I had this on VHS, then DVD, but long gone. Oh, how I wish this performance could be digitally remastered and offered in 4K - it would be stunning. While many purists derided Henze's realization of Monteverdi's score, I absolutely adored it. While I love Monteverdi's original (such as we know it) and consider it one of my five favorite operas, this one has a very strong place in my heart. Thanks again for sharing it.
I was there too, it was one of the most memorable performances I ever attended in 40 years of operagoing. I have to say that I found Garazzi not ideal but in some ways a good Carlos. Allen was amazing, the recording doesn't bring out the full beauty of his voice in the theater. Elisabeth was Stefka Evstatieva.
I was there! It was amazing, one of my most memorable performances in 40 years of operagoing. The recording doesn't bring out the full beauty of Allen's voice in this role, it was even better in the theater than here!
Outstanding - he has the complete range. I knew he had the tops but I really am impressed by the amount of tone he has at the bottom. Often singers (like Bruson) just have hot air at the bottom.
Diese wunderschöne Stimme gibt mir Rätsel auf. Bevor ich sie zum ersten Mal in "Die Schuldigkeit des ersten Gebots" im Radio hörte und auf Cassette überspielte, gab es auch schon Favoriten, wie etwa Hermann Prey besonders mit den Loewe-Balladen. Dort aber waren neben der blossen Stimme auch die Sprechweise und der Gehalt der Balladen für den Genuss ausschlaggebend. Ganz anders bei allen Blochwitz'schen Darbietungen: hier ist es das Timbre allein, welches rührt, packt und begeistert. Wenn man es nicht als unlogisch und irrational ansehen würde, wäre man versucht, von seiner Stimme allein auf gewisse hervorragende Charaktereigenschaften des Sängers schliessen zu wollen ! Der Verstand sagt einem zwar, dass man das selbst hinein interpretiert, das Ohr vermittelt aber eine singende Person von ganz besonderer Aufrichtigkeit, sowie womöglich auch noch Wahrheitsliebe und Treue. Überraschend. Unerklärlich. Wunderschön. Er wird das selber nicht wissen.
I heard these songs with Thomas Allen and Warren Jones during their tour (@Vocal Arts Society in Washington, DC) and it was one of the most stunning parts of his recital.
It doesn,t matter who sings this, every time I hear it I cant hide my emotions, it,s just beautiful, many have sung this classic, inc Kenneth mckellar, and of course Aled jones, (particular good version) fabulous music by Handel, of course, a true classic with never a dry eye in the house, including mine! 🎼🎶🎶🎶🎵🎵🎵💞💞.....
Tan joven , lleno del Don precioso de su voz, que hasta el día de hoy nos transmite belleza, toda su riqueza interior y fuerza conmovedora. Lo descubrí hace dos años y lo considero el mejor barítono mundial. Siempre me nutro de su voz y lo que proyecta en mi corazón. Desde Bolivia, lejana tierra, mi homenaje.
I somewhat prefer this version to the one of hers from the Met at around the same time. The recitative is more immediate-appropriately disconcerted and pained, instead of just sad and mopey. This approach carries over into the aria, and makes her resolve at the end to win back her love more believable and sympathetic. We really root for her. It's just too bad that even though Vaness recorded Fiordiligi and Donna Anna in the studio with Haitink, she didn't get to do the Da Ponte trifecta by recording the Contessa with him. She did record the role with Mackerras, and that was a very handsome recording. (Strangely enough, Haitink's Contessa, Felicity Lott, was Mackerras' Fiordiligi and Donna Elvira. A bit of a switcheroo there.)
