Söderström was one of the greatest singers of the 20th century for several reasons 1 she had a splendid voice 2 she was a refined musician 3 a magnificent actress 4 she had an amazing memory 5 she knew the meaning of words 6 she was the singer most polyglot of her time: 5 common languages (RU, FR, D, GB, SE) to which she added 7 others (IT, CZ, DK, N, SF, H, PL) always mastering words and meaning with the right accent ...and last but not least, she was modest! She taught us a lesson for eternity! God bless her! She also holds a record with the Rosenkavalier: she was the only singer to sing the 3 title roles in one year.
A resident of Cleveland in the 1980s, I was privileged to see a live Met tour production of the entire Rosenkavalier, with EXACTLY this cast, and it was THE most perfect ensemble singing I have ever heard, they were truly inspired and a dream cast, all of them. It should have been recorded!
franceseattle I didn't see the whole production, lucky you. I did go to the Met gala and loved this. One of the highlights of an event that just couldn't be put on now.
Apart from the marvelous singing of these ladies i was a little bit captured by this 80th fashion. Mrs. von Stade is looking like a huge praline from the confection box.
OUTSTANDING!!!!! Consider, too, that Soederstroem had sung Sophie in DER ROSENKAVALIER in her first Met season: in 1959!!!!! Still outstanding after all these years... So is von Stade, whose debut was in 1970. And yes, Battle, who was only 6 years removed from HER house debut. Thank you VERY much for sharing this magical Met moment with us!!!!!
Wonderful! And more importent: Our heritage, the clssical music is hold high in the United States! James Levine makes an excellent job! Bravo! Viele Grüße from the Münsterland, in Northwestern Germany, Bernd.
Something you never hear in other performances of this trio: A moment at 3:15 (but start listening 5 seconds before) just before "Da steht der Bub" when most singing trios cut short to get enough energy to make the climax, but these three hold a shimmering chord past the orchestra and somehow Soderstrom comes in on time for the next phrase.
Thank you for your excellent comments.You are quite right.She wás modest, I met her once and of all the singers I met she was the nicest.A Grand Lady and easy to approach.She didn't choose the easiest way by singing many less known "material".But she enjoyed it.In modesty she can be compared with the late Irish mezzo Bernadette Greevy and the late soprano Arleen Auger.They were there for the music,not for themselves. Which cannot be said today with glamourgirls Netrebko, Georghui etc.etc.
I tend to forget the qualities that make Söderström great. Her voice has never appealed to me as very distinct or especially beautiful, but the thoughtful dramatic and musical sensitivities she brings to the music are arresting and rare. Lovely to see her inhabit this role on stage even for just five and a half minutes.
I heard Soderstrom in Rosenkavalier on a Saturday Met broadcast and have never forgotten it. By the time it finished, with these notes, I realized that I had heard the definitive Marschellin. I hope the Met males this broadcast available some day.
The eighties were not a decade of exemplary or lasting fashions, but these are some of the decade's great female voices. I often forget what a great musician Soderstrom was: while maybe not the most beautiful-voiced of sopranos, a sense of line, character and phrasing rarely equaled, perfect for Strauss and Mozart. Thanks for this post!
This is music from Gods, both written and performed. Check out Soderstrom's filmed version of die Marschallin [also on TH-cam]. This was 23 years later and her voice has darkened but is still magnificent. Sadly, it was too small for house the size of the Met, but I remember her in 'Jenufa' and her phrasing and musicality were so perfect that nobody cared that she was hard to hear. Flicka is also wonderful, and Kathy Battle sounds like an angel. Who cares that she was hard to work with?
One thing is sure, he really conducts for the voice...and keeps the voice as the primary focus in opera. Not saying that the orchestration is not extremely important, frequently as a protagonist. However, in practical performance, if the voice sucks (especially due to bad tempo, non-vocally-informed phrasing, etc.), who cares how the orchestra sounds? It is a marriage of both, and I think Levine is an artist at achieving that balance.
With the exception of the trumpet (who I'm sure was personally hanged by Jimmy L. after the perf.) this particular performance is a miracle of art of which I never tire -- thanks so much for posting it. BTW no offense to Kiri fans--she became my fave Marschallin after Soderstrom retired; meanwhile Battle & Flicka are always GREAT!
