Added: 4 years ago
From: vaimusic
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  • .....ugh tenor-induced headache. with respect of course.

  • Pears voice has that instant scent of Britten. They intermingle as a unity. Fantastic

  • @WeeGrahamsaccount you bet they did ;)

  • wonderful! Pears and Britten! What do you want more?

  • @dracher. In my modest tributary of the lower Ganges "taking the piss" is a light-hearted expression meaning to tease or mock, e.g. by exaggerating someone's characteristics for fun -- in Moore's brilliant example, Pears' somewhat strangulated tenor voice (which was the object of my original comment to which version191 so eloquently responded). Perhaps you inhabit a higher valley where the atmosphere is rarified and piss-taking leaves a sharper taste in the mouth.

  • This came 7th in Britten's Got Talent.

  • @tenorismo. Quite possibly. He certainly combed his parting at acute angle.

  • Que barbaro! que magistral interpretación de una pieza que muy pocos cantantes acceden a interpretar por la dificultad que entraña la extraña música de Britten.Me recuerda a la ¨dissonances¨de Mozart por su estructura tan peculiar.Bravissimos,

    Spears y Britten.Que genios!

  • On a poet's lips I slept Dreaming like a love-adept In the sound his breathing kept; Nor seeks nor finds he mortal blisses, But feeds on the aerial kisses Of shapes that haunt thought's wildernesses. He will watch from dawn to gloom The lake-reflected sun illume The yellow bees in the ivy-bloom, Nor heed nor see what things they be; But from these create he can Forms more real than living man, Nurslings of immortality! One of these awakened me, And I sped to succour thee.
  • a fine fine singer. nevertheless a good singer needs good material and Britten does not disappoint. It amazes me how few people seemed to notice Britten's gorgeous balance of dissonance in the harmonies. And regarding Pears categorization both musically and personally I ask " Who cares?"

  • @version191

    You need to lighten up, my friend. Suggest you search "little miss britten" and watch dudley moore taking the piss. lmao!

  • @fremsley001 There is a great deal of difference between intelligent satire and what you so predictably refer to as "taking the piss." I know that Dudley Moore was engaging in satirical humour, because no entertainer would ever try to "take the piss" out of anyone who has real talent. Of course one might accuse him of taking the piss out of you for missing the obvious, I would forgive you for not knowing where to look for it in the first place.

  • @fremsley001 what about a math teacher ?

  • They made a cute couple.

  • Nocturne

  • Shouldn't you all shut up and listen to the music?

    Thank you very much.

  • Dear olialto7 & luisortmul: we're talking about Peter Pears here, not countertenors, Oberlin or falsettists! He had a unique voice, and Britten crafted an equally unique response to his instrument. Can we table your discussion for another time and talk instead about how much of the 20th-century tenor repertoire sprang from this unique musical and personal partnership?

    Thanks :-)

  • If you mean his colour is like that of the only high tenor who has dared to call himself countertenor (Russell Oberlin)after Tippett decided an all falsetto voice was THE modern countertenor, I still don't understand the comment, since the two timbres couldn't be more apart from each other...

  • britten was a big influence on the hollywood composers.

    bernard herrmann's psycho score comes to mind when i hear this.

  • Strange, because Herrmann's music is nothing like Britten's.

  • @feralmusic What a marvelous insight; Bernard Herrmann managed to distill the string writing of Britten, Vaughan Williams, Tippett, also the genius of Aaron Copland into his sound world. Yet all composers of worth are touched by the those who have gone before and synthesize an orchestral sound that creates the shock that hits the imagination and sparks an eternal mark. Many thanks for your comment and have a brilliant day..Graham

  • Genuine entry in the first musical dictionary I ever owned: "Pears, Peter: see under Britten."

  • that is hilarious!!

  • Especially since rumour says it was the other way round.

  • strange music, but beautiful

  • I've got a preview of Brittens "The Turn of the Screw"

  • pears was the man of the live of briten

  • Those decrescendi on those high notes esp the one at around 2:28 to 2:33 on the word "man"........

