Este concierto es de lo más hermoso y sublime que he escuchado. Suelo escucharlo de dos a tres veces por semana. Qué gran director es, sin duda, Andrés Orozco-Estrada. ¡Bravo! 👏👏👏👏 Excelentes sopranos, bajo y tenor. Bellísimo coro también. Todos lograron extraer la sublime belleza y perfección que encierra esta obra maestra de Dvorak. 👏👏👏👏👏
Dvorak's "Stabat Mater" loses none of its reverence through its intense drama, and overwhelms with a miraculously inspired ending. Befitting the nature of the work, Dvorak's music here has little of his usual nationalistic flavor; Christ died and rose again for us all. The soloists, choir and orchestra all give an outstanding performance worthy of the greatest acclaim.
This is the first time I ever heard this Stabat Mater. What a monumental work. I sang Rossini's Stabat Mater and love it. This is such vertical music, illustrative of three tall, skinny crosses with the body of Christ in the middle and Mary at the foot, sorrowful, inconsolable and vulnerable. Every piece is perfect: orchestra, conductor, chorus and soloists. It's almost apocalyptic. Here is your fate, world. Behold and be warned.
This is a stunning performance. I was in the Maidstone Choral Union for six seasons, and on the evening of Saturday 31st March 1990 (exactly thirty-one years ago today) we performed Dvorak's 'Stabat Mater' in All Saints' Church. It was perhaps our finest hour. Our musical director, Jeffrey Vaughan Martin, told us we had excelled ourselves, and a colleague of mine in the audience said he would not have missed it for the world.
My life has always been like grief on grief never to shed, sorrow after sorrow never seem to be released on, I suffer from it all! Listening deeply to this video, all those are sounds great, marvelous to hear. Maestro, I truely inspired by your works and interpretation of this song throughout the whole full score.
Une des plus œuvre de la musique religieuse du répertoire, le Stabat Mater de Dvorak bouleverse l’âme tant par son recueillement profond et sa richesse mélodique. Sublime interprétation proche de la référence de l’orch phil Prague dir W Sawallisch.
Dvorak, what a faszinating music. I'm feeling in an other world, a new, very individual symphonic sound where specialized voices are needed, slavic voices. All this brought together here perfect, overwhelming, heartbreakink. Thanks for a lot of euphoric and emotional impressions.❤❤
0:40 I. Quartett und Chor 19:12 II. Quartett 29:55 III. Chor 36:13 IV. Bass solo und Chor 44:28 V. Chor 49:08 VI. Tenor solo und Chor 55:06 VII. Chor 1:01:03 VIII. Duo (Sopran und Tenor) 1:05:27 IX. Alt Solo 1:11:17 X. Quartett und Chor And congratulations!!
Maravillosa Obra, sublime Dvorak! Interpretación excelsa, y la soprano con un bebé en su vientre que reduce el oxígeno, magnífica!!! Soy soprano y me gustaría interpretarlo. Creo que lo lograría con práctica y estudio. Han tocado mi alma con esta interpretación tan perfecta, hasta las lágrimas! Bravo, bravo y bravo!!!❤👏👏👏👏👏
As Brian Galloway notes here from only a few days ago, I too will be singing this work for the first time on March 16th in Wiesbaden...and I'm "priming the pump" for it with this performance here. I've never sung Dvorak (I can't spell it right on this keypad) before and likewise never heard this work; I know that Brahms respected him highly, and that should be encomium enough for me. I've gone only as far as the second set now, and I can say: great battery of soloists here, and I've known the HR Symphony Orchestra for decades, so I know what they're capable of. We start rehearsing on January 17th, so I hope I'll be up to the task. Thank you for helping me with this example! JAT
Vielen Dank für diese wunderschöne Aufnahme. Besonders das inflammatus et accensus, mit Gerhild Romberger ist so wunderbar: So kraftvoll und dann wieder fast zärtlich in einem selten gehörten Einklang mit den Instrumenten und angenehm wenig Vibrato. Sehr zu Herzen gehend. Und das Orchester mit fast schon gewohnter Perfektion. Vielen Dank
Wonderful performances by all. A truly profound piece which Dvorak does justice. Also, hats off to Ms. Muller for singing while carrying a baby. Definitely takes additional poise! And that cavernous base...amazing!
