I attended one of the performances at the MET that year, I heard this, she was 25 feet from me, I remeber this part, the sensation cannot be described. My first time attending a opera. Musically, this was the most powerful experience I had in my life.
Her voice is a miracle to everybody who is a professional singer. Her breathing technique, filling her whole body with sound and let it stream out...uncompared
Jessey Norman was/ is a tru Goddess:- Rest in Peace ...we all miss you very much:-)) and on top of it ...the Genius Richard Strauss , who composed this masterpiece ......only 36 Musicians in the orchestra pit but the sound is like it would come from a a huge orchestra.......
When the new god appears, we surrender without a word.......but what a surrender, what an enthusiasm and in the shimmering gold of this late-romantic sunset, what a marvelous intensity of feeling!
Wonderful! I remember when this performance was broadcast. It was a Sunday in 1987 (if I remember correctly). It was a worldwide life broadcast! Glad to own the DVD. One of the most beautiful things Strauss has written. Thanks for posting this!
Norman is amazing beyond amazing but no one is talking about the the Strauss wonder tenor that was James King. I know King is past his prime here but god he still takes Bacchus in stride at 63!!!
Superb performance, and the divine Jessye is an incomparable Ariadne. Production is terrific too, I remember watching the TV broadcast back in 1988/89. Saw it with Deborah Voigt and Natalie Dessay at the Met in 2003. Properly staged Strauss (think Elektra, Salome, Rosenkavalier, Frau ohne Schatten, the impossibly difficult Daphne) can transport you to the realms of ecstasy. Compare this magnificent splendor with the putrid garbage they recently disgorged at Aix en Provence and had the effrontery to call opera...
There were really only a few operatic parts that suited her. This, her Berlioz, and Sieglinde were about it in my opinion. The voice needed a part that was anchored in the middle of her range, and was adaptable to her very particular timbre.
She sang Aida early in her career and was a very good Alceste too. She recorded Salome (terrific) but never sang it on stage. Her Vier Letzte Lieder recording is one of the two or three best in the existing discography. Did she ever sing the Marschallin? She would have been terrific in the role.
Norman had a great huge voice - NOT what Strauss imagined for his Ariadne, but anyway... - and she inhabits the role. But this production and costumes are too "baroque" and static in this finale.
The "opera" is supposed to be an opera within an evening's entertainment. The contrivance is that it is a facsimile of operatic formulae, hence the costuming.
Do I discern that you would prefer one of those god awful “Eurotrash” productions so popular right now? “Ariadne” set in the post-WWII era? With all the characters dressed up like Dick Clark teenyboppers?
I attended one of the performances at the MET that year, I heard this, she was 25 feet from me, I remeber this part, the sensation cannot be described. My first time attending a opera. Musically, this was the most powerful experience I had in my life.
Now she is with the "Eternal Stars"!!!!!(Ewigen Sterne)
R.I.P. Jessye Norman!!!
R.I.P.
Thank you for sharing your gift. The way you sang German is better than most native artists. You'll be missed.
Her voice is a miracle to everybody who is a professional singer. Her breathing technique, filling her whole body with sound and let it stream out...uncompared
down to the last tinkling bell in this production, everything is just magnificent--costumes, voices, acting, scenery.
Jessey Norman was/ is a tru Goddess:- Rest in Peace ...we all miss you very much:-)) and on top of it ...the Genius Richard Strauss , who composed this masterpiece ......only 36 Musicians in the orchestra pit but the sound is like it would come from a a huge orchestra.......
She transports you. I've never seen or heard an Ariadne with such a regal bearing. Strauss would have wept with joy.
I almost cry every time I watch this. I do watch this really often... it's therapeutic.
Either "Die Vier Letzte Lieder" or "Ariadne auf Naxos", I think the late Jessye Norman is THE ultimate Richard Strauss soprano.
Norman in this role was directly connected with the Divine - one cannot believe the correlation of her expressions to the Music
Absolutely perfect piece of music, Norman with her opulent voice is amazing!
