Amazing! Wagner can make you feel emotions which you haven't had since childhood, and then experience new ones you never knew you had! This prelude and aria are two of my most favorite compositions. I am 63 yo.
Westbroek is a beautiful woman, excellent actress and an extraordinary dramatic sopran in this present time. Her voice is powerful, great, radiant and adequate to wagnerian repertory besides Puccini, Verdi, etc.
What a beautiful recording , a marvelous orchestral sound , thrilling . Eva Maria Westbroek sings the Liebestod most beautifully , wonderful !!! To save , share and hear again and again !!!
The conductor is Christian Thielemann. He was the principal conductor of Munich Phillhamonic from 2004 to 2011. So Orchestra must be Munich Phill. Eva-Maria Westbroek is a wonderful Wagnerian soprano.
My vote is for Munich. Vienna has instruments unique to them. Give away is that the oboists are playing Conservatory system instruments, not Viennese, which have a different mechanism and a larger bulge at the top of the instrument. Also, darker sound.
Entire voice dominates. She is remarkable for today's pool of sopranos. Open and not pinched, even if vibrato is a bit slow at times --- I'll take it any day!!! Brava!
Wir müssen uns freuen über jede Sängerin, die in der Lage ist, die Isolde zu singen, auch wenn ich nicht weiß, ob Frau Westbroek die ganze Oper schon gesungen hat. Sicher ist Waltraut Meier dominant in dieser Rolle, aber sie kann ja nicht überall sein. Ich finde es sehr positiv, wenn sich weitere Sängerinnen an diese schwere Rolle heran wagen.
Don't understand why the orchestra is not mentioned. My guess is The Vienna Philhamonic (very few women.....a crazy tradition), but the criticism of Ms. Westbroek is pure sophistry. My guess is that Wagner, that mad genius and borderline psychopath would probably love this performance, his ideal Teutonic godess.
There is something very wrong when so many of our newer singers, from Meade to Westbroek, have jaws that shake when they sing. For me, that's the sign of a singer singing too big far too early and not supporting their voice with the breath, but with neck muscles. When you watched Norman or Nilson or Farrell, they never "chewed" the sound, even when they were singing as loudly as a freight train.
of course its the goal to keep the neckmuscles free but everybody is build differently . I know some singers who shke their jaws and prodce a beautifull sound . Always so easy to stand on the side and comment . Eva knows how to sing and perform. Can you with all your nasty comments
@@peterrombouts50 Good singing technique is good technique regardless of how you're built. You look at footage of great singers of the past, Flagstad, Farrell, Sutherland, Nilsson, Price (M and L), Caballe, Norman, Ross, etc. and you never see this shaking jaw phenomenon. And nowadays, you see it everywhere, from the lightest coloratura to the lyric and dramatic. I think there is something very wrong in the way singers are taught nowadays, and the results are not only audible, but also visible.
Much better than I expected even if the Liebestod pushes her to her limits. But she has what to me seems a strong Wagnerian presence. Hard to define but it's there.
Shirley Verett with Zubin Mehta incredibly moving I can't remember the orchestra Ms. Verrett was in a purple gown. The orchestra never had to hold back in fact it was difficult to match her prodigious voice.
Dragan Vidic I agree: her vibrato has gotten so heavy she's nearly wobbling. On sustained notes, you can also see her lower jaw shaking with the vibrato, which is always a dangerous sigg. Netrebko sounds the same way in Macbeth. Perhaps the role is too heavy for her.
***** Lady Macbeth is indeed a dramatic soprano role, but one that's been successfully tackled by mezzos with a decent high register. Netrebko's voice still sounds great when she sings roles suited to her voice, but as the Lady, she has to force the voice, and the vibrato become very heavy. I think there are better Lady Macbeth's than her, but I love how she plays the role as a total sexpot. I've always thought that Lady must have had great sexual power over Macbeth to force him to do her will.