I'd rather save the praise for their performance--don't wanna preach to the choir, so to speak--and talk about the garments: it is remarkable that this was 1983, and Elisabeth Soderstrom's outfit could STILL look GREAT in the year 2020. Kathleen Battle's wearing lingeries, and von Stade is wrapped in a gift wrap sheet that I wouldn't use for my worst enemy. LOL What was she thinking.
It was widely considered during her career that Söderström did to this role what Nilsson did to Turandot. With that said, there were many good Marschallin around, even great. Just as there were many good Turandots around. But none ever came close to Elisabeth and Birgit. Still not even today. Söderström was also the most definitive Countess Madeleine in Capriccio, totally divine ❤
nothing wrong with battle performance, dont let your disdain for her attitude cloud your judgement of talent, their are countless video's on her with battle performing this aria at the MET and other venues, shes their for a reason, and not because she can't sing, talent is talent and she has it
Couldn't agree with you more. It isn't worth going now. Last thing I saw that I actually enjoyed was Philippe Jaroussky's production of Artaserses, in Nancy, about 10 years ago. I was very lucky to be at this Met Gala though and this was the highlight for me.
I heard that the lady in vail white was very tuff to work with. The stories of her rampant temperament are legendary. But...but...so is her voice (let's give her those points :-)
@flautist You should. I think it is, sadly, not anymore on youtube. I have it on CD, but the recording is flawed on my version. There is a better version on the market, though. Hopefully someone would be able to upload it here.
Look in Watteau's pictures, this is a typical "robe à l'italienne" for a delicate Colombine inspired by the italian Comedia dell'arte's characters fashionable in France in the XVIII th century that inspired Richard Strauss !!! Maybe you find more suitable and fitting those tasteless ghosty curtains dragging on the ground without any inspiration or style on the sweet shoulders of the amazingly gracious Kathleen Battle...what is the link whith the music or the stage set ?
@poggiline You may be right in regard to the orchestral playing, yes. Have you heard the trio Horne - Grist - von Stade? T h a t is m a g n i f i c e n t - also the orchestral playing!!!
You don't know anything about Kathleen Battle. You only feed those gossip that she was a victim of. You don't know what it's like to suffer RACISM in a powerful institution like the Metropolitan. She didn't bow, didn't let herself be humiliated. And she paid the price of not being afraid to face people without scruples or decency. Before spreading this nonsense about Kathleen's temper, get more information, or rather, do something useful instead of spreading rumors.
Musikalisch recht problematisch - angefangen von der Solotrompete über die oft zu tief intonierende Söderström(das lange a" vor der climax ist grauslig) und die dagegen oft zu hoch singende Battle - einzig von Stade ist perfekt
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Söderström was one of the greatest singers of the 20th century for several reasons 1 she had a splendid voice 2 she was a refined musician 3 a magnificent actress 4 she had an amazing memory 5 she knew the meaning of words 6 she was the singer most polyglot of her time: 5 common languages (RU, FR, D, GB, SE) to which she added 7 others (IT, CZ, DK, N, SF, H, PL) always mastering words and meaning with the right accent ...and last but not least, she was modest! She taught us a lesson for eternity! God bless her!
She also holds a record with the Rosenkavalier: she was the only singer to sing the 3 title roles in one year.
I saw her sing Katya Kabanova in English in a small provincial theatre - a fond memory!
This is for me the best modern rendition of this scene. Söderström is perfect for the role she is singing.
Elisabeth - R.I.P!
I listen to this over and over again just beautiful
RIP. A true diva in a world where the word has almost lost its meaning.
A resident of Cleveland in the 1980s, I was privileged to see a live Met tour production of the entire Rosenkavalier, with EXACTLY this cast, and it was THE most perfect ensemble singing I have ever heard, they were truly inspired and a dream cast, all of them. It should have been recorded!
franceseattle I didn't see the whole production, lucky you. I did go to the Met gala and loved this. One of the highlights of an event that just couldn't be put on now.
Battle did a Met broadcast as Sophie in 87 i believe. The week before she recorded Mahler 4 in Boston...
