Eva Randova is a first class opera singer.I saw and heard her as Ortrud in Stockholm. The swedish soprano Catharina Ligenza was Elsa.Ligenza had the beautiful nordic sporano voice.Ligenzas Mother and father were singers at the Royal Opera in Stockholm.
as this seems to be the only complete wieland wagner production on film ( a major failure of the german media, remitted by the japanese). it would be usefull also to restore the colour. ww was a painter and a magical colour dramatist - not this grey in grey producer...
this performance is not helped by an unlyrical and unheroic siegmund. his desinterested wooden voice also ruined gruemmers lohengrin, keilberths meistersinger and karajan siegfried (american marketing prefers legs to voice)
I saw her in Brooklyn on the Makropulos Case in 2001. The pitch a little awkward, but the stage presence, acting and the laser-like focus of the voice kept us riveted. Truly a legend.
Vielen Dank für die Veröffentlichung dieses zeithistorischen Dokuments. Ein großartiger junger Theo Adam und auch Anja Silja hat ihre Qualitäten. Heute eine vollständige Inszenierung von Wieland Wagner zu sehen, ist ein großes Geschenk. Mich beeindruckt, dass sich die Sänger von so manchen Patzern im Orchestergraben nicht aus der Ruhe bringen lassen. Großartig! Vielen, vielen Dank!!
birgitmaimer, aber diese Art Brünhilde bzw Isolde gibt es doch heute reichlich, das ist ja das Resultat dieser gesangstechnischen Fehlentwicklung ......jetzt habe ich 2x geschrieben und beide Male ist es weg , wie kommt das so oft auf YT , dass Kommentare verschwinden
@@kennethwayne6857 very disappointing soprano....my first Tannhäuser, it was 1962 Bayreuth Windgassen, Bumbry, Wächter, Sawallisch conductor....and Mrs Silja as Elisabeth. Very disappointing Mrs Silja . Not the other cast, but she was it. It is long time ago, 45 years , I have still the vinyl ....when we had no YT , only vinyl and radio....but I am very glad & happy to have YT
In these times begins this "modern" casting for the opera, i e too small voices for the huge parts, one of the reasons for this "maldevelopment": a wrong opinion about the needs for a voice to sing opera and a wrong opinion about the challenges of certain parts , specially Wagner
@@kennethwayne6857 yes, You are right...absolutely. Helga Dernesch or Hildegard Behrens : no real sopranos for the heavy weight , f ex Isolde & Brünhilde
Roberta Knie was my voice teacher. Jon Vickers told her she was the last Wagnerian trained in the old way (graduating from Handel/Mozart to Bellini to early Puccini to late Puccini to early Verdi to late Verdi to early Wagner to late Wagner to Strauss. Nowadays they tend to dump singers in to the deep end, and their voices don't stay flexible and supple.
Wow - the pacing of the final duet - tender waves of tempi and dynamics. Over and over, Karajan makes sweeping statements, from tender to exultant to fearful to passion. He really lets Varnay linger over the softer passages which gives her a more feminine profile than is usual. God the tempi are just straight out of heaven.
Do you have any of these? - 5 March 1932 Manon (Hasselmans; Moore, Gigli, De Luca, Rothier; ca 9 mins) - 3 December 1932 Elektra (Bodanzky; Kappel, Ljungberg, Branzell, Schorr, Laubenthal; ca 8 mins) - 27 January 1933 Rheingold (Bodanzky; Fleischer, Bampton, Doe; ca 1 min 40s) - 19 January 1935 La forza del destino (Bellezza; Rethberg, Martinelli, Pinza; ca 30 mins)
What this great maestro said is now more true than ever before. The modern opera world has unfortunately fallen to the service of these small voices that do better in the studio and need amplification on the stage. Anyone who has worked in a professional theatre knows this. There are no true dramatic tenors singing today, no true dramatic sopranos, no true Verdi baritones, no true basso profondi etc... because true dramatic voices take a longer time to develop than smaller lyrical ones, so the true dramatic voices are never given a chance because by the time that they're ready they're deemed "too old". So you have a modern opera world full of essentially light lyrical voices who are artificially darkened with modern sound technology both in the studio and on stage.
Die Walkuere is the most beautiful part of the tetralogy, from beginning to the end....so full of human emotions, beautiful music and here beautiful voices too. Never heard a concert version but it is also good..
I have always wondered since the recording at this time came out WHY there was not a Sony Video (professional) of the production. Since that Parsifal was one of HvK's finest efforts, that is a great loss to his legacy. However, this is still very interesting of, essentially, that cast.