I think our expectations of voices is different now than it was back then. When you hear recordings of Patti, with her small, pretty voice, and realize that she also sang Aida, it seems that they were more willing to accept smaller and lighter voices that are now associated with the bigger dramatic sopranos. And I have a feeling that the orchestras didn't play quite as fully and loudly as they play now, even in Wagner operas. Netrebko sings Lady not as a lyric role, but as a dramatic role, putting a dramatic weight of voice into the part. She sounds great still singing the lyric roles; it's only when I hear her sing the Lady that her vibrato sounds overly heavy to me, sounding as if she's pushing.
***** I don't think we're disagreeing as much as you think. I have only heard evidence of Netrebko's Lady from RUclips, and same for Westbroek's Isolde. I have also heard singers whose voices have recorded sounding very wobbly, but in person, the vibrato isn't quite so heavy. I just hope they don't get talked into singing roles that are too heavy all the time and execrating their vocal aging (a la Scotto).
Christine Brewer sang a great Isolde, and she sounded just as fresh in the end as she did in the beginning. We'll have to wait for Westbrook and see. Even Voigt, who was a very good Isolde before she got thin, gave up the role. As for lyrics turning themselves into dramatics, no one said it better than Anna Russell, and a decade or two before Scotto and Freni started singing heavy roles or Behrens started singing Wagner: "It’s very interesting to note that a great many singer, no matter how charming or flexible or nice their voice as it is, will strain every nerve to make themselves into dramatic sopranos, thereby ruining the very nice voice they already have. Because to be a dramatic soprano requires not so much the attributes of a singer as those of a successful auctioneer or hog-caller. I mean to blast your way through a Wagnerian orchestra, for instance, a beautiful tone is an absolute waste of time. You’re better of with a factory-whistle or a buzz-saw type voice, with a good cutting edge."
Funny how all the comments here are about Westbroek when the liebestod accounts for only about 1/3 of the presentation. No one comments on how well the orchestra performed the prelude. I guess it would be like commenting on the foreplay and ignoring the main event. 😆
She is ALWAYS too shaky!!! Isolde starts with a soft ans sensitive "mild und leise wie er lächelt..." she is too much pushing... Wagner composed the singing line like a wave... After almost phrase...start small then Grow grow and grow much more... Never start with an attack! If you start soo big you can get any bigger... Yes ... Nevertheless i always cry to Isolde!!!! The most beautiful and amazing opera in the music history!!! Then of course the Epic Ring circle!!! Only a genious human is able to compose this way!!! RIP Wagner!!!! I will always adore your arts!!!!
What do you mean "Light"? She sounds perfectly heavy enough to me. What worries me much more is the underpitch intonation - she is often very flat. That is a bad sign...........
Totally wrong. Her effectiveness is because she has incredible involvement with the music and the voice to back it up which isn't distracted by superficial trappings. Don't change her. We need more like her.
I can't understand the praise here for Maria's voice. It is plagued by unbearable Yelping and caterwauling to my ears...total un-evenness of tone. Sorry, Maria. Wagner, of course, still triumphs.
I would love to see and hear her paired with Jonas Kaufmann in a complete production of Tristan and Isolde. They were incomparable as Siegmund and Sieglinde in Die Walkure at the Met.
![Jonathan Joel - Have Yourself A Merry Little Christmas (feat. Antonio Vidarte) [Official Audio]](http://i.ytimg.com/vi/UsrMYOPrZEw/mqdefault.jpg)
An extraordinary piece of orchestral music!❤
Amazing! Wagner can make you feel emotions which you haven't had since childhood, and then experience new ones you never knew you had! This prelude and aria are two of my most favorite compositions. I am 63 yo.
AMAZING, IS FILLED OF THE MOST BEAUTIFUL EMOTIONS !!!!!!!!
@@josieponcedeleon9031 Yes....enough for tears in your eyes sometimes when you listen carefully. You, Josie; have good taste. :)
een van de weinige zangeressen die je emoties RAAKT !!! Dank je wel Eva Maria Westbroek !!!
Magnificent voice. Her high notes are glorious, with a bloom rather than that steely edge of most renderings.
