three - May 5, 2017. One of my fondest operatic memories.
i think 2017 rosenkav was so good because the singers were really feeling their roles: erin is a young singer just beginning the rise of her career, elina is shifting identities from young to more mature, and renee is about to leave a chapter of her life behind forever as she grows older. it's like a coming of age for all three of them...
So well said!!
Apt!
I weep uncontrollably every time I hear the Final Trio. Every . . . single . . . time. Music that touches the soul. Opera at its finest. The other day I was discussing the Final Trio with a friend and I was tearing up just thinking about it.
I can understand that. Another scene where I mostly have to fight with tears is the quintet in Wagners Meistersinger
Same, it’s just magical ❤️
The final scene of Parsifal does it for me. The Rosenkavalier trio has always been the first piece of music I would play upon returning from a trip
Oh me too.... Especially when you understand that she loves the young man so much to give him to the young girl. Sigh... The most brilliant 3-soprano aria ever! A masterpiece!
It's magic every time.
Physically, Garanca is the most convincing Octavian ever! Really handsome! :-)
And she captures perfectly the physicality of a young man too -- the way a young man would walk, hold and move his body. Pretty incredible. Some serious thought and study has gone into the development of the character.
Elena Garanca is one of my most favourite opera singers but speaking of the best Octavian ever, I would point my finger toAnne Sofie von Otter…tall, blonde, aristocratic (a Baroness in real life) who Richard Strauss envisioned for such role. I read somewhere that when Strauss was composing Der Rosenkavalier, he had in mind the Australian-Hungarian Prince Esterhazy. Ms von Otter epitomises those qualities added by her rich mezzo soprano voice. (Just saying…..)
Correction: Austro-Hungarian
Garanca was also genuinely funny in act II. REMARKABLE SINGING ACTRESS.
I had the great fortune to be able to see this live at the Met. It was exquisite. Morley, as always, was perfection. Fleming, of course . . . beyond amazing.
I can't t watch this without crying. It is absolutely sublime.
Exquisite production that honored Fleming’s farewell to the Met and Garanca’s final performances as Octavian. The best version on TH-cam!
one name: Carlos Kleiber.
Absolutely macnifficent
I wholeheartedly agree.
Probably the only version you know. Compare it to the Schwarzkopf-Jurinac-Rothenberger video.
Schwarzkopf-Jurinac-Rothenberger = Karajan is better
Oh no, I listened to this on public transport again.
"Ma'am, are you okay?"
Me, visibly weeping: "I'm FINE".
same every single time haha
This is the most up- market, luxurious low class inn on the outskirts of Vienna I have ever seen.
Actually the TeKanawa and Popp production is almost as lavish!!
You need to get out more!
Fleming's "In gotters namen" is really wonderfully emotional, as is Garanca's "die Frag." Thanks for the upload!
I can't write a single coherent sentence while listening to this trio. Everything that has been expressed before and cannot be expressed since is contained within this capsule.
The Marschallin's "Ja Ja . . ." is one of the most deeply touching moments in opera. The trio--sublime beyond description.
Floating towards Heaven and never return . The three divas are absolutely fascinating.
When I listen to this wonderful final scene I think that at one time, in another life, that I was at its first performance with a lady who I deeply loved
Isn't opera, music transformative that way. Encouraging us to imagine other worlds and lifetimes! 🙌🏾
Great-Great singing…thank you ladyes!
Even an opera novice like myself -----------can love this music & the 3 amazing voices.
Purely sublime in every way.
Jetzt hätte ich beinahe Renee Fleming nicht erkannt, auch nicht im ersten Singen - wunderschön!
L'opera più bella di Strauss in un allestimento prestigioso
Whether you love 'em or hate 'em, a fitting farewell to two of the great voices of the era.
Wie Kiri Te Kanawa ist Renée Fleming eine Traumbesetzung für die Marschallin im Rosemkavalier. Man kann als Opernliebhaber den beiden Damen nicht genug danken, was sie für das German Fach großartiges weltweit geleistet haben. - Grüße, Heinz
Simply sublime thank you.
Bellisimo !! Una delicia las voces e interpretaciones de Elina, Renée, Erin ...
Its an immortal trio-- touches the heart Depending on the character of letting go or finding oneself-or both. Its life and passages we go thru of grace and acceptance or new love...
Thank you very much for this video!
Perhaps the final scene here is the best of performances of this Opera, and the best example of this example of all of this art form?
OMG it is so beautiful.!!!!
Truly divine. Far beyond music
Que maravilla Elina !!!!!
Imagine your first Rosenkavalier, having not heard any of the music or even read the plot. Mine was in 1971 with Jurinac, Fassbender ,Popp.
And then this comes
Une très belle production du MET !
magnifica puesta en escena y mejores voces. ALINA enorme , y Fleming grande como siempre
Adoro Renee Fleming❤️❤️❤️
A wonderful final with the Divas! I m impressed! In Gottes Namen! Wie schön! Viele Grüße from the Münsterland in Northwestern Germany,
Bernd.
As partial as I am to the previous Met production by Nathaniel Merrill, this is a good one.
