The trio is of course endlessly beautiful. Its three vocal lines are clearly distinct here, whether because of the aptness of the recording technology of that time for these particular voices, the skill of the artists, or most probably some combination. A great historical document.
I can't help but appreciate how these singers sing with such clean, accurate, musical lines. The voices are never blown out of shape, but perform like perfectly trained musicians. I think the operatic system was very different back then. These singers were trained and supported like ballet dansers and so were molded into the consummate artists they became. Of course they had the great raw talent, too!
i dunno... the recording was a lot more forgiving back then... you get very flattering saturation when they hit forte. it wouldn't have sounded like this live.
I don’t know much about the past. But I imagine these are the best singers of their times. The very top. Sub-par singers always existed, even back then. Their recordings didn’t survive, because they were sub-par. I guess what I want to say is the current top, Netrebko, is on the same level as them. (Or at least was a few years ago, haven’t seen her in a while).
Leading soprano „ prima Inter pares“ Schwarzkopf and her sublime partners.: Rothenberger and Jurinac. How could this be? „ Ist ein Traum, kann nicht wirklich sein! What kind of noblesse. Never, never reached.
Unbelievably beautiful music - and the plot is so bittersweet; an older woman gracefully relinquishing her young lover to a girl "I vowed I would love him in the right way, even in his love for another..."
It is extremely perfect but a bit distant for my taste. Schwarzkopf is not totally credible because the Marschallin is a sensuous women and Schwarzkopf is not sensuous at all, the Count Octavian Rofrano is too old, seems the Baron Ochs and Sophie von Faninal is too mature.
Sena Jurinac was my first Marshallin. In those days usually my first hearing of an opera was fantastic, but for Rosenkavalier, I regret that I didn't already know what I was hearing. She was wonderful, but think I would have appreciated even more if I already knew the piece. Can you imagine hearing the trio for the first time.
....ein sensationelles Dokument. Alle drei stimmlich auf höchstem Niveau, wunderschön....seufz !!! und wie Frau Schwarzkopf dann abgeht....mit viel Würde und einem Sprung im Herzen.
I saw this film when it came out in 1961. I went with a group from our church choir, and a couple of the older women were horrified when the curtain opened on what appeared to be two women in bed. LOL And btw - they are lip-synching in the film.
Around 1950, my mother went to a performance at the old Met. She was in the standing room area. As the opera opened with Octavian, a woman in a Trousers Role, in bed with the Marschallin, a man was so disgusted he got up at once and left. As he left, he gave his tickets to my mother who got to see the work from a seat. It is not as if they were naked and engaged in a sex act! Good grief! And who gives a rip if they were lip synching? If you do not like it, don't look so closely. The music is gorgeous.
The reason I mentioned the lip-synching is that Schwarzkopf herself said in a filmed interview that she felt the lip-synching in this film took away much of the intensity of the performers, and she much preferred a performance of the Act One ending she did on BBC tv with her singing live.
@@imatifoso2782great story. Some of the subsequent productions have been rather more raunchy eg Glyndebourne's latest. This is better quality though. I really didn't cope with a well endowed Oktavian with what looked like bootpolish on the face in a vain attempt to suggest a boy. These three act so well and their voices are stunningly beautiful. And the traditional costuming is gorgeous
What a brilliant reflection on the complexities of love between three people! Yoh Strauss and von Hoffmannstal and de Couvrai and Moliere! For instance, the Marschallin wants it to have been true that she always loved Octavian in a way that has permitted her/him to love someone else. Yet is it not inevitable that Sophie and Octavian sense that they can love each other only with the permission of the Marschallin, and that this diminishes the truth of their love for each other?
And Octavian cannot ask the Marschallin explicitly what her attitude is to the love between Soph and Oct. Et voila, you have one core of the apparent contradiction between the transcendental devotion due between lovers, and the knowledge that they have, do and will love others with this power. And so, says this savvy gal, a wise heart cannot be rude to one lover about her other soul mates.
Саме смішне що Мама вийшла замуж за Bear в перекладі переклади Звучить Медведєв і у нього був син Я не знаю де він і хотіла щоб він приїхав до мене . Я живу у Домі Київ. Це Київ аеродром Чайка недалеко. Він був у нас тут на першому поверсі у 1981-1984 роках. Мабудь у Берліні з папою своїм варить Пиво Три Медведі. Я намалювала у дитинстві Мініатюру Три Ведмеді. Йому подобалось. Ще подобалось у місті Прага Чехія малювати і пити наварене свіжу пінку з пива з Друзями батьків і з Батьками.
