Perfection!!! I’ M so TIRED!!! Of singer today whispering this strauss lied!!! When Strauss composed this song to be well sung with operatic support! It is suppose to be sung soft but that does not instruct the singer to sing it unsupported!
MOLTO BELLO!!! Thank you for sharing this Wonderful performance of Great German soprano CHARLOTTE "LOTTE" LEHMANN (February 27, 1888 - August 26, 1976).
Thank you for sharing this beautiful song with us! I'm a great admirer of Lotte and I'm graceful for every record I can find of her here on youtube. Lovely video with all the pictures of her successful carreer.
@MrSkylark1 You are so right. Most sopranos today warble, slip and slide, shout with harsh tones. And, why is that? Even the Vienna Boys Choir has changed. Today's performances are faster and without feeling, whereas earlier recordings showed phrasing, feeling, musical understanding. My father spoke with Lotte and always thought very highly of her.
Thank you You Tube! Such perfection of composer, soprano, and pianist. I've had the pleasure of hearing Seefried, Fleming and Lehmann. And don't forget the poet.
Thank you for this wonderful piece. The words at the end actually describe poetically a high artistic experience as it is like being moved by something pure and divine. As word 'rühren' means moving and stars in poetry are often symbols for eternal, divine and especially unmoving or unchanging things to say that a singer can move even stars is to say thathere we have a great artist indeed, one of the immortals.
@sfkcbf -- Her's is most beautiful. Jessye Norman also gives a spiritual interpretation and her vocal ability is forgotten as one is lost in the experience of "Morgen."
Please would someobdoy upload Slisabeth Schumann's performance of this song -- it is THE greatest, even Lehmann thought so, because it's so simple. Only if you've heard Schumann's, in fact, can you understand Irmgard Seefried's which is clearly an sincere attempt to find ANOTHER way of singing it that leaves Schumann's on its pinnacle.
That cant be right, because Richard Strauss did not write the "Last Songs" until after WW2, and the premiere was in London in 49 sung by Flagstad. This recording must have been made around 1950 or so.
Lotte Lehmann was a great lyric-dramatic soprano in the german tradition, most famous for her Richard Strauss heroines, particularly the Marschallin. Her heaviest role was Fidelio. She wrote several books on the interpretation of Lieder and operatic roles but as far as I know never wrote about vocal technique. You can see her teaching in master classes and it is the interpretation which interested her rather than purely vocal skill. Lilli Lehmann was a great but entirely different singer from an earlier age. She was an "assoluta", a very grand dramatic soprano with a formidable coloratura technique. This enabled her to sing almost any part from Mozart to the heaviest Wagner roles. She was particularly famous for her portrayal of Norma and in her day her Brunnhilde and Isolde were considered unsurpassed..
Lotte Lehmann never wrote about vocal technique because, by her own admission, she never thought about it. She said that she concentrated on technique only once in her life, and it was the worst performance she ever gave.
Personally I prefer Irmgard Seefried (several renditions, one with orchestra) - Lehmann breaks up the line at times but perhaps we are hearing Lehmann at the end of her career. There are other singers also I prefer to Lotte Lehmann's rendition of this song.
Not a fan of this performance. This is one I have performed; so I know the piece very well. There is some rhythmic fudging by Lehman (and some vocal sliding not in the score), and the pianist had to interrupt the line of their part in some phrases because of the sloppy counting by Lehman. This lied is essentially a duet between pianist and singer (or trio if one is lucky enough to have a violinist); with both parts being of equal importance (unlike a standard accompaniment where the voice is the most important part and the piano is supporting the voice). In this recording the integrity of the duet as a dialogue was wrecked by the rhythmic errors. Elisabeth Schumann has the best recording. Absolutely flawless vocally and with no rhythmic errors, and you can hear how the instruments and voice work together in a dialogue in that recording.
One can understand Bruno Walter who called her "Frau Sonne" , when you hear this. The voice is shining from within...
Exquisite, beautifully produced tone and phrasing, that is non-existent on the opera and concert stage today
Simply divine, singing like this takes us beyond human experience...
A sublime voice, beyond praise.
Perfection!!! I’ M so TIRED!!! Of singer today whispering this strauss lied!!! When Strauss composed this song to be well sung with operatic support! It is suppose to be sung soft but that does not instruct the singer to sing it unsupported!
sublime .
¡Lección magistral!
MOLTO BELLO!!! Thank you for sharing this Wonderful performance of Great German soprano CHARLOTTE "LOTTE" LEHMANN (February 27, 1888 - August 26, 1976).
Thank you for sharing this beautiful song with us!
