Edda Moser - Popoli di Tessaglia...Io non chiedo, eterni dei (2/2)
ฝัง
- เผยแพร่เมื่อ 21 ต.ค. 2024
- Edda Moser sings Mozart's extremely demanding concert aria, written to be inserted into Gluck's Alceste. Listen for her 2 high G's, the highest notes in any vocal score.
BRILLIANT.... .. .
ABSOLUTEMENT.
A splendid rendition of Mozarts masterful bravura-aria by Edda Moser 👏👏👏
Knowing Mrs. Mosers extremely strong high notes from her Queen of the Night recordings, I firmly believe the diminuendo on the high G was done purposefully by this singer, who not only- to me- is a true master of vocal art, but also a genius in dramatical interpretation.
It is wrong, in my opinion, to believe that „the higher the note, the louder it should be sung“. These notes are mere coloraturas- embellishments- there is more to the piece, much more, and the true listener will not be seek only for the show-effects. He or she will seek for the golden core of each piece- and Edda Moser succeeded wonderfully to give right proportions to coloratura and content. This is true art!
Unlike the others, who say that her singing is awful,compared to Dessay's, I would say I prefer Edda Moser's version. Her dark voice just brings another emotion to this aria. And the high G's are perfectly sung with her heavy voice. I think she did an amazing job.
Agree! That deep voice sounds awesome combined with this piece!
Mozart wrote it for an 18 year old girl. Moser is wonderful but she squeaks the high G's
Really the best version of this aria is by Gruberova! She had the easiest high G's too....full free and not squeeky...
It would be SO NICE if everyone commenting could pretend to actually care about the remaining 99.9% of the notes (to say nothing of the text...) and not just zero in on the two Gs at the end. Seriously- this is a beautiful and complex concert aria with infinite room to show off musicality and style and it seems like all anyone cares about are two staccato notes at the end...
Anyway. The Gs SUCKED.
@@Bacchusmbt I'll say the Gs sucked. She didn't even sing them. They were totally absent. Sept.13/22, Burlington ON Canada.
Marvellous! And it is one of the most challenging arias for a coloratura soprano.
Beautiful voice, awesome interpretation!
Ya no se cuantas veces he escuchado este tema interpretado por esta voz, es realmente cautivante y maravillosa.
I think I once had a different version of PDT by EM.. and her high G was considerably louder and she stayed up there longer than anyone else I've heard. Another difference is that the orchestra or the conducting on that CD I had was quite inferior to this.
Don't forget that pitch was about a half step lower in Mozart's day. (Same for Bach and Handel.)
Simply amazing 👏👏👍🏻👍🏻
Maravillosa y poderosa voz, simplemente una joya
Not true anymore that this famous high G is the highest note ever written! I found in during my researshes of manuscripts, two High A's written is a score of a coloratura aria by Schuster!!
Yes, it was written for the same singer, Aloisia Weber. Could you find any recording of it though? I was looking for it and couldn't find anything.
No this high A was written for Maria Balducci, in Napoli in 182 , the same one who created the role of Europa in Europe Riconosciuta by Salieri
sonqualnave Well, maybe. I've read somewhere that it was for Aloisia but you may be right.
Popoli di Tessaglia is written for Aloisa yes, but not the higher arias I am talking about. :-)
@@sonqualnave Were you able to find the score of the aria ?
@salmig99 That was the later of two recordings she made of the aria. The earlier version used to be up here on TH-cam somewhere; dunno where it is now though. That was a real opus.
This is what I was looking for:
th-cam.com/video/T8_G0S46wH4/w-d-xo.html
Grandiosa!
How can anyone ever compare one of the best dramatic coloratura sopranos namely the great Edda Moser to Natalie Dessay. Shame the latter is singing jazz these days. She could not ever really sing opera. Her pathetic Lucia at the Met shows just how bad Dessay really is. Edda Moser reigns supreme in this aria and most of Mozart's music.
I saw Dessay in her best role ever in ARABELLA as Fiakermili. That was the last time I could bear to listen to her! Ditto Damrau...
Forget this squarrelsound Dessay (only la her French roles have been ok) Listen to Ingeborg Halletein, Rita Streich, Edda Moser, Erna Sack, Erna Berger !!!
@@Come-Dians Thank you. I can't agree more.
This entire sing is excellent. The G's are simply faint but it is sort of magical with the rest of the weight of the voce there.They are a sort of inner thought.Versus some sort of stratospheric cry. This is a very strange aria. Very Mozartian and 18th Century playing with Eastern tones and almost militarial and in turns mystical phrases. It is almost tiresome to listen to. Again too many notes. But it is sort of genius . Gruberova is solid. But this voice! Brava Moser!
Bravissima!
Ive heard another recording of her singing this where the Gs are just awful, here theyre just soft which is fine
@forallyouknow Ah, thanks...! I will look for it.. I've had some success searching via google, adding 'youtube' as a keyword rather than using the limited capabilities of the built-in youtube search mechanisms, but no luck so far. The version I have in mind sounded very different, more like a female Lauritz Melchior.. I'll update this page if I find it.
Lo so chi sei, ma alla sera bisogna andare soft per avvivinarci al sonno.Fra
@VintageHussy13 They are 5 jealous people who can't sing a high G. :-)
Absolutely beautiful. The one and only Edda Moser. The one and only queen of Mozart's music. Natalie Desay is and was a fleeting spectacle on the opera horizon. Ruining her voice and now singing jazz. Has anyone seen Natalie's pathetic portrayal of Lucia in the 2010 Met production? So don't even try to compare her with Greatest Mozart singer,Edda Moser.
you could have the high G's but you wouldn't have that volume :P!
MINISCULES contre-sol !…..
Le dramatisme du propos est parfaitement rendu mais la sécheresse des piqués, l'impossible accession au contre sol et les tensions relatives à la tessiture (hauteur d'émission embarrassée) ne détrônent pas Gruberova.
Good, but Dessay's interpretation is waaaay better
Anyway, well done Edda
Sorry, only thing Dessay does better is the high Gs. Her interpretation is nothing, she just doesn't feel Mozart. Edda wins witg her in every Mozart's aria.
no G. Sorry. All the rest is simply wonderful.
No me gusta!!!! Esto pasa cuando las sopranos creen ser ligero y son dramáticos, la resonancia en la zona sobre aguda es muy debíl. Edda yo te amaba.
I don't like it at all