    He is such a pleasure to listen to......

  • I sang two masterclasses for Pears in 1973, which was more than I deserved. I found him warm and generous; entirely without jealousy even for the good people. ( amongst which I was not) His voice could fill any space, because of its focus, which he called the "golden wire". No point discussing his character 24 yearsafter his death, as some have. He has added to the World's good, I think.

  • Wow, Peter Pears has the voice of a contra-tenor in the Renaissance Era. His voice reminds me of a lute singer in the Renaissance, like from songs from Thomas Morley and John Dowland... besides that, his voice is very soothing and flowing, pleasant to the ear.

  • erm... can we get the meaning of counter-tenor right please!!!!

  • Good luck!! Even experts are undecided!

  • sadly, I am an something like an expert (an Mphil thesis on it sounds enough?) and I am very decided...

    high countertenors in Elisabethan times were falsettists, low countertenors were tenors with a falsetto top, something like René Jacobs when he sings french music... Pears is neither.

    Thanks

  • Some authorities think that these high tenors didn't use falsetto, or ot as we know it today. And some think that complete falsettists (as we call countertenors nowadays) didn't sing alto but more usually the top line, which would have meant that we couldn't call them countertenors at all (the contra-tenor line being 'altus'). Obviously Peter Pears is a lyric tenor in the modern tradition, but I think that Marmalade000000 was referring more to the colour of his voice than to the range.

  • That information is correct. But can you tell me why the colour of Pear's voice can be compared to a countertenor's, either in the modern sense or in the ancient sense, since we don't have recordings and MOST MODERN authorities agree some falsetto WAS used???

  • I'm afraid I can't, I'm already guessing at what Marmalade000000 may mean, and I don't want to put any more words in their mouth! But perhaps they are referring to the sound that Pears makes when singing gently in the 'passagio' section of his voice which can have a wistful Deller-ish quality.

  • Well, let just agree that we both know what we are talking about, that there are still some obscurities in the concept of Elisabethan and pre-Elisabethan contra-tenor lines (although XIX century cathedral altos were definitely falsettists, as Peter Giles definitely demonstrated in articles and his last book) and that Marmalade's comment was just one of those things that was said flippantly

  • Also, although Tippett was misled in his understanding of the concept and, as you said, cathedral choir contra-tenors possibly sung mostly in 'tenor', Purcell DID write some music for high countertenor labelled FOR COUTERTENOR which could have not be sung by anything but a falsettist (Come ye sons of art, etc.)

  • my dear, he is a tenor-baritone, not a c.tenor!, & his voice is too profound, pastosa, even sinister

  • Oh dear, the sad depthcharge99 has got here as well. I have a strong suspicion who he is. It is pretty clever to have known Britten and yet be only 21!

    Don't listen, anybody. This person (depthcharge) has serious problems.

  • Aged 21?

    In the USA?

    You don't have the honesty to create a truthful profile.

  • "That sounds a lot like your child rapist hero, Imogen."

    Eh?

  • "Pears wasn't even a singer, but a lazy amateur dilettante. Vile person"

    Sorry you fail big time.

  • So why didn't you report him to the authorities?

    Unless you condoned it..

  • "Have you ever listened to the ridiculous Gloriana?"

    Yes I have..I have it on video as well.

    So you are the sole arbiter of what is great and good?

    I don't think so..

  • He did?

    Who resigned? Names? Dates?

    Hundreds & hundreds?

    Again, names, dates, times, places?

    Many of whom you knew?

    Why don't they post/ complain?

  • Oh dear.

    Once they are called on it, the homophobe bully can never hide for long can they?

    If you had proof of criminal actions you are as much to blame by not reporting it.

    And as for the swearing, you fail big time...

    I'm trying to work out just what you are...

    A failed mediocre musician?

    A Jaded hack?

    A jealous gay man/boy?