Perhaps a little analysis of the psychodynamics of romantic and erotic devotion might indicate that adaptation has resulted in the most dazzling and fitting altruism, whereby I would lay down my life for my children or the one I love, being also optimal for gene-inheritance within a tight-knit clan of 100-150 humans, where we are in love with and erotically bonded to many other members of the clan. One more reason for monoamoury as psychologically perverse and maladaptive. ♥♥♥ andrea
I am one of those who has to cry just at the blend of tunes that make this one of the truly greatest Opera experiences. I have seen several versions both live and DVD and each brings something new and wonderful to this sublime moment. Even suffering sometimes from too much Ochs, this ending always makes it worth while. This may have been meant as a comic opera, but truly it has a great deal to say in a very serious way about getting older and letting go gracefully. Thanks for this upload.
Absolutely agree with your comment, it is indeed a very deep message behind this astonishing opera. Strauss said it was his best work ever, and asked for this trio to be sang at his funeral, and so it was...
Цей Дом знаходився на Воскресенке , він вбудованний в Новий багатоповерховий Будинок. Вона їздила на коні у дитинстві і літала на машину ставили інженери крила і Я пам‘ятаю Ми летіли у Францію нас супроводжували Чехи і Польща зустрічала оваціями її дуже любили Маму Папи. Співає моя Мама.
That is why, indeed, our power of mutual adoration and transcendental union through erotic love is the true human religion, for it is the route by which we can see each other as divine :-) Well, it would be nice if this were true :-)
KIEW 1978 года Ми приїхали з Парижа Франція. Мене звуть Франція , Я маленька дівчинка. Ми приїхали сім‘єю. Мій Папа помер. Похованний у Києві. Папи мого Мами Дом. Ці жінки під час дощу зайшли у Дім. Вони знали мойого Папи Маму, Вона дуже старенька , їй близько Сто років . Вона у кімнаті, не захотіла виходити до найкращих пивоварів . Мама вийшла розмовляти зі мною , я заховалась під накидкою це пальто. Мій предок Імператор і Я була в Германії , Чехії, Бельгії, Польщі. Вони домовились будувати нові Дома. Троєщина , Оболонь, Райдужнний, Воскресенки чотири Дома нові. Як поживають сини тих тьотічок двух? Я дружила з ними. Скучаю . На все Добре. Ще скучаю за Чехом і Норвезьким хокеістом, яким став мій друг дитинства . Влієт ти де? Бельгійський конкурент? Скачки на конях кожен рік тоді були у дитинстві, свято Венгерсько-Австрійське-Українське, на Воскресенке там тепер машини їздять.
Ми літали з Юрою Гореліком тут на полі де росли ромашки . Він мене катав на літальних дерев‘яшках літаки дерев‘яні вчили їх літати. Правий берег Київ. З папою і братом Володимиром Ми літали на Лівому березі на дитячих літаках дерев‘яні на воду сідали на Дніпрі на лижах .
The duty is both in the present and forever regarding ones amours. Indeed for the woman [or man :-) ] she holds in her arms at this moment, one must conjure before them how beautiful and divine we all are, through the majesty of this immediate love. And why true love is the negation of egotistical triumph.
The gorgeous quality of the visuals proves real film can never be surpassed by modern high definition junk. Musically it is indeed sublime. But remember, you need to survive through 4 hours of random, tedious music to enjoy 4 minutes of bliss. The payoff is barely worth it.
+orfeo2003 Hates? That's a pretty strong word for a complaint about lacking passion. I'm sure there are more accurate words. Unexceptionable maybe? Even so, I can't imagine that voice and singing to be anything other than extraordinarily beautiful and expressive. Her Four Last Songs kill and tear apart my soul every time I listen to them.
+orfeo2003 There is something very beautiful about the way Schwarzkopf brings such meaning out of the words. For instance when she sings' I swore I would love even his love for another women' she colours the word 'andre' meaning 'another' and you can feel her heart is breaking. If you understand German there is an extra dimension because it is about how she matches the meaning of the word to the note. I can understand that if you are looking for passion her very subtle , nuanced form of singing may not be to your taste, but in this piece the Marschallin is not passionate - she is resigning herself to losing her lover to a younger woman and growing old . It is about facing up to the fact we are all destined to grow older and must pass away. In that sense this trio is universal.
![[HD] Der Rosenkavalier Final Trio - Schwarzkopf, Jurinac, Rothenberger](/img/logo.svg){kind=logo}
