Gerard Souzay
Milad Ershaghi
Reve" and "Tristesse" on London Records. I was just wondering if any
other tenors have recorded those songs, and if so, where could I
purchase a copy? Thanks
---
Milad Ershaghi
mi...@naftinc.com
http://www.naftinc.com/milad
Lars Henriksson
tell that he has worked on his lower register, to the extent that he almost
could be a bass-baritone.
I must say that I've never heard a tenor sing German Lieder or French
mélodies satisfactory. The best are still, I think, people with lower
voices such as Christa Ludwig among the women and Hans Hotter and
Fischer-Dieskau among the men.
bye,
Lars, Heldenbass
Milad Ershaghi <mi...@naftinc.com> skrev i inlägg
<3745702e....@news.earthlink.net>...
Jerel M. Zoltick
Wunderlich, Volker, Anders, Schmidt........
Jerel Zoltick
Lars Henriksson
but Wunderlich sings Lieder with his face "blank". No involvement, boring
interpretations, and even his lovely voice doesn't shine out as it does it
his operatic recordings.
That's my view,
Lars
Jerel M. Zoltick <je...@erols.com> skrev i inlägg
<7i41hi$i8s$1...@autumn.news.rcn.net>...
Milad Ershaghi
---
Milad Ershaghi
mi...@naftinc.com
http://www.naftinc.com/milad
MarioB
Benjamin Maso wrote in message <7i4n1d$27rl$2...@beast.euro.net>...
>I agree with your opinion about Wunderlich as a Lieder singer. Much better
>IMO is the Danish tenor Aksel Schiotz, whose Schoene Muellerin is my
>absolute favorite, although I also like the recordings by other tenors like
>Julius Patzak, Peter Anders and Ernst Haefliger.
>
I agree with Aksel Schotz and the Shoene Mullerin ,exceptional!.
I have a lovely LP with the tenor Ian Partridge singing French songs, Apres
un Reve among them. Worth listening.
About lieder singing and tenors at it, lets do not forget Richard Tauber. In
my opinion, one of the greatest Schumann - Schubert on record.
Mario Berschadsky MD
william d. kasimer
> I must say that I've never heard a tenor sing German Lieder or French
> mélodies satisfactory.
Have you heard Valletti? Or Simoneau's Duparc?
For the German Lied, others have suggested Anders - be sure to hear
his WINTERREISE that was recently issued by DG as part of their
Centenary series.
Bill
--
William D. Kasimer
wk...@mindspring.com
wk...@juno.com
william d. kasimer
> The best recording of these songs by a tenor is IMO by Camille Maurane. They
> have also been recorded by outstanding (light) baritons as Charles Panzera
> (in the 1930's) and Bernard Kruysen (in the 1960's.
Wasn't Maurane also a baritone, of the same type as Panzera and
Kruysen?
Divamanque (Evelyn Vogt Gamble)
Milad Ershaghi wrote:
> Then he has a pretty wide range for a baritone.
>
> ---
> Milad Ershaghi
> mi...@naftinc.com
> http://www.naftinc.com/milad
>
> On Fri, 21 May 1999 15:19:26 GMT, "Lars Henriksson"
> <agnetha.h...@swipnet.se> wrote:
>
> >Hello! Just for the record: Souzay's a baritone! On some recordings one can
> >tell that he has worked on his lower register, to the extent that he almost
> >could be a bass-baritone.
> >
> >I must say that I've never heard a tenor sing German Lieder or French
Divamanque (Evelyn Vogt Gamble)
Divamanque (Evelyn Vogt Gamble)
Mike Richter
effectively. He may have been competitive with DFD in the range of his
song repertoire and in the number of his recordings - unfortunately,
many are out of print and were never in wide circulation.
Great artists sing great music greatly. (See - I, too, can be profound.)
There have been excellent Lieder singers from high tenor (Karl Erb) to
basso (Alexander Kipnis), from light soprano (Elisabeth Schumann, Erna
Berger) to contralto (Ernestine Schumann-Heink, Marian Anderson). Many
have recorded the Faure, but whether you prefer Souzay's or not is a
matter of taste. You should check out Singher's reading of ''Apres un
reve'', then one of the sopranos - Teyte and even Pons are worth
hearing.
Mike
Milad Ershaghi wrote:
>
> I really like Gerard Souzay's recording of Gabriel Faure's "Apres un
> Reve" and "Tristesse" on London Records. I was just wondering if any
> other tenors have recorded those songs, and if so, where could I
> purchase a copy? Thanks
>
> ---
> Milad Ershaghi
> mi...@naftinc.com
> http://www.naftinc.com/milad
--
mric...@cpl.net
http://mrichter.simplenet.com
CD-R http://resource.simplenet.com
Benjamin Maso
have also been recorded by outstanding (light) baritons as Charles Panzera
(in the 1930's) and Bernard Kruysen (in the 1960's.
Benjo Maso
Milad Ershaghi wrote in message <3745702e....@news.earthlink.net>...
Benjamin Maso
IMO is the Danish tenor Aksel Schiotz, whose Schoene Muellerin is my
absolute favorite, although I also like the recordings by other tenors like
Julius Patzak, Peter Anders and Ernst Haefliger.
Benjo Maso
Lars Henriksson wrote in message
<01bea3bd$0ad17c40$97c6f482@preinstalledcom>...
