Wolfgang Windgassen makes me want a time machine. The people in this audience will experience something that I never will. Thanks for posting this gem.
Thank you so much for sharing! Fascinating, despite Windgassen's poor form . But how wonderful to see Gottlob Frick as well as hearing him! He had everything: velvet voice, utmost musicianship, powerhouse energy, poetic diction. And that beautiful face which expresses so much wisdom, goodness and modesty. Any further videos with him?
An expert Gurnemanz by all accounts & here Frick is in top form. I still prefer Hotter despite his occasional unsteadiness (1964) Frick comes close to matching the majesty of Hotter’s Interpretation, IMO. I will admit that this is a personal opinion & my comprehensive opinion, regarding Hotter includes certain of Bach’s works from him such as Jesus in the St. John Passion for instance & there is no unsteadiness in Hotter’s singing of ICH HABE GENUG & although certain purists may take issue with it, Hotter’s voice has the flexibilty & sonority that offer a unique alternative. One other bass voice that I really love in Bach is the late Franz Crass. Windgassen was not really a Helden tenor but PARSIFAL suits him.just fine. Another GURMEMANZ was one that I saw & heard in Hamburg sometime ago: Franz Josef Selig. 😮
The whole ensemble is superb: Strauss very competent, Windgassen seemingly indifferent but actually conveys so much emotion and Frick is simply magisterial. The ORTF play out of their collective skins & Sébastian is a most persuasive conductor.
At that time people still played freely and expressively. The vibrato expresses the incarnation. This was before the puritanical neo-liberal reaction that swept through the 1970s, with the watering down of everything under false ideological and technocratic pretexts. These "vibrating" sounds lasted in the orchestras of Eastern Europe until the 1990s. Now everything is "flat and straight" like electric light and pseudo-objective. The music is played like the European Commission governs: with a false rationality full of affectation. The current style is both flat and bloated (which is an achievement!). And, musicologically, it corresponds to nothing, because the composers of the 19th century were looking for precisely this vibrated sound. So, if we want to be rigorous, it would be necessary that our technocrats play vibrated the romantic repertoire ! ah ah !
Wolfgang Windgassen makes me want a time machine. The people in this audience will experience something that I never will. Thanks for posting this gem.
The same for me…..
Thank you so much for sharing! Fascinating, despite Windgassen's poor form . But how wonderful to see Gottlob Frick as well as hearing him! He had everything: velvet voice, utmost musicianship, powerhouse energy, poetic diction. And that beautiful face which expresses so much wisdom, goodness and modesty. Any further videos with him?
I just recently realized how much I liked to watch his long serious face! The face of a good man. Beautiful, indeed.
The Golden Ring: Solti's recording with Frick as Hagen (excerpts).
th-cam.com/video/-ezLp1xdKZw/w-d-xo.html
An expert Gurnemanz by all accounts & here Frick is in top form. I still prefer Hotter despite his occasional unsteadiness (1964) Frick comes close to matching the majesty of Hotter’s Interpretation, IMO. I will admit that this is a personal opinion & my comprehensive opinion, regarding Hotter includes certain of Bach’s works from him such as Jesus in the St. John Passion for instance & there is no unsteadiness in Hotter’s singing of ICH HABE GENUG & although certain purists may take issue with it, Hotter’s voice has the flexibilty & sonority that offer a unique alternative. One other bass voice that I really love in Bach is the late Franz Crass. Windgassen was not really a Helden tenor but PARSIFAL suits him.just fine. Another GURMEMANZ was one that I saw & heard in Hamburg sometime ago: Franz Josef Selig.
😮
The whole ensemble is superb: Strauss very competent, Windgassen seemingly indifferent but actually conveys so much emotion and Frick is simply magisterial. The ORTF play out of their collective skins & Sébastian is a most persuasive conductor.
❤
23:50 vibratissimo oboe
French oboe
At that time people still played freely and expressively. The vibrato expresses the incarnation. This was before the puritanical neo-liberal reaction that swept through the 1970s, with the watering down of everything under false ideological and technocratic pretexts. These "vibrating" sounds lasted in the orchestras of Eastern Europe until the 1990s. Now everything is "flat and straight" like electric light and pseudo-objective. The music is played like the European Commission governs: with a false rationality full of affectation. The current style is both flat and bloated (which is an achievement!). And, musicologically, it corresponds to nothing, because the composers of the 19th century were looking for precisely this vibrated sound. So, if we want to be rigorous, it would be necessary that our technocrats play vibrated the romantic repertoire ! ah ah !
@@roideschats8799 welll.... no :)
Brava, Strauss.
Isabel Strauss ......what an exciting lady, sad ways of her career
33:40 speed 0.75 thank me later
I thank you now. Great comment