I loved this video so much, but I wanted to quickly get to the Kathleen Battle solo and the ending two pieces, that I created this clipping. The original credits are at the end.
I’ve sung the in the chorus of several performances of “Carmina", and I can’t begin to imagine doing it without music - from memory. And Kathleen Battle is incredible!
I worked at an HMV’s classical section in Montreal when I was a student and played this EVERYDAY, each time freezing everyone in tears and in their tracks at the store as it did to me and my team when we first heard this. Everyone in this team produced the finest performance of Carmina Burana I have yet to hear. Proud to say I am now married to a Japanese mezzo soprano here in Tokyo, and thanks to one of her upcoming performances under Ozawa San, I will have the honor of meeting the maestro. 🙏
I have always thought of the “dulcissime” solo to be the apex of this massive choral work. It is a complete reversal of the raucous and bawdy Carmina up to that point. Everything comes to a sudden stop before this soaring an stunning five-word solo.
@@beabea4541 Was Mr. Stern the violinist who was smiling as his eyes were on Ms. Battle? His smile is unforgettable, and I remember it from 33 years ago. I recall seeing this on PBS back at the time of this original broadcast, and I remember recording it on my VCR. I was fortunate to see Kathleen Battle live in several concerts over time in the late 1980's and early 1990's.
Moi aussi, je trouve que c'est le meilleur enregistrement, la meilleure orchestration. A voir le violoniste assis a gauche de l'écran, derrière Kathleen, ses yeux pleins d'admiration pour cette DIVA. Et Serjy Ozawa, il est le meilleur chef d'orchestre , a mon avis, parmi tous les CARMINA CURANA. Beautiful British Columbia Canada.
She is very pretty, the color of her voice is very beautiful and immediatly recognizable; but the person is the archetype of the capricious diva and no more director of theater wanted to invite her, so they had a chance to keep their sleep quiet.
I don't know whether you have heard her live, but her voice was of an exquisite beauty. One of the most beautiful voices I have ever heard and she did know how to use it properly.
He visto la obra en vivo en Buenos Aires Es tan extenuante para los interpretadores como para los oyentes escucharla Esta obra es algo tan increible y fuera de lo comun
My first encounter with Kathleen Battle was with Mahler’s fourth were she sings the song Sehr Behaglich at the end. That rendition was much slower than written but made the song more beautiful. Contrasted to this performance which is like being shot out of a cannon. But like the Mahler, the speed made the listening much better for the overall effect
Kathleen Battle is one of the greatest musicians of the past hundred years. Her singing is just godly. When you can see the lead violinist in the background smiling like a pig in shit, it's because he can hear *real* tonality from a singer - something which very seldom happens, and which violinests spend decades and decades refining. This is a unique talent.
Sumptuous singing but all concerned appear with anxiety unable to revel in Orff's grand celebration of humanity. I can hear it, very restrained, correct but lacking joy completely to transcend to the next level. Damn shame, never soars.
In 62 years no one has come close to matching the way Eugene Ormandy and the Philadelphia Philharmonic recorded this piece on 1960. People unfamiliar with that recording think these modern versions are fantastic. But in fact they are not bad but not good. Like a local rock band doing a cover of a Beatles or Led Zeppelin song. The timing is always terrible. Amateurs think timing is like a metronome, you have to keep perfect time. Expert actors and singers know the context of the line determines the speed, sometimes slightly slower, sometimes slightly faster.
Total agreement here, too! I bought the recording when it was released and still have it but the grooves a probably completely worn out. I have tried to listen to other versions but can’t make it through. One of my favorite pieces is the Tanz. The sound of the horns is absolutely magical. Unfortunately the soprano was, in my opinion, not up to par but Harve Presnell more than made up for it. This is, again, in my opinion, one of the best recordings of any piece ever.
I would say the Michael Tison Thomas recording with the Chorus prepared by Robert Page is the best. The Ormandy (another Page collaborator) is a close second.
