I heard and met Eileen Farrell in the early1960s in in Greensburg Pennsylvania at a Community Concert. She was wonderful, gave me a big hug after the concert backstage where I had gone to meet her.
If you folks have not already done so, please read James Agee's posthumously published novel "A Death in the Family." The publisher used this text as the prologue. That probably wasn't Agee's original plan, but it works beautifully, and the novel is superb. Pulitzer Prize 1957. Agee died in 1955 of a heart attack.
Priceless! No make believe youthful voice to portray childhood is needed. The honest portrayal with most gifted voice wins my heart forever. A gift to be cherished.
WOW! A quintessential performance by one of the truly great artists of Las century Bernard Hermann and the Columbia orchestra delivered the finest accomplishments ever and I've heard a lot. This masterpiece of Barber's and Agee's have never been better served on a recording.
The piece has over time become a favorite of light lyric sopranos, who can float certain parts very prettily. But the larger voices bring something special to it.
This song was on an ap music theory practice test a few years back and I remember when we took the test I almost cried tears of joy and I sat through the rest of the test smiling like a love-sick idiot. Few songs have affected me this way and I'm so glad I have finally found the song!
Since my teenage years I have been a fan of Farrell; an aunt and uncle had a recording of Puccini and Verdi arias which we played and played; I always wondered why so much attention and fuss was given to more famous sopranos! And I have known this piece for as long but never have I heard this performance. Farrell and Herrmann take it at what has to be the perfect tempo, whatever Barber thought.Farrell is superb in every aspect of this work, not least in the clarity she gives to Agee’s great text.
This is a spectacular piece of music packed with so many emotions, just wrenching; then add an amazing singer like Eileen Farrell. So thankful for recordings like these. Harriet Beebe Arasmith
THIS EXTRAORDINARY PERFORMANCE REMINDS ME V E R Y MUCH OF aDELE aDDISON'S INTERPRETATION! tHUS A TREASURED MEMORY AND NOW DISCOVERING THIS MARVELOUS RECREATION OF sAM'S GREAT OPUS IN nOVEMBER 2018! a GIFT!!
Wonderful to hear the difficult English language sung so clearly and with beautiful meaning by a dramatic voice. The forte sections of this piece should overwhelm the listener and with Farrell's voice this is accomplished. A great singer performing a masterpiece.
Beautiful rendition of a great piece. Probably the most relaxed tempos of any version I've heard. This version runs 2-3 minutes longer than most performances which suits Eileen Farrell's seemingly limitless breath control and fluid tone. Modern performances of "classical" music are often too fast. Bernard Herrmann's languid tempos allow this listener to savor the text and catch a lot of orchestral details that otherwise, go by to fast. Wonderful to have this performance preserved!
What is astonishing is that Farrell, the great American dramatic soprano of her generation lofts this soft and very high parts of this gorgeous score as though she were a lyric soprano. Leontyne Price still owns this glorious score, and now Farrell joins her with Steber as the quintessentially American opera singer with the range, expressive feeling, emotional response to the music, and clarity of diction that makes this work a joy when you can understand the poetry. This is a gorgeous and profound surprise.
I am a violist. In maybe 1975 or so Miss Farrell came and sang the Immolation Scene of Wagner with my orchestra (Toledo Symphony). Amazing how she grew and adjusted her voice over the years. I also was privileged to play Mahler #2 with her in the San Francisco Symphony. She was a WONDERFUL person, so lively and real and friendly!
I as unaware that she sang the Mahler 2nd. Do you recall a date or what year that may have been? It would be wonderful for the Symphony to release some of those historic performances for the public.
Stunning! I know the original Eleanor Steber recording, and have long loved Leontyne Price's performance, but Farrell sings this work beautifully! But then, Ms. Farrell could sing anything, so I shouldn't be surprised.
Price of course was a great singer, but she hasn't the lapidary diction for this text. Fatal flaw. This requires diction as great as the vocal instrument. This text cannot be mush-mouthed.
@@genlyai5055nice use of the word ‘lapidary’ which i have just realized is no permanently linked to the first chapter of Infinite Jest for me: “Dir. of Comp: I made in my assessment deliberate use of lapidary and effete.”