Lars Henriksson
great musician.
The same goes for Ian Bostridge. Gramophone is nuts when having his
Müllerin and Dichterliebe as their number one recordings, with
Fischer-Dieskau, Goerne, Bär and Quasthoff around. It's just that they
think that these song cycles "cries out" for a tenor voice.
And they haven't even considered Peter Anders. I'm going to check him out
to-day at my local record store. He sings Winterreise in a recording from
1945.
Lars, "Divo"
Divamanque (Evelyn Vogt Gamble) <evg...@earthlink.net> skrev i inlägg
<37462E75...@earthlink.net>...
> Lars, you don't like Peter Schreier?
>
> Lars Henriksson wrote:
>
> > Hello! Just for the record: Souzay's a baritone! On some recordings one
can
> > tell that he has worked on his lower register, to the extent that he
almost
> > could be a bass-baritone.
> >
> > I must say that I've never heard a tenor sing German Lieder or French
> > mélodies satisfactory. The best are still, I think, people with lower
> > voices such as Christa Ludwig among the women and Hans Hotter and
> > Fischer-Dieskau among the men.
> >
> > bye,
> >
> > Lars, Heldenbass
> >
> > Milad Ershaghi <mi...@naftinc.com> skrev i inlägg
Milad Ershaghi
---
Milad Ershaghi
mi...@naftinc.com
http://www.naftinc.com/milad
On Fri, 21 May 1999 21:14:12 -0700, "Divamanque (Evelyn Vogt Gamble)"
<evg...@earthlink.net> wrote:
>Not really - just about normal for a TRAINED baritone, I'd say.
>
>Milad Ershaghi wrote:
>
>> Then he has a pretty wide range for a baritone.
>>
>> ---
>> Milad Ershaghi
>> mi...@naftinc.com
>> http://www.naftinc.com/milad
>>
>> On Fri, 21 May 1999 15:19:26 GMT, "Lars Henriksson"
Frank Schneiders
> Benjamin Maso wrote in message <7i4n1d$27rl$2...@beast.euro.net>...
> >I agree with your opinion about Wunderlich as a Lieder singer. Much better
> >IMO is the Danish tenor Aksel Schiotz, whose Schoene Muellerin is my
> >absolute favorite, although I also like the recordings by other tenors like
> >Julius Patzak, Peter Anders and Ernst Haefliger.
> >
>
> I agree with Aksel Schotz and the Shoene Mullerin ,exceptional!.
> I have a lovely LP with the tenor Ian Partridge singing French songs, Apres
> un Reve among them. Worth listening.
>
> About lieder singing and tenors at it, lets do not forget Richard Tauber. In
> my opinion, one of the greatest Schumann - Schubert on record.
>
> Mario Berschadsky MD
All these are strongly seconded. Schiotz is generally a fabulous Lied
singer. His Nielsen, Schumann, Brahms are among the best. I would add
Karl Erb from Germany, Carlo Bergonzi (and many others) for Italy and
Tosti, Kozlovsky, Lemeshev or Larin for Russia and Tschaikovsky
Rachmaninoff and many others, Cuenod for the French, Pears for the GB
and German songs
and Gedda for all.
Souzay had for some time one of the most beautiful baritone voices of
the century and his early Philips "Schoene Muellerin" recording has been
always one of my favourites as his Duparc, Ravel, Debussy and others in
French.
--
Frank
http://members.aol.com/schoen1a/welcome/home.html
Benjamin Maso
william d. kasimer wrote in message <37461685...@mindspring.com>...
>Benjamin Maso wrote:
>
>> The best recording of these songs by a tenor is IMO by Camille Maurane.
They
>> have also been recorded by outstanding (light) baritons as Charles
Panzera
>> (in the 1930's) and Bernard Kruysen (in the 1960's.
>
>Kruysen?
Yes, you're quite right of course.
Benjo
Enrique Eskenazi
<wk...@mindspring.com> wrote:
>Have you heard Valletti? Or Simoneau's Duparc?
>
I am very interested in Simoneau's Duparc. Could you post more details:
label, availability, etc?
Thanks
---
Enrique
eske...@mail.sendanet.es
Io chi sono? Eh, non lo so.
-Nol sapete?
Quasi no.
David Shengold
It's a marvelous recital of 14 songs, made in 1955 with Allan Rogers at the
piano, unfortunately in not very good sound on Voce della Luna . (VL2013-1)
Someone should really reissue it and do it right.
Berkshire Record Outlet has it for $5.99!!
http://www.berkshirerecoutlet.com/
David Shengold
----------
In article <7i6di6$svj$1...@diana.bcn.ttd.net>, "Enrique Eskenazi"
David Shengold
>I must say that I've never heard a tenor sing German Lieder or French
>mélodies satisfactory.
>Lars, Heldenbass
It kind of depends on the given lied or chanson, doesn't it? anyway, I like
Simoneau and Valletti in the latter and Rolfe Johnson, Pregardien (and
sometimes Schreier) in the former.
_David Shengold
Celia A. Sgroi
> I must say that I've never heard a tenor sing German Lieder or French
> milodies satisfactory. The best are still, I think, people with lower
> voices such as Christa Ludwig among the women and Hans Hotter and
> Fischer-Dieskau among the men.
