Anna Netrebko - Wagner: Tristan und Isolde: Mild und Leise (Liebestod)
Vložit
- čas přidán 4. 09. 2024
- In the composer’s opera on the Arthurian tale of Tristan and Isolde, death is explicitly twinned with love, and the guiding themes of this recording come together in a piece whose very name combines the two concepts, the rapturous “Liebestod” (Love- Death), Isolde’s outpouring of love as she sinks lifeless on the body of the dead Tristan. Recording this aria for her latest Album “amata dalle tenebre” was, in the Anna Netrebko's words, “one of the happiest moments for me as a musician. I was flying when I was recording that, blissfully happy, in harmony with the music.” As part of the album project the Italian director Elena Petitti di Roreto shot a series of four music videos and the film “Anna - Stage of Emotions”, immortalizing Netrebko’s performances and translating them to screen in a unique visual language and style. Amata dalle tenebre' is the superstar soprano’s first classical solo album for five years. She recorded her choice of music, spanning some of the most dramatic and impassioned arias in the repertoire, at Milan’s legendary La Scala, with the Orchestra del Teatro alla Scala under La Scala’s Music Director, Riccardo Chailly.
Directed by: Elena Petitti di Roreto
Produced by: Rekorder GmbH
Executive Producer: Werner Klemm
Producer: Marino Coates-Chitty
Anna Netrebko - Wagner: Tristan und Isolde: Mild und Leise (Liebestod)
Listen to 'Amata dalle tenebre': dgt.link/netrebko
Subscribe here for more classical video clips - The Best Of Classical Music: bit.ly/Subscrib...
Discover full concert performances on DG Premium - registration and basic library are free: www.dg-premium...
Get your front row ticket here for exclusive streams and world premieres with leading artists: www.dg-stage.com
_______________
Find Deutsche Grammophon Online
Homepage: deutschegrammop...
Facebook: deutsche...
Twitter: / dgclassics
Instagram: / dgclassics
Newsletter: deutschegrammo...
_______________
最优质古典音乐 - 此处订阅: bit.ly/Subscrib...
Le meilleur de la musique classique. Pour vous abonner cliquez ici: bit.ly/Subscrib...
最高のクラシック音楽―登録はこちら: bit.ly/Subscrib...
최고의 클래식음악을 구독하세요: bit.ly/Subscrib...
Подписаться на лучшую классическую музыку:: bit.ly/Subscrib...
La mejor música clásica - Suscríbase aquí: bit.ly/Subscrib...
#AnnaNetrebko #AmataDalleTenebre #Opera
What is your favourite aria composed by Richard Wagner?
That's easy, Brünnhilde's Immolation Scene in Götterdämmerung.
'Liebestod' with no doubt.
There are so many
Hard to choose, but would pick "Dich, teure Halle" and Isolde's Liebestod
Wagner and Aria??😂😂
There exists no „Arias“
Isolde made me famous.
Turandot made me rich.
-Birgit Nilsson
Not at all her turf. Sounds strained. I'll take Nilsson, Flagstad, Traubel, Varnay, the list goes on. True Wagnerians.
I am sure she doesn't even pretend she is a true Wagnerian dramatic soprano, just like so many others who recorded the Liebestod, including Tebaldi, Sutherland, etc. This recording is undeniably very beautiful and proficient. I am sure she never intended to surpass Nilsson and Flagstad, obviously.
@@aprendizercomygor this recording isn't beautiful it's horrendous. Sutherland did sing the Liebestod beautifully
@@crazyorganist1609 Both Sutherland and Tebaldi were extraordinary singers that had great instruments and knew how to use it, both incredibly musical. Tebaldi could produce a Wagnerian sound, as her voice was huge. Sutherland's always did rise above an orchestra.
This recording is simply mediocre. I am actually surprised that the producer and sound engineer from DG could deliver this average sound; the dynamics between her voice and the orchestra are particularly bad.