This what Eileen Farrell was born to sing: American music. In a sea of choices this remains my own favorite. This and popular songs were made for her and they for her. In case anyone wonders why her opera career on stage was short, I think at the end of the day it was not what she did best when so many others were better on stage than she.
Spectacular. When I was in graduate school at IU, Eileen Farrell would sing Monday through Friday from 8-10 in the morning with IU opera coach Elmar Burrows. If you got to school early, you could go hang outside her studio and hear her still-beautiful artistry.
+Tracey Marble Trace--I had forgotten that you went to IU, and I didn't know you studied with Harshaw. That's very cool that we have that in common. xoxo
I love this ravishing performance. It is said that Barber liked for it to be performed briskly, but somehow I don't think this one drags at all, although it is longer than most. Another mystery, like this piece of poetry and music.
I never knew that this recording existed. What a wonderful surprise to hear Eileen sing my favorite Barber composition. I love the added information of Agee's meaning being added in the comments. If only more people could appreciate this great work.
eoselan7: The original version of the Prologue to A Death in the Family was deemed too disturbing and was replaced with Knoxville: Summer, 1915 when the book was first published (after Agee's death). The original Prologue is a horrific nightmare journey through Knoxville. It was included in Michael Lafaro's restoration of Agee's novel, published by the U of TN Press.
Beautiful. Reminds me of Sylvia McNair with the Atlanta Symphony Orchestra. That version runs 17:12. I like the slow tempo of this piece. Thanks for sharing!
Una maravilla!. Samuel Barber y letra de James Agee recordando su infancia y los tridtes ducrsos del accidente donde su padre perdió la vida cuando él tenía 6 años. Y que Agee noveló años después en "Una muerte en la familia" Premio Putli
We are fortunate to have a number of really fine performances of this masterwork -- Dawn Upshaw, Renee Fleming and now I've just heard this for the first time (I do not particularly care for Leontyne Price or Eleanor Steber in this music; yes, I know Steber commissioned it). Fabulous singing -- not surprising, given who it is -- and I love that she and Herrmann let it breath. I like the relaxed tempi. Just beautiful. This is one of the most moving works certainly in American classical literature, maybe all of it.
Thank you for your review of this wonderful piece. I'd only heard the first part until now and the ravishing voice of Eileen Farrell is also new to me. I feel overwhelmed
You like the two worst performances on record (Upshaw and Fleming) other than Battleax. How could you possibly like this performance as well? Cognitive dissonance in excelsis!
![⭐️( ลอยกระทง 2024 ) Ver. แดนซ์ Remix BY [ ดีเจกิต รีมิกซ์ ]](http://i.ytimg.com/vi/rMWOLhgXUHc/mqdefault.jpg)
Absolutely beautiful, moving and timeless, on all levels this represents the very best of American culture
I heard her so many years ago. A wonderful memory.
This is perfect. It is an America before it was a bullying, imperial power, stamping its way round the world. It is the America we loved.
Wow, what a voice. Pure and golden.
I heard and met Eileen Farrell in the early1960s in in Greensburg Pennsylvania at a Community Concert. She was wonderful, gave me a big hug after the concert backstage where I had gone to meet her.
If you folks have not already done so, please read James Agee's posthumously published novel "A Death in the Family." The publisher used this text as the prologue. That probably wasn't Agee's original plan, but it works beautifully, and the novel is superb. Pulitzer Prize 1957. Agee died in 1955 of a heart attack.
Priceless! No make believe youthful voice to portray childhood is needed. The honest portrayal with most gifted voice wins my heart forever.
A gift to be cherished.
The older I grow the more music I wish Eileen Farrell had recorded
WOW! A quintessential performance by one of the truly great artists of Las century
Bernard Hermann and the Columbia orchestra delivered the finest accomplishments ever and I've heard a lot. This masterpiece of Barber's and Agee's have never been better served on a recording.
The piece has over time become a favorite of light lyric sopranos, who can float certain parts very prettily. But the larger voices bring something special to it.
Thank you for posting this. Brava, diva! Bravi, tutti!
This song was on an ap music theory practice test a few years back and I remember when we took the test I almost cried tears of joy and I sat through the rest of the test smiling like a love-sick idiot. Few songs have affected me this way and I'm so glad I have finally found the song!
Gorgeous interpretation - so conversational, natural yet characterful and incredible timbre.
