Irmgard Seefried 1948 (Gerald Moore, piano) Stolberg-Schubert "Auf dem Wasser zu singen"
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Irmgard Seefried 1948 (Gerald Moore, piano) Stolberg-Schubert "Auf dem Wasser zu singen" Sung in German
Stolberg-Schubert "Auf dem Wasser zu singen" D.774 (In the middle of the shimmer of the reflecting waves)
Irmgard Seefried 1948
Gerald Moore, piano
an operbathosa video
Lied auf dem Wasser zu singen
German
Mitten im Schimmer der spiegelnden Wellen
Gleitet, wie Schwäne, der wankende Kahn:
Ach, auf der Freude sanftschimmernden Wellen
Gleitet die Seele dahin wie der Kahn;
Denn von dem Himmel herab auf die Wellen
Tanzet das Abendrot rund um den Kahn.
Über den Wipfeln des westlichen Haines
Winket uns freundlich der rötliche Schein;
Unter den Zweigen des östlichen Haines
Säuselt der Kalmus im rötlichen Schein;
Freude des Himmels und Ruhe des Haines
Atmet die Seel im errötenden Schein.
Ach, es entschwindet mit tauigem Flügel
Mir auf den wiegenden Wellen die Zeit;
Morgen entschwinde mit schimmerndem Flügel
Wieder wie gestern und heute die Zeit,
Bis ich auf höherem strahlendem Flügel
Selber entschwinde der wechselnden Zeit.
In the middle of the shimmer of the reflecting waves
English (Complete translation)from German to English copyright © 1997 by Lynn Thompson
In the middle of the shimmer of the reflecting waves
Glides, as swans do, the wavering boat;
Ah, on joy's soft shimmering waves
Glides the soul along like the boat;
Then from Heaven down onto the waves
Dances the sunset all around the boat.
Over the treetops of the western grove
Waves, in a friendly way, the reddish gleam;
Under the branches of the eastern grove
Murmur the reeds in the reddish light;
Joy of Heaven and the peace of the grove
Is breathed by the soul in the reddening light.
Ah, time vanishes on dewy wing
for me, on the rocking waves;
Tomorrow, time will vanish with shimmering wings
Again, as yesterday and today,
Until I, on higher more radiant wing,
Myself vanish to the changing time.
Translation from German to English copyright © 1997 by Lynn Thompson
Irmgard Seefried (9 October 1919 24 November 1988) was a distinguished German soprano who sang opera and lieder.
Maria Theresia Irmgard Seefried was born in Köngetried, near Mindelheim, Bavaria, Germany, the daughter of educated Austrian-born parents. She studied at Augsburg University before making her debut in Aachen as the priestess in Verdi's Aida in 1940. She began to sing the leading parts in 1942 by singing the part of Agathe in Weber's Der Freischütz in 1942, and the next year she made her debut at Vienna State Opera by singing the part of Eva in Wagner's Die Meistersinger von Nürnberg conducted by Karl Böhm. Since then, she belonged to the ensemble of the Vienna State Opera until her retirement in 1976.
She sang at the Salzburg Festival every year from 1946 to 1964 (except 1955, 1961 and 1962) in operas (Susanna in The Marriage of Figaro, Fiordiligi in Così fan tutte, Zerlina in Don Giovanni, Pamina in The Magic Flute, Marzelline in Fidelio, and the Composer in Ariadne auf Naxos), concerts and recitals.
She appeared at the Royal Opera House of Covent Garden in London from 1947 to 1949, and also La Scala in Milan, Edinburgh Festival, etc. She made her Metropolitan Opera in New York debut in November 1953 as Susanna in Mozart's The Marriage of Figaro and appeared there for only one season (1953-54), in five performances of the part of Susanna.
