Nicolai Gedda sings "Pourquoi me réveiller" (Salzburg, 1961.)
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- Опубликовано: 24 май 2009
- Nicolai Gedda sings "Pourquoi me réveiller", Werther's aria from Massenet's Werther. Live performance, Salzburg, 1961.
Lyrics:
Pourquoi me réveller,
ô souffle du printemps?
Pourquoi me réveller
Sur mon front je sens tes caresses,
et pourtant bien proche est le temps
des orages et des tristesses!
Pourquoi me réveiller,
ô souffle du printemps?
Demain dans le vallon
viendra le voyageur
se souvenant de ma gloire première.
Et ses yeux vainement
chercheront ma splendeur.
Ils ne trouveront plus que deuil
et que misère! Hé1as!
Pourquoi me réveller,
ô souffle du printemps? 
Видеоклипы
Bravo maestro
I cant stop listening Gedda. I loved the soft interpretations in this aria. Everyone else is louder at same notes, but of course it was a nice touch. Very rare and powerful singer.
Un immense ténor, diction parfaite.
Magnifique tendresse et puissance,magistral
One of the few recordings where I hear true sorrow... most of the tenors sound angry,which is good,but this aria I think expresses something more mystical,the agony of one's love.Mr Gedda is wonderful.
что за исполнение. Гете бы изошел слезами, если бы услышал ТАКОГО Вертера. Как томится Вертер, какую бурю он таит в себе, какой тайный жар..
Нет этому слов
Iv'e never heard this piece sung quite like this before. It's usually given the "belt it out" treatment- but not this time. Gedda very much in control of it. Great art.
I'm amazed by the emotion, but mostly the perfection. He sings that phrase like he's holding an enfant, and it doesnt slip. no words to describe
1:26 Divine... I love how he doesn't go full forte fortissimo on it. Classic Gedda really.
He had a fabulous quality. His voice was so unique and special.
Le plus grand!!!!
No tenor alive or gone could equal this performance for interpretation, faultless diction, and beauty of voice.
Gedda will always be my favorite tenor. The technique is so amazing.
Why was the audience not screaming after this??? Gorgeous!
Pure GENIUS! Incredible control. Supreme master tenor of all time!
I wish this was on Spotify. There are other later versions of Gedda. But none as beautiful as this.
Quelle sensibilité! En plus il chante un français impeccable! Bravo!
Splendid
Técnica fenomenal 🙏🙏🙏🙏🙏🙏🙏🙏
Il primo acuto in pianissimo non è previsto da Massenet, ma è una meraviglia! Grande Gedda!
Tres très beau ,,
With so many great Tenors that have passed through my life, they all hold a memory and a special place for me but I think if I had to choose who I thought was the best, past or present, it would have to be this man. perfect voice and breath control and the art of being able to surprise you in the delivery of the song, yet hold your conscience to a perfect moment, or a tear, absolutely beautiful.
Increíble de acuerdo con usted
Then you have to hear this tenor ruclips.net/video/dLaJ-oWpLxE/видео.html
How poetic is that! Thank you.
Bravissimo!!!
I am an amateur tenor and only recently came across Mr. Gedda and his interpretation of Pourquoi me Revellier. I have since listened to his version numerous times and I constantly am amazed at the beauty, style, technique, and quality of his performance. Worthy of his placement among the greats!
Correction Rèvellier
@@jamesjr2556 correction RÉVEILLER
Quelle voix merveilleuse diction parfaite,aucun accent tout simplement le plus grand!
MASTERFUL control from Mr Gedda and as always his pianissimo was absolutely riveting and shows a level of technical ability and expertise that very FEW tenors have or had. Bravissimo!
As a 17-year-old tenor, studying voice for my undergrad degree, I began listening to a lot of opera recordings, and more than any voice I had ever heard, Gedda’s captivated me when I first heard his Pinkerton . Some say he doesn’t have an attractive quality , but for me it’s just so unique and different than any other voice that I’m drawn to it.
While he would probably no longer be considered my favorite, I have listened to more recordings of him than anyone.