Since my teenage years I have been a fan of Farrell; an aunt and uncle had a recording of Puccini and Verdi arias which we played and played; I always wondered why so much attention and fuss was given to more famous sopranos! And I have known this piece for as long but never have I heard this performance. Farrell and Herrmann take it at what has to be the perfect tempo, whatever Barber thought.Farrell is superb in every aspect of this work, not least in the clarity she gives to Agee’s great text.
This is a spectacular piece of music packed with so many emotions, just wrenching; then add an amazing singer like Eileen Farrell. So thankful for recordings like these. Harriet Beebe Arasmith
THIS EXTRAORDINARY PERFORMANCE REMINDS ME V E R Y MUCH OF aDELE aDDISON'S INTERPRETATION! tHUS A TREASURED MEMORY AND NOW DISCOVERING THIS MARVELOUS RECREATION OF sAM'S GREAT OPUS IN nOVEMBER 2018! a GIFT!!
Wonderful to hear the difficult English language sung so clearly and with beautiful meaning by a dramatic voice. The forte sections of this piece should overwhelm the listener and with Farrell's voice this is accomplished. A great singer performing a masterpiece.
A gold standard. One of the best vocal techniques ever. What a beautiful performance of this lovely work.
oh my gosh - this is beautiful. Thank you posting this.
Beautiful rendition of a great piece. Probably the most relaxed tempos of any version I've heard. This version runs 2-3 minutes longer than most performances which suits Eileen Farrell's seemingly limitless breath control and fluid tone. Modern performances of "classical" music are often too fast. Bernard Herrmann's languid tempos allow this listener to savor the text and catch a lot of orchestral details that otherwise, go by to fast. Wonderful to have this performance preserved!
Wow! Just wow! Miss Farrell is splendid! With Bernard Herrmann's incisive conducting. What musicianship from all.
A glorious voice...with wonderful diction...what a find!
A fine match of voice and understanding of the text to this essential music which reflects childhood and wonderment unique to Southerners.
What is astonishing is that Farrell, the great American dramatic soprano of her generation lofts this soft and very high parts of this gorgeous score as though she were a lyric soprano. Leontyne Price still owns this glorious score, and now Farrell joins her with Steber as the quintessentially American opera singer with the range, expressive feeling, emotional response to the music, and clarity of diction that makes this work a joy when you can understand the poetry. This is a gorgeous and profound surprise.
Sylvia McNair did a great version as well, and she had the right timbre for the child "speaker."
Farrell & Price are both lyrics ( @ least started off that way)
Farrell was always a dramatic, though she sang Bach and jazz and everything else.
Maseratik. Shut up, and go read a book about how to behave in public places.
Price never had the diction for this. EVER. She certainly does not 'own' it. Farrell and Steber have joint ownership.
I am a violist. In maybe 1975 or so Miss Farrell came and sang the Immolation Scene of Wagner with my orchestra (Toledo Symphony). Amazing how she grew and adjusted her voice over the years. I also was privileged to play Mahler #2 with her in the San Francisco Symphony. She was a WONDERFUL person, so lively and real and friendly!
I as unaware that she sang the Mahler 2nd. Do you recall a date or what year that may have been? It would be wonderful for the Symphony to release some of those historic performances for the public.
Great pictures as well. So full of life.
Stunning! I know the original Eleanor Steber recording, and have long loved Leontyne Price's performance, but Farrell sings this work beautifully! But then, Ms. Farrell could sing anything, so I shouldn't be surprised.
Price of course was a great singer, but she hasn't the lapidary diction for this text. Fatal flaw. This requires diction as great as the vocal instrument. This text cannot be mush-mouthed.
@@genlyai5055nice use of the word ‘lapidary’ which i have just realized is no permanently linked to the first chapter of Infinite Jest for me: “Dir. of Comp: I made in my assessment deliberate use of lapidary and effete.”
This what Eileen Farrell was born to sing: American music.
In a sea of choices this remains my own favorite. This and popular songs were made for her and they for her. In case anyone wonders why her opera career on stage was short, I think at the end of the day it was not what she did best when so many others were better on stage than she.
Possibly the best I have heard. Thank you.
This is quite a find indeed. A treasure. Up there now with Steber in my estimation. Thank you for sharing with us.
