My first Topic in this forum is to ask about the record of Macbeth with Nilsson ,and I didn't register in for long time.When I returned, I didn't think that you remembered me ,and contributed to my topic.Thank you very much....I am just a little boy in a country where people don't like classical music.I'm very lonely and don't have any friends.I want you to become my best friends....
I have some questions about opera,please help me...
1. Who is the Callas of 18th century and 19th century?
2.Please show me some great records of Symphony no.3 by Gorecki with legend sopranos.
3.some websites about Renata Tebaldi which include some Mp3 files
4.please tell me why the position of Tebaldi in the list of 20 top sopranos is .....?????
(I love our forum)
I wish I could answer your questions about operas but sopranos are not my favourite people. To make it even more difficult, I consider Gorecki's No. 3 more hype than substance and listened to it only once. The one about Tebaldi and Mp3 files makes me admit I have no idea about Mp3 or any of the other newfangled downloading media. I buy my CDs and DVDs. Your No. 4 question can not be answered because evaluating any singer, or artist, is simply a matter of personal taste.
I tried, didn't leave your post unanswered. Maybe you can come back with easier ones, or simply your post expressing your opinion of this or that artist! :)
Quote from: wagnernn on October 03, 2007, 06:57:01 PM
2.Please show me some great records of Symphony no.3 by Gorecki with legend sopranos.
Gorecki 3rd was written some 10-15 years ago (I think) so none of the sopranos usualy labeled as legendary recorded it (Callas, Tebaldi...)
There is maybe half a dozen recordings of that piece by sopranos as Dawn Upshaw, Zofia Kilanowisz, Stefania Woytowicz and few more. Could any of them be called legend I have no idea (the most famous is probably Upshaw). Which of the recordings is great I don't know.
Quote from: wagnernn on October 03, 2007, 06:57:01 PM
3.some websites about Renata Tebaldi which include some Mp3 files
Here is one I found googling, there has to be more
http://www.geocities.com/renatatebaldi/clips.htm (http://www.geocities.com/renatatebaldi/clips.htm)
For answering No.1 and 4 someone with much more knowledge is needed
please give me some informations about the soprano Maria Stader,
I've listened to the Verdi's Requiem and Bach 's Mass in B minor with her strong and elegant voice,so I decided to find some operas,but there are very few (just some Mozart works).Can you tell me why ?
I have only heard her one time. She was singing a Mozart Mass; it was very beautiful. Go to amazon.com and search on
music Maria Stader
Quote from: wagnernn on October 03, 2007, 06:57:01 PM
I am just a little boy in a country where people don't like classical music.
Sorry,I can't believe this.
Stefania Woytowicz was definitely a great singer . Ca 1965 - 1975 (I think) she was something like a muse to contemporary (Polish) composers - esp. Penderecki.
A strong voice with a unique timbre. Not everybody liked it - of course ( a somewhat smokey,husky quality).
She can also be heard in a BBC recording of Britten's War Requiem and a classic performance of Szymanowski's Stabat Mater and Symphony nr 3 "Song of the night".
I have heard her Gorecki 3rd on radio ( very good :idiomatic) - but do not own the recording.
Pjme and Anne:thank you very much!!!
and Muriel,why don't you believe me? ...
Quote from: Muriel on October 07, 2007, 05:55:19 PM
Sorry,I can't believe this.
Dear muriel, lets first ask him were he lives, maybe behind the rainbow? :)
OK,I'm ten years old and I live in Vietnam.Do you know how many people in Vietnam listen to classical music?
Under 500 people!!!!!(40% of them just listen to semi-classical).And in my city,a lagre and modern oneof the South Vietnam,I'm sure that there must be under 3 people who listen to this music....
Please give me some information about the soprano Luisa Tetrazzini.Do you think she is the greatest Anna from La Sonnambula?
And who do you think to be the greatest Rusalka (Fleming,Benakova,...)?
Quote from: wagnernn on October 27, 2007, 09:52:42 PM
Please give me some information about the soprano Luisa Tetrazzini.Do you think she is the greatest Anna from La Sonnambula?
Now you're reaching way back! As I recall, Tetrazzini was a contemporary of Caruso, and perhaps debuted even earlier than he did. By reputation, she was matchless in Verdi, but I've never heard any recordings.
Some of my favorite sopranos:
Roberta Peters: coloratura with depth
Kirsten Flagstad: the ultimate Brunnhilde
Birgit Nilsson: " " Isolde
Leontyne Price: dark and smoky and so passionate
Beverly Sills (of course)
Lucia Popp: clear and effortless, almost the opposite of Ms. Price
Galina Vishnevskaya: edgy, "too much" vibrato, but an awesome vocal actress
Emma Kirkby: quicksilver is the only word to describe her HIP voice
Quote from: jochanaan on October 28, 2007, 04:52:59 PM
Now you're reaching way back! As I recall, Tetrazzini was a contemporary of Caruso, and perhaps debuted even earlier than he did. By reputation, she was matchless in Verdi, but I've never heard any recordings.