Tears tears and tears
tears always
Sachez que parmi les milliers d'espèces qui pullulent dans l'univers , nous sommes la seule ayant ce don ... jusqu'à ce jour on n'en a pas découvert d'autres
One of the best finales in my opinion.
Quiza,sobra un poco de besuqueo de mas por por parte de Naranća. La escena esta recargada de besos.
Lo demás magistral.
envidioso
les charmantes !
And let's not forget that the Marschallin is 32, Sophie is 15 and Octavian is 17!
Just listen....
Great Art ❤️🌹🙏
Just fantastic. But tempo here is a bit to slow for me.
For me it's never "RAPTUROUSLY SLOW ENOUGH !!!!
Spirit of ecstasy.
If there were a Heaven, this is what it would sound like.
A bit good, supposed to show off your superior culture by making 1 complaint and saying x was soo much better but you can't.
Octavian finally looks like a guy and not like a woman in drag
Elina Garanca was fantastic as Octavian.
es de otra galatziaaaaa 😱😱😱😱
6:50
Sommet de l'art lyrique
The scene is SUPPOSED to be in a rather seedy inn. I far preferred the previous MET production. Singing here quite good
seedy is in the eye of the fornicator
Agreed. Short of the Hapsburg period at the turn of the century (around the time this opera was composed) setting being perfectly logical and fitting, I did not like this production. There are simply things that are completely out of place and make no sense - like the Ancient Greek art motifs in the Fanninal manor, and the falling down little dance those figures in the dark do at the very end of the opera right as the last notes are played before the curtain falls. Just completely arbitrary, random, and distracting.
Und ich weiss jaauch nex
Les trois sont au sommet.
Also reminds what a genius hoffmansthal was.
Räusper
Conductor? Not only is it way too slow, Fleming milks the opening, though sings it so well. It's moving enough as it is.
This should only be staged in an 18th century setting.
the story is formed around that specific society and period.
Why does it have to be changed? It is a major artistic mistake
Qué simpático, han convertido al criado negrito en un niño judío
NO!!!! Not at all what Strauss intended for the ended!!!! SHAME....F.
The best ever.
Natürlich wunderbare Stimmen, aber musikalisch zäh. Und ob sie den Text beim Singen mitdenken??? Es lebe Carlos Kleiber
Too, too, too slow. All sense of 3/4 is lost in the first phrase. And the ensemble between the 3 voices in insensitive to the harmony.
Great singing, typically horrible updated production. The Met's a disgrace for so many reasons. Get rid of Peter Gelb before he completely destroys the institution!
Yes. A fabulous love story opera ruined by that tedious scene in the tavern. Should have been rewritten.
If there was ever operatic music that demanded the singers to stand in one place and sing this is it. More stupid staging. (Fleming’s slurpy mewing doesn’t help either.)
Of course. She's not suitable for the role
Slurpy mewing....lol. Well. She's done.
Is this have homoerotism or not?
It is nice to explore new music around. Please make sure before you make a comment, that at least you have read a wikipedia article or something. Have no time for this.
See no evil, hear no evil
@@charmeueueur What are you talking about? Of course, the homoerotic aspect is fully intended by the authors.and discussed at length in the letters between Strauss and Hoffmannsthal. So I think that Mrs. Karamzina has understood more about the piece than whoever wrote that Wikipedia article.
@@tomhase7007 the only think that I am going to say is that if you think my reference is a Wikipedia article and this is what my comment was about, you are very welcome.
@@tomhase7007 That's why Strauss wanted a mezzo en travestì. If he wanted, along with Hoffmannsthal, to be clear about the fact that was a straight relationship he could've easily chosen a tenor. But, as you say, their intention was clear in their letters.
Of course Wikipedia wanna-be music critics or "historians" often, if not always, impose some casual erasure of homosexuality in music and in history.
Christa Ludwig and Elizabeth Schwarzkopf still own these roles. Renee Fleming looks like a drag queen. Garanca is ok but still lacks emotion and depth Christa Ludwig had. Schwarzkopf powered through this. Fleming is clearly struggling with the demands of the role
Renee Fleming is not struggling, but she is past her prime here. Look at the recording of this from 2010, she sounds amazing.
Christa Ludwig and Elizabeth Schwarzkopf were phantastic - but - no one owns these roles. If you like thme so much just don't listen to others. But stop making other singers bad.
@@zap7777 Fleming is struggling. Shes bot suited to this repetoire
I'll take the Crespin. A touch of French elegance and lightness over Fleming, anytime/ any day.
The problem with Fleming is not her beautiful voice and appearance, but the fact that her German is not good. I don't understand her words.
a disaster, compared to historical versions--not musically but in action. Why do the two lovers stay in bed, and why did not the blackamoor page come in at the very end to pick up the Marschalin's hankerchief? Concessions to popular and politically correct taste? Bah!!!
If they does the Mohammed as a black servant during this tieme in 2020 there would be a riot outside of the MET protesting, and I personally consider this a better ending, where Marschallin keeps her dignity and gets redemption.
Stupid comment.
Stop at the end of the trio.
@@drbarbarabaker because the page coming in to pick up the hankerchief is an integral part of the ending of the opera, musically and thematically
@@bobkurland186 I know. I hate the whole ending in this version.
They should have all stopped singing a long time ago.
5:37
4:18
1:08
0:39