Best Queen of the Night (Konigin der Nacht)?
Tommie
"Der Holle Rache," and would like opinions on the best recordings of various
Queens on the basis of good technical precision and great personal
interpretations and not so much on good conducting if the technique of the
soprano is absent. I enjoy Sumi Jo, Lucia Popp, and Natalie Dessay; but I do
wonder if there are more out there that can compare.
Terrymelin
Nobody on disc, IMHO, can compare to Lucia Popp on the old Klemperer recording.
She is sublime and has yet to be equalled.
Terry Ellsworth
Merkurrr
Michael Kalman
paul...@my-dejanews.com
Edda Moser and Christina Deutekom.
In article <6vjugk$klf$1...@news.advi.net>,
"Tommie" <color...@advi.net> wrote:
> I am interested in different interpretations of, "O zitt're nicht," and,
> "Der Holle Rache," and would like opinions on the best recordings of various
> Queens on the basis of good technical precision and great personal
> interpretations and not so much on good conducting if the technique of the
> soprano is absent. I enjoy Sumi Jo, Lucia Popp, and Natalie Dessay; but I do
> wonder if there are more out there that can compare.
>
>
-----------== Posted via Deja News, The Discussion Network ==----------
http://www.dejanews.com/ Search, Read, Discuss, or Start Your Own
Peter M. Barach, Ph.D.
is good, too... Never mind that her voice would probably have been tiny if
she performed the part live...
Hans Christian Hoff
>
> I am interested in different interpretations of, "O zitt're nicht," and,
> "Der Holle Rache," and would like opinions on the best recordings of various
> Queens on the basis of good technical precision and great personal
> interpretations and not so much on good conducting if the technique of the
> soprano is absent. I enjoy Sumi Jo, Lucia Popp, and Natalie Dessay; but I do
> wonder if there are more out there that can compare.
I have a weakness for Cheryl Studer on the Marriner recording. She
tackles the technical demands well enough, and she is probably the one
interpreter sufficiently dramatic to lend credibility to the queen as a
real threat to Sarastro and his domain. The queen is doubtlessly a
powerful and determined woman !
Popp is also very fine in every way, and Streich is probably the one
that soars through the music with the least effort. Jo gives me an
impression of technically flawless squeeking, but little else.
Regards
Hans
Michael Janson
Terrymelin <terry...@aol.com> wrote:
>Nobody on disc, IMHO, can compare to Lucia Popp on the old Klemperer recording.
>She is sublime and has yet to be equalled.
Seconded.
Ed Rosen
Did any of you ever hear Rita Shane? She had the most phenominal "F's"
ever.
A truly great soprano, who seems to be underated by some.
Best,
Ed
Siryen
How about Edita Gruberova?.....She just *flows* through the coloratura, and her
characterization in DHR.........yow!!
GregF NC
You might try the early Sutherland on the Gala CD. I believe it's from a live
performance conducted by Klemperer.
Greg F(in North Carolina)
Ed Rosen
It's also lowered at least a half tone, and possibly a full tone. F's
were simply out of Sutherland's usable range.
Ed
PANPERSON
Well all the sopranos that I was going to mention are already listed here.
So what else is there to say. I am partial to Rita Shane.
DAVID MY COFFEE MUG SAYS: HOLD ME, I AM A FERMATA IT MAKES MY DAY
acting.lcsw
Gaelin
Karajan in the complete sets but her recording with Furtwaengler from the
40's are glorious!!
Donald Collup
Rosen) wrote:
> Did any of you ever hear Rita Shane? She had the most phenominal "F's"
> ever.
>
> A truly great soprano, who seems to be underated by some.
>
>
> Best,
> Ed
Yup, I did, way back in 1968 in Santa Fe. She was my first Queen of the
Night, and everyone since then has paled. She was scary and vocally
stupendous. I've got a tape of one of her performances. I think I also
have a tape of a Musetta three or four years later at the same house.
Donald
Kevin McGowin
Erna Berger. Maybe Freida Hempel.
Benjamin Maso
acting.lcsw wrote in message ...
>Edda Moser..............accurate, and truly frightening.
>
I second that. Queens of the night must sound dangerous and dramatic, and
shouldn't be nice little girls, like Erna Berger.
Benjo Maso
Capa081348
>Subject: Re: Best Queen of the Night (Konigin der Nacht)?
>From: lyr...@ix.netcom.com(Ed Rosen)
>
>Did any of you ever hear Rita Shane? She had the most phenominal "F's"
>ever.
>
Ed, you're not forming a Shane Gang, are you? Some would say that that is
cruel and unusual punishment.
Pat Finley
Un Bel Di...