First time I saw this when it first aired, I wept at the sheer beauty. Perfection.
Norman's artistry will never fade.
When the new god appears, we surrender without a word.......but what a surrender, what an enthusiasm and in the shimmering gold of this late-romantic sunset, what a marvelous intensity of feeling!
Wonderful! I remember when this performance was broadcast. It was a Sunday in 1987 (if I remember correctly). It was a worldwide life broadcast! Glad to own the DVD. One of the most beautiful things Strauss has written. Thanks for posting this!
Norman is amazing beyond amazing but no one is talking about the the Strauss wonder tenor that was James King. I know King is past his prime here but god he still takes Bacchus in stride at 63!!!
I agree
I NEEDED this today! Tears of wonder and gratitude. 💝👌💕
Strauss' most magical melody
I return to this final scene again and again. Has anyone ever sung "Gibt es kein Hinüber" with such rapture, moving from wonder to certainty?
the answer to your question is simple: NO! ;-)
panajody I dont see or feel any rapture
Nacidodelmar You must be watching something else....
The glory days. I’m in tears.
Brava Norman! She lives forever now. Rest in peace, Jessye.
Wonderful performances. Very heartbreaking with love...
Quelle musique et quelles voix!
03:17
Töne, töne, süße Stimme,
Fremder Vogel, singe wieder,
Deine Klagen, sie beleben,
Uns entzücken solche Lieder!
She's Amazing a tremendous lost Rest in love Queen Jessye
Sublime Jessy Norman merci
Adorable!
Superb performance, and the divine Jessye is an incomparable Ariadne. Production is terrific too, I remember watching the TV broadcast back in 1988/89. Saw it with Deborah Voigt and Natalie Dessay at the Met in 2003. Properly staged Strauss (think Elektra, Salome, Rosenkavalier, Frau ohne Schatten, the impossibly difficult Daphne) can transport you to the realms of ecstasy. Compare this magnificent splendor with the putrid garbage they recently disgorged at Aix en Provence and had the effrontery to call opera...
gorgeous voice
Una stupenda Arianna, e un magnifico Bacco
extraordinária!
Rest in peace Miss Norman
semplicemente divina
Gran òpera per a grans cantants.
MARAVILLOSA
Gibt es keine andere Ariadne? Hier iest die Königin und die Zauberin von Musik.
Meine beste Ariadne... Unglaublich eine Sängerin aus den Südstaaten...ein deutsches Reportoire
Was hat die Tatsache, woher eine Sängerin kommt, damit zu tun, wie sie singt?
There were really only a few operatic parts that suited her. This, her Berlioz, and Sieglinde were about it in my opinion. The voice needed a part that was anchored in the middle of her range, and was adaptable to her very particular timbre.
She sang Aida early in her career and was a very good Alceste too. She recorded Salome (terrific) but never sang it on stage. Her Vier Letzte Lieder recording is one of the two or three best in the existing discography. Did she ever sing the Marschallin? She would have been terrific in the role.
Her middle range was pretty good though
The Best Fidelio I've ever heard, dito for Dido.
There is no over 🥲
Sensation! Poor tenor…
Norman had a great huge voice - NOT what Strauss imagined for his Ariadne, but anyway... - and she inhabits the role. But this production and costumes are too "baroque" and static in this finale.
The "opera" is supposed to be an opera within an evening's entertainment. The contrivance is that it is a facsimile of operatic formulae, hence the costuming.
The costumes are all part of this brilliant production. Could you have done better? Didn’t think so.
Do I discern that you would prefer one of those god awful “Eurotrash” productions so popular right now? “Ariadne” set in the post-WWII era? With all the characters dressed up like Dick Clark teenyboppers?
@@georgelocke9523 Νot at all, I'd have liked it even more "ancient Greek", like the old Salzburg production from the 60s.
That tongue is going a mile a minute and is too tense. Sad because she sings Senta's ballad better than Ariadne.
Sounds like you’re talking about a college student and not an absolute goddess with a legendary career 😂
I'm sure the students you taught are much bigger stars.😂
MARAVILLOSA