parterre box

70 comments

• rapt says:

  CerquettiFarrell, thanks so much for introducing me to Kuhmeier. Love that clip!

  on September 3, 2009 at 8:58 AM
• Sanford says:

  To me, the two greatest lieder singers, and admittedly it’s not my area of expertise, were Elly Ameling and Dietrich Fischer-Dieskau.
  

  
  

  
  

  I’m also rather fond of Peter Schreier
  

  on September 3, 2009 at 9:49 AM
• Sanford says:

  Barbra Joan Streisand is candy (and the sun’s a ball of buttah!); she was no blemish on the nose of life’s complexion. And couldn’t you just scoop up Omar and eat him with a spoon?

  on September 3, 2009 at 9:55 AM
• Sanford says:

  I have to take a moment to sing a showtune. You all discuss. I’ll be right back.

  on September 3, 2009 at 9:56 AM
• Sanford says:

  Someone slap my face and call me Miss Marmelstein. I’m done.

  on September 3, 2009 at 10:00 AM
• CruzSF says:

  CerquettiFarrell, you really came through. Thank you so much!

  on September 3, 2009 at 11:04 AM
• CruzSF says:

  CF, I’m working my way through your list of YouTube videos. The Lotte Lehmann master class is so impressive. Whether her voice is too creaky or not, her transformation from late Lehmann to young [girl] in facial expression, body movement, and vocal color is simply amazing.

  on September 3, 2009 at 12:27 PM
• CerquettiFarrell says:

  Thanks, CruzSF, the Brahms clip moves me everytime I see it, there’s so much art there, yet such artlessness, if it makes sense, and yes, the transformation is palpable, endearing. I’m particularly fond of her expression during the piano ritornello, there’s so much MUSIC inside that woman. And the way she immediately starts singing and the pianist obeys, spellbound.

  And if I may, Lehmann’s singing is a good vehicle to demonstrate what I’m incessantly referring to as “harmonically-aware singing”.
  Notice at the “ich sah’ erst” on 01:10 the way the color changes because the harmony changes too. Then on 1:20 there’s a reassessment of the original tonality and likewise she strengthens the line. Likewise the way she listens to the piano as it syncopates in parallel to the vocal line, so that the voice and piano become a true duet – 01:26.
  That’s the kind of musicianship I cherish. Who cares about high notes or that kind of stuff when somebody takes the trouble to make some real music – I know I don’t!

  on September 3, 2009 at 4:55 PM
• CerquettiFarrell says:

  Also, I thought about this thing a lot when listening to many singers: the true artists tend to have some kind psychic ability – they manage to transfer to the audience their idea of how the music should go, even if sometimes their means are fallible. It happens often with Madame C: even at her worst, she is so highly aware of what she wants to do in the music, and it transpires even if from above G the sound is unbearable, and of course she sings off key sometimes, but mentally she’s never off key, if it makes sense (to me it does)

  on September 3, 2009 at 5:10 PM
• CruzSF says:

  CF: I agree with you that musicianship is much more about inhabiting the music and less about high notes or infallible pitch. I’m certainly amazed by the ability to nail a high note without scooping or swooping, but I’m a firm believer in acting being an important of singing opera.

  I’ve watched the Brahms clip multiple times today and each time I’ve been riveted. Lehmann demonstrates convincingly here that acting is also a part of lieder.

  on September 3, 2009 at 7:05 PM