Po
opera. In any case, I think that theSutherland rendition(although I've
heard that she lowered it...I didn't check it or anything) is amazing
because of its strength and speed...you really can't tell she lowered it
if she did. Another recording that I liked was Studer on her mozart
recital disc. I haven't heard he in the course of the whole opera...but
I imagine it's comparable to the recital disc. That one is very good.
-Po
Shahrdad
Po wrote in message <361751E3...@concentric.net>...
coda at a much faster speed than I've heard from anyone before, and Joan
rips through the runs and scales which amazing speed and accuracy. At
times, it almost feels like she'd like to go even faster, but has to wait
for the orchestra. It's sung in the original key, and the high F is right
on. And with her huge, rich voice, she is very imposing and queen-like.
The second aria is also sung beautifully, but she lowered it by a semi tone,
so she hits high E's, not F's. This is probably much closer to how it was
sung in Mozart's time, since the scale has been climbing up ever since.
Sutherland could vocalize to a solid high F-sharp, but in live performance,
she always had a mental block for anything above an E in alt. That's one
reason she quit singing the Queen. It just frightened her too much.
S.
PANPERSON
I wonder who sang it in the movie Amadeus. Is been a while but as I remember
it was done rather well. And the actress was certainly stunning.
LuciaMim
From: panp...@aol.com
>I wonder who sang it in the movie Amadeus. Is been a while but as I
>remember
>it was done rather well. And the actress was certainly stunning.
David:
Now you've done it! I pulled out my copy of the video and naturally it doesn't
list the singers, just the conductor, Neville Marriner.
So, I'm going to have to watch it later today - I could fast forward to the
end, but I probably will stop to listen to the music. Let you know later - if
they bothered to include it in the credits, I would think they have to.
Regards,
Mimi
Shahrdad
PANPERSON wrote in message <19981012021203...@ng121.aol.com>...
>
>I wonder who sang it in the movie Amadeus. Is been a while but as I
remember
>it was done rather well. And the actress was certainly stunning.
Jababara
>
> I wonder who sang it in the movie Amadeus. Is been a while but as I remember
> it was done rather well. And the actress was certainly stunning.
> DAVID MY COFFEE MUG SAYS: HOLD ME, I AM A FERMATA IT MAKES MY DAY
The singer is June Anderson.
Siryen
the CD I have says it was a lady named Louisa Kennedy.........
douglas
jol...@altavista.net
soprano, and her Gilda and Leila here in Brisbane will remain in my memory.
Don't know what she's done since, though.
John
Eduardo J. Aguilar
singer and somebody else as the actress. No big deal anyway. Two questions.
I have been understanding 'Der holle rache' is an excellent example of what
coloratura is. I have met a singer that corrected me in the sense of
coloratura being a quality of the voice, like the color or beauty or
something like that. She claimed that was the real sense of the italian
word. Can somebody help?. She also insisted on the need for reading music
in order to truly appreciate opera. I am becoming an opera lover and often
wonder about that. Being 33 and without a good voice, would it make sense
for me to start studying now just for fun?. I would appreciate you guys'
advice.
jol...@altavista.net escribió en artículo
<700klu$t6n$1...@nnrp1.dejanews.com>...
Christina West
"Eduardo J. Aguilar" <eduardojes...@globalmed.es> wrote:
> I have been understanding 'Der holle rache' is an excellent example of what
> coloratura is. I have met a singer that corrected me in the sense of
> coloratura being a quality of the voice, like the color or beauty or
> something like that. She claimed that was the real sense of the italian
> word. Can somebody help?.
The literal sense is 'the technique of colouring'. But it has come to
mean 'colouring' not in the sense of vocal timbre, but in the sense of
colouring the vocal line by embellishment and fioriture, requiring
flexibility and accuracy in rapid passages. What it has nothing at
all to do with is high notes, although a coloratura soprano is
expected to have those, and as the Queen of the Night, certainly needs
them. The touchstone of Mozartean coloraturam however, is probably
'Marten aller Arten'.
> She also insisted on the need for reading music in order to truly
> appreciate opera. I am becoming an opera lover and often wonder about
> that. Being 33 and without a good voice, would it make sense for me to
> start studying now just for fun?. I would appreciate you guys'
> advice.
I would say that is not at all essential to read music to appreciate
and enjoy opera. However, the ability to do so is certainly a useful
one, and in certain areas can enhance your pleasure and understanding.
--
Christina West
xina on IRC
Email: xi...@argonet.co.uk
Web: www.argonet.co.uk/users/xina/
VRamos2176
on the CD), and very expressive (her dramatic/textual interpretation of the two
arias I think are without peer). The coloratura is impeccable, very concise.
The high notes (high Fs?) hold no terror for her. A close second is Sumi
Jo, one of my favorite sopranos.