I used to enjoy Netrebko in roles as Mimi, Adina, Violetta, nowadays all those heavy dramatic soprano roles took a toll in her voice and the wobble gets unbearable to hear to! Sad.
@@crazyorganist1609 they should apologize for offending you so terribly.
@@vhufeosqap 🤣🤣🤣
Dreadful performance. No feeling for the line, terrible vibrato. Just listen to Jessye Norman or Margaret Price, not to mention Lotte Lehmann or Frida Leider.
Evidentemente, pur amandola profondamente, non riesco a capire fino in fondo la musica di Wagner. Inoltre, non riesco a distinguere una perfetta interpretazione da parte di una cantante da un'altra di minore qualità. Almeno secondo quanto leggo in molti raffinati commenti. So solo che sono profondamente commosso dal modo in cui la Netrebko ha reso la dimensione sublime del Liebestod. So solo che ho trovato il video efficace e intenso. So solo che ringrazio il cielo per l'esistenza stessa di Anna.
Je suis absolument d’accord avec votre commentaire, dont je ne changerai pas une seule, virgule Anna❤❤c’est la musique incarnée, chacune de ses cellules vibrent la fréquence du cœur de Wagner
This visually encapsulates, perfectly, what I feel when I listen to this piece. My soul leaves my body, and I am united with the everlasting.
She sings quite a lot out of tune....often too high.
I think everyone here need to remember this is a studio version. Anna Netrebko is a huge singer, but she is NOT a wagnerian soprano.
She is absolutely unable to sing this aria at a decent level on live performance.
This is a good studio performance like some singer do pop-opera, not a lyric performance
I refuse to feel bad about my German diction anymore after hearing this 😂
OK then:
So Birgit Nilsson was asked how she felt about singers using microphones in the opera house. She said that she was against it because then anyone could sing Isolde.
Ladies and gentlemen we now have Birgit Nilsson's concern laid bare.
Netrebko once upon a time had a beautiful peaches and cream lyric voice, suitable for Traviata.
Violetta should not sing Isolde and Isolde should not sing Violetta.
I know this score very very well. Quite frankly there are very unreasonable spots in terms of orchestration wherein Wagner has Isolde singing in the middle or low middle against too much orchestra.
Even the biggest voices, Nilsson, Flagstad, Varnay etc are buried here and there. One doesn't really care because the overall effect is so emotional that the composer getting carried away every now and then is understandable.
We have Netrebko, who is not exactly known for her marble like low middle, actually sounding "louder" than the above named full dramatic soprano legends in those same spots.
That tells me one thing, and one thing only. This is a studio Liebestod done by a singer who cannot sing this music live with an orchestra unless she is heavily amplified.
Now others here commented upon her poor intonation, and at times inappropriately bright tone color for the role. Those are problems. They are however secondary to the obvious fraud being committed here.
If I were a Wagnerian singer I would be really pissed off by this dreadful and dishonest recording.
Thank you for that comment. I, like thousands of others, love this piece and I have listened to several versions, Meier's concert version with Barenboim being my favourite. However, I have virtually no technical knowledge of music. This version, though, did not ring true to me and I could not put my finger on why. It sounded impressive, but not authentic.
What you have written, though, makes perfect sense to me. Many of the voices, even the biggest, cannot be clearly heard above the orchestration at certain points, and this is not the case here, I suspect for the reason you have given.
@@84422112 Yep.
I have conducted 2 Wagner operas in regional house settings, Tannhauser and Dutchman. Our house singers, the lyric singers, heard just how big those orchestras are in terms of amplitude and said "There's no way our voices could sing over that."
The singers who could were also house singers, but HAD the natural size to do the roles.
It's unfair to those singers because there is a lot of repertoire that isn't for them due to the size of their voices.
That is why they specialize in Wagner, Richard Strauss, Fidelio, or Berg.
Un Fil Di Voce is a gift and Netrebko could do it once upon a time. Now she can't but she also has no business doing Wagner.