I am personnely sure of that , sir . Thank you.
Himmlisch schöne Musik !!! Diva und Dirigent auch wunderbar !!! Sicherlich einer der Höhepunkte der Musik !!!!!
Brava, brava Eva Maria Westbroek. Trasmette emozione.
Westbroek is a beautiful woman, excellent actress and an extraordinary dramatic sopran in this present time. Her voice is powerful, great, radiant and adequate to wagnerian repertory besides Puccini, Verdi, etc.
What a beautiful recording , a marvelous orchestral sound , thrilling . Eva Maria Westbroek sings the Liebestod most beautifully , wonderful !!! To save , share and hear again and again !!!
One of the best ever!!!!
Brava, Eva Maria Westbroek!!!!! BRAVA!!!!!!!!!!
The conductor is Christian Thielemann. He was the principal conductor of Munich Phillhamonic from 2004 to 2011. So Orchestra must be Munich Phill. Eva-Maria Westbroek is a wonderful Wagnerian soprano.
My vote is for Munich. Vienna has instruments unique to them. Give away is that the oboists are playing Conservatory system instruments, not Viennese, which have a different mechanism and a larger bulge at the top of the instrument. Also, darker sound.
thats not true, he was principal conductor from the staatskapelle dresden in this time. in this video its the bayreuther festspielorchestra
Thrilling.
Glorious singer
Huh?
WOW absolutely brilliant Isolde, I hope Eva-Maria would record a complete Tristan & Isolde, we now need a Tristan like either Melchior or Jerusalem.
She sucks
I think she is radiant, and I hope she sings the complete role of Isolde.
Maravilloso!
how much power this lady must possess to overwhelm the orchestra with her high notes!
It has nothing to do with power!
Her screeching you meant to say her voice is mediocre and that's being polite.
Entire voice dominates. She is remarkable for today's pool of sopranos. Open and not pinched, even if vibrato is a bit slow at times --- I'll take it any day!!! Brava!
Enfin une voix pleine et qui ne faiblit pas avec l’orchestre, contrairement à l’interprétation de Waltraud Meier. ❤❤❤
Please, can someone translate; the word's of this beautiful performance. Thanks 🙏.
Wir müssen uns freuen über jede Sängerin, die in der Lage ist, die Isolde zu singen, auch wenn ich nicht weiß, ob Frau Westbroek die ganze Oper schon gesungen hat. Sicher ist Waltraut Meier dominant in dieser Rolle, aber sie kann ja nicht überall sein. Ich finde es sehr positiv, wenn sich weitere Sängerinnen an diese schwere Rolle heran wagen.
sie ist unheimlich lieb !
Richtig! M. E. steht Waltraud Meier in einer Sonderklasse für sich, die Personifizierung der Perfektion, zumindest in der Rolle der Isolde.
Als Sieglinde ist sie auch genial
Sie hat diese Opernrolle schon oft gesungen!
De una belleza musical indescriptible , inmensa...
Very beautiful!
Don't understand why the orchestra is not mentioned. My guess is The Vienna Philhamonic (very few women.....a crazy tradition), but the criticism of Ms. Westbroek is pure sophistry. My guess is that Wagner, that mad genius and borderline psychopath would probably love this performance, his ideal Teutonic godess.
its the bayreuther festspielorchestra
Who is the conductor? Also, which orchestra is this?
Thank you.
There is something very wrong when so many of our newer singers, from Meade to Westbroek, have jaws that shake when they sing. For me, that's the sign of a singer singing too big far too early and not supporting their voice with the breath, but with neck muscles. When you watched Norman or Nilson or Farrell, they never "chewed" the sound, even when they were singing as loudly as a freight train.
