I was fortunate to hear every role that Marilyn Horne sang at the Met beginning with Adalgisa in "Norma" (1970) and including Carmen, Fidés, Orfeo, Amneris and Eboli but I NEVER heard anything like this! What a magnificent Wagnerian! Bravo, Leinsdorf, too!
She dabbled back and forth between dramatic soprano or mezzo for years. I think this is pretty splendid! I like this the way I like Leontyne's Salome...things they would never sing on the stage they live out a little fantasy in concert...and I thank them.
Two ladies I Worship: Marylin Horne and Christa Ludwig. And they both tried "Starke Scheite" from Götterdämmerung. even though they sang Bellini, Rossini, Verdi and Donizetti mostly. I love them both, it's not their normal rôles but the same they are fantastic. I've would have paid millions to hear them sing this. And I think they are astonishing. I saw Christa in Wien last year but I didn't dare to adresse her. Next Mal : Ja . An wonderful five star yes to you both.
Amazing to hear Horne outside of her usual repertoire. And it's extraordinary. She applies bel canto principles to Wagner. I doubt she could've made a habit if this in the theater, but it sure is an impressive recording.
Exactly, no Wagner singers in Wagner's day - all bel canto-trained, and this is beautifully sung. I love this, and far better than many so-called sopranos I've hear, screatching their heads off at times as 'can belto'. And Leinsdorf conducting as well - he wouldn't have had her if she weren't up the job, name or not! Many dramatic sopranos started out life as mezzos anyhow, and many mezzos who should have been dramatic sopranos got wrongly trained or didn't take the plunge as they might have been stuck with singing Wagner and nothing else, the result of which meant not much work if they did - like altos being pushed up as mezzos to get work!
@unabarry2476 it works beautifully. No, she never would have done the role in the theater. But in 1967-69 she was still singing soprano. The sound and interpretation, to my ear sounds perfect.
Marilyn Horne was certainly one of the greatest singers of the Twentieth Century. Here, as heard in music not even remotely associated with her, (and in a tremendous Dramatic soprano test piece to boot!), the notes are all there and the distinctive Horne vocal "color" is totally intact. Having acknowledging this, I think of this as a noble yet unsuccessful outing. The sheer thrust and power of a Kirsten Flagstad or Birgit Nilsson are simply nowhere to be found. As a piece of singing, it's certainly impressive (especially for a singer with Miss Horne's great gifts), but I somehow don't consider this any more than a trial balloon. Horne's composers were Vivaldi, Bach, Handel, Bellini, Donizetti and of course Rossini. Her greatest gifts was in the music of the Baroque and bel canto composers. \\;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr;
It is very interesting to hear Marilyn Horne sing this, and it is quite an accomplishment. It is nice to hear more thrust on the lower notes, which she surely can do because her voice is centered lower with her being a mezzo soprano with a nice top extension. However, I think the ease which takes the breath away when hearing a true dramatic soprano is missing. I believe that is the key to a great Brunhilde....total effortless sound over a huge orchestra. THAT makes it so exciting and matches who Brunhilde is: a supernatural being with supernatural vocal resources....like Kirsten Flagstad. Listen to her 1948 studio recording with Furtwangler and I think people will understand what I mean...That is why the performance with Horne is lacking. She is a great vocal artist, but this was not the correct repertoire for her...simple as that!
You're absolutely correct. I'm a bit surprised by all of the other commentators saying she sound better here than she does in her lighter mezzo rep. She herself knew that these extremely heavy and high roles of the late 19th century (Wagner & Verdi) weren't for her. I love her and I would listen to her singing anything, but people claiming they know better than her strikes me as very arrogant.
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I was fortunate to hear every role that Marilyn Horne sang at the Met beginning with Adalgisa in "Norma" (1970) and including Carmen, Fidés, Orfeo, Amneris and Eboli but I NEVER heard anything like this! What a magnificent Wagnerian! Bravo, Leinsdorf, too!
How fortunate you were to hear her in all those roles.
this is a real eye opener to me - sounds as though she should have been doing this all the time
She dabbled back and forth between dramatic soprano or mezzo for years. I think this is pretty splendid! I like this the way I like Leontyne's Salome...things they would never sing on the stage they live out a little fantasy in concert...and I thank them.