    Do let us all know, if you have the bottle to, which I very much doubt.

    In the meantime, the nurse will be along with your medication.

  • "He was a hateful, hateful man. He claimed to be a pacifist, but he was really just a mean coward."

    And i'll shtamp my my feet until all of you mean people believe me.

    And I'll skweem and skweem..

  • Instead of hiding behind a name on a forum.

    Who are you exactly?

    Why should we believe what you say?

    Give us all your name.

    Instrument played?

    Or just STFU

    K?

  • Bitter?

    Much..

    Did he not choose you?

    Is that why you post drivel?

    Sad...for ..you of course..

  • depthcharge99, you have an interesting standpoint on Benjamin Britten and if you write anything that is longer than a youtube comment expressing your views in full I will read it.

    But to me it seems that you have let your personal feelings get in front of your greater appreciation for music.

    I'm sure if anyone who new Beethoven was still around all the videos of his pieces would be littered with comments like your own.

  • Its a pity that you are so filled with hate and predudice and obvious homophobia - If there is a hell, you are already living in it.....There are many famous people who have less than endearing characteristics - just goes to show that we are all human. remember that the more one criticises others, the more one brings on oneself

  • I'm sorry but I really disagree with you about Britten and Pears' respective talents. Britten really was a composer of genius: just look at all those marvellous operas! And Pears: his extraordinary control, word-colouring, uniquely recognisable sound, and pathos make up what I consider a brilliant singer. I can't see why you think they were such horrible people either - it doesn't add up at all with what I've heard before.

  • I deeply envy anyone who attended performances by BB or PP, as they both died before my time. The magic of any live performance is naturally diminshed in a recording, but I have read somewhere that Pears's voice didn't record particularly well (due to harmonics and other things I don't really understand!) - can his singing have been MORE incredible heard live?! Did anyone out there hear him live and feel able to comment..?

  • I heard him live twice , Brittenb, which I think I mentioned to you elsewhere on here, once in a mixed recital and once in the War Requiem, Britten in the audience! Absolutely wonderful and such a strong, sweet and charming personality. I was too young to know much, but he certainly communicated with me, which is what it's all about. I was very in awe of Britten. He was quite shy and although he bowed to the audience from the box after the War Requiem, you felt he'd rather be somewhere else.

  • I got to see him at a workshop at the University of Evansville in about 1975 or so. He had just finished a concert up in Chicago. He was warm and kind and his voice was also warm and kind, he just filled up the hall with very little effort. I wish I had asked him to sign my "Seranade" recording. This was years ago and I still have nice feelings about the whole thing.

  • when I was at uni they needed a small bass part sung in a concert, and it was the only time i ever shared a concert platform with Neil Jenkins, Felicity Palmer and Peter Pears!! He was very complimentary and we went to a wine bar afterwards. I saw him in the War Requiem in the Albert Hall, and again in Death in Venice at the ROH when I got him to sign my programme. Sadly I never met BB when he was awarded an honorary doctorate as he was ill, but I did get a bearhug from Bernstein.

  • @brittenb yes, i heard pears live at covent garden around 1975 in 'death in venice'. of course i'd heard him many times on LP and always admired him - and britten - immensely. he was in his 50s at the time of the CG performance and sounded AMAZING. much better than on recordings. the voice was large, MALE, supple, and deeply arresting. at the end of the performance, britten took a bow from one of the boxes, feeble from his recent heart attack. the most moving musical night of my life.

  • Granted, Peter Pears's singing is an acquired taste. But once you have acquired that taste, the world opens up. His voice does not only remind of conviction and humanity, it also breaths love of and respect for the music of Benjamin Britten. They could not get married in their time if not in their music - and that is what they did.

  • wonderful to hear this again and to see them both.. many thanks indeed.

  • what a song!

    strong melody

  • Wow, I had never hear Peter Pears before. Haunting and beautiful in some places!

  • Thank you for showing this.

  • Peter Pears had a beautiful voice. I remember hearing him in london.

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