Warum diese Aufnahme so unnachahmlich großartig gelungen ist, hat Edda Moser mal selbst erzählt: " Mich hatte man als Königin der Nacht für diese Aufnahme engagiert. Ich kam dann nach München, da sagte mir der Produzent Helmut Storjohann: ‚Es gibt da ein kleines Problem: Frau Sawallisch möchte Sie nicht als Königin haben.‘ Worauf ich fragte, was Frau Sawallisch mit der Aufnahme zu tun hätte? Daraufhin hat der von mir verehrte Helmut Storjohann gesagt: ‚Wenn die Edda die Königin der Nacht nicht singt, fällt die ganze Produktion aus!‘ Sawallisch hat dann in den sauren Apfel gebissen und fragte mich bei der ersten Sitzung etwas kühl, ob ich mit der ersten oder zweiten Arie anfangen möchte. Ich sagte, ich nehme gerne die zweite. Und in dieser Wut, die ich hatte, weil man mich nicht wollte, habe ich den ganzen Zorn in die Arie gelegt und in einem Take durchgesungen. Und diese Aufnahme ist jetzt auf der Platte und schwebt irgendwo über den Sternen."
La migliore interpretazione della regina della notte, fra quelle presenti su youtube. Direi addirittura più intensa e appassionata di quella della Callas (anche se la Callas ha qualità vocali sublimi, ovviamente.
According to the Wikipedia: "A recording by Moser of "Der Hölle Rache kocht in meinem Herzen" from The Magic Flute was included on Voyager 1's Golden Record.". Across the universe with Eda Moser and Mozart.
Moser is the Queen I measure all other Queens against. I liked Deutekom (though I liked her even better in other roles), but evidently I have not heard Serra in her best voice, because I've not been even pleased, let alone impressed, by the three times I did hear her sing the Queen of the Night.
Actually, Mozart wrote der Königen der Nacht for his sister-in-law. Diana Damrau's great-grandparents weren't even being thought of when this role was written, so there's frankly no way Mozart could have created this role for DD. Sorry to burst your bubble, jmsmth14, but it's true.
I have been studying Die Zauberflöte in all its facets for over forty years, and have heard every Queen of Night of whom I could find recordings. There is evidence that Josepha Hofer, the singer who created the role in 1791, was more what we would think of as a canary than a true dramatic coloratura, but there is no doubt in my mind that, contrary to his usual practice, Mozart composed this role for an ideal voice he heard in his mind's ear, rather than the special talents of any particular performer. Mme Hofer's voice may have resembled Erika Köth's or Erna Berger's rather than Edda Moser's, but I think if Mozart could have heard Moser, he'd have thought 'At last! The true Astrafiammante!' Everything is here: the hysterical rage, the imperious, demanding tone, the homicidal fury. And of course the vocalism is perfect: top Fs strong and on pitch, triplets in tempo and well articulated, and over all the strong rhythmic pulse of the true artist. No other singer has come close to matching Moser's achievement in this role. She is the Queen of a lifetime.
@Topher Niarhos Yes, I remember when the first Solti Zauberflöte came out, in 1969. I remember being quite impressed at the time, but now am less so. I am not a fan of her strange glottal approach to fioritura, but even less am I a fan of her lack of drama. Everything is loud and overwhelming, but no clear character or emotion ever comes through, and it is here that Moser really scores. Still, what one wouldn't give to hear a voice of Deutekom's amplitude and resonance nowadays!
@Topher Niarhos What we are referring to is the weird 'guh-guh-guh' sound she sometimes uses to articulate each note of the fioriture. It is certainly not legato, but neither is it the more usually heard 'ha-ha-ha' singers use to aspirate their runs. I have never heard any other singer use it, and frankly, I find it disturbing.
@@jasonhurd4379 Very true. The glottal attacks from Dutekom are not true coloratura at all! Frankly, Moser doesnt adopt legato in coloratura, but hers are already good, standard coloratura
@@WongAndrew_ Moser's fioriture are sometimes legato, sometimes aspirated. In her recording of the concert aria Ma che vi fece o stelle...Sperai vicino il lido, there is a distressing amount of aspiration, and she audibly tires about halfway through. Still, I applaud her for even attempting such intricate filigree with her large, somewhat ungainly voice.
I've just finished listening to 40 sopranos attempt this great aria, and in my opinion, Madame Moser's is the greatest interpretation, including crystal clear, accurate, unforced top notes and wonderful legato and staccato. Thrilling to hear this done so brilliantly by a true dramatic soprano as Mozart intended.
