I listen to this performace at least once every week. It reinforces not only my love of Wagner's music, but the sheer pleasure of Schorr"s magnificent voice
If I could take only 10 recordings to the proverbial desert island this would be one of them. Schorr's voice is so smooth, so effortless, so patient. I have listened to many recordings of Farewell but have found nothing that is even close to his performance here. I am so thankful that we had the technology, however rudimentary at the time, to capture this exceptional performance.
Bright and high baritone??? This is a big dark voice, granted the way he sings is from an era long since forgotten before verismo darkening with thicker vocal folds and eventually modern singing which is even more pressurized and dark
More recordings of this artist from this, his prime period, would be most welcome. I have never heard him sound better & the superior artistry was always guaranteed. The warmth of his Wagner singing is really unique among the lower voiced male singers in this repertoire. At this time he also had the power needed for these roles in his repertoire. However, would I think of him more as a lyric Helden baritone which may sound like a contradiction but I feel this way because of his unique timbre. High notes were fine then but not, IMO, his real glory. The timbre of his voice was dark but in his prime not particularly heavy & roles like Hans Sachs suited him perfectly.
There exists a CD from "hänssler classic" (CD 94512) with music from Die Meistersinger (8 extracts), Der fliegende Holländer (1 extract) and Die Walküre (1 extract).
You are wrong. Hans Hotter had a better voice than Schorr´s voice. While Hoter´s voice has so much powerful and smooth, flexible and with an ample fiato, Schorr´s voice is beautiful but not so powerful than Hotter´s and his notes are very poor because are very tight as Tito Gobbi´s high notes. You should hear Schorr singing Wotan live with Laurtiz Melchior at the Met Opera House and Hotter singing Wotan at Bayreuth to compare both voices. Greetings,
Correction: the Wotan of ALL time. The firm and rock-steady emission with nary a hint of a wobble, the matchless legato, the perfect intonation, the ideal combination of lyricism and drama, the overwhelming ardency, the introversion and the exuberance: all these traits combine to raise Schorr to the very highest eminence of Wotan-interpretation. All others are pretenders to the throne.
I totally agree with your comment. It is haphazard to draw conclusions from old records but Schorr can cannot convey the authority and power that must come out from Wotan`s voice. This is an Abschied from a defeated mortal. I had the same comment for Thomas Stewart who like Schorr was a wonderful singer.
@@georgepolyzoides6846 Authority is not the first requirement in this passage, nor even the tenth one. Even at 'Wer meines Speeres Spitze fürchtet...' there must still be the paternal regret, the realisation that he is doing this for his best-beloved child. The Ring consists of music dramas, not conventional operas. Wotan is a multi-dimensional character: virile, craven, hypocritical, vulnerable, apprehensive, warm, short-sighted, demanding and regretful, but above all loving, particularly in the Abschied. A Wotan who is authoritative and powerful, but who fails to convey love for his daughter and his tragic sadness that he will never see her again, is a singing cipher, not Wagner's magnificent, flawed creation.
I listen to this performace at least once every week. It reinforces not only my love of Wagner's music, but the sheer pleasure of Schorr"s magnificent voice
If I could take only 10 recordings to the proverbial desert island this would be one of them.
Schorr's voice is so smooth, so effortless, so patient. I have listened to many recordings of Farewell but have found nothing that is even close to his performance here.
I am so thankful that we had the technology, however rudimentary at the time, to capture this exceptional performance.
Die Stimme hat Glanz und Hoheit und kommt so beseelt daher.
Ein ganz ganz großer Sänger.
Vielen Dank.
Stunning performance.
Stunning, John R, and comparable to Alexander Kipnis.
Excellent! 👏👏👏
Thanks for sharing! 🙏🍀
Ausgezeichnet!
Splendid singing. The endless legato is thrilling; the drama is maintained throughout.
2021 年依然在聽！！
la voix est splendide !
Et la musicalité !
Magnificent performance!
sublime
What a bright and high baritone! It makes you wish he’d recorded Tristan. Thrilling.