I'm a great admirer of Lotte and I'm graceful for every record I can find of her here on youtube.
Lovely video with all the pictures of her successful carreer.
@MrSkylark1 You are so right. Most sopranos today warble, slip and slide, shout with harsh tones. And, why is that? Even the Vienna Boys Choir has changed. Today's performances are faster and without feeling, whereas earlier recordings showed phrasing, feeling, musical understanding. My father spoke with Lotte and always thought very highly of her.
Thank you You Tube! Such perfection of composer, soprano, and pianist. I've had the pleasure of hearing Seefried, Fleming and Lehmann. And don't forget the poet.
Thank you for this wonderful piece.
The words at the end actually describe poetically
a high artistic experience as it is like being moved by something pure and divine.
As word 'rühren' means moving and stars in poetry are often symbols for eternal, divine and especially unmoving or unchanging things to say that a singer can move even stars is to say thathere we have a great artist indeed, one of the immortals.
such a beautiful rendition. Who is accompanying her here? The playing is equally beautiful.
I am so thankful that I have discovered her here.
She also wrote about how to sing Morgen. It is in her book More Than Singing.
Magnificent singing.TY ceph77 for posting.
A lovely performance.TY ceph77 for posting
Thank you very much James, i enjoyed it so much!!
Love Isis
@sfkcbf -- Her's is most beautiful. Jessye Norman also gives a spiritual interpretation and her vocal ability is forgotten as one is lost in the experience of "Morgen."
PRICELESS!!
@MrSkylark1 -- Yes. I'm sure that her's is the interpretation that Richard Strauss intended. We become part of the spell.
linda voice
Please would someobdoy upload Slisabeth Schumann's performance of this song -- it is THE greatest, even Lehmann thought so, because it's so simple. Only if you've heard Schumann's, in fact, can you understand Irmgard Seefried's which is clearly an sincere attempt to find ANOTHER way of singing it that leaves Schumann's on its pinnacle.
Morgen is not one of the four last songs. They are Fruhling, September, Beim Schlafengehen and Im Abendrot. That's where the confusion is coming from.
The phone makes typos. Sorry....thank you u tube........for bringing this
Thank you so much for posting. Who is the pianist please:) TY
That cant be right, because Richard Strauss did not write the "Last Songs" until after WW2, and the premiere was in London in 49 sung by Flagstad. This recording must have been made around 1950 or so.
Is she in any way related to the great German soprano and vocal pedagogue Lilli Lehmann who wrote the book 'How To Sing'? Just curious.
Sirikarn Luengvarintra
It is she!
+Sirikarn Luengvarintra (Huang Ling) she is not related to her.
No
Lotte Lehmann was a great lyric-dramatic soprano in the german tradition, most famous for her Richard Strauss heroines, particularly the Marschallin. Her heaviest role was Fidelio. She wrote several books on the interpretation of Lieder and operatic roles but as far as I know never wrote about vocal technique. You can see her teaching in master classes and it is the interpretation which interested her rather than purely vocal skill.
Lilli Lehmann was a great but entirely different singer from an earlier age. She was an "assoluta", a very grand dramatic soprano with a formidable coloratura technique. This enabled her to sing almost any part from Mozart to the heaviest Wagner roles. She was particularly famous for her portrayal of Norma and in her day her Brunnhilde and Isolde were considered unsurpassed..
Lotte Lehmann never wrote about vocal technique because, by her own admission, she never thought about it. She said that she concentrated on technique only once in her life, and it was the worst performance she ever gave.
Personally I prefer Irmgard Seefried (several renditions, one with orchestra) - Lehmann breaks up the line
at times but perhaps we are hearing Lehmann at the end of her career. There are other singers also I prefer
to Lotte Lehmann's rendition of this song.
I have just had a brain storm. Im confusing Morgen with the Last Songs
A fine performance that just misses the personal magic of Elisabeth Schumann's. But for others I suppose it could be the other way round.
Not a fan of this performance. This is one I have performed; so I know the piece very well. There is some rhythmic fudging by Lehman (and some vocal sliding not in the score), and the pianist had to interrupt the line of their part in some phrases because of the sloppy counting by Lehman. This lied is essentially a duet between pianist and singer (or trio if one is lucky enough to have a violinist); with both parts being of equal importance (unlike a standard accompaniment where the voice is the most important part and the piano is supporting the voice). In this recording the integrity of the duet as a dialogue was wrecked by the rhythmic errors. Elisabeth Schumann has the best recording. Absolutely flawless vocally and with no rhythmic errors, and you can hear how the instruments and voice work together in a dialogue in that recording.
M’immagino come canti Tu ….
il vecchio