One of my favorite musical theatre ballads of all time. Pure magic! Fantastic performance! She even sings "ist verschwunden" and not "ost vaschwondon" like many others.
The combination of Damrau's Königin der Nacht and Kühmeier's Pamina will never be surpassed. Rene Pape's Sarastro is the cherry on top. Everyone else in this cast is excellent, but those names are among the all-time greats for these roles.
Einfach wunderbar. Es ist wohl die allerschwierigste Arie, wohl auch wegen der deutschen Sprache. Die italienische Version zeigt eine wesentlich leichtere und doch gleicherweise beeindruckende Darstellung. Elisabeth Schwarzkopf hat einmal ein Training mit sehr vielen Korrekturen vorgeführt.
Beautiful! I could not get enough listening to this wonderful aria in various interpretations. My favorite is Lucia Popp , posted by leoperarm. Also for fun check the two impossible G♯ above high C in Popoli di Tessaglia!, K.316, for soprano, sang by Edda Moser. The notes are at 6.36 and 6.47.
I heard Battle in a 3,000 seat auditorium during her "I'm not so bad" tour after the Met dust-up. I was in the middle of the house and she sounded fine.
Wonderfully performed, truly. Ended beautifully, and the orchestration choices by the conductor are truly beautiful. One beef- I hate when sopranos (being one) do the "now I'm going to sing" face, and just stop acting. But, she has a wonderful voice, and it's wonderfully acted when she gets into it.
Thats because she just has a very quiet voice. My teacher said she saw her(Kathleen Battle) do a recital and she was sitting in the 4th or 5th row from the stage and could barely hear her. She just has a tiny voice. I'm not saying she is a bad singer at all, so dont get me wrong. She is wonderful
Is there anyway by chance that you can upload the part where Pamina is about to do Suicide but the Three Boys stop her? I've been trying to find that part for awhile but all I found was the one by Kathleen Battle.
@kralle7611 Für die Schauspielerei, darf man sich in Salzburg prinzipiell bei den Regisseuren bedanken! Wer glaubt dass ein Opernsänger hier auch nur einen Funken Freiheit in der Gestaltung hätte, irrt: und das gewaltig!
C vrai qu'elle est exceptionnelle. Mais j'ai un faible pour les interprètes qui réussissent et/ou préfèrent attaquer l'octave à la fin de l'air 4:05 tout en douceur, et pianissimo, je trouve que c le plus beau moment de l'air si on le fait ainsi. Si on l'attaque trop fort, ça devient un passage comme un autre. Malheureusement pour moi elle attaque trop fort, avec un léger glissendo et un "roulement" dont de je ne suis pas fan.
PAMINA Um lamento na ária de Pamina, da ópera A Flauta Mágica, de Mozart. O enlevo de amor febril acabou Para sempre, assim Pamina declarou, em pauta, Na conversa com o amado Tamino em que rolou Uma lágrima denotando algo em não ir em frente. Assim como essa civilização, está indo embora, Adotou descanso após a morte, ideia recorrente Para acabar com os sofrimentos, em boa hora, É enfraquecida pela realidade que já desponta. A semeadura é colhida do mesmo sentimento. Covid-19 impõe a mudança: a norma exposta Para confinar pessoas em casas, momento bom Na reflexão sobre doar amor com o argumento Que revela o nosso ser profundo, isto é o dom. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - PAMINA (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
