Julia Varady's Hysterical C6 Staccati in Elettra’s Mad Scene
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- čas přidán 21. 08. 2024
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Mozart: Idomeneo: Act 3 - "D'oreste, d'ajace" Dir. Karl Bhöm
HAPPY BIRTHDAY MOZART!
It is also the anniversary of Verdi's death, may his memory be eternal
Julia can sing anything! And so well!
The most perfect rendition of this scena ever recorded. Böhm uses the original long accompagnato rather than the shorter one from the old Breitkopf & Härtel edition, and it makes all the difference in the world, taking Elettra through a kaleidoscope of increasingly psychotic emotions until the aria proper bursts out as a musico-dramatic inevitability. Varady's passionate Hungarian nature illumines Elettra's persona from within as it were, just as Maria Nemeth's would have done had she ever undertaken the role. However, Varady's flawless technique and sure sense of style ensure that the number does not veer wildly off the rails, but rather remains well within the boundaries of Mozartean æsthetic. The ideal blend of hysteria, grief and mania, performed by the greatest Elettra, Vitellia and Cecilio of her day. Thank you, Manoli!
Well spoken as always!
@@manolis.799 It's a double pleasure for me to enter your channel, dear Manoli: I can hear excellent music and read meaningful and informative comments. Thank you.
ASTOUNDING AS EVER... VARADY, BOHM, MOZART... THE PERFECTION!
¡LA MEJOR VERSIÓN POSIBLE! El tempo es maravilloso porque le da el dramatismo que el aria necesita. La voz de Julia no es liviana. Además hay una tendencia actual de unificar todos los tempi en uno solo, más o menos rápido. Entonces todo se torna mediocre y aburrido, por ser monótonamente uniforne. ¿Se entiende?
Es fenomenal lo que logran Julia y Karl. El entramado orquestal se muestra tan protagonista, cuando el tiempo PERMITE que se LO pueda ver. ¡¡¡¡BRAVO!!!
Fabulous!!!
Julia Varady always impeccable technically yet never forgetting the expressive power. OPERA AT ITS BEST ❤
She's good, but the tempo of the aria is just painfully slow, takes away most of the drama and chaos that Mozart put in there. There's not many things I hate more than a too slow Mozart :(
Böhm does take it a few clicks lower than what I’m used to but I think Varady makes up for it imho. If you’ve never heard Böhm’s Tito also with Varady, his tempo in “Vengo aspettate” makes this seem like a day at the Indy 500. Ridiculously slow.
One man's meat is another woman's poison. To my ear the tempo is ideal, giving the lines a chance to breathe and avoiding the hectic gabble which this aria all too often becomes when conducted too quickly. Böhm's steady yet intense conducting restores the classical Grecian quality which less sensitive interpretations abandon.
I must defend Bohm's tempo a little... it seems like in Mozart he was always trying to exude the beauty of the music while giving the singers more scope to emphasise the text etc.
@@jmiller05 Your theory is a good one. However, on one occasion Böhm explained why his tempi in Mozartean opera were sometimes slower than the norm. He was asked by an interviewer about this in relation to the quintet Wie? Wie? Wie? Ihr an diesem Schreckensort? (How? How? Why are you in this dreadful place?) in the second act of Die Zauberflöte. Böhm replied that, in the section Man sagt wer ihrem Bunde schwört/Der fährt zur Höll' mit Haut und Haar (It's said that they who join the cult/Go straight to Hell while yet alive), the patter of the Three Ladies is incomprehensible gibberish unless the tempo is deliberate enough to allow the words to be understood. Böhm always wanted the dramatic side of opera to be paramount, and could not abide 'concerts in costume'. Incidentally, in his Wagner performances at Bayreuth, particularly in Hollander, Tristan and the Ring, Böhm's tempi are consistently swifter than those of other conductors.
@@jasonhurd4379 , APPUNTO! Opera = THEATRE!!!
Shame this is too slow.
It took me a few listens to get used to it at this tempo but once I did I found it incredible
@@manolis.799 I love Varady and that I can hear all the little details from the orchestra, but the excitement is gone.
@@manolis.799 I find the tempo excellent. But I admit that I never heard Mozart conduct Idomeneo like some commentators apparently did.
This is the best version of this fiendlishly difficult aria. Bravissima.
Oh smania! Oh furie!
Oh disperata Elettra!
Addio amor, addio speme!
Ah, il cor nel seno già m’ardono
L’Eumenide spietate.
Misera, a che m’arresto?
Sarò in queste contrade
Della gioia, e trionfi
Spettatrice dolente?
Vedrò Idamante alla rivale in braccio,
E dall’uno, e dall’altra
Mostrarmi a ditto
Ah no, il germano Oreste
Ne’ cupi abissi io vuò seguir.
Ombra infelice! Lo spirto mio accogli,
Or or compagna m’avrai
Là nell’Inferno.
A sempiterni guai, al pianto eterno.
D’Oreste, d’Aiace
Ho in senor i tormenti.
D’Aletto la face
Già morte mi dà.
Squarciatemi il core
Ceraste, serpenti,
O un ferro il dolore
In me finirà.