A bright, clear timbre; beautiful legato; a model of clear diction; a sensitive accompanist: a perfectly judged tempo. It may be presumptuous of me to say this, but I'm going to say it anyway: if Beethoven had been able (both temporally and physically) to hear this performance, I think that he would have been pleased.
Beautifully handled and delivered -- here we have a prime interpretation and depth of a tenors important musical leid during me masterfully as expected from Gedda
Ich bin damit einverstanden…Geh’n wir mal zu Hagenbeck! Ebenmäißgkeitsentzückung..Rindfleischetikettierungsüberwachungsaufgabenübertragungsgesetz …(Ich meinte Schuldaufdeckungsangst!) Herzlich, Mexikaner Donaudampfschiffahrtsgesellschaftskapitän !
@Herur22 Thank you! Fan of classic music in the second half of life, like me,..Your remark is very kind. Best regards from Southern Bavaria to Slovenia! RudiFFB
Unglaublich schön und klar gesungen. Schon allein die Einleitung mit dem leichten Staccato Abgang im Klavier erzeugt einen besonderen Reiz. Die strahlendste Interpretation bleibt jedoch jene mit Fritz Wunderlich.
So many thanks for uploading, Herur22! What a wunderful bright wide flow of voice... and Gedda as exquisite as ever. My teacher always pointed out that Gedda was one of the best singing 'technicians' of all times - how correct this statement is! One should hide the own voice behind the next curtain and cry... Fortunately such voices are so extraordinary that one can dare posting the own version - I do so with 'Adelaide'. Please forgive me.
I listen to his records every night. It's really hard to compete with him. I wonder what he was like. I don't understand why he doesn't have absolute star status. I don't think he wanted to. Such colors, such styles. Please, Franz Liszt, Volume 1 and Volume 2 are the same as Volume 1. Can you take a look?
Gedda "ticks all the boxes" in this rendition of a beautiful but technically challenging song. Bjorlings version is arguably better but this comes perilously close.
The only possible competition for Jussi and Fritz. Arguably, this is better sung and there is more intelligence behind the words. But Jussi had an incomparably sympathetic timbre and Fritz also had by nature what many couldn't accomplish by study. I guess these three have inhibited some modern tenors-- I'd like to hear Ben Heppner and Jonas Kauffman have a go at it.
Spelade fyrhändigt med Jan på 50-talet , kåren Stockhloms,högskola , dvs på schackbrädet.På Häggquists ,Hamrins o Mobergs tid, före operettrevolutionnen 68.
Well, technically perfect, yes. But in terms of expression. Oh no, the closing passages like emotion, lack passion. The last few repetitions of "Adelaide" are to be sung forte but not just forte, forte with great LOVE, followed the last "Adelaide" with great tenderness. All I heard was singing loud, and then singing softly, and doing it very well technically. But this was no man deeply in love singing. And if you take the love out of this song, well, you've taken the soul out of it, and if you take the soul of it, well, you might as well listen to something else. An excellent rendition for students to listen to so they realize the technical mistakes they are make. But not a model to look to if you want to SING as well as possible.... Maybe Gedda did so elsewhere, but not in this case.
