Two very very great ladies, who left their mark on the world with singing of the highest order. Everyone expresses gratitude to them for their beautiful singing. Both ladies are still very strong personalities, and are not prepared to accept what their age may impose on them.
About half a century ago I first heard Gundula Janowitz singing Sieglinde and instantly fell in love with her voice. She has been *my* soprano since then. As a non-musician I cannot tell one soprano apart from another. But, I immediately recognize Gundula Janowitz and it doesn't matter which piece she is singing. I just love her voice and her singing. Although I know not much about her, I love her - blindly perhaps but who cares.
Absolut herrlich! Ich wünschte allerdings, dass ich trotz deutscher Muttersprace oft mehr verstehen könnte, da das ständige Rumgewackle und Gekrusche wirklich fast eine Zumutung ist... Nichtsdestotrotz - vielen herzlichen Dank für's veröffentlichen!
Ich hatte das Glück in G.Janowitu 2x in Köln/Colonia in den 70erm mit Schubertliedern zu hören - wunderbar und bis ins leiseste Pianissimo zu verstehen: Empathisch, einfach eine Jahrhundert e Stimme!
@@eberhardthauer3818 das ist ganze Veiret aber meine super süße liebe es war Elisabeth Schwarzkopf....im diesem Jahr wieder so vielen choosen. Es tut mir leid ich habe in Deutsch Sprache und Schrift alles vergessen
@@pelleas9 Actually she does surprisingly well within the boundaries of her own personal style. It is well to recall that Verdi wrote some roles, Aïda for example, for non-Italian singers.
Eine wundebare Künstlerin! Sie reicht wohl als einzige an die Göttin Elisabeth Grümmer heran! Ich durfte sie in Dresden als Ariadne an der Seite von Gerd Brenneis und der grandiosen Editha Gruberova als Zerbinatta mit der Wiener Staatsoper genießen! Unvergesslich
Ich war auch in dieser Vorstellung - es war unvergeßlich, ein göttliches Niveau und die Inszenierung traumhaft schön ! DAS war Oper in ihrer höchsten Vollendung !!!!
No shade, no tea, but...I saw Janowitz in the Vienna State Opera decades and decades ago. I couldn't stand the sound of her voice then, and I can't stand it now. To me, it's like fingernails on a blackboard.
L'Attila proprio no, sicuramente non è questo il repertorio in cui da il meglio di se stessa. Ben altri sono i risultati in diverso repertorio, come in Mozart ad esempio.
Der Zungenrücken soll beim Singen oben sein, der Kehlkopf entspannt oder tief. Laut Technik , bei Janowitz drückt die Zunge beim hohen Ton regelrecht nach unten. Fazit. Vorgaben stimmen oft nicht oder sind eben individuell.
MEH.....I have always thought Janowitz a very stuck voice limited to her boyish soprano timbre and some of the more diginfied Strauss roles and most of the lyric soprano roles of the Mozart, Handel ,Hydyn Operas, Bach Cantatas and of course most of the German Lied. And that's it. Anything above an A natural and the voice becomes very, very goaty. The bleatiness at the last top note here is not beautiful. This aria of Odabella in Verdi's Attila is a very difficult composition to begin with and can verge on howley and annoying if not sung with a voice that is centered with an even pitch and vibrato and ample tone. I frankly thought Her Ariadne was underwhelming. Ludwig well ... the voice is a better weight and there is more eveness and she always delivered. Janowitz...IMHO...yawn........
Janowitz delivered a very respectable Kaiserin at the 1964 Vienna dress rehearsal of Die Frau ohne Schatten under Karajan. One would not have thought her suited to such a heavy role, but in the event she did a good job, her crystalline tone perfectly embodying the shadowless fairy of the first two acts. Her Fidelio, however, was another matter entirely. At certain points in the score, her voice just went to pieces under the strain. Her Donna Anna was similarly underpowered. My favorite recording of hers is the Capriccio Countess for Böhm, and in many respects I believe that is the role best suited to her.
I like her very much but I am not especially fond of 19th opera except for very early 19th. mu h prefer voices in less stratospheric regions than beyond A5. You may well have a point about horses for courses. But i would not describe Lied, oratorio, cantatas , 18th opera ertc as " limited" Noone is at their best at everything