The entire role of Morosus is really crazy... written low C's and a whole bunch of low Db's, and goes up there too, up to F#'s I think? Plus he is always on stage singing! It is certainly a complete beast of a role. But the fact that his beautiful aria ends the opera is so special! Really, how often does the bass get to drop the curtain? Pretty sweet...
Absolutely - and the fact that the real ending to the opera is not in the orchestra, which is just there to provide background at this point. The real ending is that drawn out 'ahhh.....ahhh....ahhh. And whether it is the fifth or the tonic doesn't matter greatly (though I personally prefer the Bflat) I think that nobody but Strauss could have pulled this off, or perhaps it would not have occurred to anyone but Strauss. Such touches of genius remind me of a conversation I was reading of between the composers Mozart and Kozeluch discussing Haydn's latest Symphony. Kozeluch said that he would not have ended it in the same manner. Mozart replied: Nor would I. And you know why? Because it would never have occurred to me.
The last note is an Eb, but it is not the written note in the score. The score has the last note staying on the fifth, Bb, but Salminen drops down to the tonic. He also does it on his recording of the same aria. I happen to think it is wonderful as well!
Wonderful: what a way to end an opera! For the Bass this opera is a joy to sing: so many of those wonderful low notes. They always say Strauss was a soprano man, but this opera re,minds us that he wrote great music for the male voice too!
I think the last note is there - but still staying on the fifth, which I think does work better as if he is indeed dropping off to sleep. That's how Moll sings it. The Bflat seems to me to be pushing the singer forward when he should be retiring - but it is still such a beautiful number. I guess that singing it as a concert piece Salminen felt he could take this different approach and get away with it. As for respecting the composer's score - I think this is especially true with a composer such as Strauss who always knew exactly what he was doing.
Of course Kurt Moll is unbeatable. Every note, every breath, every gesture is carefully worked out because he is both a great singer and an actor. Still, as you say, this is good too!
Qué ganas de tener esta grabación en alta calidad. En las versiones de disco no hace el mi bemol abajo...además de que esta presentación en vivo le salió maravillosa ❤❤❤❤❤
I would still favour Kurt Moll. Salminen sings superbly, probably just as well as Kurt Moll, but with Moll you had a singer who was also a great actor. With him every expression, every gesture was carefully worked out. I know here we are not seeing Salminen in an opera performance, but I doubt whether anyone could eclipse Moll. Still we are (I hope) grateful for great singers in every generation.
Moll is great, yes! But in my opinion, Salminen is also a great actor. And how he is acting just with his face expression at 2:20 ff while the instrumental "interlude" is magnificent.
@@christophsauer2857 You are right, and it is not really fair to compare someone singing in the context of the whole opera with someone who is singing it as a concert piece. I certainly meant no disrespect to Salminen
Apparently, freedom of speech is abolished on RUclips so I won't say anything about this interpretation. Please do listen to Kurt Moll's version and choose for yourself: (ULt8X84Go)
I adore his voice - and its just perfect for this aria. But his facial contortions are not conducive to good opera acting. It's probably not too distruing when he's up on stage and the distance obscures things, but close up its very distracting.
The entire role of Morosus is really crazy... written low C's and a whole bunch of low Db's, and goes up there too, up to F#'s I think? Plus he is always on stage singing! It is certainly a complete beast of a role.
But the fact that his beautiful aria ends the opera is so special! Really, how often does the bass get to drop the curtain? Pretty sweet...
Absolutely - and the fact that the real ending to the opera is not in the orchestra, which is just there to provide background at this point. The real ending is that drawn out 'ahhh.....ahhh....ahhh. And whether it is the fifth or the tonic doesn't matter greatly (though I personally prefer the Bflat) I think that nobody but Strauss could have pulled this off, or perhaps it would not have occurred to anyone but Strauss. Such touches of genius remind me of a conversation I was reading of between the composers Mozart and Kozeluch discussing Haydn's latest Symphony. Kozeluch said that he would not have ended it in the same manner. Mozart replied: Nor would I. And you know why? Because it would never have occurred to me.
I personally really enjoy this song, and would love to learn it myself. That final note by Salminen is wonderful!
The last note is an Eb, but it is not the written note in the score. The score has the last note staying on the fifth, Bb, but Salminen drops down to the tonic. He also does it on his recording of the same aria. I happen to think it is wonderful as well!
Wonderful: what a way to end an opera! For the Bass this opera is a joy to sing: so many of those wonderful low notes. They always say Strauss was a soprano man, but this opera re,minds us that he wrote great music for the male voice too!
The final bass note is not in the score I think, and it's not necessary. Better finishing with the fifth and respect the composer's score!
I think the last note is there - but still staying on the fifth, which I think does work better as if he is indeed dropping off to sleep. That's how Moll sings it. The Bflat seems to me to be pushing the singer forward when he should be retiring - but it is still such a beautiful number. I guess that singing it as a concert piece Salminen felt he could take this different approach and get away with it. As for respecting the composer's score - I think this is especially true with a composer such as Strauss who always knew exactly what he was doing.
@@jonathanhill4892 I think some basses sang the low Eb in Strauss’ time.
@@theoperacompany5849 Both are good, I would think. But I still prefer the fifth.
This is truly incredible singing....by one of the legends of the current opera world....
It's superb singing, much as I like Mr Salminen, Kutr Moll is unbeateable. In My opinion, that is.
Of course Kurt Moll is unbeatable. Every note, every breath, every gesture is carefully worked out because he is both a great singer and an actor. Still, as you say, this is good too!
Qué ganas de tener esta grabación en alta calidad. En las versiones de disco no hace el mi bemol abajo...además de que esta presentación en vivo le salió maravillosa ❤❤❤❤❤
BRAVIIIIIIIIIIIIIIIIIISIMO, maestro... lágrimas no, lagrimones... ENORME SALMINEN
Excellent singing!
A great singer, sadly gone now x
Retired, not gone....
But he is still with us as I write...
Wow, amazing
I would still favour Kurt Moll. Salminen sings superbly, probably just as well as Kurt Moll, but with Moll you had a singer who was also a great actor. With him every expression, every gesture was carefully worked out. I know here we are not seeing Salminen in an opera performance, but I doubt whether anyone could eclipse Moll. Still we are (I hope) grateful for great singers in every generation.
Moll is great, yes! But in my opinion, Salminen is also a great actor. And how he is acting just with his face expression at 2:20 ff while the instrumental "interlude" is magnificent.
@@christophsauer2857 You are right, and it is not really fair to compare someone singing in the context of the whole opera with someone who is singing it as a concert piece. I certainly meant no disrespect to Salminen
@@frjonathanhill9817 don't worry. I understood what you meant :). anyway, what a treasure to watch and listen to.
Excellent singing.
BRAVOOO!!!! *-*
Actually, I think Salminen has him well beaten. Check out his studio recording of this piece: watch?v=NA4TclDfO9k
Apparently, freedom of speech is abolished on RUclips so I won't say anything about this interpretation. Please do listen to Kurt Moll's version and choose for yourself:
(ULt8X84Go)
@greendstboy I must do no such thing.
I adore his voice - and its just perfect for this aria. But his facial contortions are not conducive to good opera acting. It's probably not too distruing when he's up on stage and the distance obscures things, but close up its very distracting.