Tiefempfundene Aufführung dieses großartigen Meisterwerks mit gut harmonisierten und perfekt synchronisierten Töne aller Instrumente sowie herrlichen Stimmen aller Solisten und himmlischen Stimmen des ganzen Chors. Der geniale Maestro dirigiert das ausgezeichnete Orchester im gut phrasierten Tempo mit effektiv kontrollierter Dynamik. Einfach wunderschön!
I bet you enjoyed! Sang this many years ago, at 2004, as soprano, still the greatest memory and one of the most favourite music (same as "Stabat Mater" Pergolesi, which i also sang). Still remember all the texts after 20 years.
¡Gran versión! Coro, orquesta y solistas. Tempos, matices perfectos, sin un defecto. Un detalle: una cosa que todos los que asistimos a conciertos nos fijamos, si son exagerados, son los gestos, especialmente de los solistas. A mí particularmente me pueden estropear la actuación de algún solista. En este caso, me incomoda mucho la boca torcida del bajo. Un hábito que debería corregir. Una versión para escuchar como preferida.
Dvorak hat Schubert sehr geschätzt. Ich glaube nicht, dass das Zufall ist. Und klingt Schuberts Grosse C-Dur Symphonie nicht mehrfach wie eine Vorwegnahme der Musik Dvoraks?
8:40 1.1 Entrada Tenor 11:37 soprano y mezzo 11:45 Entrada Tenor 12:19 1--quo|emerebat et dolebat 13:20 2--quo|emerebat et dolebat 16:53 Stabat mater 17:30 3--quo|emerebat et dolebat ______________________________________________________ QUIS EST HOMO 20:20 1.1 Entrada tenor 21:08 “A” 1.2 Quis est homo (entrada barítono) 22:04 1.3 Christi matrem contemplari 24:00 “B” 2.1 Vidit suum dulcem natum 25:00 2.2 Vidit suum dulcem natum 25:35 “C” 3.1 Quis est homo (entrada mezzo) 26:21 3.2 matrem Christi sí videret (pedal de sí natural) 26:52 3.3 pro peccatis su ægentis (pp=pianísimo) ______________________________________________________ FAC ME VERÉ TECUM FLERE 49:52 6.1 Fac me vere tecum flere 50:36 6.2 modulación menor ______________________________________________________ 01:02:19 8.1 Entrada tenor 01:03:03 8.2 segunda entrada ______________________________________________________ 01:12:05 1.1 Entrada Tenor
Cannot pronounce these names-- I'm Irish and Hispanic. Speak English & Russian. A friend turned me into this and Iam a big fan now. Can somebody please help me with the proper pronunciations?
Eine überwältigend schöne Aufnahme: Fließende, aber nicht "eilende" Tempi, schöne Gliederungen und Übergänge. Herrlich flexibel agierendes Orchester mit weichen Streicherklang und fabelhaften Bläsersolisten, prächtiger, kultivierter Chor mit riesiger Ausdrucksbreite und Farbigkeit und schließlich ein Weltklasse-Solisten-Terzett(!) - ja, leider Terzett: Bass Groissböck singt allzuoft hölzern, leicht unsauber und undifferenziert. War nicht sein Tag...Schmälert den Gesamteindruck nur leicht. Die anderen Solisten singen himmlisch und auf Weltklasse-Niveau! Starke Dirigierleistung...
Sehr nett. Allerdings: in slawischen Ländern benutzt man bei Latein die deutsche Aussprache bei den Konsonanten nicht italienische. Bei den Vokalen ist es wiederum umgekehrt.
