It`s the only performance I`ve ever seen where Donna Anna and the Commendatore show any mutual affection (3:16). I LOVE that he gives her this hug of consolation...
There is no better version of this opening recorded, filmed, or documented. Despite recording techniques, considerations of tempi, or singing. Perfect!
i mean u dont sing piiiuuuuu säääääärviier and open your mouth that wide. i feel like he is singing italian with german accent. and thats not what is supposed to be
The recording is of course of lower level that we can get now, but... The voices are fabulous, and the physical aspects of the actors matchs well with the characters!
Thomas Hampson, Karita Mattila, John Tomlinson, Anja Harteros, Anna Netrebko, Christopher Maltman, Renee Fleming, Barbara Bonney, Susan Graham, Bryn Terfel, Luca Pisaroni, Joseph Calleja ....I could go on and on....
Uh, hardly. Who are you referring to? Who sings on the level of Tebaldi, Ponselle, Nilsson, Muzio, Flagstad, Corelli, Del Monaco, Merrill, Siepi, Mardones, MacNeil, Simionato, Stignani, Castagna etc. etc. etc.????!!!!...I could go on and on.
They are equal to the singers I listed? If you think that there is no point in this discussion because you are completely clueless and cannot hear the difference. It is two different worlds of singing.
Which are based on years of in depth study and teaching. The things I post are quantifiable and therefore are exact reasons why the old singers where better. I could go on and on. LIsten to Tebaldi singing Vissi d'arte and Mattila and tell me Mattila is on her level. Not even close.
Das Terzett in C-Dur wird immer zu langsam gesungen. Das Orchester beginnt relativ gut, doch bereits der Commentatore schleppt wie ein bulgarischer LKW, der die Westalpen hinauffährt. Das Wichtigste bei Mozart ist der Rhythmus, die musikalische Struktur darf nicht verloren gehen, weil Sänger (Sängerinnen noch schlimmer) diese Stringenz nicht begreifen. Natürlich Kommunion dieser Aufnahme hinzu, dass die Bühne der Felsenreitschule gigantisch ist und die Distanz zum Orchester enorm. Aber trotzdem, wenn man den Rhythmus spürt, und zwar alle denselben, käme man der Sache wesentlich näher. Stimmlich natürlich absolut Top!!
Actually, it does get said about actors as well. I KNOW this for many reasons. First and foremost from those who are EDUCATED singers, teachers and opera goers who heard both the greats of the past and current singers. Secondly, by the sound. The singers of the past were freer of voice, had more harmonic overtones, had more efficiency of production, had better vibrato actions, had more control dynamically, and had vastly more power. You are clueless based on not knowing these things cont'd
I have never agreed with the idea that singers of a previous era were 'better' than the singers of today - and why does this only ever get said about singers, not about instrumental players...or indeed about actors?? How can you KNOW this? It's only ever a matter of subjective opinion - I cannot return your discourtesy and say that YOU are completely clueless because you don't agree with ME!!
Th is is a bore. It's well enough sung but there's no drama. They are all nicely dressed up and 'acting'...it's all surface. Siepi was handsome in his time.
Who is here because they have to study this for music class?
BlocknBoom! I’m my friend
my music exam is tomorrow im just trying to pass 😂
Classical Music History is one fun time :P
Yep good times
Ha! I managed to get work in music school with 0 musical education
It`s the only performance I`ve ever seen where Donna Anna and the Commendatore show any mutual affection (3:16). I LOVE that he gives her this hug of consolation...
There is no better version of this opening recorded, filmed, or documented. Despite recording techniques, considerations of tempi, or singing. Perfect!
how? the first arie is so bad. no offense but he is not singing very good...
i mean u dont sing piiiuuuuu säääääärviier and open your mouth that wide. i feel like he is singing italian with german accent. and thats not what is supposed to be
Yes they do! We are fortunate enough to live in an era where there are so many gifted musicians that we are spoilt for choice.
Furtwangler forever!!!!! Grazie mille!!!!
BEAUTIFUL
The recording is of course of lower level that we can get now, but... The voices are fabulous, and the physical aspects of the actors matchs well with the characters!
They don't sing like this anymore! Siepi especially is great!
The servant looks like Tony Soprano
Pauls Bunions you mean leporello?
Thomas Hampson, Karita Mattila, John Tomlinson, Anja Harteros, Anna Netrebko, Christopher Maltman, Renee Fleming, Barbara Bonney, Susan Graham, Bryn Terfel, Luca Pisaroni, Joseph Calleja ....I could go on and on....
la vera musica insieme a quella metal
ben studiata la parte di leporello
Uh, hardly. Who are you referring to? Who sings on the level of Tebaldi, Ponselle, Nilsson, Muzio, Flagstad, Corelli, Del Monaco, Merrill, Siepi, Mardones, MacNeil, Simionato, Stignani, Castagna etc. etc. etc.????!!!!...I could go on and on.
They are equal to the singers I listed? If you think that there is no point in this discussion because you are completely clueless and cannot hear the difference. It is two different worlds of singing.
One top of three Basses
Which are based on years of in depth study and teaching. The things I post are quantifiable and therefore are exact reasons why the old singers where better. I could go on and on. LIsten to Tebaldi singing Vissi d'arte and Mattila and tell me Mattila is on her level. Not even close.
Das Terzett in C-Dur wird immer zu
langsam gesungen. Das Orchester beginnt relativ gut, doch bereits der Commentatore schleppt wie ein bulgarischer LKW, der die Westalpen hinauffährt. Das Wichtigste bei Mozart ist der Rhythmus, die musikalische Struktur darf nicht verloren gehen, weil Sänger (Sängerinnen noch schlimmer) diese Stringenz nicht begreifen. Natürlich Kommunion dieser Aufnahme hinzu, dass die Bühne der Felsenreitschule gigantisch ist und die Distanz zum Orchester enorm. Aber trotzdem, wenn man den Rhythmus spürt, und zwar alle denselben, käme man der Sache wesentlich näher. Stimmlich natürlich absolut Top!!
at 0:45 he says " o che caro geilantuomo, its wrong^^
o che caro galantuomo, this is right :D
do i look like linds lohan?
Actually, it does get said about actors as well. I KNOW this for many reasons. First and foremost from those who are EDUCATED singers, teachers and opera goers who heard both the greats of the past and current singers. Secondly, by the sound. The singers of the past were freer of voice, had more harmonic overtones, had more efficiency of production, had better vibrato actions, had more control dynamically, and had vastly more power. You are clueless based on not knowing these things cont'd
@thurshus I might like Bach's concerto's more, but he can't do this.
"Don Giovanni (Don Juan)!…a cenar teco m'invitasti" (il Diavolo)
*Marcire all'inferno! (Io)
je n'aime pas car il va trop vite quand il chante et l'image n'est pas bonne
I have never agreed with the idea that singers of a previous era were 'better' than the singers of today - and why does this only ever get said about singers, not about instrumental players...or indeed about actors?? How can you KNOW this? It's only ever a matter of subjective opinion - I cannot return your discourtesy and say that YOU are completely clueless because you don't agree with ME!!
This is horrible. Too slow the tempo.
This is beautiful, Wim Winters approves 😉
Th is is a bore. It's well enough sung but there's no drama. They are all nicely dressed up and 'acting'...it's all surface. Siepi was handsome in his time.