Upscaled DIE FRAU OHNE SCHATTEN Wennberg, Nilsson, Ericson, Kastu, Jupither Klobucar Stockholm XII75
Vložit
- čas přidán 18. 02. 2023
- My previous upload had a slight stretched aspect ratio, so a second attempt, now in 4:3 which i believe to be correct:
I am very happy I managed to upscale this important document, which I only had in very low resolution, to quite decent quality with Topaz AI.
All interval features are included
DIE FRAU OHNE SCHATTEN
Oper in drei Akten von Richard Strauss.
Text von Hugo von Hofmannsthal.
Der Kaiser: Matti Kastu
Die Kaiserin: Siv Wennberg
Die Amme: Barbro Ericson
Geisterbote von Keikobad: Bo Lundborg
Die Stimme des Falken: Dorrit Kleimert
Barak, der Färber: Rolf Jupither
Seine Frau: Birgit Nilsson
Der Einäugige: Carl-Johan Falkman
Der Einarmige: Rolf Cederloef
Der Bucklige: John Eric Jacobson
Jüngling: Tord Slaettegaard
Hüter der Tempelschwelle: Birgit Nordin
Stimme von Oben: Gunilla Soederstoem
3 Wächter: Bjoern Asker, Gunnar Lundberg, Carl-Johan Falkman
1. Dienerin: Britt-Marie Aruhn
2. Dienerin: Busk-Margit Jonsson
3. Dienerin: Margot Roedin
1. Kinderstimme aus der Bratpfanne: Britt-Marie Aruhn
2. Kinderstimme aus der Bratpfanne: Solweig Lindström
3. Kinderstimme aus der Bratpfanne: Ileana Petterson
4. Kinderstimme aus der Bratpfanne: Gunilla Slaetttegaard
5. Kinderstimme aus der Bratpfanne: Gunilla Soederstoem
1. ungeborenes Kind: Britt-Marie Aruhn
2. ungeborenes Kind: Solweig Lindström
3. ungeborenes Kind: Ileana Petterson
4. ungeborenes Kind: Gunilla Slaetttegaard
5. ungeborenes Kind: Gunilla Soederstoem
6. ungeborenes Kind:
Dancers from the Royal Ballet
The Royal Opera Choir
Children's Choir from Adolf Fredrik Music School
Kungliga Operans Kör
Kungliga Hovkapellet
Berislav Klobucar
Production by Nikolaus Lehnhoff with scenery by Jörg Zimmermann
a=444 Hz
Stockholm, Dezember 1975
Telecast, upscaled with Topaz AI
What a way to end an operatic career, in an opera without deaths and that ends with eternal love.
I just can't believe it. The ending is so beautiful it makes me cry from occasion to occasion. La Nilsson is THE BEST!
This is probably my greatest operatic memory; Paris in 1972;
the distribution below gives an idea of what this could have been!
Distribution the night I saw it:
Musical direction: Karl Böhm
Der Kaiser (The Emperor) James King
Die Kaiserin (The Empress) Leonie Rysanek
Die Amme (The Nurse) Ruth Hesse
Barak Walter Berry
Seine Frau (Barak's Wife) Christa Ludwig
Der Geisterbote (The Messenger of Spirits) Jean-Pierre Laffage
Die Erscheinung eines Jünglings (Appearance of a young man)
Albert Lance
Die Stimme des Falken (The Voice of the Falcon)
Helen Garetti
Ein Hüter der Schwelle des Tempels (The Guardian of the Temple Threshold)
Helen Garetti
Eine Stimme von oben (The Voice from Above)
Nadine Denize
Der Einäugige (The One-Eyed Man)
Raymond Steffner
Der Einarmige (The Penguin)
José Delfont
Der Bucklige (The Hunchback)
Remy Corazza
Eine Stimme der Wächter der Stadt (A Guardian’s Voice)
Jean-Claude Darcey, Michel Llado, Michel Philippe
Eine Stimme (A Voice)
Eine Kinderstimme (A Child's Voice)
The young man : Jean-Pierre Bonnefous (danseur étoile de l'opéra de Paris)
At each act the cast and the conductor received a long standing ovation. We are far from the horrors that current operas have the arrogance to show on their stages with the complicity of conductors and singers without the slightest scruple or respect for the works that they have the OBLIGATION to serve and not to USE FOR THEMSELVES to their misplaced ego! The current public is itself accomplice in this system; if he had especially in Paris, Munich, Berlin or even Bayreuth, the courage to leave the room as soon as the curtain rose for such nonsense perhaps that masterpieces would finally be given respecting libretto and music and above all composers.
For my part, I won't set foot in the Paris Opera again, I won't even pay for a place in the henhouse to close my eyes! There were quality modernized productions but made by performers who had studied the libretto in depth and did not embark on "rereadings" for the pleasure of being talked about. The libretto is as important as the score. Opera is sung theater, there is a text, a story which must be coherent with the staging. The director has absolutely no right on the work done by artists who are much more competent than him in the matter and were irreplaceable geniuses. They will still be talked about for decades, the poor directors will be forgotten even before the century comes to an end.
Che meraviglioso capolavoro !
Oh my God.. THE rarity! Thanks for sharing.
My favorite Strauss opera with Brigitte Nilsson. It couldn't get better.
Birgit. Brigitte came to prominence as an actress when those Conan movies by Schwarzeneggar were gaining popularity.
😅@@dimitrovajunkie
Swedish soprano Birgit Nilsson sings a low F in 1:15:07.
Dear Leskov! Thank you so much for letting me see this outstanding performance! Best regards Boris
Thank you! Wonderful...
Important document, indeed....❤❤❤
Excellent ❤❤❤
Act I: 25:50 to 1:28:57
Act II: 1:55:03 to 2:51:25
Act III: 2:55:23 to 3:51:10
Act III has several cuts, almost 10 minutes.
At 3:45:53, during the final quartet, the video switches to a montage of photos taken throughout the performance. The video returns to the performance just before the final chorus.
30:46 ❤️❤️
42:00 ❤️❤️
Vielen Dank für diesen Mitschnitt, den ich bisher nur in inferiorer Bildqualität besaß.
Allerdings handelt es sich um eine Übertragung der Wiederaufnahme dieser Inszenierung vom 1. und 2.11.1978.
Die Premiere vom 13.12.1975 (so weit ich weiß die schwedische Erstaufführung) wurde von dem Kabel STERLING auf CD veröffentlicht, damals sang Walter Berry den Barak.
Mit der Bitte um Nachsicht für diese Beckmesserei und herzlichen Grüßen,
Martin Parent
1:15:09 F3!
1:15:06 ❤❤
What note is?
@@jerryalbertleonmendoza1858 low F - F3
Is that a day when La Nilsson make a debut in her last role?
@@garynilsson416 this is strange. Description saying it was in December 1975. Thanks for clarification.
It was recorded in early 80s. I was there…
@@jonasbergstrom3024 I doubt that seriously. In the early 80s was the Metropolitan Opera production with Rysanek and Nilsson didn't sound nearly this good by then.
What year is this? One comment says 1972 and the other says 1975
Actually it would be better if I would spell Birgit correctly,