The bass is René Pape and the tenor Vinson Cole... it's from a 1992 performance, Georg Solti conducting the Wiener Philharmoniker and the Konzertvereinigung Wiener Staatsoperchor.
Though Arleen sang unearthly beautiful in Mozart's requiem, this was NOT her "swan song"; she recorded a wonderful Hugo Wolf album later in December 1991. It is such a pity that this beautiful album seems to be forgotten, especially since put so much energy in this album and was very happy with the outcome. We still miss you so much, sweet Arleen
This sample (I warmly recommend to buy the DVD or CD) is from the famous celebration on the 200th year day of Mozart's death (5 Dec 1991), in the same cathedral in Vienna, by Arleen Auger (most recorded voice ever - ill, died 18 months later), Solti (died 6 yr later), Cecilia Bartoli, René Pape (both young and little known then). Not a concert, but a true religious office, with cathedral clocks, and spoken parts. Also known as "Auger Requiem".
As both a performer and conductor, I strongly disagree with the negative Bartoli comments. Callas began as a mezzo and transformed to a dramatic coloratura. But this recording is several years old! This section of the mass from a conducting standpoint can oftenturn into a nightmare.The blend and tempo is perfect. No one was "outscreaming" the other, which often occurs with an inept conductor and singers.Today, Bartoli is unmatched in technique and artistry.Does the most perfect Casta Diva ever!
That wonderful bass is none other than the great Rene Pape. He has been featured often at the Met, making his mark as King Mark in Tristan and Isolde a few years ago.
anneyre "Could we have all the other parts?": I recommend buying the DVD, it's a true and excellent tribute to Mozart, with 2 menus, one for the requiem (only concert tracks), 1 for the religious office (all tracks, incl. bells, sermons by Archbishop, etc, and of course the Requiem itself). Fri 5 Dec 2008 09:03 GMT
I agree Firestarjude (as I said above Sat 7 Jul 2007). To those discovering Arleen so marvelous as a 52-y ill, try imagine her at 30; sample available on YT "Auger sings Martern" (the best "Martern" ever). Fri 5 Dec 2008 08:56 GMT
In response to PlatoJaspers' comment, I agree that Bartoli wasn't the best alto choice; however, it makes perfect sense, for 2 reasons: most "alto" parts in requiems (and the like) are sung by mezzo-sopranos with rich, dark sounds. Secondly, in the early 1990's, Bartoli was marketed as a coloratura mezzo. As she has aged, she sings more lyric soprano literature, highlighting the lighter quality of her voice (although it still moves easily), not the mezzo qualities described above.
And, btw, coloratura mezzo doesn't mean she sounds like Kathleen Battle. It means she has vocal agility of a coloratura soprano, but the richer tones of a mezzo.
FYI, Arleen Auger was ill with a brain tumor at the time and died very soon after this performance. There is more of her gorgeous singing (from happier times) on youtube.
augustviersen: « Also, if this is from Süßmayer, the (Beethoven) Missa Solemnis is from Franz Ries. So it must have happened this way: Süßmayer wrote from original (Mozart) manuscript, which he then threw in the fire, and boldly stated the music was his, so that (self-appointed) "experts" fell to it. » (While finding this worth translating, I don't share it) Fri 5 Dec 2008 09:41 GMT
That wonderful bass is none other than the great Rene Pape. He has been featured often at the Met, making his mark as King Mark in Tristan and Isolde a few years ago. I believe he's either Bavarian or German.
Agree! Sounds she sang her swan song asking for mercy from God as we are sinners... Pity that a singe with great soul pased away so early during her fifties.
"BohemianRhapsodie", "augustviersen" meant IMO that "experts", fooled by FX Süßmayr's (augustviersen-supposed) lie, wrongly believed FXS wrote the *entire* Requiem. Personally I rather believe the traditional version (that FXS, deeply respecting WAM, finished the work by writing just the missing parts, following WAM's way the best he could), and DME's annotations on some parts (e.g. this heavenly Benedictus) pointing them as pertaining to these FXS filling works. Fri 18 Dec 2009 23:40 GMT
+1 @apalikatt. And the flaws "mouthmouse" describes, Bartoli developed (some of) *later*; in 1991 she was the nice singer who built her (high and deserved) reputation; she, Pape, Cole were relatively young and unknown but in their peak. Arleen and Solti, while old and behind their peak, were still immense. All around a great cast and production. There is even better for audio alone (e.g. Marriner), but not IMO for video. See my 7 Jul 2007 and 5 Dec 2008. Thu 20 Dec 2012 20:15 GMT
Dirigerad av Georg Solti för att uppmärksamma 200-årsjubileet av Mozarts dödsdag 1991 (bland de andra solisterna märktes en mycket ung Cecilia Bartoli).
the four of them make a perfect ensemble.i like the duets of the mezzo and the tenor. the tenor's voice is mellifluous. the bass sounds like a profundo. the mezzo is fantastic. the soprano is okay, but her voice seems to lack a bit of power. but it is still generally good.