I am also a devotee of lower-voiced singers in Lieder, but there are some
songs (or song cycles) that just cry out for a tenor voice, especially
Schubert's "Die schoene Muellerin." Among the historical singers, I
especially like Aksel Schiotz and Julius Patzak, and even though Peter
Anders strikes me as being a bit too operatic in scale, his "Winterreise"
is not to be missed. Among current tenors, I have become a big fan of
Peter Schreier in recent years (not a beautiful voice but an incredible
interpreter) and also recommend the young Lieder singers Christian Elsner
and Lothar Odinius. Pregardien and Bostridge leave me cold, I'm sorry to
say. But watch out for Christoph Genz, brother of baritone Stephan Genz.
Celia A. Sgroi
State University of New York
College at Oswego
sg...@oswego.edu
,
Notre Dame" (a poem by François Villon). Gérard Souzay is a baritone (he
played Golaud). I like him, but i prefer Camille Maurane or Charles Panzera
!
--
falchun...@wanadoo.fr
Milad Ershaghi <mi...@naftinc.com> a écrit dans le message :
3745702e....@news.earthlink.net...
Enrique Eskenazi
<shen...@pobox.upenn.edu> wrote:
>
>It's a marvelous recital of 14 songs, made in 1955 with Allan Rogers at the
>piano, unfortunately in not very good sound on Voce della Luna . (VL2013-1)
>Someone should really reissue it and do it right.
>
>Berkshire Record Outlet has it for $5.99!!
>
>http://www.berkshirerecoutlet.com/
>
Thank you David, I have just ordered it!
Best
Lars Henriksson
good, but loud at times and sometimes too operatic in character, as you
mentioned.
I cannot help but think that tenors like Schreier, Prégardien, Bostridge
and Odinius (whom I haven't heard in Lieder) possess very mediocre and dry,
indeed bland voices. Schreier's singing I can appreciate from time to time,
for the reasons you mentioned.
I forgot about Gedda: he might be the best of the tenors here (although I
haven't heard that much), and Jussi Björling's "An Sylvia" and Adelaide
etc. of course benefit from his splendour of tone.
Best wishes,
Lars
Celia A. Sgroi <sg...@news.oswego.edu> skrev i inlägg
<FC565...@oswego.Oswego.EDU>...
Lars Henriksson
ringing, penetrating voice, although his tempi were quirky on occasion and
he was a bit loud sometimes. His style was a shade too operatic though,
perhaps, and he forced his voice a bit in the climaxes.
But I do prefer him to Schreier, even though he's a more sensitive artist.
I like Patzak and Haefliger in opera and / or oratorio. I'll check them out
in Lieder too.
Schiotz I've never heard. I hate Danes (we all do; we've fought too many
wars with them). Just kidding...
Do you know if Helge Rosswaenge recorded Lieder?
Best,
Lars
Benjamin Maso <benj...@euronet.nl> skrev i inlägg
<7i4n1d$27rl$2...@beast.euro.net>...
> I agree with your opinion about Wunderlich as a Lieder singer. Much
better
> IMO is the Danish tenor Aksel Schiotz, whose Schoene Muellerin is my
> absolute favorite, although I also like the recordings by other tenors
like
> Julius Patzak, Peter Anders and Ernst Haefliger.
>
> Benjo Maso
>
> Lars Henriksson wrote in message
> <01bea3bd$0ad17c40$97c6f482@preinstalledcom>...
> >Ok, I've heard some good things about Anders. I'm going to check him
Lars Henriksson
very best in this repertoire. I listened to Anders' Winterreise to-day (the
1945 one). Very good, but somewhat loud and too "operatic" in character.
But I liked his penetrating voice for most of the time.
I've never heard Simoneau and Valletti. My knowledge of French singers is
poor. Rolfe Johnson and Prégardien leave me cold. Schreier's tone is dry,
but I appreciate his artistry, at least from time to time.
Best,
Lars
David Shengold <shen...@pobox.upenn.edu> skrev i inlägg
<7i6fto$j85$1...@netnews.upenn.edu>...
>I must say that I've never heard a tenor sing German Lieder or French
>mélodies satisfactory.
>Lars, Heldenbass
It kind of depends on the given lied or chanson, doesn't it? anyway, I like
Simoneau and Valletti in the latter and Rolfe Johnson, Pregardien (and
sometimes Schreier) in the former.
_David Shengold
----------
Ian Graham
<agnetha.h...@swipnet.se> writes
>I forgot about Gedda and Björling. They are good, if not perhaps at their
>very best in this repertoire. I listened to Anders' Winterreise to-day (the
>1945 one). Very good, but somewhat loud and too "operatic" in character.
>But I liked his penetrating voice for most of the time.
The "Winterreise" recorded by Peter Pears and Benjamin Britten is
remarkable. Not to everyone's tastes, I concede, but to me it is one of
the most intense interpretations of this most profound song-cycle.
IG
--
Ian Graham mailto:i...@robinsg.demon.co.uk
Benjamin Maso
Lars Henriksson wrote in message
>Hi Mr. Maso. I listened to Anders 1945 Wintereise to-day. Very good, a
>ringing, penetrating voice, although his tempi were quirky on occasion and
>he was a bit loud sometimes. His style was a shade too operatic though,
>perhaps, and he forced his voice a bit in the climaxes.
