Kurt Moll - In deisen heil'gen hallen (live)
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- čas přidán 28. 09. 2008
- Zauberflöte Series:
Thought I might as well post the rest of the highlights from this performance. The great German basso Kurt Moll sings the famous Sarastro aria 'In diesen heil'gen hallen'.
Please note that this is for informative purposes only and that copyright belongs to original owner. If you liked this, do me a favor and purchase the complete performance. - Hudba
R.I.P. Kurt Moll (1938-2017)
Just listen to how wonderful his top is, this super low voice.....he not only sings comfortably up there, but BEAUTIFULLY! Bravo, Maestro!
Can't agree more. And his legato is amazing.
You should hear his speaking voice in interviews…..it’s gorgeous.
He died too young :-( rip Karl Moll: The best Commendatore ever..I still watch you on CZcams. Deine Stimme bleibt immer mit uns!
I preferred Josef Greindl’s, but his speaking voice as his singing was so mesmerizing.
I was thinking of this piece yesterday ... and, along came the voice of my dreams ... ah, Herr Moll ... it was more beautiful that I even imagined it!
Eine Stimme wie die grosse Glocke einer Kathedrale... Super Infrasound mit eingebautem Sub- Woofer! Allein dieses kurze gesprochene "Geh!" am Anfang. Irre sexy.
What a beautiful song full of love and wonder.
Tolle Stimme für Sarastro. Kann gut sein, dass es meine Lieblingsarie aus dem ganzen Stück ist. Den Text sollte man sich zu Herzen nehmen.
Kurt Moll, what a fantastic sound.
Ich kenne einen: den kroatischen Opernsänger Franjo Petrušanec, Bass!
This is lovely! Absolutely fabulous! 6 times in a row so far...
Es ist ein Geschenk diese Stimme hören zu können - die schönste Stimme
His voice is from Heaven ...
A most exeptionel voice,thank you for posting,RIP Kurt Moll!!!
His superb basso and his amazing passion that can be felt each minute of this performance. Of course, there is also Kathleen Battle with her exceptional soprano and gestures. A perfect match of these two. She has most likely attended his funeral.
Live..und in Farbe..
Das war richtig schön...Danke
Kurt Moll again !!! The man of PERFECTION
For me, Kurt Moll ist the best bass singer of all times.
He is my favourite too.
taking nothing away from kurt, i have to give my vote to nicolai ghiaurov, prior to his vocal crisis. his mephistopheles and seneca from poppea from that era are awe inspiring.
❤For me it’s László Polgár.
Not my personal favorite but yes he's very good.
"Except for the little green leaves in the wood and the wind on the water." Danke, Kurt Moll.
Just wonderful !
Kurt Moll - I miss him. RIP great man...
Kurt Moll ist immer noch einer der schönsten und klangvollsten Bässe, die ich je gehört habe. Das Thema sollte heissen; In diesen heil`gen Hallen, aus der Zauberflöte von W.A. Mozart
Alfred Mertens, almebo Mr. Almebo MuM gibt es eine bessere Aufnahme: Franz Crass ist unerreicht mit dieser Arie! :D
Kurt Moll❤️
ich finde Kurt Moll wunderbar und mich haut die Aktie immer wieder um sooooo schön lg gabi
@ Gabi Kurt Moll Aktien können aber wirklich tief fallen...
Very enjoyable. Thanks for posting it.
génial un superbe chanteur
Certifié intergalactique ! 🌹
I love Kathleen looking at Kurt like he was GOD !
His voice has such depth.
In diesen heil’gen Hallen
kennt man die Rache nicht!
Und ist ein Mensch gefallen,
führt Liebe ihn zur Pflicht.
Dann wandelt er an Freundes Hand
vergnügt und froh ins bess’re Land.
In diesen heil’gen Mauern,
wo Mensch den Menschen liebt -
kann kein Verräter lauern,
weil man dem Feind vergibt.
Wen solche Lehren nicht erfreu’n,
verdienet nicht ein Mensch zu sein
Makes me weep that he died so young..
well he was 79 years old when he died, not so young definitely
De toutes les versions discographiques du rôle de Sarastro enregistrées par Kurt Moll, mon cœur va à celle dirigée par W. Sawallisch, avec P. Schreier et E. Moser. C'est un bijou !
