Maestro Gedda wurde leider nie so bekannt oder beliebt mit dem Publikum als seine berühmten Zeitgenossen Di Stefano, Corelli u.a. Er war aber ein einzigartiger Tenor erster Klasse. Obwohl er nie den Ruhm seiner Kollegen errang, war Gedda einer der besten Tenöre in der Opern Geschichte. Ein wahrer Meister des kultivierten Gesangs. Schade das wir uns heute mit Kaufmann und Kompanie zufrieden geben müssen. Nicht das die heutigen Star Tenöre nicht gut sind aber sowas wie einen Gedda oder Pavarotti gibt es leider nicht mehr.
Gedda had absolutely the same world popularity among musical lovers regardind Corelli, Di Stefano, Del Monaco or Björling. Just the audience of Gedda is more professional in Music in large sense.
He was a fine tenor, a great artist with a long successful career, but he was never such a star as the others you mention-and the truth be told, not of the same vocal material as the ones you mention-and we can add Pav. I guess you're saying he was a better musician-maybe, but Bjorling sang with taste and musicianship
I took part in two series of Master Classes with Gedda in 1986 at the Opéra de Nice. It was an unforgettable experience! He was always my tenor idol and being with him in classes was a true dream come true. Besides he was a true kind gentleman to us all, a true Mensch!
Such a great man And great artist. Its only the sound that doesnt thrill me. I appreciate it though. It was a bigger sound in the house than I was expecting.
Nicolai Gedda is THE ONLY ONE as the most universal tenor-voice of the century! The Greatest Meistersinger!! P S. How often, unfortunately - among dark days of conteporary "art"! - we can find in TH-cam aggressively(!)stupid and opinioned inferences, like recent comment to this video by a certain "gentelman", named "chosentenore"... Such an intention to enter to History does not deserve even words, however everybody, who wishes to follow this dangerous example, should remember important warning of Spinoza: : "ignorantia non est argumentum"!
7:11, Paula Novikova, seine Lehrerin, die eine Schulerin von Mattia Battistini war. 21:00, über Stanislavskij 24:00, Beechmann 26:20, Orfeo mit René Clair 28:45, Peter Ustinov (Die Zauberflöte, Film, 1971) 35:20, Callas
I am the luckiest person alive, I have a recording of this wonderful voice along with Elizabeth Schwarzkopf also wow they were the soloists in a recording of Handel's Messiah.
Gedda was criticized for that Messiah recording because he sang AMERICAN english. He considered American more singable. Exalted became "egg SALT tud". Perfectly clear and understandable but not sophisticated for some I guess. With his linguistic skills he could have dont it anyway he chose so it was an artistic choice.
Shortly after 36:17, the audio is silent for the entire rest of the video. Could this be automatically silenced by stupid YT b/c copyright for that recording... argh...
He is stateting Callas had a lyric voice reason why she riuned her voice trying to sing dramatic roles?? Are you kidding me? Callas had a dramatic in weight and size with great low notes and agility. Lucia was written for a dramatic soprano and so was lady MacBeth, what is he talking about??? Even Opera stars can be ignorante!
We can agree or not whether she had a lyric or a dramatic (in size and weight) or an agility coloratura voice. I think she had at the end of the 40' and beginning of the 50' a heavy voice that enabled her to sing Turandot, Isolde and Gioconda. She also had an agility to sing Elvira and Lucia. But what he states is that is was impossible to switch from one repertoire to the other without damaging the voice on a longer term. Lady Macbeth was written for a dramatic voice but Lucia was for a coloratura soprano as was her first performer Fanny Persiani, a singer that also sang Elisir d'Amore, Sonnambula and Linda di Chamounix, all coloratura or rather light repertoire.
@@barahona68 You are wrong. To be very honest. Absolutely none of these big operatic roles was written for a coloratura or a lyric voice. ALL BIG ROLES IN BEL CANTO ARE WRITTEN FOR THE DRAMATIC SOPRANO WIRH COLORATURA. ALL! Also all Mozart roles. In fact, Mozart is written for dramatic voices so they can sing it mezzo forte piano. Trust me, small voices have not lost absolutely anything in opera NOTHING!