Spectacular. When I was in graduate school at IU, Eileen Farrell would sing Monday through Friday from 8-10 in the morning with IU opera coach Elmar Burrows. If you got to school early, you could go hang outside her studio and hear her still-beautiful artistry.
How lucky for you, Phil! I had forgotten that you went to grad school at IU! I was an undergrad there, studying under Margaret Harshaw!
+Tracey Marble Trace--I had forgotten that you went to IU, and I didn't know you studied with Harshaw. That's very cool that we have that in common. xoxo
+Phil Hall Was that the u of Ill?
What did that voice sound like up close?
How wonderful ❤️❤️❤️
The older I get, the more her performance of Knoxville astounds and moves me.
I love this ravishing performance. It is said that Barber liked for it to be performed briskly, but somehow I don't think this one drags at all, although it is longer than most. Another mystery, like this piece of poetry and music.
A superb performance by Eileen Farrell. Kudos to Bernard Herrmann and the CBS Symphony Orchestra.
What a voice!!!
Voce stupenda, la riascolto spesso🌹🌹🌹
Beautifully sung...
Sublime. Just sublime.
A voice like no other!
Wonderful voice ! Thanks for sharing !
What a treat! Thank you. I never knew she sang this.
I never knew that this recording existed. What a wonderful surprise to hear Eileen sing my favorite Barber composition. I love the added information of Agee's meaning being added in the comments. If only more people could appreciate this great work.
Wonderful version by Eileen Farrell!
I 💖 Eileen Farrell. The greatest American soprano, next to Leontyne Price and Rosa Ponselle.
Lovingly rendered by a great artist. Wonderful!
Thank you!
The text is the introduction to James Agee's "A Death In The Family"--A wonderful book.
It was not written as an introduction to that book, it was tacked on as preface by his editor and, since Agee was dead, without his in knowledge
Essential reading: the whole of A Death in the Family, and Agee's Letters to Father Flye.
eoselan7: The original version of the Prologue to A Death in the Family was deemed too disturbing and was replaced with Knoxville: Summer, 1915 when the book was first published (after Agee's death). The original Prologue is a horrific nightmare journey through Knoxville. It was included in Michael Lafaro's restoration of Agee's novel, published by the U of TN Press.
Beautiful. Reminds me of Sylvia McNair with the Atlanta Symphony Orchestra. That version runs 17:12. I like the slow tempo of this piece. Thanks for sharing!
Except that Sylvia McNair is abominable and can't sing this piece.
Sublime
Hermosísima voz Eileen Farrell 💜
THANK YOU FOR SHARING THIS
Una maravilla!. Samuel Barber y letra de James Agee recordando su infancia y los tridtes ducrsos del accidente donde su padre perdió la vida cuando él tenía 6 años. Y que Agee noveló años después en "Una muerte en la familia" Premio Putli
* Pulitzer 1958.
Voz increíblemente maravillosa. KNOXVILLE VERANO DE 1915 también lo canta para mí por otra gran soprano, Bárbara Hendriks.
By last century's artists I mean Farrell most certainly. Eric Whitaker in an interview said Summer of 1915 was the best setting of any English
We are fortunate to have a number of really fine performances of this masterwork -- Dawn Upshaw, Renee Fleming and now I've just heard this for the first time (I do not particularly care for Leontyne Price or Eleanor Steber in this music; yes, I know Steber commissioned it). Fabulous singing -- not surprising, given who it is -- and I love that she and Herrmann let it breath. I like the relaxed tempi. Just beautiful. This is one of the most moving works certainly in American classical literature, maybe all of it.
Thank you for your review of this wonderful piece. I'd only heard the first part until now and the ravishing voice of Eileen Farrell is also new to me. I feel overwhelmed
You like the two worst performances on record (Upshaw and Fleming) other than Battleax. How could you possibly like this performance as well? Cognitive dissonance in excelsis!
Laura--Indiana University in Bloomington
eoselan7, are you referring to Knoxville, or A Death in the Family? If Knoxville, could you elaborate? I'm curious.
+Pat B Knoxville: Summer of 1915 is a prologue, part of A Death in the Family.
+Richard Todd It is not a part of _A Death in the Family_. The publishers decided to add it to the book after his death.
You're right, of course.
there is more of horror than wonder in this work if you understand the text.
nope.
Laura--Indiana University in Bloomington