Apart from the marvelous singing of these ladies i was a little bit captured by this 80th fashion. Mrs. von Stade is looking like a huge praline from the confection box.
Söderström did to Rosenkavalier what Nilsson did to Elektra. What an artist, what stage present. Wish she was still around!
OUTSTANDING!!!!! Consider, too, that Soederstroem had sung Sophie in DER ROSENKAVALIER in her first Met season: in 1959!!!!! Still outstanding after all these years... So is von Stade, whose debut was in 1970. And yes, Battle, who was only 6 years removed from HER house debut. Thank you VERY much for sharing this magical Met moment with us!!!!!
Flicka and Kathy Battle are the bomb! Such a perfect combo. Soderstrom is so all knowing. It's gorgeous, although Fleming/Battle/VonStade is my fave
Wonderful! And more importent: Our heritage, the clssical music is hold high in the United States! James Levine makes an excellent job! Bravo! Viele Grüße from the Münsterland, in Northwestern Germany, Bernd.
Incomparables, una maravilla 🎉
Something you never hear in other performances of this trio: A moment at 3:15 (but start listening 5 seconds before) just before "Da steht der Bub" when most singing trios cut short to get enough energy to make the climax, but these three hold a shimmering chord past the orchestra and somehow Soderstrom comes in on time for the next phrase.
Thank you for your excellent comments.You are quite right.She wás modest, I met her once and of all the singers I met she was the nicest.A Grand Lady and easy to approach.She didn't choose the easiest way by singing many less known "material".But she enjoyed it.In modesty she can be compared with the late Irish mezzo Bernadette Greevy and the late soprano Arleen Auger.They were there for the music,not for themselves.
Which cannot be said today with glamourgirls Netrebko, Georghui etc.etc.
Bernadette Greevy could indeed be sublime !
I tend to forget the qualities that make Söderström great. Her voice has never appealed to me as very distinct or especially beautiful, but the thoughtful dramatic and musical sensitivities she brings to the music are arresting and rare. Lovely to see her inhabit this role on stage even for just five and a half minutes.
operassassin, I agree about Soederstrom. Where has she been all my life? For me the best I've ever heard in this trio.
The sheer beauty and magnificence of this performance still brings tears to my eyes. Absolutely superlative and incomparable.
I heard Soderstrom in Rosenkavalier on a Saturday Met broadcast and have never forgotten it. By the time it finished, with these notes, I realized that I had heard the definitive Marschellin. I hope the Met males this broadcast available some day.
I adore Soderstrom from her Janacek recordings, but didn't know she could sing so... well beautifully!
The eighties were not a decade of exemplary or lasting fashions, but these are some of the decade's great female voices. I often forget what a great musician Soderstrom was: while maybe not the most beautiful-voiced of sopranos, a sense of line, character and phrasing rarely equaled, perfect for Strauss and Mozart. Thanks for this post!
The three are divines to me. thanks for this music for ever...
Does this get any better? Must be one of the best Trios.
This is music from Gods, both written and performed. Check out Soderstrom's filmed version of die Marschallin [also on TH-cam]. This was 23 years later and her voice has darkened but is still magnificent. Sadly, it was too small for house the size of the Met, but I remember her in 'Jenufa' and her phrasing and musicality were so perfect that nobody cared that she was hard to hear. Flicka is also wonderful, and Kathy Battle sounds like an angel. Who cares that she was hard to work with?
The people who had to work with her!!
I love Soderstrom here her acting is very touching in a scene when most would just "park and bark"
One thing is sure, he really conducts for the voice...and keeps the voice as the primary focus in opera. Not saying that the orchestration is not extremely important, frequently as a protagonist. However, in practical performance, if the voice sucks (especially due to bad tempo, non-vocally-informed phrasing, etc.), who cares how the orchestra sounds?
It is a marriage of both, and I think Levine is an artist at achieving that balance.
Magnificent performance!
Bravo!
With the exception of the trumpet (who I'm sure was personally hanged by Jimmy L. after the perf.) this particular performance is a miracle of art of which I never tire -- thanks so much for posting it. BTW no offense to Kiri fans--she became my fave Marschallin after Soderstrom retired; meanwhile Battle & Flicka are always GREAT!