She spoiled her instrument by forcing it to do things she should never have done.
I felt exactly the same when I listened (to my surprise and then incomprehension) to the 2006 production of Le Nozze di Figaro in Salzburg, Netrebko singing Susanna (!!!)
I was hoping frankly a great effort from her to do something different in Mozart than all the Russian operas and belcanto roles she made her reputation with, but her voice was simply too heavy for Mozart.
Listening to her Liebestod is like taking sleeping pills. It is so boring that I also wonder why she didn’t leave Wagner for specialists instead of doing off-topic stuff she apparently doesn’t really match.
Absolutely true
Joe, this is obviously a studio recording. There's no attempt here to present this as a live unamplified and unedited performance.
This is a very sad video. The lady has a lovely voice, and, when she sings in the medium register and quietly (as at the beginning of this extract) the sound is very beautiful. However, anything high and/or loud is a total mess, a ghastly mixture of no text and a wobble one could drive a bus through. When Mme Netrebko was a young woman, singing the light soprano repertoire which is her real voice, there was hope, but now there is just screaming, and DG are making a lot of money and so is the lady herself, thanks to her adoring fans, who know no better. As many others here have said, listen to Nilsson or Flagstad, or Frieda Leider, if you want to hear the right voice-type performing this summit of the soprano literature.
I agree with you! Even today you could hear some sopranos who can sing Isolde beautifully (Catherine Foster, Lise Davidsen).
I have a beautiful recording of her in Betrothal at a monastery by Prokofiev and she was great in it. If only she'd stuck to those kind of roles.
Sorry - Netrebko is a great singer. But this is not her territory. Compare this to Birgit Nilsson, Martha Mödl, Waltraud Meier or even the „only CD- version“ of Margret Price under Carlos Kleiber. Netrebko does not fit into the Wagnerian Shoes.
Couldn't agree more.
I completely agree with you! In my humble opinion, perhaps the best version of the "Liebestod" was performed in 1987, by Jessye Norman, with the orchestra being conducted by the mighty maestro Herbert von Karajan. Superb. Unsurpassed. Nowadays we see Deutsche Grammophon being musically guided by people who do not have a single talent and taste for music, only for money and publicity. Sadly, what a sham...
@@joaodiasferreira very true. Jessye Norman was an exceptional voice anyway. Her Wesendonk Lieder are unsurpassed ( on the same recording with Colin Davis). And not to forget the legendary Kirsten Flagstad (Furtwängler) with her high notes sung by Elisabeth Schwarzkopf. But this is all very much in another league as this meaningless recording.
I forgot to mention Kirsten Flagstad as well. But these Wagner-Voices are lightyears away from this inferior interpretation.
What kind of behemoth shoes are they?! Lol
She is great and performance is stunning! Listen again !
Sorry, sie kann ja Vieles, aber das kann sie nun leider nicht, erinnere an Flagstad, Norman. Diese Schluss t's, fürchterlich. Das Video dazu schrecklich. Schade.
Anna…please! Don’t
Kidding right?!
Just tasteless! Everything but Wagner.
Wagner says , you are full of hatred and are not able to enjoy the beauty.
As everyone in your place of stupids
@@alexsimpson79 Dear, I know what he said and his opinion, but obviously, you don't have your own.
@@alexsimpson79 TBH Wagner was full of hate himself, I doubt he would have enjoyed this interpretation at all.
This is criminal.
What a disaster . Shame on her , on DG. It’s an insult against this divine music. AN is done years ago, only screaming and bad-taste singing . What a shame -she was in all means outstanding 15 years ago .
I don’t know what is happening with DG -the same shameless very bad decision about recording as Langlang Goldberg and so on. Money rules apparently this former great recording company-nowadays just to forget .
The queen of Mild and Leise is : Jessye Norman together with Karajan, still the unsurpassed version!!
Christa Ludwig was the only who made almost there.
Absolutely agree! ....