Zertifiziert intergalaktisch! 🌹
R.I.P. Kurt Moll. My idea of an appealing basso profundo -- though I'm no expert. I found his voice attractive on all but the very highest note.
Roger Martin Miranda
Exactly: Basso profundo, best explained....The highest note is not possible for this kind of profound Basso.
Exceptional in every way.
Вот это голосище. Много певцов прослушал исполняющих это произведение, но такие сочные низа только у него и это так завораживающе звучит. Именно его объемные низа делают его недосягаемым для других оперных басов.
У мартти талвелы тоже сочные плотные низы
ブラボー、ワンダフルの一言。大祭司としての品格と愛情がある。このアリアを歌っている歌手の中では、最もテンポがゆっくりだが、それがまた良い。今、勉強させてもらっているところ。
He was the best
To be honest, as bass-baritone amateur singer I was trying to catch up with the tone he made so smoothly but finally I am still too young to do this so bright and beautifull :) Still I'll keep on trying. Maybe I'll manage to do this equally.. Maybe...
La plus grande basse de mémoire d'enregistrement.
ABSOLUMENT AVEC SCHALIAPIN
This scene makes me cry I don’t know why
Entering the Holy Gral makes anyone shiver and perhaps weep. It is the most important challenge to have reached in personal, emotional, ethic development that allows us to step over the threshold entering the Holy Gral. (raising ourselves to Higher Wisdom and Spirituality.
In DIESEN heil'gen Hallen...
wir waren bei dieser Aufführung live in Bregenz auf der Seebühne
Ramey, Moll, Ghairurov
Лучший бас-профундо.
хосе мардонес
n diesen heil'gen Hallen,
Kennt man die Rache nicht. -
Und ist ein Mensch gefallen;
Führt Liebe ihn zur Pflicht.
Dann wandelt er an Freundeshand,
Vergnügt und froh ins bess're Land.
In diesen heiligen Mauern
Wo Mensch den Menschen liebt,
Kann kein Verräther lauern,
Weil man dem Feind vergiebt.
Wen solche Lehren nicht erfreu'n,
Verdienet nicht ein Mensch zu seyn.
Where's the full concert?
Who are the other singers?
Kathleen Battle as Pamina and Heinz Zednik as Monostatos. :)
1:19
I know what I think...... But....Patrick Boyle...Who's opinion I value....What do You think?
+SnuggeP I was just listening to various basses sing this piece and I found that someone named SnuggeP wanted to know my opinion. I'm flattered. IMHO Moll is pretty much the class of the field. His advantage is that his natural vocal pitch is lower than that of most basses. Not much lower but definitely lower. For example the current leading German bass Rene Pape has a significantly higher fundamental pitch. You can hear it when they speak and you can hear it when they drop into the lower passages. The voice blooms as it goes down. Moll relaxes into the low passages while Pape doesn't. He sounds a little stiff.However for the main body of the bass operatic repertoire, Pape's voice is better placed. Moll's voice is a bit too low. There are more high Fs in opera than there are low Fs. Live I the theater Moll's voice sounds much different from the bass-baritones who have to growl out the low notes.
Moll sang the true basso repertoire, Pape is a higher voice and can sing, for example, higher French bass repertoire superbly. In my opinion, Sarastro is too low for Pape.
David Freedman as a basso I can tell you that the "true basso repertoire" is actually quite HIGH and is FULL of high Es and Fs and usually you wont go any lower of
a low A. The reason why we loved Kurt Moll so much in this roles is due to what the first response said. He had a lower pitch than usual and could sing some notes in a very gentle and nice way.
There are certainly plenty of high Es in bass roles but not that many sustained high Fs. It is simply not correct to say that bass roles don't often go lower than A, you just have to look at Verdi bass roles, La Juive Cardinal Brogni, Sarastro, Osmin, Boito Mefistofile etc. where have sustained notes of D, E, F, F#.
David Freedman those are the primary examples of low notes the "famous" arias, but remember, you cited tha lowest bassos from Mozart, Verdi etc without saying that those sale authors wrote the more high arias as well.
What about
Verdi's Sacarias from nabucco (HighG).
verdis Atilla from Atilla (king of Fs).