>
>But I do prefer him to Schreier, even though he's a more sensitive artist.
>
>I like Patzak and Haefliger in opera and / or oratorio. I'll check them out
>in Lieder too.
>
>Schiotz I've never heard. I hate Danes (we all do; we've fought too many
>wars with them). Just kidding...
>
>Do you know if Helge Rosswaenge recorded Lieder?
>
>Best,
>
>Lars
I'm glad you liked Anders. I agree he's a bit too operatic from time to
time. Aksel Schiotz on the other hand is a perfect Lieder sanger without any
of the theatrical habits most tenors have. So I hope you can forgive the
Danes, now that their country is so much smaller than yours, and try him
out. His Schoene Muellerin is almost perfect, better than his Dichterliebe.
And if your record dealer has a recording of "Comfort ye ... Every valley"
from Handel's Messiah (on Danacord or Pearl), don't miss it.
Haefliger had a rather dry voice, but his recordings of Schubert song
cycles are very good, especially his second Winterreise (with Joerg Ewald
Daehler). Patzak wasn't vocally very secure, but a very intelligent singer,
capable to make a virtue of his defects - listen for instance to the last
songs of Die Schoene Muellerin or to Schubert's Abschied (on Preiser). Karl
Erb was also one of the best Schubert singers of this century.
The only Lieder recorded by Helge Roswaenge I know are some songs of Hugo
Wolf (recorded during WW II) and a famous recording of Der Feuerreiter, made
for the Hugo Wolf Society (on EMI or Pearl).
best regards,
Benjo Maso
Divamanque (Evelyn Vogt Gamble)
Van Dam also did a very nice "Apres un reve" on his recital here in 1997.
Unfortunately, it's not among the few Faure songs on Vol 1 of the "Melodies
Francaise" pair of disks he recorded. I also like Souzay, who was, of
course, a master at French song literature. I once taped, side-by-side, Van
Dam and Souzay in Ravel - the "Don Quichote a Dulcinee" and the Greek folk
songs. Interesting to hear each one done in succession by two different
singers. Each had his own interpretation, equally valid, but in most cases
quite different from each other.
Evelyn
Divamanque (Evelyn Vogt Gamble)
can you??????
"Celia A. Sgroi" wrote:
> Lars Henriksson wrote:
>
> > I must say that I've never heard a tenor sing German Lieder or French
Mike Richter
treasure on LP) was ever reissued on CD. To my taste (I am not a
Francophone), they are as nearly ideal as any recording of melodies,
with just the right touch of poignancy in the sweetness.
Mike
Enrique Eskenazi wrote:
>
> In article <374615BB...@mindspring.com>, "william d. kasimer"
> <wk...@mindspring.com> wrote:
>
>
> >Have you heard Valletti? Or Simoneau's Duparc?
> >
>
> I am very interested in Simoneau's Duparc. Could you post more details:
> label, availability, etc?
> Thanks
> ---
> Enrique
> eske...@mail.sendanet.es
>
> Io chi sono? Eh, non lo so.
> -Nol sapete?
> Quasi no.
--
David Shengold
Je vous en prie!
I listened to it again today and the sound, while a bit boxy, is not so bad
as I had remembered-
certainly I hope my previous comments do not deter anyone from acquiring
this lovely record. I rank it with the Souzay Faure/Chaussson disc on Decca
as my favorite record of chansons.
David Shengold
----------
In article <7i6qmb$cfa$1...@diana.bcn.ttd.net>, "Enrique Eskenazi"
Mike Richter
Lars Henriksson wrote:
> I've never heard Simoneau and Valletti.
Simoneau and Valletti were lighter-voiced tenors. Each excelled in
Mozart; Simoneau was justly famous for his French roles and Valletti for
the comic Italian parts. Simoneau's performances of chansons and
melodies provides a modern reference point - and most people find his
tone particularly beautiful. Valletti was unusual among Italian singers
in that his performance of Lieder was recognized as excellent, though
his German pronunciation is not 'pure'. (That is not as serious a
problem among speakers of German as it is to Francophones.)
One more - even lighter and sweeter - needs to be mentioned: Georgy
Vinogradov. I shall try to put together a page with some of his Schubert
and Schumann at my WWW site so that others can enjoy his work.
Unfortunately (but typically for the era), he sings Lieder in Russian
translation.
Mike
P.Connolly
If you want to hear Rosvaenge in "Der Feuerreiter" without investing in the
other Wolf songs, it's on the free CD that comes with the June issue of
"Gramophone" magazine - it's electrifying!
Phil C.
Benjamin Maso wrote in message <7i75jg$1567$1...@beast.euro.net>...
Neville Frobisher
Haefliger. I'm afraid I cannot cite discography. If you like Mahler's Song
of the Earth try to find the recording Haefliger did with the magnificent
Nan Merriman. Shivers!
Lars Henriksson <agnetha.h...@swipnet.se> wrote in message
news:01bea486$e953aaa0$46f2f482@preinstalledcom...
> Dear Celia, I listened to Anders' Winterreise (1945) to-day. It was very
> good, but loud at times and sometimes too operatic in character, as you
> mentioned.
>
> I cannot help but think that tenors like Schreier, Prégardien, Bostridge
> and Odinius (whom I haven't heard in Lieder) possess very mediocre and
dry,
> indeed bland voices. Schreier's singing I can appreciate from time to
time,
> for the reasons you mentioned.