I'm sorry but for me, as usual, bartoli makes too much! let's compare with the others: the dress, men are cimple with their costume, Arleen's wearing a simple dress while bartholy has a big low cut dress ! for the other the black covering is as big as the score whereas for bartoli it's much bigger! and at the opposite of arleen AUger with a light simple voice, we have for bartoli "beautiful" portamento and vibrato!
Ohhh my god... you know you don't have to make yourself sound like a potatoe is stuck in your throat to be a good bass - Personally, I think he sounds terrible... maybe he's doing a good job at the style, but I really, really despise it... Anywho, long live Cecilia!
Magnifico, um momento verdadeiramente histórico.
Dios que dulzura de voz,pena que nos dejara tan pronto Arleen.
The bass is René Pape and the tenor Vinson Cole... it's from a 1992 performance, Georg Solti conducting the Wiener Philharmoniker and the Konzertvereinigung Wiener Staatsoperchor.
Though Arleen sang unearthly beautiful in Mozart's requiem, this was NOT her "swan song"; she recorded a wonderful Hugo Wolf album later in December 1991.
It is such a pity that this beautiful album seems to be forgotten, especially since put so much energy in this album and was very happy with the outcome.
We still miss you so much, sweet Arleen
Thinking about how ill Arleen Auger was when she sung, it makes me cry...
She is truely great singer..
Sadly, this has to be Arleen Auger's final swan song before she left us too soon after diagnosed with cancer. She will be deeply missed.
alan1963 extraordinary singer!!! Exquisite voice and unparalleled technique!
How amazing...
Arleen era genial
:'(
simplemente de las mejores que han existido
isso me tra muitas boas recordações de mozart!!!
This sample (I warmly recommend to buy the DVD or CD) is from the famous celebration on the 200th year day of Mozart's death (5 Dec 1991), in the same cathedral in Vienna, by Arleen Auger (most recorded voice ever - ill, died 18 months later), Solti (died 6 yr later), Cecilia Bartoli, René Pape (both young and little known then). Not a concert, but a true religious office, with cathedral clocks, and spoken parts. Also known as "Auger Requiem".
Versailles, Sat 7 Jul 2007 13:06:50 +0200
wonderful stuff. Thanks very much, Fernando
As both a performer and conductor, I strongly disagree with the negative Bartoli comments. Callas began as a mezzo and transformed to a dramatic coloratura. But this recording is several years old! This section of the mass from a conducting standpoint can oftenturn into a nightmare.The blend and tempo is perfect. No one was "outscreaming" the other, which often occurs with an inept conductor and singers.Today, Bartoli is unmatched in technique and artistry.Does the most perfect Casta Diva ever!
@BohemianRhapsodie: The tenor is Vinson Cole, the bass is Rene Pape.
sehr gut!!!wunderbar!
That wonderful bass is none other than the great Rene Pape. He has been featured often at the Met, making his mark as King Mark in Tristan and Isolde a few years ago.
anneyre "Could we have all the other parts?": I recommend buying the DVD, it's a true and excellent tribute to Mozart, with 2 menus, one for the requiem (only concert tracks), 1 for the religious office (all tracks, incl. bells, sermons by Archbishop, etc, and of course the Requiem itself).
Fri 5 Dec 2008 09:03 GMT
this group sang beautifully together---where can i find more of arleen auger music?
vinson cole is the tenor, i've seen him perform in seattle wa quite a bit so i'm glad to see him on here. thats one more name for you : )
Wonderful
Here u have GOD`s performing in harmony ... u dont need to seek GOD in old Biblle writings ... this is ... perfection at is most!
René Pape, who's singing the bass part, is playing Sarastro's role in new Kenneth Branagh's movie "the magic flute"
I agree Firestarjude (as I said above Sat 7 Jul 2007). To those discovering Arleen so marvelous as a 52-y ill, try imagine her at 30; sample available on YT "Auger sings Martern" (the best "Martern" ever).
Fri 5 Dec 2008 08:56 GMT
A sterling performance by all.
Her own Requiem. Rest in God, dear Arleen
Arleen remains the best (to me). So sad she is gone.
@@harolddeparis6870 such a special person to me... I loved her deeply
😞😞
Mmm, Solti.
One of the finest Mozart Requiems ever.