@@barahona68 Gedda has absolutely no business talking about size of voices. NONE! His voice was in fact very small. Thank God he had some squillo to his credit but the voice was entirely too small to sing anything outside of Mozart. He had absolutely no business singing Italian opera even less Rossini and Puccini was completely in his delusions.
Every word precisely, lovingly, elegantly communicated -- almost every pitch exactly and lyrically sung -- just a very, very great artist. Thanks for posting this lovely interview!
His "Una Furtiva Lagrima" at the Met Gala years ago was a study in the true art of classical vocal interpretation. Following Nilsson's huge performance, he chose the supremacy of a beautiful legato ands singing softly...... The applause was just as enthusiastic after he suspended time with piani that transported everyone to heaven. Rest in Peace.
Den live Auftritt hätte er besser sein lassen. Für 64 Jahr zwar ein gute Leistung, aber schon deutliche Ermüdungserscheinungen und nicht mehr der große Gedda.
Maestro Gedda wurde leider nie so bekannt oder beliebt mit dem Publikum als seine berühmten Zeitgenossen Di Stefano, Corelli u.a. Er war aber ein einzigartiger Tenor erster Klasse. Obwohl er nie den Ruhm seiner Kollegen errang, war Gedda einer der besten Tenöre in der Opern Geschichte. Ein wahrer Meister des kultivierten Gesangs. Schade das wir uns heute mit Kaufmann und Kompanie zufrieden geben müssen. Nicht das die heutigen Star Tenöre nicht gut sind aber sowas wie einen Gedda oder Pavarotti gibt es leider nicht mehr.
Ich bin ganz ihrer Meinung. Das muss doch an die Gesangschulen liegen.
@@barahona68 Es gibt viele gute Sänger die aber nicht im Mainstream Karriere machen: bsp. Behle, Polenzani,
Gedda had absolutely the same world popularity among musical lovers regardind Corelli, Di Stefano, Del Monaco or Björling. Just the audience of Gedda is more professional in Music in large sense.
He was a fine tenor, a great artist with a long successful career, but he was never such a star as the others you mention-and the truth be told, not of the same vocal material as the ones you mention-and we can add Pav. I guess you're saying he was a better musician-maybe, but Bjorling sang with taste and musicianship
I took part in two series of Master Classes with Gedda in 1986 at the Opéra de Nice. It was an unforgettable experience! He was always my tenor idol and being with him in classes was a true dream come true. Besides he was a true kind gentleman to us all, a true Mensch!
Such a great man And great artist. Its only the sound that doesnt thrill me. I appreciate it though. It was a bigger sound in the house than I was expecting.
Nicolai Gedda is THE ONLY ONE as the most universal tenor-voice of the century! The Greatest Meistersinger!!
P S. How often, unfortunately - among
dark days of conteporary "art"! - we can find in TH-cam aggressively(!)stupid and opinioned inferences, like recent comment to this video by a certain "gentelman", named "chosentenore"... Such an intention to enter to History does not deserve even words, however everybody, who wishes to follow this dangerous example, should remember important warning of Spinoza: : "ignorantia non est argumentum"!
7:11, Paula Novikova, seine Lehrerin, die eine Schulerin von Mattia Battistini war.
21:00, über Stanislavskij
24:00, Beechmann
26:20, Orfeo mit René Clair
28:45, Peter Ustinov (Die Zauberflöte, Film, 1971)
35:20, Callas
I am the luckiest person alive, I have a recording of this wonderful voice along with Elizabeth Schwarzkopf also wow they were the soloists in a recording of Handel's Messiah.
Gedda was criticized for that Messiah recording because he sang AMERICAN english. He considered American more singable. Exalted became "egg SALT tud". Perfectly clear and understandable but not sophisticated for some I guess. With his linguistic skills he could have dont it anyway he chose so it was an artistic choice.