>
> I forgot about Gedda: he might be the best of the tenors here (although I
> haven't heard that much), and Jussi Björling's "An Sylvia" and Adelaide
> etc. of course benefit from his splendour of tone.
>
> Best wishes,
>
> Lars
>
> la...@hotmail.com
>
>
> Celia A. Sgroi <sg...@news.oswego.edu> skrev i inlägg
> <FC565...@oswego.Oswego.EDU>...
Edward A. Cowan
> The only Lieder recorded by Helge Roswaenge I know are some songs of Hugo
> Wolf (recorded during WW II) and a famous recording of Der Feuerreiter, made
> for the Hugo Wolf Society (on EMI or Pearl).
Roswaenge is also heard in the Acanta volume of songs by Edvard Grieg
(Acanta 23 559, two LPs), with, as usual, accompaniments by Michael
Raucheisen. The Danish tenor is heard in the following titles:
"Zwei braune Augen" (Op.5, no.1)
"Waldwanderung" (Op.18, no.1)
"Am schoensten Sommerabend war's" (Op.26, no.2)
"Mit einer Primula veris" (Op.26, no.4)
Other singers heard include Aulikki Rautawaara, Willi
Domgraf-Fassbaender (shades of the Fritz Busch _Figaro_ recording! <g>),
Margarete Klose, Erna Berger, Erna Sack, and Karl Schmitt-Walter. All
the songs are sung in German.
--E.A.C.
Celia A. Sgroi
> And I can't quite IMAGINE a man doing the Schumann "Frauenliebe und
> -leben", can you??????
I can't imagine any man being interested in singing it, frankly. Male
singers don't seem to yearn for the chance to sing "Du Ring an meinem
Finger" or celebrate having their first baby, and why should they, seeing
as they got all the really choice song cycles to start with. OTOH, it's
not surprising that females singers got tired of "Frauenliebe" and wanted
to poach on the men's preserves, albeit with mixed results. I think Lotte
Lehmann's "Winterreise" is one of the great recorded performances of the
cycle, and I greatly admired Brigitte Fassbaender's live "Winterreise,"
although not the recorded one so much, in large measure because Aribert
Reimann is not at his best in Schubert by any means.
Lars Henriksson
grand piano is the least impressive CD she has ever recorded? I adore her,
and consider her the best female Liedersinger ever, but this CD is quite
poor...
Bye,
Lars
Celia A. Sgroi <sg...@news.oswego.edu> skrev i inlägg
<FC73w...@oswego.Oswego.EDU>...
dtritter
janacek's "diary of one who vanished." i also recall his tamino in
chicago during the '60's with some pleasure.
dft
Divamanque (Evelyn Vogt Gamble)
song literature.) That's the Vol 1 - vol 2 didn't stay around very long, if it
ever came out in the U.S. (that's why I brought it back from Vienna) it has
songs by Saint-Saens, Massenet and Gounod. He has done a later recording of
"Nuits d'Ete" with orchestra, which also includes Frank Martin's Pagan Poems for
Baritone and orchestra (I'm too lazy to go look up the French title right now).
That's nice, too, but for the full flavor if his French chansons, the one with
Collard on piano is excellent. He also did a disk of the complete Duparc songs,
although it is marred, for me, by having two of them done by a rather nothing
soprano named Florence Bonnafous, and one as a (rather contrived) "duet" with
her. I shared them with a friend, whose reaction to the soprano was "WHY?
Student? Wife's niece? Mistress?" which pretty much indicates the quality of
the voice. Of course, the Duparc was apparently a pet project of Van Dam's, so
perhaps we could add "producer's daughter" to the above list.
Robin Goh wrote:
> I think I saw Van Dam's Melodies Francaises disc on EMI at Tower. Is it
> worth getting at mid-price? He does Les Nuit d'Etes!
>
> Divamanque (Evelyn Vogt Gamble) wrote in message
> <3747221A...@earthlink.net>...
Robin Goh
Edward A. Cowan
> I think I saw Van Dam's Melodies Francaises disc on EMI at Tower. Is it
> worth getting at mid-price? He does Les Nuit d'Etes!
EMI CDC 7 49288 2
Yes, it's well worth getting, but not especially for the Berlioz, at
it's piano-accompanied, not orchestrally. More interesting (to me) are
the items by Poulenc and Ropartz. FWIW, the booklet does contain texts
and translations.
--E.A.C.
Edward A. Cowan
> And I can't quite IMAGINE a man doing the Schumann "Frauenliebe und -leben",
> can you??????
No, although I'm told that baritone Martial Singher once told Lotte
Lehmann that, should she ever again record "Winterreise," he, Singher,
would record "Frauenliebe".
--E.A.C. (noting that Alexander Kipnis did record Brahms' "Immer leiser
wird mein Schlummer," a woman's song...)
Tom Silverwood
and continues to give pleasure.
Tom
dtritter wrote in message <374883E9...@bway.net>...
Wj598
>and Lothar Odinius. Pregardien and Bostridge leave me cold, I'm sorry to
>say. But watch out for Christoph Genz, brother of baritone Stephan Genz.
>
Guten Tag!