One of the outstanding singers to emerge immediately after the Second World War, she was noted for her Mozart and Richard Strauss roles. But she also sang in other composers' operas; the title role in Puccini's Madama Butterfly, Marie in Alban Berg's Wozzeck, Eva in Meistersinger, Blanche in Poulenc's Dialogues des Carmélites, and the title role in Janáček's Káťa Kabanová. She was also a noted lieder singer and a number of her Salzburg Festival recitals were recorded. She left many recordings of oratorio and sacred music by Bach, Mozart, Haydn (including at least four different renditions of the Angel Gabriel in Die Schöpfung), Brahms, Fauré, Beethoven, Dvořák, and Stravinsky.
Although she was a high soprano, she performed, and recorded, two of Richard Strauss's mezzo-soprano trousers roles the title role in Der Rosenkavalier and the Composer in Ariadne auf Naxos.
She often sang with Elisabeth Schwarzkopf, who said in interview that Seefried was naturally able to do effortlessly what other singers, including herself, worked all their lives to do.
She can be seen singing Mahler on a DVD from EMI, with Schwarzkopf and Dietrich Fischer-Dieskau.
She was married to the Austrian violinist Wolfgang Schneiderhan from 1948 until her death.[1] They had three daughters,[2] one of which is actress Mona Seefried (born 1957).[3]
After retirement, she taught students at Vienna Music Academy and Salzburg Mozarteum. She died aged 69 in Vienna in 1988.
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Ich war damals im Aachener Domchor und hatte das Glücksie bei unseren Konzerten erleben zu dürfen.Sie war als Mensch und als Sängerin einmalig.Eine solche Stimme gibt es nur selten,so rein und klar. Danke Irmgard.
die junge Seefried.... ein traum
LA jeune Seefried .
I heard Seefried in the 1960s sing three lieder recitals--they were among the greatest concerts I have heard in in the last 50 years. She was the greatest lieder singer of her age, A masterful performance of great beauty
Herman Joseph Alas, I had not that opportunity, but I believe you. What a beguiling way she has too!
Schoenes Lied
Schoener Text
Schoene Stimme
Schoene Begleitung
Schoenen Dank!
The finest rendition of this treacherously difficult lied I have ever heard. It looks deceptively simple on paper, yet in actuality it is fraught with traps and pitfalls for the unwary singer. Seefried, God bless her, sails past all these difficulties as if they don't exist, and gives an enchanting and entrancing performance. Brava!
Jason Hurd I agree totally. I have just listened to 5 recordings of this song by Irmgard Seefried and this one is by far my favorite.
So delicate, so sweet, so zart und rein. First-rate.
So unbelievably touching. Wonderful lieder singing, full of detail that draws you in. It all sounds like the easiest thing ever (the voice moves as if she's speaking), which of course it isn't. There really were very few to match her.
A extremely beautiful and expressive voice!! Her phrasing is absolutely gorgeous!!!
Pure singing
beautiful beautiful beautiful!!!!!!
It's hard to choose, but this is my favorite Schubert song, and having just listened to seven versions, including the great Elly Ameling., Seefried is the best, as is Gerald Moore. You rarely find the accompanist and voice using the same crescendo.
Helen Raisz I love your comment!
Une version de référence, magnifique, voix claire, sans vibrato, expression tout à fait dans le style de ce lied ; l'accompagnement de Gérald Moore, du "sur mesure", sachant jouer sur les timbres du piano en fonction de l'interprète, Imgard Seefried, ici, ou Dietrich Fischer Diskau dans une autre version... Voilà, il y aura tout de même un commentaire français... Il reste encore des gens attachés à ces chefs-d’œuvre.
Wonderful balance and flexibility. Between forward momentum and expressive rubato, legato line and text emphasis, etc. Moore at his most sympathetic.
This is what lieder is about. Brush strokes of sound and sentiment from the voice and instrument. Here, a masterpiece!
I have heard her sing this in 1960 in Helsinki, Eric Werba accompanying, in a wonderful Brahms & Schubert concert. Great artists, both of them.
Those eyes! And the way she shapes each pair of slurred 16th notes (semi-quavers) especially in the first stanza. Masterful.