Luciana Serra sings this aria with more sparkling, clean and loud F6s and LIVE!! because this aria must never be judged inside studio.. especially this aria... and Popp by the way produces extremely thin, weak and shadowed F6s in studio (that is why she never attempted it live...)... Popp in my opinion is one of the worst Queens out there...
Moser had the coloraturas, the high notes and could sing it dramatically like nobody ever did on record. She is as close as possible to our ideas of that character. And that´s why there seems no doubt this is the best version ever :-) And Sawallisch is as fierce as Moser. What a great combination!
......... what were people responsible thinking sending a song about a mother ordering her daughter to kill a man? or face disownment? i sincerely hope no lyrics were included 😅. but since they were hoping to find species capable of decyphering a spacecraft message, the aliens would be looking for additional information about the messages included, and would find what it is. since were broadcasting everything willynilly all around the solar system at least, so pretty much data to use. not saying the performance wasnt good, its very good indeed.
@@ismata3274 Yeah I thought the same! I hope alien species will interpret that as a weird way to show how human's voice and art works and not as a weird war declaration
Boy!! They had already listened to her since the first performance in public ever‼️More then 60 races of extraterrestrials are known... And they've always been HERE‼️Even before we ever walked erected on Earth....!! There are also intraterrestrials.. that live under our surface... And obviously, duality is served.. So, there are good ones, and evil ones too.
Listen to the power in her voice when she says the 1st "Tod." That's where you hear menace she is giving to Pamina. Edda Moser is a badass, especially in this aria.
Damrau is still my favorite but Edda's interpretation has the same passion that I enjoy in Damrau's. Finally, another singer who had the rage while still making it a pleasureable thing to listen to. Bravo for Edda!
I'm nearly 74 and have heard this 100 times by 30+ artists, and I have to agree with Krowa Paulinka, SakumaRyuichiNG, and suzabella68, among other fine comments. One needs to project an evil, emotional power that is difficult to convey when focussed on the very difficult runs and demands that Wolfie wanted. But, while he was no harder on peformers than he was on himself, not every performer is a Mozart in their expertise, nor safe at any speed! Perhaps this comment sums it all: Dragan Milunovic5 months agoThanks God, at last a performance close to Mozart’s intended tempo. Edda Moser has the resolution, strength, the drama. She is in a real killer mood, threatening like a thunder, but in a rage more potent than the heaven itself. Her mighty voice is merciless but clear and transparent as a piece of ice. So much energy so crisp, so much emotions so genuine.
yes ! it is powerful and great ...it could be best version if only she could sang it as Mozart wrote ..1:01 instead of vorshlag+ 4 notes she sang only one long note ...so for me she could not be the best ,cause I respect Mozart too much
Moser's is one of the very few -- and IMHO the best -- interpretations of this aria that sounds like the singer is actually filled with murderous wrath. Spine-tingling! I enjoy the other interpretations, too, but not in the same way.
I've heard a lot of singers interpret this song but by far, Edda Moser conquers this the best. Only other singer I can count as being equal with her is Cristina Deutekom.
The problem with Ms Deutekom is her being so static, hence it basically leaves out the theatrical element, which is not the case of Diana Damrau's performance. There is no video on YT about Ms Moser so I can't compare her with Ms Damrau, unfortunately. Definitively her voice is amazing but would love to see her perform as Queen of the Night, not just sing. Opera is also about convincing the audience about your role, people more than often forget this.
gerard there s a video where moser is also performing, i ll try to find for you, but i think in certains countries we can t see it, for exemple in germany because gema. and yes, damrau version it s beautiful to hear an see. i do totally agree
MrGbmadureira12 Damrau is a bad coloratura she have many problems with the first aria from this opera there so many best singers singing this than Damrau.
In my opinion, Edda Moser is the best Queen of the Night I ever heard because due to her tone she's frightening, and for me, the Queen must be frightening. I think a simple coloratura can't play the role because the voice is too slight. The first time I heard Edda Moser it was like someone just slaped me in the face. I LOVE HER !
sociopathic best performance sung by Edda Moser. Diana Damrau an iconic acting. Kim Soo-Yeon pitches wonderful - but I miss the hatred in her face and body language. ; -
This recording was put on both Voyager 1 and 2 which are the only crafts to leave our solar system. No one knows where they are now so perhaps aliens might one day be knocked out by this fabulous recording!