For my taste Pregardien and Bostridge are very good singers of Lieder. Of
course I have to understand/accept that your criteria (I mean people whose
"motherlanguage" is NOT German) is different. "Belcanto" as the priority in
singing Lieder and not the text/words first are the wrong way of singing Lieder
(not only for "German" ears.
You mentioned the Genz brothers, I didn`t hear them live so far. I would like
to mention an other important young German tenor whose part in "das Lied von
der Erde" was a sensation (the chamber music version of das Lied v.d. Erde):
Endrik Wottrich, born in Celle (south of Hamburg) in 1964. Tonight I heard his
"Hoffegut" (Good Hope") in Braunfels Opera "die Vögel" (The Birds). Hellen
Kwon, Wolfgang Holzmyr and (my favorit) Matthias Görne singing too (conductor
Lothar Zagrosek (the GMD of the Opera House in Stuttgart / he is THE conductor
of the Decca series "Entartete Musik")
Best..................wolf(j)
di2...@my-dejanews.com
sg...@news.oswego.edu (Celia A. Sgroi) wrote:
> Lars Henriksson wrote:
>
> > I must say that I've never heard a tenor sing German Lieder or
French
> > milodies satisfactory. The best are still, I think, people with
lower
> > voices such as Christa Ludwig among the women and Hans Hotter and
> > Fischer-Dieskau among the men.
>
magnificent artists.
Daniel
--== Sent via Deja.com http://www.deja.com/ ==--
---Share what you know. Learn what you don't.---
di2...@my-dejanews.com
"Divamanque (Evelyn Vogt Gamble)" <evg...@earthlink.net> wrote:
> And I can't quite IMAGINE a man doing the Schumann "Frauenliebe und
-leben",
> can you??????
>
Celia A. Sgroi
> In article <3747235D...@earthlink.net>,
> "Divamanque (Evelyn Vogt Gamble)" <evg...@earthlink.net> wrote:
> > And I can't quite IMAGINE a man doing the Schumann "Frauenliebe und
> -leben",
> > can you??????
> >
> As for a woman singing "Dichterliebe".
Actually, it's a lot easier to accept a female singer in "Dichterliebe"
because even though the persona is a male, the situation and the emotions
could apply to either a male or a female. It's the same with
"Winterreise." OTOH, "Die schoene Muellerin" is a real problem, IMHO,
because it tells a story with distinct male and female characters, and I
find it just a bit too alienating to have it sung by a female singer.
Let's face it: A lot of our comfort with these role reversals has to do
with what we're accustomed to. Women have sung Mahler's "Lieder eines
fahrenden Gesellen," "Kindertotenlieder," and the low-voice part of "Das
Lied von der Erde" from the very beginning, even though in each case the
speaker or persona is a male. How many people object to this?
BTW, another "male" cycle that works very well with a female singer is
Brahms' "Die schoene Magelone."
Shaw Thompson
recital from the Salzburg festival is exquisite.
Shaw in SC
tlst...@tpgi.com.au
> sg...@news.oswego.edu (Celia A. Sgroi) wrote:
> > Lars Henriksson wrote:
> >
> > > I must say that I've never heard a tenor sing German Lieder or
> French
> > > milodies satisfactory. The best are still, I think, people with
> lower
> > > voices such as Christa Ludwig among the women and Hans Hotter and
> > > Fischer-Dieskau among the men.
> >
Then you should listen to recordings of Peter Pears, Fritz Wunderlich, Ian
Bostridge, Peter Schreier, Christoph Prégardien, Josef Protschka or
Richard Tauber for lieder. All wonderful, IMHO. Can't help you with the
French repertoire though. Much less often recorded.
--
Cheers!
Terry
pin...@my-deja.com
Is there any INTEGRITY left?
From 5/27/99's New York Times:
Pop goes the Met on Sept. 9, when the 16th annual MTV
Video Music Awards are bestowed at the Metropolitan
Opera House. The announcement yesterday of the
ceremonies in New York after a year in Los Angeles was
accompanied by statements of welcome from Mayor Rudolph
W. Giuliani and delight from Joseph Volpe, general
manager of the Met. Judy McGrath, president of MTV,
said: "This is the first time that an awards show will
be broadcast from the Met. The juxtaposition of an
unpredictable rock-and-roll event at one of the world's
greatest opera houses will no doubt make for an amazing
show."
---------------
Someone around here thought that "civilization as we
know it" ended not long ago (something about Aretha
Franklin). But that was just a preview. The real
date is September 9, 1999.
Gabriel Bocanegra
Boston
dtritter
when lucky strike's "your hit parade" came to Carnegie Hall more than a
half century ago, it was also the end of civilization, save for the
unexpected rising of the sun the following morning, and such classical
artists as frank sinatra and judy garland and others likewise appearing
in the hallowed hall.
the met gets a few bucks [very few] from government sources. it plays
about 225 times furing the year in its own hall. it sells souvenirs,
sells tickets and gives charitable events on the premises. it takes in
most of its revenue from nice folks who give their tax deductible gifts,
and if the dough is enough, get their names attached to programs,
productions, sometimes walls or seats, even a plaque. it may have
escaped your attention, but the joint is also a 4-walls rental operation
on dates when its primary tenant is not in business, e.g., the means of
outsiders putting on seasons of ballet and other opera, such as the ABT
or the Kirov Opera, and other events. it's my guess that MTV is plunking
down a hell of a lot of dough for the privilege of its evening of
trash, and the host...incidentally, not the Met, but Lincoln Center for
the Performing Arts, a corollary associate of the City of New York, sees
a much larger benefit than whether a few rmo ascetics think the world is
about to come to an end.