VivyanE
Is there anyone on line old enough to have heard a New Zealand soprano named
Edna Graham sing the Queen of the Night in Covent Garden in the early 1950s?
Now, that WAS a performance!
Enrique Eskenazi
<eduardojes...@globalmed.es> wrote:
>Two questions.
>I have been understanding 'Der holle rache' is an excellent example of
what
>coloratura is. I have met a singer that corrected me in the sense of
>coloratura being a quality of the voice, like the color or beauty or
>something like that. She claimed that was the real sense of the italian
>word. Can somebody help?.
By 'coloratura' is understood brilliant vocalizations, like runs,
trills, florid ornamentations (fioriture), rapid scales and virtuosism.
Coloratura isn't only a domain of sopranos, but of all vocal categories.
In belcanto the mastering of coloratura is a pre-requisite, and it's
required not only from sopranos.
She also insisted on the need for reading music
>in order to truly appreciate opera.
It depends on the meaning of 'truly'. I think it's not necessary, but it
would certainly enhance the understanding and enjoyment of music in
general and of opera in particular.
---
Enrique
eske...@mail.sendanet.es
Io chi sono? Eh, non lo so.
-Nol sapete?
Quasi no.
Sue Mitchell
<viv...@aol.com> writes
Best performance *ever* was definitely Florence Foster Jenkins - no
contest :)
--
__ __
{{{{\ /}}}} Sue Mitchell
{{::\ V /::}} s...@imps.demon.co.uk
>--->8<---<
{:.;/ 0 \;.:} "My soul is painted like the wings of butterflies"
~~ ~~ - B.H.M.
VRamos2176
OmbraRecds
MNockin
Streich whose accuracy was not to be believed.
Maria
GRNDPADAVE
>Date: Thu, Oct 22, 1998 01:34 EDT
>Message-id: <19981022013449...@ng-fi1.aol.com>
>
>I would opt for either Erna Berger with the trill that never quit or Rita
>Streich whose accuracy was not to be believed.
>Maria
They are my favorites, too. Did you know that Rita Streich was a pupil of Erna
Berger's.
-
Berger is the finest Gilda I have ever heard, and again displays a gorgeous
trill.
-
By the way, Berger made a stupendous recording of the aria "Martern aller
arten".
==G/P Dave
Shahrdad
OmbraRecds wrote in message
<19981021235231...@ng-ft1.aol.com>...
>Popp is it. They don't get any better.
Popp is wonderful, but I think Edda Moser is by far the most imposing and
intimidating of the Queens. Great hi F's too!
pierre...@gmail.com
> I am interested in different interpretations of, "O zitt're nicht," and,
> "Der Holle Rache," and would like opinions on the best recordings of various
> Queens on the basis of good technical precision and great personal
> interpretations and not so much on good conducting if the technique of the
> soprano is absent. I enjoy Sumi Jo, Lucia Popp, and Natalie Dessay; but I do
> wonder if there are more out there that can compare.
Diana Damrau is the best Queen of the night.... may be as good as Maria Callas
gggg...@gmail.com
> I am interested in different interpretations of, "O zitt're nicht," and,
> "Der Holle Rache," and would like opinions on the best recordings of various
> Queens on the basis of good technical precision and great personal
> interpretations and not so much on good conducting if the technique of the
> soprano is absent. I enjoy Sumi Jo, Lucia Popp, and Natalie Dessay; but I do
> wonder if there are more out there that can compare.
http://thumbs.ebaystatic.com/images/g/RacAAOSwXeJXc74u/s-l225.jpg
singe...@kdwelt.de
In more modern times I am with Moser, Gruberova, Popp (great but too Klemperer-slow-motion) - Deutekom would be a first choice, too, but I can't stand her yodelling in the coloraturas.
My best live experiences was Diana Damrau (fantastic: https://www.youtube.com/watch?v=dpVV9jShEzU or https://www.youtube.com/watch?v=M4zqPDNigrw or her debut in the role at Frankfurt https://www.youtube.com/watch?v=Fpl1evd-ZV0) followed by Natalie Dessay.
In the good old and musically much freer times: Selma Kurz (though she didn't record "Der Hölle Rache") and Frieda Hempel.
But the absolute crown I would give to Maria Galvany in 1908 - an interpretation never tried and equalled in her own way. A kind of professional Foster-Jenkins. You will find her on YouTube (https://www.youtube.com/watch?v=8wsR0uCzWaY)
And there is the 14 years old treble Robin Schlotz - a member of the Tölzer Sängerknaben who sings this admirably in the original key (https://www.youtube.com/watch?v=F9ijwfRTv0o). You will find there much more trebles but for me he is the best one.
Frank