I REMEMBER hearing this VERY broadcast LIVE! I was in High School, and had always had a huge crush on the Queen of the Night, anyway! But when I heard Edda Moser in the role...I knew I found TRUE LOVE!!!! To this day, I believe her to be the epitome of the Queen of the Night, to whom no one even comes near!....BRAVA , EDDA MOSER!!!!!
she's the only to truly put nuance to the role and not only to exaggerate or bet merely in the high notes part, marvelous [omg, a comment from 12 years ago!]
To me, edda Moser belongs to the greatest later 20th century soprano voices. Like callas, schwarzkopf, Nilsson, flagstad, Sutherland, callas, gruberova, ferrier, many others. Her timbre is so dark, hooty, rich in overtones and undertones, huge and commanding, and that well up until the high D or Eb. Her voice when used at full power and full intensity sounds like a mixture of trumpet, cello and flute. In my mind at least. Her sound really was miraculous, naturally. And her dark and dry speaking voice also gives a strong proof of that dark and deep quality. I love her.
Edda Moser ist als KÖNIGIN DER NACHT - für mich - die Beste! Keine andere Sängerin hat diese Partie so intensiv interpretiert und so mächtig gesungen! Ich habe sie in Hamburg in der Rolle noch gehört und gesehen.... fabelhaft!
The less famous aria from The Magic Flute, but probably even more difficult. All those runs, and Edda does them with ease. And remember, this recording is live--wow!! She is indeed the Queen of the Night!!
Tell me about it. She's fiery and fierce. Her Der Holle Rache is full of passion. Forget Diana Damrau. She's also a great queen of the night but still nowhere near as great as Edda Moser.
@AmericanEvita This was no small voice. A beautiful woman, a superb artist and an incredibly musical interpreter. There is a reason why she was Karl Böhm's favorite Donna Anna - which I once heard her sing in a cast that included Cesare Siepi, Fernando Corena, Theresa Zylis-Gara and Stuart Burrows, conducted by Dr. Böhm himself. Those, as they say, were the days.
@@luceafarul579 Better than what? There is no one better than Moser in this role nor was there anyone better at the time she recorded this, including Sutherland.
Superbe, le top du top, aucune ne l'égale. Tout y est : intensité, dramatisme, couleur. La plus grande reine de la nuit avec une grande voix. Merci madame Moser
Sie hat einfach alles: wunderbare Stimme, tolle Gesangstechnik, klare Diktion, Musikalität, Kraft + emotionale Intelligenz in höchstem Maße. Sie ist der Bob Beamon der "Königinnen der Nacht".
From the very first note we know that this is an angry Goddess confronting someone or something even if you do not know the story or the German. I would be afraid of this Queen and her power which is exactly the effect this aria should have. She is manipulative, seductive, and angry in equal parts. She shows no weakness as she is a goddess. Sarastro is lucky he has help dealing with this Queen. The best ever in this role.
Moser had a very powerful voice, extending all the way up to that Fa. If you look around in RU-vid, you'll find the 'Ma che vi fece' aria. She has a long, sustained Fa there, too, towards the end.
Moser and Rita Shane are the only two women who I can recall singing the high F with vibrato successfully. Lyric Coloraturas just don't it for me in this role. This is a role for a truly substantial voice.
Yes, that's what they do! They give us an incredible cast, and spend almost nothing in the stage (decorations, furniture, customes) so that they gain more and more selling expensive tickets for 'cheap' productions.
that's it! I haaaaaaaaaaate it, also La Clemenza with Roschmann and Kasarova, I mean, I simply don't like them! Anyway, we can have our differences :-P
@sagaluke she didn't transpose the F. She was a Dramatischer Koloratursopran, and could easily sing the F. What might have confused you, is the fact that some coloraturas would sing a tad higher than the F, to balance out their lack of low notes.
¿Nadie? Yo pienso que Moser es la mejor intérprete de esta aria. Deutekom también está excelente. Pero Moser canta con mucha pasión. Deutekom está menos dramática.
They sound different because Sutherland transposed both arias down: the Act I aria a half tone, from B flat major to A major, and the Act II aria a whole step, from d minor to c minor.