This is her natural rep. She crushed and squished her voice when she turned mezzo
Jason Black she had such bad technique as a mezzo, she sounded like a frog.
@@omar505 you're not wrong
Two ladies I Worship: Marylin Horne and Christa Ludwig. And they both tried "Starke Scheite" from Götterdämmerung. even though they sang Bellini, Rossini, Verdi and Donizetti mostly. I love them both, it's not their normal rôles but the same they are fantastic. I've would have paid millions to hear them sing this. And I think they are astonishing. I saw Christa in Wien last year but I didn't dare to adresse her. Next Mal : Ja . An wonderful five star yes to you both.
Is this before she turned into the mezzo rep? This is far better than that
Amazing to hear Horne outside of her usual repertoire. And it's extraordinary. She applies bel canto principles to Wagner. I doubt she could've made a habit if this in the theater, but it sure is an impressive recording.
Exactly, no Wagner singers in Wagner's day - all bel canto-trained, and this is beautifully sung. I love this, and far better than many so-called sopranos I've hear, screatching their heads off at times as 'can belto'. And Leinsdorf conducting as well - he wouldn't have had her if she weren't up the job, name or not! Many dramatic sopranos started out life as mezzos anyhow, and many mezzos who should have been dramatic sopranos got wrongly trained or didn't take the plunge as they might have been stuck with singing Wagner and nothing else, the result of which meant not much work if they did - like altos being pushed up as mezzos to get work!
very true about the bel canto thing and apparently Wagner liked this approach
@unabarry2476 it works beautifully. No, she never would have done the role in the theater. But in 1967-69 she was still singing soprano. The sound and interpretation, to my ear sounds perfect.
There's no Knödel here, this is so interesting. I've never thought I would find her interesting, BUT Here she really applies.
Absolutely magnificent!!!
She sounds far better here than in any other recordings of her i’ve heard, e.g in mezzo repertoire. Are you sure this is her?
100 %
Just magnificent
Before she became a constricted and honky mezzo
... sumptuous and gutsy, as usual: horne FOREVER!
You can tell by her head... she is a born singer
What a pity she concentrated so much on Rossini....She could sing everything she wanted. This is SUPERB!!!!!!
It's surprisingly good!
Extraordinaria voz😢😮🎉
Her middle voice sounds like Eileen Farrell
❤❤
A nice experiment. Nothing more
Lovet Horne. Her Carmen with Bernstein is amazing. But Wagner...No
Marilyn Horne was certainly one of the greatest singers of the Twentieth Century. Here, as heard in music not even remotely associated with her, (and in a tremendous Dramatic soprano test piece to boot!), the notes are all there and the distinctive Horne vocal "color" is totally intact.
Having acknowledging this, I think of this as a noble yet unsuccessful outing. The sheer thrust and power of a Kirsten Flagstad or Birgit Nilsson are simply nowhere to be found. As a piece of singing, it's certainly impressive (especially for a singer with Miss Horne's great gifts), but I somehow don't consider this any more than a trial balloon. Horne's composers were Vivaldi, Bach, Handel, Bellini, Donizetti and of course Rossini. Her greatest gifts was in the music of the Baroque and bel canto composers. \\;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr;
It is very interesting to hear Marilyn Horne sing this, and it is quite an accomplishment. It is nice to hear more thrust on the lower notes, which she surely can do because her voice is centered lower with her being a mezzo soprano with a nice top extension. However, I think the ease which takes the breath away when hearing a true dramatic soprano is missing. I believe that is the key to a great Brunhilde....total effortless sound over a huge orchestra. THAT makes it so exciting and matches who Brunhilde is: a supernatural being with supernatural vocal resources....like Kirsten Flagstad. Listen to her 1948 studio recording with Furtwangler and I think people will understand what I mean...That is why the performance with Horne is lacking. She is a great vocal artist, but this was not the correct repertoire for her...simple as that!
You're absolutely correct. I'm a bit surprised by all of the other commentators saying she sound better here than she does in her lighter mezzo rep. She herself knew that these extremely heavy and high roles of the late 19th century (Wagner & Verdi) weren't for her. I love her and I would listen to her singing anything, but people claiming they know better than her strikes me as very arrogant.
terrible