I had trouble posting, so I'll try again: I like reading everybody's comments, but let's be realistic. If there were just one great opera singer for each role, we'd never see a new production. I liked Hildegard and I like Deborah; I'm partial to James Morris as Wotan, but I can enjoy Bryn Terfel just as much. Kaufmann is a strong Siegmund. Can your voice carry out to the Lincoln Center fountain? They all have something to offer.
Voigt was not a Brunnhilde, even before her surgery. I was privileged to hear her in several of her great Strauss roles at the Chicago Lyric and she was stunning and magnificent. I also heard her Cassandra in Les Troyens in Washington and again stunning. I saw her Salome one year after the surgery and the voice was right. She really was a Strauss soprano pushed into Brunnhilde by Levine. Kauffmann is just wonderful. I have a very close friend who never understood my fascination and dedication to opera. One day we were going to lunch and I put a newly released Kauffmann CD in the car player. My friend made me detour to a store to buy a copy of the CD such is the power of his voice and artistry.
Levine and Kaufmann are splendid, the excitement of the moment is extremely well captured and almost implodes. Voigt´s voice suffered a lot and we all know why. Calling her "wonderful" means showing some mercy, but it´s not what it is, guys.
This a non-technical comment but one reason I loved this scene is that Brunhilde learns about love--great for much later when she meets Siegfried. Wouldn't we all appreciate a strong but tender lover like Siegmund?
I've watched this production a lot now (all 3 Brunnhilde operas), and Voigt is great! She looks, sounds and acts in such a way as to be a riveting central character for this whole Ring cycle. Her acting is quite moving. Glad I got to see it.
I was at this performance. Kaufmann was indeed spectacular. The kindest thing I can say about Voigt is that she did not embarass herself. That said, all you have to do is look up her 'Dich theure halle' in 1996 or her Chrysothemis with Zschau and you will hear what a shadow the voice is of it's former self.
Can we please stop the arguing, debating, and even well-backed intelligent discussion and just agree that Deborah Voigt is just plain awesome and sounds great? =)
I see what you are saying. I guess it is easy for any singer to pile on the weight for a host of reasons. I know of at least three singers, all of them young men in their early thirties, who had big problems with their weight, but now have lost nearly 300 pounds between the three of them. They credit their weight loss to better eating habits and exercise, which gave them the added heft behind their voices that the weight used to give them. It was hard for them, but they now reap the benefits.
Kaufmann is superb here - and everywhere else! - he is the greatest Wagnerian tenor since the lagendary Volker, Lorenz, Windgassen, Aldenhoff, he almost reaches Melchior! The voice, the colouring, the articulation, the acting, the looks.... pure perfection! Voigt is not that bad but compared to him she seems a bit fragile. OK, not all Brunnhildes MUST be strong-as-steel like Modl or Varnay, there is a more femimine vulnerable approach - remember Marjorie Lawrence? A good effort I think.
@@chrishaines1677 How do you know? You're old enough to have watched him sing live at the MET stage in the 30s and 40s? He acted with his VOICE, that's all we need in Opera!
I somewhat agree, BUT claiming that big voices need big bodies, meaning overweight bodies, is wrong. The bodyframe of a person with a large voice is usually bigger than that of a smaller voice, they're built strong, but strong does not mean fat. People with big voices often use the size of their voice as an excuse not to deal with their weightproblem. I have been there, but came to my senses. I sing much better now. Staying in shape and eating healthy is good for your vocal health. :)
That may be true, and it’s beautiful that both you and her made changes you felt you needed and are happier, but it’s also fair to say that when she was larger, her voice was stronger. That’s a discernible fact...quite clear here.
Remember, this is only one performance. Lets hope that by next spring 2012 she will be all over it. I've heard Ms. Voigt sing before, this doesn't seem to be her capacity
I agree that the mechanical contraption was a bit over the top but I believe the powers that be were very faithful to the Wagnerian spirit. Weight is more of an issue in opera than in days past but I haven't read any unkind words about Bryn Terfil. He's a great bear of a man and that's OK. What a fabulous Wotan!
+Jose Hill I agree, she was wonderful. The whole performance I attended on 14 May 2011 was miraculous. It's true that after a long career (and possibly surgery) her voice deteriorated, but she was superb in this performance, and earned a much-deserved ovation. Kaufmann is one of the great tenors of all time. After Bocelli - sorry, just kidding!!!
Kaufmann can sing; just wish I could see his eyes. It's like he's looking at some random spot all the time. Voigt is fine. This isn't her ideal Brunnhilde scene, like the last act of this opera, or of Siegfried or all of Gotterdamerung. I still love the warm tone of her voice, and especially her acting which is quite moving without being sloppy because she nails every gesture and expression.
Jonas is wonderful, and Levine's tempii seem to have improved from the old Met production if this clip is any indication, but I just can't take Voigt shrieking at me. I guess a great traditional Nibelungen is yet to come.
@coryisawake Yes, yes, yes--Behren's a great artist--gave of her total self. But Voigt sounds great here--powerful ,ringing--what's every one carping about?? She's more than servicable. I'm not sure if I like her costume though. By size wise, do you mean the voice? Behren's certainly made the most of what she had--and we go to opera to see as well as hear. Acting so important--that's why so many still adore Behren's and Callas who is, i beilve, her only equal in all of opera.
@mannail888 I never thought Behrens was any great Wagnerian at all. Voice too small. Voigt is not up to Wagner either but may be the best available right now.
Small hidden microphone, invisible to the audience. Used by singers who cannot sing in big theatres like Kaufmann who has trouble in 1000+ houses. The Met is one of many theatres offering their singers amplification if needed.
Altonahh10 He hasn't a clue what he's talking about. I was at the 14 May 2011 performance that was recorded. They use limited mics to capture the sound for HD, but these voices rang out in the theater. In fact, the Machine that everyone hates so much (I loved it) creates an incredible acoustic, and the singers all remarked that it made their sound much easier to project.
@christo8684 Don't quarrel, you're right both of you, Behrens and Voigt are no good both of them. Just listen to Eileen Farrell, Astrid Varnay, Helge Dernesch - marvelleous Wagner singers... Or Elisabete Matos, if you look for today's voices.
Aw! Come on! Be objective! I'm not a fan--her Minnie was atrocious. But this clip, at least, is pretty good. He is a gift. But I have this wincing urge in my gut to shield him from this rep. I want him around sounding (and looking) like a god for a while. His color is deceptive, it's not a big voice. And the way orchestras play this music, especially in Europe, and without the benefit of a recording/mic, he's going to start pushing (quiet sob).
the bare set is not helping the singers--its not mythic enough. stage direction of prod. doesn't appear to be good--little movement of singers. too static.
@windstorm1000 I only saw her a couple of times rather at the end of her carrier, but I consider having paid enough money for those performances spoiled by the horrible voice of Behrens (who never should touch Brünhilde, Isolde and Elektra) to have the right to "dish" her. Your comparing her with Callas leaves me almost speachless... They were also colling Ania Silja 'the German Callas"... ha ha ha