I find a few things very unique about him… Firstly, more than any other tenor I have probably ever heard recorded his voice significantly changed in the first 10 years of his career. This recording is very early for him and he definitely brought more lightness to his approach. He was always able to sing with that quality, but I found listening to him that, he approached even this repertoire with a little bit more of a Mozartean and mezza voce quality. His early recordings are much closer to this than anything that happened in the late 60s through the 70s. He definitely gained the fullness to his voice and a more dramatic approach to his singing. And while many voices just get bigger, the quality of his voice became significantly different. Usually you don’t hear that in Professional singers.
Another thing I find interesting about him is that he uses his voice differently in recorded music versus recital music versus live opera. With the exception of a few things like the pearl fisher singing, his live singing has much more gusto and dramatic energy to it. I would call it, at times, a little bit barky , but really it’s just got the oomph he probably felt was required in a large opera house. So if you heard him sing this aria, the early part of his career in a recital setting versus listen to a live version of it in the middle to later part of his career with the full orchestra it would be like a completely different person singing. in someways as I listen to his voice in the very end of his career, I think the overdramatic quality probably had him less controlled and pushing because he has a significant wobble in his vibrato. Clearly, though, he had some of the greatest understanding of how to use his voice With the ability to adjust for the setting, as well as the fact that he was able to sing so well late into his life.
Because he had the ability to sing those incredible pianissimos definitely brought that to his recorded roles where he was able to sing, maybe more nuance than you could with a in a live setting.
One of the few opera, singers, particularly tenors, who was as good singing recitals of art song as he was on the operatic stage.
It would’ve been one of my greatest opportunities to have met him in person or coached with him had he been a little bit younger when I had been in my 20s.
For me, one of the most unique tenor voices ever, and while I may prefer a voice like Corelli these days, Gedda will always hold a special place in my heart and be my favorite.
Good call! He switched teachers… to Paola Novikova in 1954. He pushed back on completing the callas butterfly that was only partially recorded prior to 1954 because he said his voice had gained so much resonance from his work with her… he felt it wouldn’t be cohesive. But he did finish. His squillo was off the charts within 3-4 years with her. Legendary high notes by late 50’s and the 60’s were his absolute best. He gave all the credit to Novikova
He is simply unbeatable. His phrasing, expressivity, and emotions are simply unmatched. I discussed with friends that others sing it better (Pavarotti or Corelli). I do not agree. Nobody is a winner at this level, they are all the best, but very different. Immortal voice of Nicolai Gedda. I am a Gedda fanatic.. neverending admiration.
Definitely! I love this aria sung softly in French or Italian using the mezza voce. There are a quite a few interpretations that are wonderful and Gedda is one of the best! At this level it really is personal taste. I also recommend listening to Giuseppe De Stefano.
@@shodanart Of course, Pippo was the first I tried. I always deeply regret that di Stefano wasted his instrument with barking in heavy roles, like Otello. Di Stefano received one of the most beautiful lyric tenor voices I have ever seen. It is another source of my Gedda admiration, maintaining parts and the voice care. Alagna was also good, a few years ago.
@@shodanart Try Sergei Lemeshev, various versions. He sings in Russian, but he is excellent.
Splendid!
Wonderful singing. I've always loved Gedda. So happy to hear this live performance.
It's a testament to Gedda's artistry that he continues to perfect his technique to this day when he already had this kind of control FIFTY years ago.
Fabulous!
Spellbinding once more. Agree with comments about Nicolai Gedda's immense control & expression.
Merveilleuse interprétation. Gedda fait une fois de plus la démonstration que l'opera n' est pas seulement une affaire de voix ( splendide ) mais aussi et surtout une question de style,de classe et ...de sensibilité !
Parole sante
Holy crap, I got goosebumps all over from this interpretation
he is vocaly perfect plus, he is the only foreigner tenor to sing french like a real french singer!!!i am french and i cannot imagine at all he is russian!!
Well, he was Swedish... so.. that might be a reason... All jokes aside, he was a really good singer in the French roles. Most of the Italians despite their golden tones, can't really do the French repertoire justice. Lemeshev sang a really good 'Pourquoi me Reveiller' albeit in Russian. It's great singing, but I think this is aria is as French as it gets, and the translations really don't do it justice.