In response to PlatoJaspers' comment, I agree that Bartoli wasn't the best alto choice; however, it makes perfect sense, for 2 reasons: most "alto" parts in requiems (and the like) are sung by mezzo-sopranos with rich, dark sounds. Secondly, in the early 1990's, Bartoli was marketed as a coloratura mezzo. As she has aged, she sings more lyric soprano literature, highlighting the lighter quality of her voice (although it still moves easily), not the mezzo qualities described above.
Sir Solti's version is by far my favorite. Remember this performance is live, not a studio recording.
mozart wat toch een zeldzame componist treft je steeds weer in hart en ziel zelfs naar 250 jaar prachtig werkelijk een muzikaalgenie
By the way, this requiem mass was recorded on December 5th 1991 in Vienna.
And, btw, coloratura mezzo doesn't mean she sounds like Kathleen Battle. It means she has vocal agility of a coloratura soprano, but the richer tones of a mezzo.
Bryn is in many eyes the greatest baritone ever. the only reason i thought this was him because at first glance i saw a big resemblance.
FYI, Arleen Auger was ill with a brain tumor at the time and died very soon after this performance. There is more of her gorgeous singing (from happier times) on youtube.
That's Vinson Cole, tenor and Rene Pape, bass. George Solti conducting.
augustviersen: « Also, if this is from Süßmayer, the (Beethoven) Missa Solemnis is from Franz Ries. So it must have happened this way: Süßmayer wrote from original (Mozart) manuscript, which he then threw in the fire, and boldly stated the music was his, so that (self-appointed) "experts" fell to it. »
(While finding this worth translating, I don't share it)
Fri 5 Dec 2008 09:41 GMT
That wonderful bass is none other than the great Rene Pape. He has been featured often at the Met, making his mark as King Mark in Tristan and Isolde a few years ago.
I believe he's either Bavarian or German.
From Dresden
Agree! Sounds she sang her swan song asking for mercy from God as we are sinners... Pity that a singe with great soul pased away so early during her fifties.
03:17,03:18,03:19,03:20 tenor loves the notes there.. so am I..
Extremely rude of the posting person to completely ignore the two male singers in this quartet!
Where/when was this wonderful video recorded?
"BohemianRhapsodie", "augustviersen" meant IMO that "experts", fooled by FX Süßmayr's (augustviersen-supposed) lie, wrongly believed FXS wrote the *entire* Requiem.
Personally I rather believe the traditional version (that FXS, deeply respecting WAM, finished the work by writing just the missing parts, following WAM's way the best he could), and DME's annotations on some parts (e.g. this heavenly Benedictus) pointing them as pertaining to these FXS filling works.
Fri 18 Dec 2009 23:40 GMT
+1 @apalikatt. And the flaws "mouthmouse" describes, Bartoli developed (some of) *later*; in 1991 she was the nice singer who built her (high and deserved) reputation; she, Pape, Cole were relatively young and unknown but in their peak. Arleen and Solti, while old and behind their peak, were still immense. All around a great cast and production. There is even better for audio alone (e.g. Marriner), but not IMO for video. See my 7 Jul 2007 and 5 Dec 2008.
Thu 20 Dec 2012 20:15 GMT
Also die Version habe ich noch nie gehört, sondern lediglich, daß Mozart grobe Skizzen hinterlies, die Süßmayr verarbeitete.
December 5th 1991.
Dirigerad av Georg Solti för att uppmärksamma 200-årsjubileet av Mozarts dödsdag 1991 (bland de andra solisterna märktes en mycket ung Cecilia Bartoli).
From which year is this recording?
Hey that's the same guy that played sorastro in that weird movie rendition of magic flute
Rectius: Arleen Auger & Cecilia Bartoli.
the four of them make a perfect ensemble.i like the duets of the mezzo and the tenor. the tenor's voice is mellifluous. the bass sounds like a profundo. the mezzo is fantastic. the soprano is okay, but her voice seems to lack a bit of power. but it is still generally good.
Best thing Sussmayr ever wrote.
that was Bryn Terfel right?
And, last, for all you trivia buffs, there are places Bartoli can't perform, because her voice is too small. Opera, after all, is not miked.
I'm sorry but for me, as usual, bartoli makes too much! let's compare with the others: the dress, men are cimple with their costume, Arleen's wearing a simple dress while bartholy has a big low cut dress ! for the other the black covering is as big as the score whereas for bartoli it's much bigger! and at the opposite of arleen AUger with a light simple voice, we have for bartoli "beautiful" portamento and vibrato!
Ohhh my god... you know you don't have to make yourself sound like a potatoe is stuck in your throat to be a good bass - Personally, I think he sounds terrible... maybe he's doing a good job at the style, but I really, really despise it... Anywho, long live Cecilia!