Oh, this is marvellous! Unlike in most other productions (and most other RUclips clips of this piece, for that matter) - featuring (often glorious) oratorio-style singing - here we really see and hear three people in a difficult situation, trying to come to terms with each other, as well as with themselves. Thus, the great climaxes towards the end of the trio aren't merely a demonstration of vocal prowess and beauty, but moments of catharsis for the three characters. Of course, Gwyneth Jones (who is, in my view, all in all one of the greatest interpreters of the Marschallin) cannot compete with, say, Kiri Te Kanawa or Elisabeth Schwarzkopf when it comes to the firmness and evenness of the vocal line or the pianissimi in the high register, but on the other hand she never contents herself with just good or correct singing, but gives every note a meaning. And she proves herself once more to be an outstanding actress. Brigitte Fassbaender with her dark and individual timbre, and the full lyric and totally un-soubrettish Sophie of Lucia Popp are three-dimensional characters, each acting out their own conflicts. And yet, how these almost contrasting timbres blend perfectly in the duet! And to top it all: Has anyone on stage ever looked more hopelessly and helplessly in love than Fassbaender just before the duet?
In 1982 I heard Carlos Kleiber conduct “Der Rosenkavalier” at the Munich Staatsoper. Brigitte Fassbänder was Oktavian and Gwynth Jones was the Marschallin (the Sophie I don’t remember), but the most interesting point in the performance came when, a few minutes into the trio shown here, Kleiber laid down the baton and fully leaned back against the rear bar on the podium with his arms folded across his chest, and he simply let the orchestra play and the singers sing. He did this for a few minutes, and then resumed his work, but I will never forget the look on his face-he looked supremely satisfied and warmly appreciative of what was unfolding before him.
@@brigittekohne22 We are enjoying singing, acting and conducting of these outstanding artists. We are not interested in storys about having affairs or not. Lucia Popp died nearly 29 and Carlos Kleiber about 18 years ago. They cannot defend themselves against these rumors. So be quiet, let them rest in peace and keep your mouth shut!
Ein Beispiel wie Carlos Kleiber es verstand die Farben der Musik aus dem Orchester hervorquellen zu lassen... - nicht umsonst wurde er in einer BBC-Umfrage zum größten Dirigenten der Welt gewählt. - Heinz
Yo no entiendo porque el compositor asignó una mujer para ese papel porque si existen los contraTenor no existe las voces para varones que cubran ese mismo registro en voces de varones? Igual me parece con la obra Euridici.
@@edwardtodd9734I like to imagine that Strauss was thinking of both Le nozze di Figaro and the third play in Beaumarchais’ Figaro trilogy, La mère coupable.
Oh, this is marvellous!
Unlike in most other productions (and most other RUclips clips of this piece, for that matter) - featuring (often glorious) oratorio-style singing - here we really see and hear three people in a difficult situation, trying to come to terms with each other, as well as with themselves.
Thus, the great climaxes towards the end of the trio aren't merely a demonstration of vocal prowess and beauty, but moments of catharsis for the three characters.
Of course, Gwyneth Jones (who is, in my view, all in all one of the greatest interpreters of the Marschallin) cannot compete with, say, Kiri Te Kanawa or Elisabeth Schwarzkopf when it comes to the firmness and evenness of the vocal line or the pianissimi in the high register, but on the other hand she never contents herself with just good or correct singing, but gives every note a meaning. And she proves herself once more to be an outstanding actress.
Brigitte Fassbaender with her dark and individual timbre, and the full lyric and totally un-soubrettish Sophie of Lucia Popp are three-dimensional characters, each acting out their own conflicts. And yet, how these almost contrasting timbres blend perfectly in the duet!
And to top it all: Has anyone on stage ever looked more hopelessly and helplessly in love than Fassbaender just before the duet?
Das nennt man Sternenstunden der Musik! Sogar nach diesen Ausschnitten ist klar, nicht mehr wiederholbar! Bravissimo!
In 1982 I heard Carlos Kleiber conduct “Der Rosenkavalier” at the Munich Staatsoper.
Brigitte Fassbänder was Oktavian and Gwynth Jones was the Marschallin (the Sophie I don’t remember), but the most interesting point in the performance came when, a few minutes into the trio shown here, Kleiber laid down the baton and fully leaned back against the rear bar on the podium with his arms folded across his chest, and he simply let the orchestra play and the singers sing.
He did this for a few minutes, and then resumed his work, but I will never forget the look on his face-he looked supremely satisfied and warmly appreciative of what was unfolding before him.
M
Lucia Popp, with whom Kleiber had an affair, was Sophie
@@brigittekohne22 We are enjoying singing, acting and conducting of these outstanding artists. We are not interested in storys about having affairs or not. Lucia Popp died nearly 29 and Carlos Kleiber about 18 years ago. They cannot defend themselves against these rumors. So be quiet, let them rest in peace and keep your mouth shut!
It could also have been Gruberova. I personally saw a performance with Kleiber and Jones/Fassbänder/Gruberova
Sophie es Lucia Pop. Maravillosa.
Fantastisch !!!! Hatte das Privileg es so grossartig of zu sehen !!! Unvergesslich !!!
A superb performance of an outstanding opera. One of my favourites.
Je pense que Sophie, c'est Lucia Popp 💙
...exquisite, ...perfect in every detail, both acting and singing...one of the most beautiful scene in all of powers...emotionally overwhelmingly...
You know! What wonderfful voives! Viele Grüße Bernd, from the Münsterland in the Northwestern of Germany.
Speechless. Perfection, that is all.
Brigitte Fassbänder is marvelous and how handsome as a man! I could fall in love with her.
I have fallen in love with her.
The best opera trio
Che deliziosa fresca opera! Grazie Strauss!
It is sad that no info on the beautiful singers. Carlos is great
Ein Beispiel wie Carlos Kleiber es verstand die Farben der Musik aus dem Orchester hervorquellen zu lassen... - nicht umsonst wurde er in einer BBC-Umfrage zum größten Dirigenten der Welt gewählt. - Heinz
His father was no slouch!
Kleiber. Una sensibilidad fuera de lo normal. Explendido este final del Caballero de la Rosa de Straus
FABULOSO
When Opera let you dream away. These times are over. But WHY?
Birgitta Fasbender and Lucia Pop!!
Popp
and Gwyneth Jones
My first Octavian and Sophie, but with Sena. Saw Gwyneth later
@@edwardtodd9734 Saw Jurinac, Jones, Christa Ludwig and Rysanek AND Kleiber
The genius that is Kleiber.
...and R. Strauss.
@@tenore8 Prefer his Vier letzte Lieder.
@@Tararu3500 ruclips.net/video/ysPrI4TeDCk/видео.html
@@tenore8 Thank you for the link. However, my favorites are: Flagstad, Norman, Janowitz and Popp.
muy buena
😍😍😍😍😍
Sophia was sung by Lucia Lipp
POPP
Yo no entiendo porque el compositor asignó una mujer para ese papel porque si existen los contraTenor no existe las voces para varones que cubran ese mismo registro en voces de varones? Igual me parece con la obra Euridici.
En la época de los castratis se podía cubrir ese rol. Ahora es imposible que un hombre pueda cantar esa tessatura y proyectar en base a falsettos.
Wasn't this Strauss's nod to Mozart's Cherubino
No puedo imaginar a ningún contratenor cantando Oktavian, ni en aquel momento ni en este.
The opera is full of references to Baroque/Rococo times... this is just another one of them...
@@edwardtodd9734I like to imagine that Strauss was thinking of both Le nozze di Figaro and the third play in Beaumarchais’ Figaro trilogy, La mère coupable.