Delightful singing and Mr Finley sang spendidly at The First Night of The Proms 2012 in Elgar's Coronation Ode, first class ! Matthias Goerne also has a beautiful rendition of this aria.
Of all the recent recordings of Pierrot's Tanzlied I've listened to on RUclips (full disclosure - haven't listened to Herman Prey's in a while), this is the best. Easiest line, beautifully in tune with the viennese schmalzy style of the piece, and scrumptiously floated high notes. Having sung this piece on the Met stage for the National Competition, I know how difficult an aria it is, how exposed. It kinda makes me want to dig it out again if another bass-baritone like Finley can do it so well!
Beautiful rendition..there is a great masterclass given by Finley at the Royal Music Conservatory posted on youtube in full. I have to agree with Bert Bertie as well. I have posted Goerne's version....stunning, control.
@escamy - okay, I went back and listened to Hermann Prey's versions (also Thomas Hampson's not quite up to snuff version at the gala for Joseph Volpe). The 1976 version on the recording with Eric Leinsdorf is better than Finley, and nice because it includes a bit more of the music prior to the aria so you hear it in context. However, my opinion is that the 1957 recording surpasses them all.
@thebananamonkey the awkwardly long pause is written in the score with a fermatta on two rests before the singer comes in. The timing is on purpose. The orchestration and singer, like a lot of pieces of this time, do not move in sync!
I would say that the issue is mostly on the portamenti into the notes. He doesn't get right to the pitch immediately on the beat. The first phrase also tends to be flat if you aren't really thinking "up". I would say that this aria in general probably sits a bit high for he voice. not so much that he can't sing it but just enough to where its not easily done for him. Still though I would say this is not a terrible performance. Personally I like Stephan Genz's performance better. And there is also a lot to merit from Hermann Prey's performance as well.
Am I the only one that hears how flat he is throughout this performance? I am also not a fan of the straight tone, but that may be at the assistance of who ever the conductor is.
boeser wolf there are a couple of notes that are slightly off. To say it's most of it is dishonest, and remember this is a live performance in a large opera house - he has the best German diction in house of any lyric baritone I've ever heard - up close with the mic it can sound intrusive. He has a different style in studio recordings.
He's usually my favourite working baritone but he's pretty consistently flat and out of time here. What a shame... and what's the deal with the awkwardly long pause at the beginning?
Beautiful,moving, loving ,Thank you for your exquisite voice and the
beautiful interpretation of this moving and loving song.
Great voice, great interpretation
Que hermosura. Muchas gracias
superb!!!!
Delightful singing and Mr Finley sang spendidly at The First Night of The Proms 2012 in Elgar's Coronation Ode, first class !
Matthias Goerne also has a beautiful rendition of this aria.
Of all the recent recordings of Pierrot's Tanzlied I've listened to on RUclips (full disclosure - haven't listened to Herman Prey's in a while), this is the best. Easiest line, beautifully in tune with the viennese schmalzy style of the piece, and scrumptiously floated high notes. Having sung this piece on the Met stage for the National Competition, I know how difficult an aria it is, how exposed. It kinda makes me want to dig it out again if another bass-baritone like Finley can do it so well!
THANK YOU THANK YOU THANK YOU
Ayer la disfruté en su despedida de Madrid con este mismo montaje. Fue precioso.
Beautiful rendition..there is a great masterclass given by Finley at the Royal Music Conservatory posted on youtube in full. I have to agree with Bert Bertie as well. I have posted Goerne's version....stunning, control.
@escamy - I admit that I haven't heard much of Finley. I mostly listen to "vintage singers." What else would you recommend?
From him?, I would recommend his version of Phidylé, it's just sublime 👌🏼
@escamy - okay, I went back and listened to Hermann Prey's versions (also Thomas Hampson's not quite up to snuff version at the gala for Joseph Volpe). The 1976 version on the recording with Eric Leinsdorf is better than Finley, and nice because it includes a bit more of the music prior to the aria so you hear it in context. However, my opinion is that the 1957 recording surpasses them all.
@thebananamonkey
the awkwardly long pause is written in the score with a fermatta on two rests before the singer comes in. The timing is on purpose. The orchestration and singer, like a lot of pieces of this time, do not move in sync!
This is surely not his best recording.
I would say that the issue is mostly on the portamenti into the notes. He doesn't get right to the pitch immediately on the beat. The first phrase also tends to be flat if you aren't really thinking "up". I would say that this aria in general probably sits a bit high for he voice. not so much that he can't sing it but just enough to where its not easily done for him. Still though I would say this is not a terrible performance.
Personally I like Stephan Genz's performance better. And there is also a lot to merit from Hermann Prey's performance as well.
Am I the only one that hears how flat he is throughout this performance? I am also not a fan of the straight tone, but that may be at the assistance of who ever the conductor is.
no, you're right, he is flat throughout most of the aria, and his German is average at best..
boeser wolf there are a couple of notes that are slightly off. To say it's most of it is dishonest, and remember this is a live performance in a large opera house - he has the best German diction in house of any lyric baritone I've ever heard - up close with the mic it can sound intrusive. He has a different style in studio recordings.
lol You're welcome : )
Sounds like Finley is having a really bad day here... You can hear the musicality and interpretation, but vocally it is kind of a struggle.
@tomhumphreys92
Your ears are out of tune!
Suis-je le seul à entendre que c'est bas?? c'est une horreur!
He's usually my favourite working baritone but he's pretty consistently flat and out of time here.
What a shame... and what's the deal with the awkwardly long pause at the beginning?