Das ginge besser. Leider im Eja Mater nach gutem Anfang das Tempo nicht gehalten - das Stück lebt davon, und es wirkt viel besser, wenn man nur im Dolce-Piano-Teil das Tempo etwas zurücknimmt - , der Männerchor setzt auch konsequent zu spät ein. Das passiert Laienchören, bei einem Profichor sollte das nicht passieren. Auch im Teil IV viele Stellen, die schleppen bzw. immer langsamer werden, leider verliert das Stück dort Dynamik. Stimmlich singt der Chor allerdings sehr gut. Insgesamt nicht die beste Aufnahme. Das geht viel besser!
@@elpelucagarcia2 Hola. Soy simplemente alguien que ha visto el vídeo, que conoce la obra y ha escuchado también otras versiones y que ha querido exponer su opinión sin ánimo de ofender.
Why maestro Groissböck pronounce the Latin so bad? Whhat the Hell is "...ardejat cor mejum in amando Christum Dejum"??? Anybody should tell him something. Nice voice, but this is very disturbing, which is a pity.
Such a special work by Dvorak .... and here: with too light voices in the Soli Cast and boring tempos lets no drama and no magic arise.--- Are there no more singers who don´t darken?!?! the Alto is not acceptable, sounds like Kermit, the frog.-ridiculous.
Disaster! Wake up, guys, and listen recordings with Talich or Kubelík... Bass soloist? Mejum, Dejum? Really? Such an ignorant! And conductor? It's really estrada! Can anybody explain him, that Stabat Mater is not a dance music?
You are so wrong. This is monumental, grief-filled music, meant, I think, to warn us of our own fate. All the components work together,with immutable beauty: orchestre, chorus, conductor and soloists. How can anyone so blithely dismiss it with such callous ignorance?
@@shirleyrombough8173 What do you know about Czech music? Do you know tradition of this work since Dvořák created it and conducted it in person, did you see his tempo indications, did you hear recording of Václav Talich? It is reference, how it should sound. Probably not, so I suggest you to do so and then judge something.
@@shirleyrombough8173 someone who knows better comparisons,is familiar with voices and has a clue of tempi...for instance !will not like this performance.
I personally like timbre and expression of the bass soloist. And rhythmic consistency isn't "dance music", especially with this repetition scheme. There is plenty of tempus variation. This is of course a very German interpretation of the piece. A matter of taste I think. But I will look into the recordings you mentioned.
Este concierto es de lo más hermoso y sublime que he escuchado. Suelo escucharlo de dos a tres veces por semana. Qué gran director es, sin duda, Andrés Orozco-Estrada. ¡Bravo! 👏👏👏👏
Excelentes sopranos, bajo y tenor. Bellísimo coro también. Todos lograron extraer la sublime belleza y perfección que encierra esta obra maestra de Dvorak. 👏👏👏👏👏
Dvorak's "Stabat Mater" loses none of its reverence through its intense drama, and overwhelms with a miraculously inspired ending. Befitting the nature of the work, Dvorak's music here has little of his usual nationalistic flavor; Christ died and rose again for us all. The soloists, choir and orchestra all give an outstanding performance worthy of the greatest acclaim.
This is the first time I ever heard this Stabat Mater. What a monumental work. I sang Rossini's Stabat Mater and love it. This is such vertical music, illustrative of three tall, skinny crosses with the body of Christ in the middle and Mary at the foot, sorrowful, inconsolable and vulnerable. Every piece is perfect: orchestra, conductor, chorus and soloists. It's almost apocalyptic. Here is your fate, world. Behold and be warned.
This is a stunning performance. I was in the Maidstone Choral Union for six seasons, and on the evening of Saturday 31st March 1990 (exactly thirty-one years ago today) we performed Dvorak's 'Stabat Mater' in All Saints' Church. It was perhaps our finest hour. Our musical director, Jeffrey Vaughan Martin, told us we had excelled ourselves, and a colleague of mine in the audience said he would not have missed it for the world.
My life has always been like grief on grief never to shed, sorrow after sorrow never seem to be released on, I suffer from it all! Listening deeply to this video, all those are sounds great, marvelous to hear. Maestro, I truely inspired by your works and interpretation of this song throughout the whole full score.
Amazing. Top notch. So beautiful... Classical music is the gate to true heaven. And amazing production.