Bright and high baritone??? This is a big dark voice, granted the way he sings is from an era long since forgotten before verismo darkening with thicker vocal folds and eventually modern singing which is even more pressurized and dark
Voz maravillosa, ése no sé qué que tenían las voces de la vieja guardia que al oírlas por primera vez te cautivaban
More recordings of this artist from this, his prime period, would be most welcome. I have never heard him sound better & the superior artistry was always guaranteed. The warmth of his Wagner singing is really unique among the lower voiced male singers in this repertoire. At this time he also had the power needed for these roles in his repertoire. However, would I think of him more as a lyric Helden baritone which may sound like a contradiction but I feel this way because of his unique timbre. High notes were fine then but not, IMO, his real glory. The timbre of his voice was dark but in his prime not particularly heavy & roles like Hans Sachs suited him perfectly.
There exists a CD from "hänssler classic" (CD 94512) with music from Die Meistersinger (8 extracts), Der fliegende Holländer (1 extract) and Die Walküre (1 extract).
ah ... the good old days .... guess the stage directors were much better then, too ...
Unübertroffen!
No one before or since has come close
I think I prefer George London
@@Edward-bm7vw Rather! George London remains unsurpassed. Second: Hans hotter.
さすが黄金期のヴォータン！
声に余裕があるのは、スタジオだから？しかし、その余裕が神々の王と
しての威厳に繋がっているのは、流石
best wotan ever
You are wrong. Hans Hotter had a better voice than Schorr´s voice. While Hoter´s voice has so much powerful and smooth, flexible and with an ample fiato, Schorr´s voice is beautiful but not so powerful than Hotter´s and his notes are very poor because are very tight as Tito Gobbi´s high notes. You should hear Schorr singing Wotan live with Laurtiz Melchior at the Met Opera House and Hotter singing Wotan at Bayreuth to compare both voices. Greetings,
Schorr was THE Wotan of his time!
Correction: the Wotan of ALL time. The firm and rock-steady emission with nary a hint of a wobble, the matchless legato, the perfect intonation, the ideal combination of lyricism and drama, the overwhelming ardency, the introversion and the exuberance: all these traits combine to raise Schorr to the very highest eminence of Wotan-interpretation. All others are pretenders to the throne.
Great nobility of tone, but even in his prime the top was short and ‘fisso’.
Excelente interpretación, mala grabación, congratulations
Could you be a little bit more descriptive of the smell that bothers you so.Ian
They tell me that he was a great bass-
baritone. But to my ears he sounds almost like heldentenor and he doesn't sing so low here.
I totally agree with your comment. It is haphazard to draw conclusions from old records but Schorr can cannot convey the authority and power that must come out from Wotan`s voice. This is an Abschied from a defeated mortal. I had the same comment for Thomas Stewart who like Schorr was a wonderful singer.
sasman888 only if we had been able.to hear this artist LIVE would we be able to draw our own conclusions about the quality of his voice
@@georgepolyzoides6846 Authority is not the first requirement in this passage, nor even the tenth one. Even at 'Wer meines Speeres Spitze fürchtet...' there must still be the paternal regret, the realisation that he is doing this for his best-beloved child. The Ring consists of music dramas, not conventional operas. Wotan is a multi-dimensional character: virile, craven, hypocritical, vulnerable, apprehensive, warm, short-sighted, demanding and regretful, but above all loving, particularly in the Abschied. A Wotan who is authoritative and powerful, but who fails to convey love for his daughter and his tragic sadness that he will never see her again, is a singing cipher, not Wagner's magnificent, flawed creation.
こんなに哀しいヴォータンの吐露は、
はじめて。
演奏のスタイルは永遠に不変では
ないことを考えさせられる。
音楽は、知・情・意によって表現されるものであるが、知によって情を掴み意で表現するこの時代が、ある種ワーグナーの最期の黄金期であることも、
仕方ないのか。
どうしてもこうした工程を経ないと、
古典になれないのか。
しかし古典とは、創成期のこうした息吹が全て失ってしまうことも、同時に
意味する
The more I listen these singers of the past, less I understand these people who worship a "golden age" that never existed ...
This stinks.