THANK YOU!!
of course its the goal to keep the neckmuscles free but everybody is build differently . I know some singers who shke their jaws and prodce a beautifull sound . Always so easy to stand on the side and comment . Eva knows how to sing and perform. Can you with all your nasty comments
@@peterrombouts50 Good singing technique is good technique regardless of how you're built. You look at footage of great singers of the past, Flagstad, Farrell, Sutherland, Nilsson, Price (M and L), Caballe, Norman, Ross, etc. and you never see this shaking jaw phenomenon. And nowadays, you see it everywhere, from the lightest coloratura to the lyric and dramatic. I think there is something very wrong in the way singers are taught nowadays, and the results are not only audible, but also visible.
Nothing is as good as it used to be.
Very true. But I still loved this performance. She is younger. Hopefully easy to secure voice a bit better.
I Love you Eva 💞💞💞💞💞💕💕
Sublime
Much better than I expected even if the Liebestod pushes her to her limits. But she has what to me seems a strong Wagnerian presence. Hard to define but it's there.
Good evening.
I am thinking this sort
of Way since such a long time, madame , monsieur .
Cependant, je n' ai que très peu de formation lyrique.
Thielemann und die Westbroek als Isolde: Eine tolle Kombination ...
Brava...
Maria , you are Isolde !
Shirley Verett with Zubin Mehta incredibly moving I can't remember the orchestra Ms. Verrett was in a purple gown. The orchestra never had to hold back in fact it was difficult to match her prodigious voice.
Thank you John. I listened to the Shirley Verrett version you mentioned and loved it!
Live at Lincoln Center broadcast.
A vibrato like she's been singing these heavy roles for 10 years.
But she just started...
Dragan Vidic I agree: her vibrato has gotten so heavy she's nearly wobbling. On sustained notes, you can also see her lower jaw shaking with the vibrato, which is always a dangerous sigg. Netrebko sounds the same way in Macbeth. Perhaps the role is too heavy for her.
***** Lady Macbeth is indeed a dramatic soprano role, but one that's been successfully tackled by mezzos with a decent high register. Netrebko's voice still sounds great when she sings roles suited to her voice, but as the Lady, she has to force the voice, and the vibrato become very heavy. I think there are better Lady Macbeth's than her, but I love how she plays the role as a total sexpot. I've always thought that Lady must have had great sexual power over Macbeth to force him to do her will.
I think our expectations of voices is different now than it was back then. When you hear recordings of Patti, with her small, pretty voice, and realize that she also sang Aida, it seems that they were more willing to accept smaller and lighter voices that are now associated with the bigger dramatic sopranos. And I have a feeling that the orchestras didn't play quite as fully and loudly as they play now, even in Wagner operas. Netrebko sings Lady not as a lyric role, but as a dramatic role, putting a dramatic weight of voice into the part. She sounds great still singing the lyric roles; it's only when I hear her sing the Lady that her vibrato sounds overly heavy to me, sounding as if she's pushing.
***** I don't think we're disagreeing as much as you think. I have only heard evidence of Netrebko's Lady from RUclips, and same for Westbroek's Isolde. I have also heard singers whose voices have recorded sounding very wobbly, but in person, the vibrato isn't quite so heavy. I just hope they don't get talked into singing roles that are too heavy all the time and execrating their vocal aging (a la Scotto).
Christine Brewer sang a great Isolde, and she sounded just as fresh in the end as she did in the beginning. We'll have to wait for Westbrook and see. Even Voigt, who was a very good Isolde before she got thin, gave up the role. As for lyrics turning themselves into dramatics, no one said it better than Anna Russell, and a decade or two before Scotto and Freni started singing heavy roles or Behrens started singing Wagner: "It’s very interesting to note that a great many singer, no matter how charming or flexible or nice their voice as it is, will strain every nerve to make themselves into dramatic sopranos, thereby ruining the very nice voice they already have. Because to be a dramatic soprano requires not so much the attributes of a singer as those of a successful auctioneer or hog-caller. I mean to blast your way through a Wagnerian orchestra, for instance, a beautiful tone is an absolute waste of time. You’re better of with a factory-whistle or a buzz-saw type voice, with a good cutting edge."
Herrlich! Wunderschön.