After watching this wonderful footage,
maybe I will dream about my late beloved mother who deeply loved Dvorak‘s music
Une des plus œuvre de la musique religieuse du répertoire, le Stabat Mater de Dvorak bouleverse l’âme tant par son recueillement profond et sa richesse mélodique. Sublime interprétation proche de la référence de l’orch phil Prague dir W Sawallisch.
Dvorak, what a faszinating music. I'm feeling in an other world, a new, very individual symphonic sound where specialized voices are needed, slavic voices. All this brought together here perfect, overwhelming, heartbreakink. Thanks for a lot of euphoric and emotional impressions.❤❤
Przepiękne wykonanie - słowa tego utworu zawsze wypowiadany
w Drodze Krzyżowej Pana Jezusa Chrystusa.
Piękne przeżycie dla mnie.🥀
Adembenemend fraai! Wat een heerlijke dirigent. En die solisten! De bas tovert een fraai breed coloriet. Bravo uit Nederland!
As usual in his recordings, the Colombian conductor Andrés Orozco-Estrada makes you hear sounds never heard before.
0:40 I. Quartett und Chor
19:12 II. Quartett
29:55 III. Chor
36:13 IV. Bass solo und Chor
44:28 V. Chor
49:08 VI. Tenor solo und Chor
55:06 VII. Chor
1:01:03 VIII. Duo (Sopran und Tenor)
1:05:27 IX. Alt Solo
1:11:17 X. Quartett und Chor
And congratulations!!
Maravillosa Obra, sublime Dvorak! Interpretación excelsa, y la soprano con un bebé en su vientre que reduce el oxígeno, magnífica!!! Soy soprano y me gustaría interpretarlo. Creo que lo lograría con práctica y estudio. Han tocado mi alma con esta interpretación tan perfecta, hasta las lágrimas! Bravo, bravo y bravo!!!❤👏👏👏👏👏
As Brian Galloway notes here from only a few days ago, I too will be singing this work for the first time on March 16th in Wiesbaden...and I'm "priming the pump" for it with this performance here. I've never sung Dvorak (I can't spell it right on this keypad) before and likewise never heard this work; I know that Brahms respected him highly, and that should be encomium enough for me. I've gone only as far as the second set now, and I can say: great battery of soloists here, and I've known the HR Symphony Orchestra for decades, so I know what they're capable of. We start rehearsing on January 17th, so I hope I'll be up to the task. Thank you for helping me with this example! JAT
Vielen Dank für diese wunderschöne Aufnahme. Besonders das inflammatus et accensus, mit Gerhild Romberger ist so wunderbar: So kraftvoll und dann wieder fast zärtlich in einem selten gehörten Einklang mit den Instrumenten und angenehm wenig Vibrato. Sehr zu Herzen gehend. Und das Orchester mit fast schon gewohnter Perfektion. Vielen Dank
It is spectator in reverence in spite of limited number of singers. Great.
Maravillosa obra . Maravillosa interpretacion .Felicitaciones a todos. Gracias por tan maravillosa entrega
Die beste Aufnahme, die ich je davon gehört habe!
I like the alto's sound very much. Powerful and yet velvety when required.
Bravo chéf !
Bravo les musiciens !
Bravo les choristes !
ESPLENDIDA OBRA.!!!!
Exquisitas voces.💥🌟💥
Muchas gracias.
Wonderful performances by all. A truly profound piece which Dvorak does justice. Also, hats off to Ms. Muller for singing while carrying a baby. Definitely takes additional poise! And that cavernous base...amazing!
what a wonderful bass Günther Groissböck is... the soprano, amazes me too.. bravi tenor and Alto!
Tiefempfundene Aufführung dieses großartigen Meisterwerks mit gut harmonisierten und perfekt synchronisierten Töne aller Instrumente sowie herrlichen Stimmen aller Solisten und himmlischen Stimmen des ganzen Chors. Der geniale Maestro dirigiert das ausgezeichnete Orchester im gut phrasierten Tempo mit effektiv kontrollierter Dynamik. Einfach wunderschön!