Gedda ❤❤❤4:45 Tauber
44:27 - 45:37 Music is missing because of a copyright claim.
And TH-cam ´has cancelled even the words of the interview :( not amused.
Shortly after 36:17, the audio is silent for the entire rest of the video. Could this be automatically silenced by stupid YT b/c copyright for that recording... argh...
YT gave me a choice of muting that section, or of blocking the entire video. I'm sorry!
He is stateting Callas had a lyric voice reason why she riuned her voice trying to sing dramatic roles?? Are you kidding me? Callas had a dramatic in weight and size with great low notes and agility. Lucia was written for a dramatic soprano and so was lady MacBeth, what is he talking about??? Even Opera stars can be ignorante!
We can agree or not whether she had a lyric or a dramatic (in size and weight) or an agility coloratura voice. I think she had at the end of the 40' and beginning of the 50' a heavy voice that enabled her to sing Turandot, Isolde and Gioconda. She also had an agility to sing Elvira and Lucia. But what he states is that is was impossible to switch from one repertoire to the other without damaging the voice on a longer term.
Lady Macbeth was written for a dramatic voice but Lucia was for a coloratura soprano as was her first performer Fanny Persiani, a singer that also sang Elisir d'Amore, Sonnambula and Linda di Chamounix, all coloratura or rather light repertoire.
@@barahona68 You are wrong. To be very honest. Absolutely none of these big operatic roles was written for a coloratura or a lyric voice. ALL BIG ROLES IN BEL CANTO ARE WRITTEN FOR THE DRAMATIC SOPRANO WIRH COLORATURA. ALL! Also all Mozart roles. In fact, Mozart is written for dramatic voices so they can sing it mezzo forte piano. Trust me, small voices have not lost absolutely anything in opera NOTHING!
@@barahona68 Gedda has absolutely no business talking about size of voices. NONE! His voice was in fact very small. Thank God he had some squillo to his credit but the voice was entirely too small to sing anything outside of Mozart. He had absolutely no business singing Italian opera even less Rossini and Puccini was completely in his delusions.
@@beachfanatic2010 opinionated and wrong.
@@grr8048 SHUT YOUR BEAK!!!!
From min 36.10 there is no sound ! I would like to hear Gedda
Wunderlich und Gedda sind meine Inspirierung :)
Ich unterschreibe, wunderbarste Tenöre !!!!!!!!!!
Every word precisely, lovingly, elegantly communicated -- almost every pitch exactly and lyrically sung -- just a very, very great artist. Thanks for posting this lovely interview!
Cuando quiero oír ópera en francés acudo sin vacilar a Gedda, el mejor Don José que he oído jamás, insigne cantante!
His "Una Furtiva Lagrima" at the Met Gala years ago was a study in the true art of classical vocal interpretation. Following Nilsson's huge performance, he chose the supremacy of a beautiful legato ands singing softly...... The applause was just as enthusiastic after he suspended time with piani that transported everyone to heaven. Rest in Peace.
I remember that performances vividly. He didnt seem happy with his performance.
Such complete awareness of his art! How very interesting to listen to a mastersinger on this exceptional level. Generous,humble and witty.
El señor gedda ha sido para mí un maestro😮
Please translate into English. Want to understand what he is saying.
Schöne Stimme, aber wobbelt doch schon etwas. Die Höhe auweia. Hätte es nicht gebraucht.
fantastisch und inoubliable. merci inf.
wunderbar
Good. But English subtitles would be helpful here for many of us.)
His german isn't too complicated. So it isn't too difficult to understand
@@peteradaniel German please. You got that.
Podrìan subtitularla en español.
Thank you
Den live Auftritt hätte er besser sein lassen. Für 64 Jahr zwar ein gute Leistung, aber schon deutliche Ermüdungserscheinungen und nicht mehr der große Gedda.
Ach, diese Experten-Ratschläge!
Blödsinn!