Verdis Phillipe the Second from don carlo (high E).
Verdis grand inqisitor from don carlo (High F).
Guanod Mephistophele Lots of high notes not a low note (Also High G)
Boito Mephistophele literally one of the longest Fs ever (ecco il mondo)
You forgot about all the other roles that bassos also play in mozart like.
Figaro le nozzl di figaro. (Lots of F and E)
Bartolo le nozzi di figaro (lots of E and D)
Papageno the magic flute
Leporello Don giovanni
The commander Don giovanni
Masseto Don giovanni
Don giovani - Don giovanni
The list goes on and on if we include bel canto. (For example basilio from il barbiere).
The thing is bassos voices are wanted for their colour and thats it. I can sing the low C and even de Bb(1) is not that hard every other basso I know can do it as well. But authors werent really that interested in the note but the colour. If you are a basso like me there is a high chance that the lowest you will hit on stage will be a G. Unless you are in a chorus then hell yeah you will be singing low F E and D like every day otherwise not really. Although you could focus on certain rolls like the one you mentioned I dont know maybe.
I love Fritz💖❤💜💙💐
😂😂😂😂
@hugodraslik My top five: Székely, Borg, Frick, Gregor, Moll
Certainly one of the great Basses of all time. However, I have enjoyed a lighter voice singing this ( Bass/Baratone) more,.......... like Polgar etc. No offence intended. It gets down to personal preferences I guess.
Prefer Kim Borg.
Blablabla
Too slow
I don't think so:)
Not at all
it's a matter of preference, indeed.
Schroder
I'll get in trouble for writing this but here goes.
This production gets the races wrong. Kathleen is an American black. She is suppose to be white. This was an important dramatic point because the comprimario tenor Monostatos is black. So the intended effect was for the audience to be horrified by a black man menacing a white woman. Reverse the races and there is no point to the scene.
This is not a tangential point. Mozart and Schikaneder were both what we would consider today to be racists. They were also male chauvinists. When you do a Magic Flute these days someone in charge of the production is likely to want to 'tone down' all the politically incorrect dialog and lyrics.
Patrick Boyle true enough, but historical accuracy is usually a secondary consideration in opera staging...getting the races period-accurate is much less important than having good singers. Heck, if we did that, shouldn't all the singers be Egyptian?
Besides, why go out of your way to emphasize a badly dated 'comic' point which is guaranteed to alienate modern audiences?
The Kathleen Battle part and that of Monostatos regarding race has no emphasis in this opera. Mozart was Free Mason and the entire opera is based on this, by means of facing challenges toward higher spirituality and moral standing which then enables the individuum to pass the threshold of this metaphoric Higher Ground, the HOLY GRAL.
It is a reasonable point but I think that the willing suspension of disbelief allows us to enjoy this production and to marvel at the performances. Total realism is not required on stage; stunning performances are.
Totally irrelevant point. The music and the German language is enough to convey the meaning.
Staging a canonically correct opera will reduce flexibility and be heavy on the budget unnecessarily. Plus if it is so chauvinistic for today's age, then removing that chauvinism is good since art is meant to take us to the sublime and noble feelings. In Mozart's time those kind of feelings of patriarchy and chauvinism may not have created a hindrance to the feeling of sublime so it was perfectly okay for his time.
This is literally true for almost every male from the older times. They were just products of their own time. If we get stuck on their errors, we lose the chance to relish the goodness that was in them.
@@gamer-ff6mh
Americans of today are usually so terrified of being considered to be racists that their whole view of people, events and history are distorted out of all recognition. Relax , accept that a great piece of music was written by a genius who had ideas about race which would not be fashionable today. If you want to understand Mozart you have to stop the self censorship. You have to accept Mozart for who he was, not for who you would have liked him to be.
Your attitude toward history seems similar to the that of the despotic government in "1984". He who controls the past controls the future, who controls the present controls the past. You want to continuously revise our understanding of the past by editing out what you call the "errors" of previous times.
That's bad scholarship and the road to tyranny.
ich finde Kurt Moll wunderbar und mich haut die Aktie immer wieder um sooooo schön lg gabi
Das stimmt besonders die von Bayer Chemical