Not better than Flagstad, Nilsson or others who actually performed the role on stage. Anyway, let's just quit this obsessive need to classify and rank singers in a hierarchy as if only the very best #1 recording or performance mattered. All operas would long be dead if that were true. All performers, not necessarily vying to be the best ever, bring something new and personal to their renditions.
And Waltraud Meyer ❤️
Linda Esther Grey with Reginald Goodall
Da fällt einem wirklich nicht mehr dazu ein. In Dresden musste sie die Elsa übrigens mit Teleprompter singen und Bayreuth hat sie Gott sei Dank abgesagt.
Ich spare mir hier weitere Kommentare...
muss man sich mal vorstellen… vom prompter „abzusingen“. heutzutage erlauben sie sich alles und nennen es dann musik, ich hoffe es stirbt nicht der tatsächliche sinn von musik aus
@@MarkFarago würde ich im nachhinein betrachtet nicht abstreiten
1) Birgit Nilsson
2) Martha Modl
3) Gwyneth Jones
4) Catarina Ligendza
5) Margaret Price
6) Kirsten Flagstad
7) Astrid Varnay
8) Eileen Farell
9) Linda Watson
10) Montserrat Caballe
11) Ingrid Bjoner
12) Franz Liszt
You left the best one out.......Waltraud Meier. How funny.
Waltraud Meier's 1995 Bayreuth performance is without any doubt whatsoever the most sublime ever given. It even outs Birgit Nilsson. And, as you know, that's saying something . Meier's Mild und leise is from another universe.
And where is Jessye Norman?! Too good for this list I'd hope...
@@Itsandy22 what kind of Liszt is that?!
Jessye Norman is the best! ...
unfortunately she is out of her depth here.
my wife says it's like Katherine Jenkins doing a cover version of the real thing.
Anna sounds like she wasn't quite sure how to place her voice in singing the Liebestod.
Schrekliche Aussprache! Man versteht kein Wort! 👎
Schreckliche Rechtschreibung! Und schreckliche Arroganz! Da wirst du wohl noch 100 Jahre üben müssen.
@@fritzbaerbel ich kann ja wenigstens noch üben! Frau Netrebko leider nicht mehr. 🤪
@@fritzbaerbel
Was hat es mit Arroganz zu tun, wenn Anastasia die Deutschkenntnisse der Netrebko bemängelt?
@@anastasialick
Es ist nicht nur die Aussprache. Sie hat nun mal kein dramatisches Potential. Hochdramatisch schon gar nicht. Mimi mit Karriereknick singt sich frei....
Am not a die-hard fan of Netrebko's but was blown away by this.
Blown away by what? She is absolutely dreadful.
yes
Un aria maravillosa Una música sublime La melodía infinita
Anna Netrebko performing the drag queen version of Liebestod. Is this really her aria? I'm not convinced.
Exactly today the Mathilde-Wesendonck-Verband exists 10 years. It was founded - mainly because of Mild und Leise.
Me too - I´m not a fan of Netrepko - especially because she flirts with the current russian dictator and successor of Stalin.
Her voice here is not - mild - it is too loud, too sharp and words - are hardly to understand.
But the pictures - are mindblowing, though brutally copied from Lars von Trier "Melancholia" - where von Trier pictures the ouvertuere and final of "Tristan and Isolde".
Though - after all:
It is the most beautiful of the most beautiful melodies.
Thanks - Richard Wagner. Thanks Mathilde Wesendonck which made him feel such unfulfilled love and pain and music.
That dreadful wobble. Poor Tristan having to endure that
great job director Elena!!!
Okay, another "Money doesn't stink- production" with Netrebko as Isolde. The video is pretty kitschy in my opinion but each its own.
It's just "let's make a covid quarantine tv-ad-looking video with Wagner as a background" PR management needs help
What is sad is to die without anyone knowing you have lived Tristan makes Isolde immortal Isolde makes Tristan immortal two becoming one so to speak thru love
Dreadful… What’s wrong with Deutsche Grammophon? Have they lost their ears??
they do, im german… understood maybe 1 word
The whole world lost the sense of hearing.
