@@adityapurohit8232 Saw it a few years ago at the "Staatstheater am Gärtnerplatz" in Munich, Germany. The orchestra and the singers were excellent but the direction - horrible!
Edda Moser is perhaps the greatest Mozart dramatic soprano ever. You see why here. In the Mozart dramatic roles there is a level of intensity that no one can match. She sang those roles so well with a big voice and perfect coloratura.
@@lifeisnice23 Chicken Coloratura, damn, she is good but her technique is suitable when playing the roles like The Queen of the Night from The Magic Flute
Mozart con esta aria puso en prueba el virtuosismo y versatilidad de la soprano ligera. Toda la técnica vocal heredada del barroco previo con la galantería del rococó dieciochesco se resume en este pasaje uno de los más difíciles roles para la soprano que se han compuesto a lo largo de la historia de la música vocal occidental. Simplemente colosal y supremo !!
What happens between 7:07 and 7:45 ? She is singing another text and there are some score continuity problems during the agilities.... still thanks for the wonderful work!
The score used here jumps directly to the very final coda, where in the original version there is a reprise of the "laerme! wuete! tobe!" part - first heard at about 5.00 - followed by a much longer coda part. In the recording, this original version is performed (cutting out the longer coda in favor of this more concentrated one). These cuts are often made for theatrical or practical reasons, and to not to exhaust the singers too much.
@@tashwhimpey8114 Try activating the English Subtitles. They are very accurate to the german text. Also, the words are repeated a lot (its an Aria after all :-) so whenever this happens the subtitles are not repeated.
No christian would ever come up with something like this. Truly, Mozart was a diabolical little man. Sent to us from hell, to torture us with this impossible music. Nearly, anyway. Cristina Deutekom managed to slay this aria. So great was her determination.
I believe you missunderstand Mozart totally.Unfortunately.Mozart understood the feelings of a heart and of a woman.This aria is the best example for that.Wonderful.
К сожалению, Хагер не прочувствовал цельной "архитектуры" великой моцартовской арии: у него она распадается на отдельные, не связанные органически фрагменты, так и не сросшиеся друг с другом. Это, на мой взгляд, помешало и Мозер спеть эту сложную арию лучше, чем у неё здесь получилось. Жаль.
Mozarts Musik ist für mich überirdisch, ein kleiner Mann spricht zur Welt durch seine göttlich schöne Musik. Sein Grab ist unbekannt, hat man ggf damals schon Gott wieder bestraft, weil er anders war? Wurde er doch ermordet, weil er nicht hineinpasste in der Welt der Denkenden und Klugen? Schade, er hätte noch so viel bewirken können. Allein mit Geld konnte er so gar nicht umgehen 😢
This soprano ruin this aria, sing it with no grace, rushing the notes, sounded like some have too much coffee. I found this clip quite annoying ~ (Recommend: Gruberova / Callas)
Callas rendition of this aria despite it's in Italian is absolutely mind blowing! Her fraseggio, legato, pianissimo and coloratura are sublime, she sang Mozart with the same intensity and precision she reserved to Bellini or Verdi! We have the 1954 version, I just can imagine what has been her Konstanze from 1952 when she still was on super vocal power!
Maybe try looking at the text and just thinking about it for a bit and then come back. Gruberova and Callas are great and so is Moser, Auger, Rothenberger....
Moser is singing at the tempo the conductor has used from the first note. This was evidently a joint determination of the singer and conductor. If you were defying a powerful man who wanted to rape you would you be graceful about telling him where he can go which essentially whatrthis aria is
