Thank you. I cannot possibly find fault here. It is like Mozart sent his intentions down from his eternal perch and the performance just did what he seems to want! Schiotz is a real hero of mine. Equal favourite tenor with Nash, but I am especially enamoured of his gentle surface and yet perfect detailing of the emotion. Best wishes from George
Thanks - one of my favourite tenors of the time. If the voice was not as beautiful as Nash or Tauber, the artistry and musicianship was utterly divine.
Superb. Although Schiotz’ instrument is not quite as beautiful as Simoneau’s in this aria he manages the passage at both 1:06 & 2:52 here with a clarity of articulation that I never heard from Simoneau in all the recordings of this aria I that have heard from him. OK, Schiotz does take a catch breath right before this particular passage both times but this does not disrupt the flow of the music, at least for me anyway. In the famous long passage that precedes these 2 moments Schiotz does take 2 noticeable breaths but the longer ritardando towards the end seems to require this. Perhaps with less of a ritardando these extra breaths before would not be necessary. Depends on the singer of course. I need to check Wunderlich’s recording to hear how he deals with these moments.
Thank you. I cannot possibly find fault here. It is like Mozart sent his intentions down from his eternal perch and the performance just did what he seems to want! Schiotz is a real hero of mine. Equal favourite tenor with Nash, but I am especially enamoured of his gentle surface and yet perfect detailing of the emotion.
Best wishes from George
I agree, George. A lovely record.
No need for nit picking or comparison Schiotz was a wonderful singer.
Yes, he certainly was.
Thanks - one of my favourite tenors of the time. If the voice was not as beautiful as Nash or Tauber, the artistry and musicianship was utterly divine.
Agreed!
Tauber??? hahahaha
Superb. Although Schiotz’ instrument is not quite as beautiful as Simoneau’s in this aria he manages the passage at both 1:06 & 2:52 here with a clarity of articulation that I never heard from Simoneau in all the recordings of this aria I that have heard from him. OK, Schiotz does take a catch breath right before this particular passage both times but this does not disrupt the flow of the music, at least for me anyway.
In the famous long passage that precedes these 2 moments Schiotz does take 2 noticeable breaths but the longer ritardando towards the end seems to require this. Perhaps with less of a ritardando these extra breaths before would not be necessary. Depends on the singer of course. I need to check Wunderlich’s recording to hear how he deals with these moments.
Thank you. Yes, a very special version of this aria.