Probably they do)))
@@pistol625 moreover, she is an Austrian citizen 🤣
It is clearly for Treb fans ❤
Is this a joke?
Wagner underlined the importance of
" rythm and words linked in a perfect bond"
Interesting to see if this soprano will record the complete ópera
Excellent
Anna is a great singer. Is the role for her? No. Isolde is the ultimate role and can only be sung well by a handful of people in the world. But the effort is appreciated. Anna excels in other non-Wagner areas.
This is just hell. Her voice cannot compete with an orchestra this size therefore she amplifies it. Isolde requires a massive voice to soar above the orchestra. Singers like Nilsson and Behrens had this type of voice and so did Dimitrova,. even though she never sang the role only the Liebestod so did Dame Joan Sutherland. Her voice lasted for 40 years because she never sang anything that would jeopardize her career. Sutherland had the voice to sing it of course but chose not. Sutherland, Nilsson, Behrens or Dimitrova never amplify their voices because they were properly trained with impeccable breathing techniques. Netrebko had a beautiful voice in her younger days and now she sounds like a demented witch trying out for an amateur opera company
just horrific. What are they thinking. And yes, I can sing it much better than that.
@@elizabethker2663 so could i
I cant believe that some of you actually think that THIS is a great performance. Wow.🤮
Terrible... wobbling all over the place. A voice several sizes too small for Wagner.
Wagner is amazing!
Netrebko is amazing!
Regia tv is beautiful.
Stop.
Thank you.
What language is she singing in this dreadful video?
Sounds like pidgin Gerssian to me.
Horrible, terrible, insulting and most of all: tacky.
What's with the video? The lyrics are about dying of love, the video has nothing to do with it. And Netrebko, everyone already said it, but just c'mon woman, you're just out of your territory. Why dare to go there when you clearly can't.
I like Netrebko a lot, and now that she has shifted to singing heavier repertoire the results are often interesting. Here, however, she does not possess the requisite heft, and the scenery is ludicrious.
Not so Wagnerian - singing for a concert.
She would sing a good Hugo Wolf
I’m totally blown out by this performance. Anna’s voice, the orchestra, the videography & sound! ⭐️⭐️⭐️⭐️⭐️👏👏👏👏👏
She's heavily amplified. Not suitable for her at all
You were blown away by THIS!?!?
Wagner is not around to ask about this, but it's an interpretation, so how the hell does anyone know? I bet all the self-appointed experts on this page couldn't get anywhere near this level of singing, so perhaps they should shut up!
sorry, some of them can. And some of them really are experts.
This is a bluff. La Netrebko trying to sing a role too big for her vocal resources, It seems that for DG is more important merchandising than real artistry
Très bon choix , le cœur parle comme d’habitude avec cette artiste d’exception
As long as opera has been recorded sopranos who would never sing the role of Isolde because they are not Dramatic Sopranos with the heft either dramatically or vocally to convey the music of Wagner's music dramas and be heard over the large Wagnerian orchestra have recorded the liebstod simply because it is such a gorgeous piece of music. I don't think that Netrebko has any illusions of singing Isolde or Brünhilde, but it is lovely to hear her interpretation of the song as a stand alone.
What I find to be the most shocking fact, is that no one at Deutsche Grammophon even remotely questions the quality of this rendition. DG will put their name to anything these days. Miss you HvK!!!! And so is Thielemann equally as guilty for putting his name to the recording of Strauss´s Four Last Songs by her, also appearing under the DG label. A fucking shame und eine Frechheit!!
Why does this exist? Why not let Britney Spears or Madonna have a go as well?
This is amazing !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Isolde und Birgit Nilsson immer... 🙏🏻
Beautiful. Thank you for this music.
run to listen to birgit nilsson, please
OK I run !