Ein schönes Lied, schön vorgetragen und einfühlsam am Flügel begleitet! Das Foto hat großartige Ausstrahlung! Sie hat alles mit viel Gefühl gesungen, z. B. auch Lieder von R. Strauss.
Simply scrumptious singing!
Magical!
Beautiful.
Irmgard Seefried was sitting once behind Schubert's ear.
Young Seefried unbelievable beautiful. This recording was made before she came to DGG and still recorded for EMI .
Die beste Version einer Sopranstimme.Äußerst verständlich ohne Künstlichkeit, sehr zart und transparent, sublimiert den Text
thank you for posting it.
Best ever
Habe soeben ein Interview mit der Schwarzkopf gesehen, in welchem sie empfiehlt, sich die Seefried anzuhören. Sie hatte natürlich recht.
I hate it that she died... much less at 69 after a long & painful battle w cancer. 😢
She was so wonderful
Vergleiche hierzu eine Parallel-Aufnahme dieses berühmten Titels ( Köln, 1951 ) - hochgeladen von Ilja Livschakoff.
Love Irmgard, but there's no gliding to be had on Gerald's choppy waters.
Pablo Melandez, what do you mean?
Auf dem Wasser zu singen.
(Leopold von Stollberg).Je traduis en suivant le rythme syllabique DU LIED, répétitions comprises, et donne la priorité AU SENS du poème plutôt qu'à la traduction littérale des mots. Un tiret en fin de syllabe indique qu'elle est prolongée sur la note qui suit (passages en doubles croches).
À CHANTER SUR L'EAU.
Dans les doux reflets miroi_tants_des_vagues/gliss'(e) tel un cygne le tan_guant_es_quif;/ah_sur_les_ paisibles va_gues_du_bonheur/
gliss' ainsi l'âme, tout comme l'esquif./Ah_sur_les_paisibles va_gues_du_bonheur/gliss' ainsi l'âme tout comme l'esquif./Du ciel descendent et dansent sur la houle /les pourpres du soir autour de l'esquif;/dan.....sent les pourpres du soir sur l'esquif.
Au couchant, à la cime_du_feui_llage,/tel un sign'(e)amical,rou_geoit_ le_ soir;/et_sous_ les_ feuillages , s'in_clinent et_bruissent les roseaux parfumés ,dans les rougeoiements/et_sous_les_
feuillages, s'in_clinent et_ bruissent les roseaux parfumés, dans les rougeoiements./Bonheur céleste et paix de la forêt/pénètrent l'âme dans le soir pourpre,/pé.....nètrent l'âme dans le soir pourpre .
S'enfuit en vol la rosée_des_ai_les,et,/pour moi,sur ses berçantes va_gues- le_ temps. /Demain va_ fuir _sur ses chatoy_ant_tes_ailes,/tout comme hier et aujourd'hui, le temps ;/demain va_fuir_sur ses chatoy_an_tes_ailes,/tout comme hier et aujourd'hui, le temps, /jusqu'à ce que, d'un vol radieux, j'échappe /moi mêm' au capricieux pouvoir du temps, /au_....si capricieux pouvoir du temps !
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Irmgard Seefried:voix légère, agile, souple,fraîche,expressive... bref:céleste.
Gerald Moore:accompagnement toujours,(ou plutôt :déjà, à l'époque) impeccable. (Cette photo de Gerald Moore est bien postérieure à cet enregistrement)
Quels artistes !
Es gibt meiner unmassgebenden Meinung nach eine bessere Aufnahme mit Dietrich Fischer-Dieskau (ebenfalls mit Gerald Moore). Aber Seefried ist neben Elisabeth Schwarzkopf eine der besten Liedsängerinnen! ;)
Irmgard Seefried lauloi kuin enkeli. Kaikkine klisandoineen tällaista musiikkia ei koskaan väsy kuuntelemaan. Ensimmäinen laulunopettajani Airi Aato-Laurila tulkitsi tämän kappaleen melkein yhtä hyvin.