@@absdyna Он родился в Швеции, будучи сыном русских эмигрантов, в его доме звучала русская речь. Обратите внимание, что партии на русском он пел без акцента.)
Swedish of russian origin. And the best tenor ever in any language.
@@ferp577 Yeah, i think he knew a few languages. Definitely he sang without accent in Russian, English, French, i think German too. Italian is one i'm not sure of. Many in the Russian emigre community were french speakers back then. Not to mention the pre-revolutionary Russian aristocracy was really into speaking french, believe it or not. It was 'a thing', 'cool' I guess. They inserted many french words and expressions, or simply spoke it, in social settings. Not that Gedda had much connection to any of that, but I'm guessing for other reasons he was quite fluent in about 5 or 6 languages.
the best tenor version ever!!!!
Great N.Gedda & That's Unique Ensemble !❤❤❤❤❤❤❤❤❤
Nicola Gedda est à sa place dans "Werther". En plus félicitations pour sa prononciation! Bravo.Pour moi un des meilleurs "Werther" est néanmoins Georges Thill!!! Roberto Alagna est également à son aise dans ce rôle écrit pour un ténor lyrique!
EXRA!
Amazing !!
But if you dont sing, you dont under stand !!!
What a grand delivery!!! Wow. 💯💯💯
Fantastic 😍
Sehr schön.
the best tenor!
Гениально исполнено
wunderbar
wow!
è perfetto per quest'aria...grazie mille
Прекрасный Голос!
Bravissimo
🌹🌹🌹🌹🌹
Τhe best Werther ever
Great!
El mejor tenor que he escuchado
When someone cares to add lyrics and additional info when available..I just could kiss his/her soul .. ( dramatic ? well, i'm an Italian blue ape )
Grazie,,!
Sorrow has always struck me as being natural to Gedda's timbre, which is colder than that of the Italians, but sweeter. I think that he was the best in arias of despair, like the Volga Lied from Der Zarewitsch, E lucevan le stelle, and Kuda, kuda vi udalilis from Onegin. It's ironic, though, that he used the sorriso technique.
Mystical is a perceptive word, I think. It is from the imagination of Goethe.
СОВЕРШЕНСТВО ВО ВСЕМ!!!!!!
So subtle....
Quanta naturalezza che dimostra una capacità unica di Capire che l'amoroso e' un Uomo innamorato ...non condannato a morte in un opera verista.
Schipa..Gigli..Pippo..comunque rientra trai grandi in questa romanza...la pronuncia è perfetta
@@eugeniogentili1048 tra i tenori lirici tra i primi 3...Krauss.e Schipa..tra gli spinti ...CORELLI..tra i drammatici...DEL MONACO...
@@guidogreco341 Mi sa che Stinchelli ha esagerato, ci sono stati parecchi tenori migliori di Gedda.
@@eugeniogentili1048 gusti molto personali...potrei citare Fleta,Pertile Lauri Volpi,Gigli....la cosiddetta golden age...a mio.modesto avviso la prima rottura con il bel canto avviene dopo la seconda guerra mondiale con Del Monaco.Si passa ad un timbro più metallico ed eroico.Molti storcono il naso ma il punto di partenza sta proprio lì,poi perfezionato da Corelli.Nel frattempo nel 1946 una voce dal timbro unico e passionale si affermava nel tempio della lirica Pippo Di Stefano...è durato pochi anni peccato
@@guidogreco341 Gigli mio conterraneo e' quello che meglio ha conservato la voce, ha sostenuto oltre 500 recite al Met poi se n'e' andato all'inizio degli anni 30 xche' il Met aveva ridotto i compensi causa la crisi economica del 29, penso sia stato uno dei tenori che ha guadagnato di piu'nella storia lirica, aveva un super attico a Roma dove e' morto,case terreni e poi quella villa splendida a Recanati circa 50 stanze penso tra le piu' belle in Italia, pensare che quando e' nato era molto povero mi pare figlio di un ciabattino.
What a werther.
Молодец!