The Queen of the night will forever belong to Edda Moser. No, no, no, no, no other soprano who has or is attempting this role will ever beat Edda Moser THE Queen of the night. Absolutely brilliant, fantastic. Love Edda.❤❤
Unübertroffen! Edda Moser erzählte eine Anekdote, warum die Aufnahme so außergewöhnlich gut gelungen ist: „An die Entstehung dieser legendären ‚Zauberflöte‘ erinnere ich mich noch sehr gut, …Mich hatte man als Königin der Nacht für diese Aufnahme engagiert. Ich kam dann nach München, da sagte mir der Produzent : ‚Es gibt da ein kleines Problem: Frau Sawallisch möchte Sie nicht als Königin haben.‘ Worauf ich fragte, was Frau Sawallisch mit der Aufnahme zu tun hätte? Daraufhin hat der von mir verehrte Produzent gesagt: ‚Wenn die Edda die Königin der Nacht nicht singt, fällt die ganze Produktion aus!‘ Sawallisch hat dann in den sauren Apfel gebissen und fragte mich bei der ersten Sitzung etwas kühl, ob ich mit der ersten oder zweiten Arie anfangen möchte. Ich sagte, ich nehme gerne die zweite. Und in dieser Wut, die ich hatte, weil man mich nicht wollte, habe ich den ganzen Zorn in die Arie gelegt und in einem Take durchgesungen. Und diese Aufnahme ist jetzt auf der Platte und schwebt irgendwo über den Sternen.“( Wurde als Teil irdischen Kulturgutes mit der Voyager ins All geschossen).
WOW! I nce heard Moser sing Donna Anna at the Met many years ago. It must have been an off-night for her, because I remember being unfavorably impressed, but THIS is a revelation. I had no idea this darkly beautiful woman was capable of singing the Queen of the Night with such fire, fury, passion an pinpoint accuracy "in alt" INCREDIBLE! I suspect Diana Damrau, whomI adore, must have taken her cues from Ms. Moser's splendid interpretain of this bizarre, enigmatic role. Too many who are able to sing it at all make of it a delicate, girlishly "pretty" coloratura xtravaganza, which is completely at odd's with the ferocious hostility of Mozart's Queen of the Night.
Yes, Damrau is fantastic. But Edda Moser taught her the strhght, the rage. Damrau added her fantastic body language to the part, but Moser is unique, superb, unbeatable. If I was an extra terrestrial I would think twice before invading earth. The voice is too powerful a weapon. Awesome! Love you Edda!!!!
Best Queen of the Night I've ever heard, bar none. Perfect and ridiculously explosive. No soprano could interpret anger/fury like Moser. "Or sai che l'onore" and "D'Oreste, d'Aiace" are also great examples of Moser's phenomenal power.
"Der Hölle Rache" is perhaps the most perfect and beautiful expression of pure evil in all of Western music. Edda Moser's performance is the gold standard - the one that will infallibly make the hair stand up on my neck. This is one recording that truly did deserve to be immortalized on Voyager.
sociopathic best performance sung by Edda Moser. Diana Damrau an iconic acting. Kim Soo-Yeon pitches wonderful - but I miss the hatred in her face and body language. .-
ReinaDeCorazon3s Hör mal gut zu als Damrau singt! Die hat eine noch üblere Betonung auf den Takt! Zum Beispiel: VerSTOSen auf Ewig! Wie Peitschehiebe! Damrau ist noch unerbitlicher als Moser. Man sieht es auf der Plattenaufnahme! Damrau macht fast die Augen zu - nicht nur an der Bühne, aber auch im Studio. Die Augen werden maliziöse Schlitten! Im Studio muss Damrau auch ihre Nacken abspannen.
Thomas Borgsmidt Pero es que Edda Moser también pone cara maliciosa cuando interpreta esta aria. Se mete completo dentro del personaje de la Reina Mala.
Je reconnais il y a un extrais dans le film le fantôme de l'opéra 👍🌟⭐💯💯💯⭐👍👍👍🌟⭐💯💯🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹au top cette femme est extraordinaire une voix phénoménal transpercante
Fantastic... La justesse et la facilité des notes les plus élevées... La véhémence... C'est la meilleure de toutes dans cet air le plus difficile de l'Art Lyrique...!
sociopathic best performance sung by Edda Moser. Diana Damrau an iconic acting. Kim Soo-Yeon pitches wonderful - but I miss the hatred in her face and body language.
According to Wikipedia, Edda is the perfect example of a dramatic coloratura soprano, an exceptional type of voice which has "great flexibility in high-lying velocity passages, yet with great sustaining power comparable to that of a full spinto or dramatic soprano. "
Diana Damrau: Well I actually sing the grace note. // Edda: Yeah I'm sure the aliens that find the space capsule my recording is a part of are gonna be real disappointed now.
Anyone who thinks that this woman is shouting in parts of the aria, must not know what she actually says. Believe me, Edda Moser was and is the best interpreter of this song. Dark, wrathful, vengeful, and with an amazing control of the voice... its no reason that when they made the Golden Record on the Voyager Satellite - it was HER voice they used as the example of opera.
