Er hatte Materiał,aber furchtbar sentimental ,immer gleich ob Mozart oder Verdi eingesetzt This aria is the most boring Tenor aria ever ,let it be sung by oboe .Next boring is Dies Bildnis ist so
Well, one has to wonder why Fritz would choose to sing this sublime piece of music in such a brutal, unrefined way. His Tamino in Magic Flute is simply astonishing, but this is choppy, breathy, heavy - everything that would have Mozart rolling in his grave! Maybe he was ill? I don't know.
I dont care for her voice, too sharp, almost a bit nervous and all over the place, there were so many better suited Juliette's, like Bidi Sayao Their voices were perfect together! 1:22
I prefer this in German. Everything sounded better when he sang it in German. Okay, I was joking, but I have a recording of this sung by him in German, and I think it’s a much better rendition. It was recorded in 1960, with the Berlin Symphony under Hans Zanotelli.
On the whole, Wunderlich seemed more comfortable singing in German, probably because it was his native language. Italian is a very beautiful and mellifluous language, but German was my first love among foreign languages, and still is. I love hearing Fritz sing in German, because his diction was beautiful.
ok, I listened to Dermota. very very nice! sweet pianissimos. Wunderlich is still my #1 for this aria - for a number of reasons which I will not torment you with.
well, that is going to involve a whole lot of me yakking on stuff on different levels of artistry, from the minutely technical way up to the top of .... I dont even want to say it. AND I dont want to disparage Dermota in any way - he has a nice voice. I perform this aria regularly (as a bass!) , and I have studied in detail numerous singers, so I am very familiar with possibilities of interpretation from the micropscopic to the broad vision. to summarize: for me, Wunderlich is #1. @@elisabetht9216
Dalla sua pace la mia dipende; Quel che a lei piace vita mi rende, Quel che le incresce morte mi dà. S'ella sospira, sospiro anch'io; È mia quell'ira, quel pianto è mio; E non ho bene, s'ella non l'ha.
Not the best recording. He seems out of breath all the time. Also the vowels are not as pure as in others Performances. If you listen to his Belmonte (although in German) you will clearly hear the difference.
I still like it better in German.German is the most beautiful language in the world! I tried to write that in German, but the device I’m using apparently doesn’t know any German. It kept “ correcting” it.
@bejingmao It’s only natural that he would phrase the same piece differently in German and Italian, given the nature of the two languages. I was joking when I said German is the most beautiful language in the world. Most people seem to think it’s ugly, but it was my first foreign language. I’ve always loved the sound of it and still do. I admit, I’m a rabid Germanophile, but I really do think Wunderlich’s 1960 recording of this aria, with the Berlin Symphony under Hans Zanotelli, was even better.
Oh, yes. I’ve heard Simoneau’s recording of “Abduction From the Seraglio”, with Gottlob Frick asOsmin, Sir Thomas Beecham conducting ( I can’t remember which orchestra.)But I remember thinking, “This guy is almost as good as Fritz Wunderlich! “
By the way, Gottlob Frick was a great bass singer. His voice wasn’t particularly beautiful, but it was very distinctive, and he could do a comic villain, as well as a serious one.
Wenn man ihn hört, weiß man Ottavio ist ein Don, ein Don !!!!!! Meines Wissens unerreicht trotz des nach dem Tode Wunderlichs favorisierten ostdeutschen Tenors...der nun auch gestorben ist...!
Peter Schreier, den sie vermutlich, hatte ein ganz anderes Timbre und fand es selbst immer unangenehm, daß man versuchte ihn als "neuen Wunderlich" zu verkaufen. Die Mozarttenorpartien "gehören", ganz und gar Fritz Wunderlich. Aber Schreier war ein großartiger Liedersänger und der beste "Evangelist" in der Matthäuspassion den es je gegeben hat. Da war noch besser als sein westdeutscher "Vorgänger".
@@franziskakre8309 Fritz Wunderlich war in den beiden Bachpassionen, dem Weihnachtsoratorium und in "Christus am Ölberge" von Beethoven einmalig. Ich finde Peter Schreier sehr gut, aber nicht besser. Er war so sympatisch. Wenn er auch 85 Jahre wurde, war es traurig, dass er ausgerechnet am 1. Weihnachtstag starb. Mit 15 Jahren sang er wunderbar die herrliche Altarie "Es ist vollbracht" aus der "Johannes-Passion" von J.S. Bach. Peter Schreier war fast 17 Jahre, als er im Stimmbruch kam.
@@erikascolovin6312 Es ist auch immer eine Geschmacksfrage. Für mich ist Schreier als Evangelist unübertroffen, Wunderlich ist unübertroffen, wenn es um Mozart geht. Schreier hatte Bach quasi in seiner sängerischen DNA, als Sachse und Kruzianer. Dafür fehlte ihm das italienische Timbre, aber das wußte er selbst. Die Konkurrenzkämpfe die teilweise von Außenstehenden aufgeputscht werden, finde ich lächerlich. Nach Peter Schreiers Tod schrieb jemand im Forum der FAZ, Pavarotti wäre besser gewesen, weil Schreier die Italianita gefehlt hätte, was natürlich lächerlich ist, da beide ein ganz und gar unterschiedliches Repertoire hatten. Hätte Wunderlich länger gelebt, hätte er sich niemals in einen solch lächerlichen Wettbewerb, "Schreier oder Wunderlich", verwickeln lassen und Schreier auch nicht. Sie waren beide große Sänger, denen die Kunst wichtiger war, als die mediale Selbstdarstellung und beide kannten ihre Grenzen und Möglichkeiten, was heute offenbar nicht mehr selbstverständlich ist.