❤🎉🎉
gedda på sitt aller beste her, perfekt fransk
very beautiful. This is how it should be sung. It is a very difficult piece, and some tenors like Pavarotti can't sing it. Sorry but Gedda is nearly perfect, very good diction.
@delmonaco21 Not this calmly ..
@delmonaco21 pavarotti is a non operatic singer, softy mosquito and later cracked mosquito! Paper legend!
😍😍😍😍
einer der ganz grossen sänger
I prefer the kauffmann version but I really looove this one. Nicolai Gedda is really a singer I like very much. Thank for the post !!
Gedda is an artist, Corelli a voice.
Brian McKay Lei sta facendo un torto ad entrambi.
They both are real artists of voice, though very different from each other. That's why such a comparison doesn't make sense at all.
@@user-fu4zx9iu1h I would agree Gedda is more nuanced, has more artistic subtlety. Not to knock Corelli's power and vocal quality and technique (though he's not one of my favorites at all)
Sur un poème d'Ossian !
Genau so muss man es machen! Die meisten Tenöre sind viel zu laut - und zwar durchgängig...
ah non il y a même des fausses notes
Monsieur Rodriguez. Je vous conseille de réécouter cet air de manière plus attentive. Je ne releve quant à moi aucune erreur ou alors argumentez.
Immense ténor, mais mon préféré reste Alfredo Kraus.
Rose marie Tremblay. C'est bien que vous ayez une appréciation favorable pour Krauss, mais gedda avait un registre beaucoup plus étendu et a chanté beaucoup plus d'oeuvres , toujours avec facilité.en tout état de cause tous deux avaient un style bel cantista. Après, tout est question de goût.
Mon commentaire portait essentiellement sur cette mélodie-ci. Mais il est vrai que pour des chanteurs de ce niveau exceptionnel, la préférence
est une question de goût.
très supérieur à Thill, qui ne peut monter dans les aigus !
Gedda fué tenor muy completo, casi todo lo q interpreto lo hizo bien. Pero nunca fué el mejor ningún papel. En este papel Kraus, Thill y Scippa lo superan, por ejemplo.
CARI TUTTI....intanto resto sempre abbastanza perplessa davanti ad affermazioni da parte di CHI non ha MAI ascoltato dal vivo una voce e gioca a fare il San Tommaso. Ok, stiamo al gioco. Allora, Gedda dal vivo era impressionante NON per la potenza della voce (prerogativa ,a mio giudizio, non così decisiva per giudicare un grande Artista) ma per il fraseggio, l'eleganza, la duttilità, la musicalità, l'intonazione, LO STILE e l'inusitata estensione. Ho letto molte imprecisioni. Intanto NON E' stato un tenore leggero, bensì un tenore a 360 gradi, che spaziava da Monteverdi a Bernstein. Sugli acuti la voce si raddoppiava e all'Opera di Roma ancora gira il si naturale a piena voce nell'aria di Hermann dalla Dama di picche di Ciaikovsky, degno di qualsiasi tenore drammatico di ieri, oggi e probabilmente domani. I pianissimi avevano la stessa sostanza degli acuti , prodigio della sua tecnica. Tenore "per intellettuali"? Forse. Ed è un pregio e sicuramente una rarità in un'epoca che dell'intelletto fa strame.
@@lydiaguarro Aquí tenemos a la persona por decir algo, que la expulsaron de un foro de Kraus por menospreciar y faltar al respeto. Menos nombrar a Santos que Mefistofeles la está esperando. Lo dicho Gedda un buen tenor pero no llega a lo excelso.
@@lydiaguarro A usted le gusta el vociferante Pippo y Domingo.
@@lydiaguarro Dios la castigó y llevó el comunismo a Argentina.
@@lydiaguarro Una cristiana como usted no debería odiar tanto. Vieja hipócrita y clasista.
No respeta partitura.... 1, hace un falsete morendo.. En la primera parte que tampoco esta escrito. Y lo hace para cuidarse en la segunda parte..en este rol.. Sólo el Maestro Alfredo Kraus.
Fabulous!
Sur un poème d'Ossian !