I hope she performs in a Ring cycle soon, and not just as Sieglinde
Who are the orchestra...? I like them. But the singer's voice wobbles/shakes non stop..
Please - where and when?? and the conductor??
Festspielhaus Bayreuth, 22. May 2013 (Concert for 200. Birthday of Wagner), Thielemann
I have listened to this song several times and i still do not understand it.
The conductor is one of the great:Thielemann. Very goog-
Molto molto bravi. Splendida esecuzione.
Grazie a Dimitrovajunkie per la pubblicazione.
Funny how all the comments here are about Westbroek when the liebestod accounts for only about 1/3 of the presentation. No one comments on how well the orchestra performed the prelude. I guess it would be like commenting on the foreplay and ignoring the main event. 😆
she even looks like Isolde in my imagination
The vocal flow is not quite there. The sound is not really even and round.
BEST LIEBESTOD EVER.....EEN GEWELDIGE EVA MARIA IN TOPVORM!!!
Maybe the conductor was too cautious?
She is ALWAYS too shaky!!! Isolde starts with a soft ans sensitive "mild und leise wie er lächelt..." she is too much pushing... Wagner composed the singing line like a wave... After almost phrase...start small then Grow grow and grow much more... Never start with an attack! If you start soo big you can get any bigger...
Yes ... Nevertheless i always cry to Isolde!!!! The most beautiful and amazing opera in the music history!!!
Then of course the Epic Ring circle!!! Only a genious human is able to compose this way!!! RIP Wagner!!!! I will always adore your arts!!!!
What a great composition
not fan of the vocal vibrato though
it is masking the melody
To light.
What do you mean "Light"? She sounds perfectly heavy enough to me. What worries me much more is the underpitch intonation - she is often very flat. That is a bad sign...........
sd
I prefer Waltraud Meier
Prelude is too rushed :( It is supposed to be slowed.
Anyone can have a bad night-geez.
Para mi, Wagner es un mesías, y nunca fue tan auténticamente mesías como en Tristán e isolda
Awful, Awful, Awful too much vibrato and that's hard to fix she's a Mezzo Soprano not a Soprano her top notes are offensive.
She's wonderful - she just needs to do something with her hair and upscale the frock with a bit of colour and bling - in short, she needs gay friends
+Ruxton J Das kann nur ene Dame geschrieben haben!
+Ruxton J
Ähm, singt sie dann noch besser?
Totally wrong. Her effectiveness is because she has incredible involvement with the music and the voice to back it up which isn't distracted by superficial trappings.
Don't change her. We need more like her.
Wobbly horrible mess. Imagine five hours of this ugly singing.
Melding van misbruik van de naam Wagner.
She's terrible.
Vocal mess, sorry.
Sorry you have a hearing problem.
Superb
Vreselijk
I can't understand the praise here for Maria's voice. It is plagued by unbearable Yelping and caterwauling to my ears...total un-evenness of tone. Sorry, Maria. Wagner, of course, still triumphs.
hmm her top notes have too much vibrato and she is not a good actress. but besides these flaws i like it.
I've seen her in several roles and she's a wonderful actress.
An opinion is like an anus, everyone has one, but you don't need to show it to the whole world...
LauperTribute Thank goodness not everybody IS one!
Not a simile we needed.
Sad that this is what passes for Isolde these days. Truly horrid vocally.
Let's party. I'd rather hear her sing Anna Nicole.
Strained, wobbly, and out of tune.
No she is not out of tune!
You're just rude.
@@direfranchement The truth hurts, kid.
@@johnellis6755 Difficult to tell through the massive wobble, but her intonation isn't very good.
@@dudeforcaster8630 Would love to see your performance of this aria. Show 'em how it's done. We'll wait.
Not a very impressive interpretation of Mrs Westbroek
I would love to see and hear her paired with Jonas Kaufmann in a complete production of Tristan and Isolde. They were incomparable as Siegmund and Sieglinde in Die Walkure at the Met.
Huh....
Huh? I agree. Her interpretation is sublime and the voice, too.
Horrible!