[by the way, this ought to please the posters here who think that
bocelli is making new opera fans....in fact, he's probably making no
more than is mtv, e.g., none.]
what do you think that consuelo vanderbilt would think about the common
herd that traipses through her "cottage," the breakers, in newport,
every summer for several decades?
all this reminds me of the story of oscar and june levant, invited by
then president harry s. truman to lunch at the white house, where all
proceeded nicely, right down to oscar's exit, walking down the walk to
the gate, where he turned to his wife and said, "gee, now we'll have to
have them over too."
dft
[did i understand that the guest of honor will be cheryl studer?]
dtritter
james jorden
(as reported, of course, in PARTERRE BOX), the Met is just renting them
the hall, for a very nice chunk of change. He pointed out that Judy
Garland played the old Met and that Robin Williams has done a
one-nighter in the new house.
If you hate pop or hip-hop or whatever, you don't have to watch the
show. But don't accuse the Met of "promoting" something that is not to
your taste. Believe me, most of what they present in the field of opera
makes me squirm, too. But you don't hear me complaining, do you?
(Well, yes, you do, but that's just the point.)
pin...@my-deja.com wrote:
> Is this a case of SHAMELESS PANDERING or what?
> Is there any INTEGRITY left?
--
james jorden
jjo...@ix.netcom.com
AOL IM -- jjnycity
http://www.parterre.com
"I understand that sometimes you have to bite the bullet.
But I do not intend to eat the whole rifle."
-- Keanu Reeves
David Shengold
Ah, a *true* snob.
What does this have to do with "integrity"? Will the presence of popular
singers on the Met stage
(hardly a first) somehow discredit the hall? More than its continuing
occupation by Zeffirelli productions?
David Shengold
----------
In article <7ik0g6$q9$1...@nnrp1.deja.com>, pin...@my-deja.com wrote:
>Is this a case of SHAMELESS PANDERING or what?
>Is there any INTEGRITY left?
>From 5/27/99's New York Times:
>Pop goes the Met on Sept. 9, when the 16th annual MTV
>Video Music Awards are bestowed at the Metropolitan
>Opera House. The announcement yesterday of the
>ceremonies in New York after a year in Los Angeles was
>accompanied by statements of welcome from Mayor Rudolph
>W. Giuliani and delight from Joseph Volpe, general
>manager of the Met. Judy McGrath, president of MTV,
>said: "This is the first time that an awards show will
>be broadcast from the Met. The juxtaposition of an
>unpredictable rock-and-roll event at one of the world's
>greatest opera houses will no doubt make for an amazing
>show."
Matthew B. Tepper
what I'm pondering as follows...
>
> Is this a case of SHAMELESS PANDERING or what?
> Is there any INTEGRITY left?
>
> From 5/27/99's New York Times:
>
> Pop goes the Met on Sept. 9, when the 16th annual MTV
> Video Music Awards are bestowed at the Metropolitan
> Opera House. The announcement yesterday of the
> ceremonies in New York after a year in Los Angeles was
> accompanied by statements of welcome from Mayor Rudolph
> W. Giuliani and delight from Joseph Volpe, general
> manager of the Met. Judy McGrath, president of MTV,
> said: "This is the first time that an awards show will
> be broadcast from the Met. The juxtaposition of an
> unpredictable rock-and-roll event at one of the world's
> greatest opera houses will no doubt make for an amazing
> show."
>
>
> Someone around here thought that "civilization as we
> know it" ended not long ago (something about Aretha
> Franklin). But that was just a preview. The real
> date is September 9, 1999.
>
> Gabriel Bocanegra
Let's implement the Boulez Imperative during the proceedings.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://www.deltanet.com/~ducky/index.htm
My main music page --- http://www.deltanet.com/~ducky/berlioz.htm
And my science fiction club's home page --- http://www.lasfs.org/
To write to me, do for my address what Androcles did for the lion
La Aria
>Is there any INTEGRITY left?
I don't understand what this has to do with integrity. MTV is renting the
theater. The Met isn't really involved except that they're renting out their
theater. What does this have to do with Opera? Is MTV really considered so
evil that opera lovers feel the house will be tainted by having had pop, and
r&b musicians in it for one night?
Always,
Melissa
NY, NY
Work is what you do for others. Art is what you do for yourself.
-Stephen Sondheim
can...@webtv.net
The John Curry Ice dancing company appeared one summer around 1978.
They also used to rent the house for private parties on off-nites in the
summer -i'm not sure if they still do this. It was mostly suits who
attended those "affairs" :)
BTW on t'other side of lincoln plaza, the NY State Theater hosted the
"Americans for the Arts" annual gala last monday, it was quite a
drop-dead affair i hear with decor by R. Isabell and Glorious Food doing
the catering. Hilary Clinton - potential regina di opera assoluta di
new york? - was one of the honorees. Party on lincoln center!
Snide76258
literature is originally for high voice. Of course, transposition in song is
accepted much moreso than in opera. (Although not by everyone.)