Some of my favorite sopranos:
Roberta Peters: coloratura with depth
Kirsten Flagstad: the ultimate Brunnhilde
Birgit Nilsson: " " Isolde
Leontyne Price: dark and smoky and so passionate
Beverly Sills (of course)
Lucia Popp: clear and effortless, almost the opposite of Ms. Price
Galina Vishnevskaya: edgy, "too much" vibrato, but an awesome vocal actress
Emma Kirkby: quicksilver is the only word to describe her HIP voice
I love all these voices,Vishnevskaya is just as you describe.I had to go and look through my LPs to see if I still had that recording from the 60's was is? Her Song to the Moon gave me shivers up my spine.
If there are Tetrezzini recordings I don't think they would be a good representation of her voice.The Caruso recordings are pretty rough.
Quote from: jochanaan on October 28, 2007, 04:52:59 PM
Emma Kirkby: quicksilver is the only word to describe her HIP voice
Good choice my friend. :)
Quote from: Muriel on October 29, 2007, 08:45:30 AM
...Vishnevskaya is just as you describe.I had to go and look through my LPs to see if I still had that recording from the 60's was is? Her Song to the Moon gave me shivers up my spine.
Be sure to check out her Shostakovich 14th Symphony, with Mark Reshetin, bass, and Mstislav Rostropovich leading members of the Moscow Philharmonic. Hot, hot, hot! :D
I've just bought 4 Cds of Hallstein
http://www.amazon.com/Hallstein-performs-Chopin-Strauss-Germany/dp/B0009F2FJA/ref=sr_1_1?ie=UTF8&s=music&qid=1195823586&sr=1-1
Can you tell me more about this soprano.I really love her voice.However,there is no any video in Youtube :-X
I don't know if you read any German,but I found some information on Wikipedia. http://de.wikipedia.org/wiki/Ingeborg_Hallstein
I remember the name of Ingeborg Hallstein well : a "classic" German (coloratura)soprano with an almost flawless career. She sang under famous conductors, but never made it to stellar status,I'm afraid.
Her repertoire was typical for her type of voice ( Mozart, some Verdi and Rossini...). However, I remember her mainly as an operetta singer who was quite popular on German TV in the 1960-1970ies....( cfr. Anneliese Rothenberger, Margit Schramm etc)
Peter
Did she have any record of ''Four last songs'' or ''Kindertotenlieder''?
Quote from: wagnernn on November 23, 2007, 05:40:46 PM
Did she have any record of ''Four last songs'' or ''Kindertotenlieder''?
If Ms. Hallstein was a coloratura, I doubt she ever performed those. The Four Last Songs are for dramatic soprano, while the Kindertotenlieder are for mezzo.
BTW, if you're looking for a good Kindertotenlieder, you can't go wrong with the Janet Baker/John Barbirolli set. Dame Baker was matchless in Mahler, and Barbirolli is with her all the way. She has also done at least a couple of superb recordings of Das Lied von der Erde. :D
Hi, here you will find more info on Mrs. Hallstein!
http://groups.msn.com/coloraturasopranos/ingeborghallstein.msnw
Hallstein is one of the greatest and most underappreciated of the German coloratura sopranos of the 20th century. She studied with her mother, Elisabeth Hallstein, and debuted as Musetta at Passau in 1956. From 1958 to 1959, she was a member of the ensemble of the opera in Basel (Switzerland). In 1959, she debuted at the Gärtnerplatztheater Munich as Harriet in Millocker's operetta Der Armer Jonathan and created a sensation. That year she also debuted at the Bavarian State Opera, Munich, where she became a member of the ensemble in 1961, and a Kammersingerin in 1968. From 1960, she was a regular guest to the Salzburg Festival, where she sang in Mozart operas (Rosina, Konstanze, Zaide), in the world premiere of Henze's Die Bassariden in 1966, and in matinee concerts and lieder recitals. She was also a guest artist at some of the great opera houses of the world including the Covent Garden, Vienna State Opera, Teatro Colón (Buenos Aires), and the opera houses of Amsterdam, Brussels, Cologne, Copenhague, Dresden, Frankfurt, Geneva, Hamburg, Karlsruhe, Kassel, Mannheim, Montreal, Ottawa, Paris, Rom, Stockholm, Stuttgart, Venice, and Zurich. She appeared in numerous TV operetta broadcasts which made her very popular in Germany. Since 1981, she has taught at the Würzburg conservatory.
She is a secret treasure among record collectors, especially "high-note lovers." Hallstein made many records of arias, waltzes, bird songs, lieder, operetta, and musical comedy. She is primarily remembered as an operetta specialist, but she had the chops--as they say--for important music. Her most famous (and first) recording was Marczelline in Fidelio under Klemperer -- considered to be one of the great opera recordings of all time. Among the dozens of roles in her repertoire, she sailed through Mozart's demanding Die Zauberflote and Die Entfuhrung aus dem Serail, as well as his most extraordinary concert arias, and presented some difficult modern works by Henze, Egk, Milhaud, Fortner, Bennet, and Bialas (many of these were world premieres). Her vocal range was beyond extensive -- she was an "acuto sfogato" soprano, which is the highest type of coloratura soprano with access to notes in the whistle register above High F. She sings G's and G-sharps in a few of her records from the studio--but even more amazing is that she included these super high notes in some of her live performaces as well (they can be heard in hard-to-find private recordings or broadcast documents). Her tone was airy, light, and spinning, her technique was nearly flawless and always accurate, and her sense of style was uncommonly charming. A wonderful, unique, beautiful artist.