And Kirsten Flagstad too. Both of them the absolute references yet for the Wagnerian repertoire. I can also add Jesse Norman and Waltraud Meier.
Comme d’habitude je trouve cette chanteuse exceptionnelle de charisme
J’apprécie particulièrement sa voix homogène qui vibre dans tout son corps
depuis son plus jeune âge jusqu’à maintenant le parcours est un sans-faute
j’adore cette vidéo qui montre que le corps peut se déployer dans l’univers guidé par les sons mélodieux
accompagner celui qui part et revenir tranquillement dans le réel
je trouve brillantissime cette interprétation et cette mise en scène ceci n’a d’égale que son talent d’exception
Félicitations
merci de nous le faire connaître
A studio singing and recording is more like a looking at a lady's face with a professional heavy make-up, while a live opera singing is looking at a bare face.
Couldn’t listen to it….😱
Me neither . Utterly awful in all means .
Great performance! Hope to see her as Isolde one day
My favorite aria by my favorite composer sung by my favorite soprano. PERFECTION!!!
I miss to Jessye Norman und KARAJAN live at 1987 great LIVE
Brava Anna! 👏🏼👏🏼
sry. no isolde inside.
Omg... now I know what it sounds like when I sing this at home for fun. 😳😯🤢 (I am a cis male)
🤣
cis male ?
..wahrlich herrlich!!!...gute Menschen haben guten Ausdruck...da lass ich mich zu gern be-ein-drucken!!!...Großen Dank aus Leipzig!!!
LEIDER,FLAGSTAD,VARNAY,MOEDL,NILSSON,NORMAN AND NO MORE!
LARS VON TRIER rewrote WAGNER.
Too true 😂
Bravo!!!!
la vidéo est d'un ridicule absolu!
Si elle chante bien, elle n'a aucun charisme dans la vidéo. Il faut dépoussiérer l'opéra et sa représentation
Sublime...
Completely bizarre stuff: vocally and visually. It has really no business existing at all.
All I could do while listening to the vocal & watching the video is laugh. She’s way out of her league not to mention the wobble. And what language was she singing???
Just Imagine the love duet with her husband----- talk about the death of opera.
She is Russian . Russian language much softer then German. That why is so much , much better sounds. Germans sound too hard and heavy . Anna ‘s voice is flying .
Please don't. Her husband is one of the worst tenors ever, Tristan doesn't deserve this
No wobble there. You clearly just don't like more pronounced vibrato. A true wobble is a very slow vibrato that varies the pitch. There is no such a thing in this recording of her voicd -- at least not yet.
@@aprendizercomygor You are certainly not listening well, everything above High A has an annoying wobble.
@@tattiwilli1507 She has been benefiting from her Austrian citizenship for the last +20yrs and she cannot even pronounce 5 words in correct German. Her voice as this interpretation is flying LOW, actually is crashing.
This is a perfect recording what are you talking about??
Absolut fantastisch! So möchten wir Wagner erleben und erfahren!❤
Oh good God this is just awful, predictably so. I’m off to listen to Jessye Norman’s sublime rendition with Karajan.
You are so right with that..
Nothing compares ever with Jessye Norman‘s voice , intonation, her powerful piano and above all her feeling for what‘s between the lines of this music…
What a loss of never hear her live again..
Maravillosa
Toca o mais profundo da alma, trazendo paz e emoção. Magnífica 👏🏽🎼❤️🎵✨🎶
DG war eine der bedeutendsten Plattenfirmen im Bereich Klassik. Betonung auf „war“. So ein dümmliches Video traut sich sonst fast keiner. Die PR-Abteilung duzt die Kunden mit dämlichen Fragen. Über die vokale Leistung der ansonsten durchaus bedeutenden Sängerin schweige ich höflich. Derlei wäre noch vor einigen Jahren bei der DG völlig undenkbar gewesen.