BARDZO PIEKNE WYKONANIE GRATULUJE
Belíssima e surpreendente a Stabat Mater de Dvořák!
Sublime interpretation! Thank you very much!
I will be singing this version of Stabat Mater as a tenor (but not solo) this April 2024 in Salem, Oregon. Beautiful arrangement!
I bet you enjoyed! Sang this many years ago, at 2004, as soprano, still the greatest memory and one of the most favourite music (same as "Stabat Mater" Pergolesi, which i also sang). Still remember all the texts after 20 years.
My ears are blessed. Thank you!
Wenn man das Werk schon mehrmals gesungen hat, spürt man diesen unglaublichen Hintergrund der Komposition
Thank you very much, beautiful interpretation !
Jsem hrdý na Antonína Dvořáka, byl to skladatel mého národa Čechy!!!
He is also one of the finest composers of the Romantic era.
Belíssimo⭐ sem⭐ igual🌟 EXCELENTES 🌟🌟🌟SAUDADES 🇵🇹
No que decir,estoy 'lacrimoso' casi no veo las letras.No entiendo de música pero esta obra me ha emocionado.
Огромное спасибо !!!!!
Brilliant as Brilliance can be!
Большое спасибо Франкфуртскому оркестру за божественное исполнение в пасхальную неделю!
Espectacular Interpretación.Inmejorable Oboe. VAMOS JOSÉ LUIS !!!!
Happy Birthday, Antonin. (8/Sep 2020)
Fantastic!!!
-- Magnifique. --
Un basso formidabile !
¡Sublime!
Splendide!
Sehr schön❤
Genial!
Maravilloso
Brilliant!
I'm actually really sorry that I can only give this one thumbs up
Gut, ich liebe
Uma apresentação monumental. Grato pela postagem.
MARVELOUS
Oh my goodness, that's good.
Belíssimo!!!
참 좋습니다!
❤❤❤
Ein sehr gutes video
Why do most conductors do the last a capella "Quando corpus" so slowly!? Dvorak didn't write a new tempo
An hour of people singing better than me
¡Gran versión! Coro, orquesta y solistas. Tempos, matices perfectos, sin un defecto. Un detalle: una cosa que todos los que asistimos a conciertos nos fijamos, si son exagerados, son los gestos, especialmente de los solistas. A mí particularmente me pueden estropear la actuación de algún solista. En este caso, me incomoda mucho la boca torcida del bajo. Un hábito que debería corregir. Una versión para escuchar como preferida.
Increíble!
29:56 reminds me of the Andante of Schuberts Trio op.100.
Dvorak hat Schubert sehr geschätzt. Ich glaube nicht, dass das Zufall ist. Und klingt Schuberts Grosse C-Dur Symphonie nicht mehrfach wie eine Vorwegnahme der Musik Dvoraks?
8:40 1.1 Entrada Tenor
11:37 soprano y mezzo 11:45 Entrada Tenor
12:19 1--quo|emerebat et dolebat
13:20 2--quo|emerebat et dolebat
16:53 Stabat mater
17:30 3--quo|emerebat et dolebat
______________________________________________________
QUIS EST HOMO
20:20 1.1 Entrada tenor
21:08 “A” 1.2 Quis est homo (entrada barítono)
22:04 1.3 Christi matrem contemplari
24:00 “B” 2.1 Vidit suum dulcem natum
25:00 2.2 Vidit suum dulcem natum
25:35 “C” 3.1 Quis est homo (entrada mezzo)
26:21 3.2 matrem Christi sí videret (pedal de sí natural)
26:52 3.3 pro peccatis su ægentis (pp=pianísimo)
______________________________________________________
FAC ME VERÉ TECUM FLERE
49:52 6.1 Fac me vere tecum flere
50:36 6.2 modulación menor
______________________________________________________
01:02:19 8.1 Entrada tenor
01:03:03 8.2 segunda entrada
______________________________________________________
01:12:05 1.1 Entrada Tenor
Cannot pronounce these names-- I'm Irish and Hispanic. Speak English & Russian.
A friend turned me into this and Iam a big fan now.