In some cases, a work is so well known in the transposed edition, that it often
comes as a shock to hear it in the original key! A good case in point is
Schumann's Dichterliebe where the most famous recordings are probably those by
baritones. Unfortunately, the transposed edition completely destroys Schumann's
intricate key relationships.
BTW, in case anyone thinks that the transposition issue is outside the realm of
opera, let me just say that I twice have been involved in operas where a singer
wanted to sing an aria in the original key that was traditionally transposed,
and it was quite difficult to find the orchestra parts in those keys! (They
were, btw, "La Calunnia" from Barber of Seville, and "Tu che a Dio" from Lucia.
Both traditionally transposed down.)
-Jeff Snider (a baritone, as it happens, who tries to do things in the original
keys...)
Jeffrey Snider, DMA
Associate Professor
Vocal Studies Division
College of Music
University of North Texas
Denton, TX 76203
Ivrys88
>In some cases, a work is so well known in the transposed edition, that it
often
>comes as a shock to hear it in the original key! A good case in point is
>Schumann's Dichterliebe where the most famous recordings are probably those by
>baritones. Unfortunately, the transposed edition completely destroys
Schumann's
>intricate key relationships.
Yes, such cycles (Frauenliebe und Leben is another example), if transposed,
should have every song transposed by the same interval, ideally. Often singers,
dare I say it? :-), are more concerned with vocal comfort than with "intricate
key relationships."
Divamanque (Evelyn Vogt Gamble)
by only two entities - the L. A. Philharmonic and the Los Angeles Opera.
However, I recall it's being rented out for other things as well - the
"Oscars", for example (until the parking hassles proved too much, and they
moved back to the much larger Shrine Auditorium - where parking may still be
a problem, but not one shared by three performing venues at once.)
If the promised and much postponed Disney Hall ever gets built, the
Philharmonic will be moving there, leaving the Opera Co. as sole "major"
tenant of Chandler. There are, of course, plans afoot to expand the opera
season considerably, but even so, there will be more need for rentals to
pick up the slack. All the theaters in the complex belong to something
called the "Music Center Operating Company", and they ain't in business for
their health - they expect to make money from rents, and money from
something like MTV is the same color as anyone else's.
Evelyn
james jorden wrote:
> As Joe Volpe pointed out to the patrons in a meeting a couple months ago
> (as reported, of course, in PARTERRE BOX), the Met is just renting them
> the hall, for a very nice chunk of change. He pointed out that Judy
> Garland played the old Met and that Robin Williams has done a
> one-nighter in the new house.
>
> If you hate pop or hip-hop or whatever, you don't have to watch the
> show. But don't accuse the Met of "promoting" something that is not to
> your taste. Believe me, most of what they present in the field of opera
> makes me squirm, too. But you don't hear me complaining, do you?
> (Well, yes, you do, but that's just the point.)
> pin...@my-deja.com wrote:
>
> > Is this a case of SHAMELESS PANDERING or what?
> > Is there any INTEGRITY left?
>
Brian Newhouse
snide...@aol.com (Snide76258) wrote:
"One problem with lower voices in the song literature is that so much of the
"literature is originally for high voice. Of course, transposition in song is
"accepted much moreso than in opera. (Although not by everyone.)
"
[snip to save screen space]
I've always wondered about why so many songs were published originally for
high voice. Saleability?
And given that the nineteenth-century song market was principally
domestic, it's not surprising that transposition to whatever key the
singer feels comfortable in would be so much more readily accepted (as
well as more feasible than in opera, in which there are so many more
musicians to coordinate). I wonder, by the way, when both "high voice"
and "low voice" editions of songs of Schubert, Schumann, Franz, Loewe,
Brahms, usw. began to be published, and if the composers themselves
authorized the transposed editions. Fairly early in the century, I
reckon...
Given that Michael Vogl, the singer who most championed Schubert's songs
in his lifetime and IIRC the singer for whom *Winterreise* was written,
was a bass-baritone, I wonder how important it is for a singer to perform
a Schubert song or song cycle in the original key to be considered an
"authentic" or "correct" performer of that song. (This is a different
question than the one of transposing songs _within_ a cycle at different
pitch levels according to the comfort of the singer. A cycle itself is as
much a work as a single song, albeit one made up of smaller works. A
transposition of an entire cycle by the same interval, retaining the
original tonal relationships except at a different pitch level, strikes me
asjust as valid as the transposition of a single song _not_ being
performerd as part of a cycle.)
--
Brian Newhouse
newh...@newton.crisp.net
gggg...@gmail.com
> I really like Gerard Souzay's recording of Gabriel Faure's "Apres un
> Reve" and "Tristesse" on London Records. I was just wondering if any
> other tenors have recorded those songs, and if so, where could I
> purchase a copy? Thanks
>
> ---
> Milad Ershaghi
> mi...@naftinc.com
> http://www.naftinc.com/milad
The following recent article reminds us that he and Ameling recorded all of Faure's melodies:
http://www.classical-music.com/article/five-essential-works-faur
Stativ 35 Jean
> Reve" and "Tristesse" on London Records. I was just wondering if any
> other tenors have recorded those songs, and if so, where could I
> purchase a copy? Thanks
>
> ---
> Milad Ershaghi
> mi...@naftinc.com
> http://www.naftinc.com/milad