Please visit the Hallstein Discography page. I noted which items I have, and I items I don't. [Always looking for those items I don't have...]
Below are some pictures of Hallstein from my collection or that I've garnered off the web.
There are pictures of many of her great album covers on a separate page.
Enjoy! Peter
I've read that Hallstein can sing very high notes like Robin and Sack.So,what's this performamce?
Quote from: Harry on October 29, 2007, 10:03:36 AM
"Emma Kirkby: quicksilver is the only word to describe her HIP voice."
Good choice my friend. :)
Harry, so you like at least ONE soprano???
Wagnernn, We have some friends in the Philippines. The classical scene is pretty grim there. Even getting internet connections in outlying areas is difficult.
Did you say 18th & 19th century? Adelina Patti comes to mind who lived and debuted in New York. Verdi admired her artistry very much. One of the first Leonore's, Schroeder-Devrient allegedy met Beethoven himself. And then there was the Swedish nightingale, Jenny Lind. She and Patti racked up quite a lot of money in performance fees.
The Garcia family produced remarkable singers, The pater familias, Manuel, born 1775 had two accomplished daughters: Maria Malibran and Pauline Viardot. His namesake son became a famous singing teacher. Only through the oral tradition of teacher to pupil can we get an idea (however faint) of how the great singers of the past may have sounded.
ZB
Quote from: zamyrabyrd on November 27, 2007, 08:06:41 AM
Did you say 18th & 19th century? Adelina Patti comes to mind who lived and debuted in New York. Verdi admired her artistry very much. One of the first Leonore's, Schroeder-Devrient allegedy met Beethoven himself. And then there was the Swedish nightingale, Jenny Lind. She and Patti racked up quite a lot of money in performance fees.
The Garcia family produced remarkable singers, The pater familias, Manuel, born 1775 had two accomplished daughters: Maria Malibran and Pauline Viardot. His namesake son became a famous singing teacher. Only through the oral tradition of teacher to pupil can we get an idea (however faint) of how the great singers of the past may have sounded.
ZB
And let's not forget Giuditta Pasta (1797 -1865), for whom Bellini wrote
Norma,
Beatrice di Tenda and
La Sonnambula, and Donizetti
Anna Bolena. Even at the height of her powers (echoes of Callas here), her voice was not equal throughout its range, but she was renowned for her dramatic interpretation and the poignancy of her singing.
The Spanish soprano Isabella Colbran (1785 - 1845) married Rossini, and he wrote
Elisabetta, Regina d'Inghilterra for her. Considered the greatest dramatic coloratura of her day, she also created the leading soprano roles in
Otello,
Armida,
La Donna del Lago,
Mose,
Semiramide and
Maometto II.
There were also the Grisi sisters. Giuditta (1805 - 1840) created Faliero in Rossini's
Bianca e Falliero and also created the role of Romeo in Bellini's
I Capuletti e i Montecchi, but she was somewhat overshadowed by her sister Giulia (1800 -1869), who created Adalgisa in
Norma, later singing the title role, though with less success, according to contemporary reviews. She created Elvira in
I Puritani and Norina in
Don Pasquale.
It is interesting to note that, when
Norma was first performed, the role of Adalgisa went to a lighter voiced soprano, rather than the mezzo we usually hear today. What a shame nobody thought of pairing Callas and Sutherland in the mid to late 1950s. As Callas has often been compared to Pasta and Sutherland to Grisi, it might have brought us closer to Bellini's original intentions.
Do you think Hallstein is a famous soprano? I find that she has a beautiful voice with perfect vocal technique:she sings the high notes (for example in Lieder der Nachtigall by Grothe) easily and brilliantly with all of her passions.Her voice is no doubt a best combination of the voices of Sutherland,Schwarzkopf and even Mado Robin!
wagnernn, I had never heard of Ms. Hallstein, and I consider myself reasonably musically aware. From the comments here, it sounds as if she was a connoisseur's coloratura, the sort of person known to relatively few but adored by those few. Not "famous," but better than famous. 8)
I've got a question about Benakova.Did she sing any role in French or German operas?
Quote from: wagnernn on December 10, 2007, 03:32:35 PM
I've got a question about Benakova.Did she sing any role in French or German operas?
Yes. There are DVDs available of her as Leonore in
Fidelio (Covent Garden) and Marguerite in
Faust (Vienna State Opera). She's also the Leonore in Mackerras's Telarc recording of
Fidelio. She sang Leonore at the Met as well.
Quote from: wagnernn on October 27, 2007, 09:52:42 PM
And who do you think to be the greatest Rusalka (Fleming,Benakova,...)?
I would like to reiterate the question; somehow it went unnoticed back then. So, any suggestions for Rusalka? I have the Cerninkova/Erede recording but I'd also like a rendition in less dated sound.