Can somebody please help me with the proper pronunciations?
Show yourselves...the 14 that thumbed this down!
🤚🤚🤚👌
Antonin Dvorak: good night wonderful Thank you lovely yes l Love you Kisses Berlinale Germany
Eine überwältigend schöne Aufnahme: Fließende, aber nicht "eilende" Tempi, schöne Gliederungen und Übergänge. Herrlich flexibel agierendes Orchester mit weichen Streicherklang und fabelhaften Bläsersolisten, prächtiger, kultivierter Chor mit riesiger Ausdrucksbreite und Farbigkeit und schließlich ein Weltklasse-Solisten-Terzett(!) - ja, leider Terzett: Bass Groissböck singt allzuoft hölzern, leicht unsauber und undifferenziert. War nicht sein Tag...Schmälert den Gesamteindruck nur leicht. Die anderen Solisten singen himmlisch und auf Weltklasse-Niveau! Starke Dirigierleistung...
Sehr nett. Allerdings: in slawischen Ländern benutzt man bei Latein die deutsche Aussprache bei den Konsonanten nicht italienische. Bei den Vokalen ist es wiederum umgekehrt.
Source thru Music
Das ginge besser. Leider im Eja Mater nach gutem Anfang das Tempo nicht gehalten - das Stück lebt davon, und es wirkt viel besser, wenn man nur im Dolce-Piano-Teil das Tempo etwas zurücknimmt - , der Männerchor setzt auch konsequent zu spät ein. Das passiert Laienchören, bei einem Profichor sollte das nicht passieren.
Auch im Teil IV viele Stellen, die schleppen bzw. immer langsamer werden, leider verliert das Stück dort Dynamik.
Stimmlich singt der Chor allerdings sehr gut.
Insgesamt nicht die beste Aufnahme. Das geht viel besser!
Buena versión que podría haber sido mejor si los tempi permitiesen un fraseo más cantabile siendo un punto más reposados. O dos.
Perdón, y tú quién eres?
@@elpelucagarcia2 Hola. Soy simplemente alguien que ha visto el vídeo, que conoce la obra y ha escuchado también otras versiones y que ha querido exponer su opinión sin ánimo de ofender.
Malika Mill
0:43
03:57
08:39
Why maestro Groissböck pronounce the Latin so bad? Whhat the Hell is "...ardejat cor mejum in amando Christum Dejum"??? Anybody should tell him something. Nice voice, but this is very disturbing, which is a pity.
10:13
Such a special work by Dvorak .... and here: with too light voices in the Soli Cast and boring tempos lets no drama and no magic arise.--- Are there no more singers who don´t darken?!?! the Alto is not acceptable, sounds like Kermit, the frog.-ridiculous.
You are so wrong. Have you no ears? Through this majestic work we can touch the divine.
@@shirleyrombough8173 This work is undoubtedly one of the most important stabat mater, but as I said this performance has its weakness.
Disaster! Wake up, guys, and listen recordings with Talich or Kubelík... Bass soloist? Mejum, Dejum? Really? Such an ignorant! And conductor? It's really estrada! Can anybody explain him, that Stabat Mater is not a dance music?
YES: Im totally agree with you.
You are so wrong. This is monumental, grief-filled music, meant, I think, to warn us of our own fate. All the components work together,with immutable beauty: orchestre, chorus, conductor and soloists. How can anyone so blithely dismiss it with such callous ignorance?
@@shirleyrombough8173 What do you know about Czech music? Do you know tradition of this work since Dvořák created it and conducted it in person, did you see his tempo indications, did you hear recording of Václav Talich? It is reference, how it should sound. Probably not, so I suggest you to do so and then judge something.
@@shirleyrombough8173 someone who knows better comparisons,is familiar with voices and has a clue of tempi...for instance !will not like this performance.
I personally like timbre and expression of the bass soloist. And rhythmic consistency isn't "dance music", especially with this repetition scheme. There is plenty of tempus variation. This is of course a very German interpretation of the piece. A matter of taste I think. But I will look into the recordings you mentioned.