I'd rather save the praise for their performance--don't wanna preach to the choir, so to speak--and talk about the garments: it is remarkable that this was 1983, and Elisabeth Soderstrom's outfit could STILL look GREAT in the year 2020. Kathleen Battle's wearing lingeries, and von Stade is wrapped in a gift wrap sheet that I wouldn't use for my worst enemy. LOL What was she thinking.
Hola todo perfecto efecto el volumen gracias
I think Elisabeth Soderstrom was under appreciated. Certainly my favourite soprano after Callas.
It was widely considered during her career that Söderström did to this role what Nilsson did to Turandot. With that said, there were many good Marschallin around, even great. Just as there were many good Turandots around. But none ever came close to Elisabeth and Birgit. Still not even today. Söderström was also the most definitive Countess Madeleine in Capriccio, totally divine ❤
Quite possibly the most beautiful thing I've ever heard.
Gerry Hecht I was at the 83 Met gala and this is the piece that sticks in my memory more than anything else.
Holy fucking shit, this is EPIC.
nothing wrong with battle performance, dont let your disdain for her attitude cloud your judgement of talent, their are countless video's on her with battle performing this aria at the MET and other venues, shes their for a reason, and not because she can't sing, talent is talent and she has it
MARAVILHOSO ! PERFEITO !!!
Maravilloso trio de voces
muito muito bom.
What bliss!
How far opera as an art form has fallen in such a short time.
Couldn't agree with you more. It isn't worth going now. Last thing I saw that I actually enjoyed was Philippe Jaroussky's production of Artaserses, in Nancy, about 10 years ago. I was very lucky to be at this Met Gala though and this was the highlight for me.
Magnificent
Always moves me to tears.
Sheer beauty
Angelic.
una maravilla.
I heard that the lady in vail white was very tuff to work with. The stories of her rampant temperament are legendary. But...but...so is her voice (let's give her those points :-)
@flautist You should. I think it is, sadly, not anymore on youtube. I have it on CD, but the recording is flawed on my version. There is a better version on the market, though. Hopefully someone would be able to upload it here.
This is just too much, I can't handle it
😍😍😍😍😍
love the music. poor flicka does look the clown in that outfit, and the swede looks so matronly draped in gray chiffon but they all sing well
Say what you will about Levine he was a singers conductor. He was gifted
Brave brave.
❤🇱🇨!!!
is he the only one you have heard, i presume?
;-) no offense...
Hardly.
Von Stade: where did she get that dress?
OH, THE EIGHTIES! hahaha! I thought the same thing the first time I saw this!
good one! she actually does! german chocolate! hahahaha!
Look in Watteau's pictures, this is a typical "robe à l'italienne" for a delicate Colombine inspired by the italian Comedia dell'arte's characters fashionable in France in the XVIII th century that inspired Richard Strauss !!! Maybe you find more suitable and fitting those tasteless ghosty curtains dragging on the ground without any inspiration or style on the sweet shoulders of the amazingly gracious Kathleen Battle...what is the link whith the music or the stage set ?
She got it out of her closet.
James Levine is the greatest condutor I have heard in my lifetime.
Nirvana!!!
Unsurpassed
@poggiline
You may be right in regard to the orchestral playing, yes.
Have you heard the trio Horne - Grist - von Stade? T h a t is m a g n i f i c e n t - also the orchestral playing!!!
Such a pity that Battle has never mastered the idea of being part of an ensemble. Her diva blasting ruins the tenderness of this.
You don't know anything about Kathleen Battle. You only feed those gossip that she was a victim of. You don't know what it's like to suffer RACISM in a powerful institution like the Metropolitan. She didn't bow, didn't let herself be humiliated. And she paid the price of not being afraid to face people without scruples or decency. Before spreading this nonsense about Kathleen's temper, get more information, or rather, do something useful instead of spreading rumors.
Musikalisch recht problematisch - angefangen von der Solotrompete über die oft zu tief intonierende Söderström(das lange a" vor der climax ist grauslig) und die dagegen oft zu hoch singende Battle - einzig von Stade ist perfekt
Levine is pushing the volume on that orchestra- while it is thrilling, it's too loud. Poor singers.
Poor Orchestra!!