I am a great fan of Gwyneth, and saw almost all her New York performances. She was variable, to put it mildly. One night, you could hear the most gorgeous voice, powerful, refulgent. The next night, you could hear her struggle with pitch and steadiness. Nonetheless, I enjoyed nearly all of singing, although you sometimes had to make allowances. There are a lot of Callas and Rysanek fans who forgave far worse singing. Just my opinion, not looking for a dissertation on their merits.
Though I'm a great fan of early and mid-career G. J., by this point, the warble had become impossible to control, and the constant scooping had become her default setting. "So tief in Abendroth" is probably the most egregious example in this recording. This simple, noble line, the capstone of the whole cycle, is broken into 2 laboured phrases, both with scoops that barely make it onto pitch. As with Flagstad's terrible recordings of these songs, they are simply not well served by an aging dramatic voice. This is painful to listen to, and a warning to all aging singers of every fach.
Way to be completely uncharitable to one of the most exciting singers ever to take the stage. Nearly everything you said is completely untrue. There’s not one thing labored about this performance. In point of fact, given that she sang the heaviest roles ever written for a female voice, this is remarkably graceful and well spun, even taking into account her “aging dramatic voice”. She’s a rare singer that could make time seem suspended, and she does that here. The voice isn’t pushed, out of tune, wobbly, or thin. It’s hardly a “warning”. It’s actually a lesson in how to deftly handle a voice that was always at its best at “full sail” and sing far more delicate, subtle repertoire. Critics are the literal worst. As if you could get on any stage anywhere and do it even half as well as she does here.
Great! Thank you! The live recording gives a more accurate impression of the "later Gwyneth" than the commersial version. This is beautiful! ❤
I have enjoyed that too. I like DGJ.
Thank you.
I am a great fan of Gwyneth, and saw almost all her New York performances. She was variable, to put it mildly. One night, you could hear the most gorgeous voice, powerful, refulgent. The next night, you could hear her struggle with pitch and steadiness. Nonetheless, I enjoyed nearly all of singing, although you sometimes had to make allowances. There are a lot of Callas and Rysanek fans who forgave far worse singing. Just my opinion, not looking for a dissertation on their merits.
Though I'm a great fan of early and mid-career G. J., by this point, the warble had become impossible to control, and the constant scooping had become her default setting. "So tief in Abendroth" is probably the most egregious example in this recording. This simple, noble line, the capstone of the whole cycle, is broken into 2 laboured phrases, both with scoops that barely make it onto pitch. As with Flagstad's terrible recordings of these songs, they are simply not well served by an aging dramatic voice. This is painful to listen to, and a warning to all aging singers of every fach.
Way to be completely uncharitable to one of the most exciting singers ever to take the stage. Nearly everything you said is completely untrue. There’s not one thing labored about this performance. In point of fact, given that she sang the heaviest roles ever written for a female voice, this is remarkably graceful and well spun, even taking into account her “aging dramatic voice”. She’s a rare singer that could make time seem suspended, and she does that here. The voice isn’t pushed, out of tune, wobbly, or thin. It’s hardly a “warning”. It’s actually a lesson in how to deftly handle a voice that was always at its best at “full sail” and sing far more delicate, subtle repertoire.
Critics are the literal worst. As if you could get on any stage anywhere and do it even half as well as she does here.