I have no words. Wait, I do: aural death, pathetic, horrible, the end of regularly vibrating vocal cords, screech fest. There, I found a few words.
el abismo me a mirado de vuelta
Mis Netrebko is very good but my all time favorite is late Jessie Norman as co called vagnerian soprano
Mein Gott in Himmel! Das ist Scheiße. This is not Wagner, but a cinematic nightmare badly sung. La voce di una mosca che assassina un capolavoro. Нетребко не должна петь эту музыку. Ужасный. Prima la musica, dopo la parola. Ella no puede hacer ninguna de las dos cosas. In case anyone wonders what language she is singing, here is the text:
Mild und leise
wie er lächelt,
wie das Auge
hold er öffnet
seht ihr's, Freunde?
Seht ihr's nicht?
Immer lichter
wie er leuchtet,
stern-umstrahlet
hoch sich hebt?
Seht ihr's nicht?
ertrinken, versinken, unbewusst, höchste Lust!
Sie haben recht, leider spricht Frau Netrebko kein Deutsch und das stört mich auch, però non parla neanche italiano e canta bene in Italiano
@@selini52 Netrebko ha perso molte qualità che la sua voce lirica aveva molti anni fa. La sua voce, a questa età, è più cupa e forse più grande. Tuttavia, questa interpretazione della morte di Isotta è orribile.
Sie sind so boese...Warum?Das ist nicht gut.
@@user-hn2rv8ue8i I am not angry. I simply do not like the performance. You have your opinion and I have mine. Warmest regards from Florence.
@@BellaFirenze Schoene Gruesse aus Russland🙋
Sería maravilloso que el video tenga subtítulos en español
Magnifique 😭😍
You were born for opera! Always amazing!
This is a sad, sad day for opera. Shame on Deutsche Grammophon.
This is so sad, Alexa please play Despacito
Wobbly, out of tune and musically inert.
I really wanted to listen to the entire Liebestod, but the intonation was so off--really inexcusable in a studio recording--that I couldn't make it all the way through.
I enjoy Anna's Isolde. Anna has been also against microphones on the stage. But Anna adjusts to the times. Brigit Nilsson's Isolde is still great and so Jessye Norman's. But not everybody can see it in person at the opera house. And for the last two years, new technologies are saving our social and musical lives. Bravii all opera singers for keeping us going!
World best music clasical music my favourite music classical music world best Deutsche Grammo phon mind relaxed heart touching
Comment no 2
Listen before making Love
Out of body experience!
Meh. I’ll be kind and call it “okay.” Just listened to Nilsson (Bayreuth ‘66 under Böhm), and simply NO comparison to how Birgits’s glorious voice cuts through that big, Wagnerian orchestra like a hot knife through butter.
Great non-Wagnerians of the past sung this aria, all finding a pathway into the material (Callas in Italiano!, Tebalid, Caballe) Netrebko should indeed sing the opera - but not in an opera house, in an elevator going downnnnnnnnnnnnnnnnn ....
Tão maravilhosa! ❤️
Ugh. 😬 You people gushing about how wonderful this is… go and listen to Nilsson and the other GREATS. Now.
Pienso que el video plantea el poder de la música para conmover a la "gente ordinaria" que hemos estado en largos meses de confinamiento y en profunda introspección.
A mi juicio, esta interpretación expresa el sufrimiento de la pérdida de la salud, de la vida de seres amados, del encierro, de la falta de contacto humano, de no poder generar ingresos para los gastos cotidianos... tiene empatía con muchísimos posibles escuchas.
Nada que ver con el texto de la ópera 😂. Un pastiche sin sentido alguno: "ah sí, pongamos de fondo el aria de Isolde y un montón de gente en cuarentena, eso seguro va a pegar"
Nessuna voce mi emoziona come la sua
perfectly awful performance of the Liebestod
I agree. The video is dreadful too.
Such a beautiful video! Ignore the delicate dilettantes who are treating this like some kind of soprano-sport and missing the big picture of introducing such powerful music to the masses! You’ve succeeded here in every way DG!! Keep it up 👍🏻