This aria is where the lyrical side of the Queen would do some good. Moser is not as 'gentle' as she needs to be here, and the fioratura is not very clean. However, in the Queen's second aria I've never heard anyone sing better than her. She sings the epitome of a vengeful Queen with powerful and dramatic vocal delivery.
hahaha! Of corse, the Met has always had some of the best opera productions! not like the ones in Salzburg and other places in Europe, taht turned out to be really weird, I don't like them :-P
@@FranzBlumVan1890 LOL, why would Callas even bother with singing this part? Anyway, in great shape she could do anything on high E (e.g. in Lakme) both sustained and staccato, then why doubt her ability to do handel the Queen with only 3 F's. It's not about screeching these F's like a kitten, but taking them with full voice which very few did, so SURELY she could screech them like most singers, but only God and maybe people who worked with her know if she could do it fully as well.
Paweł Ziółkowski Callas could get to the F6. She knew she couldn’t and therefore didn’t try to sing the role. In fact the only Mozart role she sang was Kostanze and that was just once. She knew she would never attain the Mozart vocal line needed to sing his operas so she avoided them.
Hmm, I think she vocally embodied the Queen of the Night in Der Holle Rache, but in O Zittre Nicht, I must say Luciana Serra and Cristina Deutekom are my favorites. Their melismas sounded really crisp and well articulated, though Deutekom tends to use her glottal gobble. Lol. Edda kinda slurred through some of the melismas and needed to incorporate some of the H sounds to make her melismas well articulated. Maybe its because her voice is more dramatic than the other two singers, so it might be harder for her, but who am I to judge. I barely know shit about singing.
'H sounds', or aspirates, are considered a big no-no in proper singing. Nowadays everyone uses them, but in the days of people who sang WELL, no one would dare.
@DrRyan87 I disagree, it's one of her worst works, but I still think she sounds amazing. Moser takes the cake though, the way she can switch between dramatic soprano and light coloratura in the same song PS: giving birth to a pineapple LMAO! XD
@@Bumblebeebeebee nope. Why would I “make something up” for no reason? There are singers who have much better control than this performance, with smooth legato, long breathes, and connectivity of phrases, such as Luciana Serra, Kathryn Henwick, or Natalie Dessay, and im sure many others. Edda Moser is good with the coloratura notes in the second aria, but she lacks the Mozartian legato to be able to sing the first one. The first one is not supposed to be shrieked in such an over the top dramatic way. Mozart’s music is almost always on the lyrical side. You need a singer who can sing lyrical opera well to be able to sing anything mozart. Edda Moser was only famous because people in her time just don’t know how to sing lyrical opera well compared to the generation after her. They take many breathes in middle to sustain loud volumes, as that’s really what pretty much solely mattered during those times, and maintain wide vibratos, many times wobbly and uncontrolled, to sustain the expandability of the volume. None of these I just”made up” but it’s the conclusion I drew from listing to hundreds of different recordings from different periods. But I’m sure your view is just completely objective not emotionally based whatsoever just because she’s one of your favs. Prove me wrong. Good luck.
vanzofaust Beautiful voice, but I agree with you, here the Queen of the night should sound sorrowful for her daughter's abduction, instead here Edda is only singing the text with no feeling, perhaps she didn't feel like interpreting, perhaps she was annoyed... What a pity!!!!
Actually this IS the interpretation. Edda always said that Queen of the Night is for her a cold, completely un-human being who lacks emotions other than anger and the desire of power. That was her interpretation of the role.
true,,, apparently people who thought they are better than these artists will criticize but the thing is if they are better, where are they? what have they been doing,, go on stage and sing this song,,, its just matter of taste for listeners, if it is not ur cup of tea just look for some other singer and not criticize others,,, just find someone u love listening to, thats our job as listeners leave the interpreting and all technical stuff to the singr and her conductor
Creutzfeldt Jakob we heard better artists. Thankyouverymuch. This is old type of singing where for the sake of expanding the vocal singers were allowed to have wide wobbly legatos, breaking up legato phrases to get more breath to shriek more sound out, and compromising tonality. We don’t have to be world class opera singers, we can hear the improvement over the years with technique with newer world class singers. Sorry. This is simply terrible. The singers at my school, other than not being able to hit the couple of high notes as well as her, are singing at this level.
+vanzofaust I agree, but you can’t blame her really because this is how opera used to be like. We should be glad how much singing has improved over the decades. When I listen to old recordings, the older I go the more terrible they get. Not that nowadays it’s perfect either, there has been a slight decline, but during the golden age of opera-late 60s to early 90s, you just can’t compare. So many talents, so many better singing than this
