Siepi with one of great basso cantante voices of the 20th century is as fine example of this phrase that I can think of & 22 years after the recording here he was even stronger in this moment than earlier. The 1972 performance was live from the MET as was, probably the 1950 version heard here. Although not always the most riveting of bassos in terms of Verdi characterizations & some other less interesting roles dramatically, he excelled in this manner in his two Mozart signature roles, Figaro & Don Giovanni where his interpretations & vocalizing were absolutely unique. He also kept his instrument in splendid condition long after leaving the MET. I saw & heard him at Seattle Opera in 1984 in LA SONNAMBULA & his voice was as sonorous & splendid as remembered. Though the role itself was not a memorable one in dramatic terms Siepi‘s sound was perfect for it. Some of the others represented here I admire greatly in other roles although they lack the depth of range needed for King Philip especially in the excerpt heard here. Now if the MET had only revived DON CARLO earlier for Pinza this would really have been perhaps the greatest 2 octave phrase, heard here by others, of all as well as a tremendous artistic accomplishment for this singer. I neglected to mention Nesterenko who I also heard live sing Philip in Hamburg & he did match Siepi in the excerpt heard here. Sorry I forgot to mention this.
For me Pinza & Moll take the prize. Interesting how many different OPEN vowels are heard here. The actual low D is on a closed vowel (on the word RUH) which makes the note‘s projection more problematic & why, I believe, every singer here changes it.. Perhaps the bass Mozart wrote this for, Ludwig Fischer, did sing the low D on the word RUH as written. Pinza is let off the hook here by singing the piece in Italian.
Baritonoguapo.......there are 2 winners here: Fischer- Diskau, for his elegance and enunciation....and Siepi for his measured , bold confidence....Pinza and Gobbi are fine Verdi and Puccini baritones....Mozart is NOT their forte.
1.Maria Callas 2. Joan Sutherland i ex aequo Luisa Tetrazzini 3.Mady Mesplé and Natalie Dessay A tak naprawdę wszystkie są świetne. A ilu wspaniałych interpretacji brak.
Lamentablemente en esta versión la afinación del D grave termina siendo un E la mayor parte del tiempo. Una lastima porque es una hermosa versión en general. Mi favorito es Kurt Moll.
Only one embodied the 'Swan' and his long, long, breathless lines. Sustained not only beauty of tone and phrase but didn't breathe wherever she wished. Brava to the clear choice.
