This is a poor transfer of a good recording. It sound like it is coming from a drainpipe. It has been remastered no and a much finer recording is available.
And yes, the high notes so a lot for this song. Why not. Don't be such a purist! What sopranos today can match her versatility? None.
On my second reading of Sack's bio, I was struck by the fact that In 1937 she sang at Carnegie Hall with Joseph Schmidt and Tauber. What a night that must have been! Unfortunately, as much as I would have given anything to attend, on that date I was but 7 weeks old and not yet attending the theatre! My loss!
When you listen to an Erna Sack recording, you know what you are going to get--and you're seldom disappointed. If one wishes to hear Glow Worm without "the Sack treatment, fine a version on YouTube played by some village band. For me, I'll take the delightful Erna.
ps - Unfortunately, this selection has been ruined by overzealous "noise reduction" so it sounds as if played under water. :( I will look for another transfer, unless I have the 78 issue.
Some composers of the 18th and 19th centuries were pressured by the sopranos of the day to write music that could show off their repetoire of notes - so some arias etc may not be as the composer wished them to sound but they which side their was bread was buttered on so could be persuaded to add trills and high notes that were not expecially needed.
It is quite unique that a human voice can reach such extremely high notes. But do these notes really do something for this music? - I do not think so.
1.) I understand your point, but it's not so simple to answer. "Do these notes really do something for the music?" Sometimes they do, other times they don't, but it doesn't really matter. (For example in the Frühlingsstimmenwalzer those high notes DO contribute to the music, because they express the awakening nature and refer to the nightingales.) High notes (especially extreme high notes) are exciting, thrilling, and if a gifted singer can produce those notes, then she/he probably will. --->
---> 2.) If a figure skater could land a quadruple Axel, believe me, he would accomplish it. And if he could land it in combination with a quadruple Lutz, then guess what... ;)) Singing is more or less a show off, and I have nothing against that, to be honest. There are many examples when a just "see-what-I-can-do" phrase or note became standard. --->
---> 3.) Verdi did not write the high C's in the Manrico's stretta, he also did not write the cadenza at the end of the Duke's canzone (La donna e mobile), but I'm almost sure that a tenor, who sang the stretta in key, BUT without high C's, would be booed, and only a few could understand he just sang it the way Verdi intended it to be sung. Gigli introduced the high B at the end of Federico's lament, and he was right, because it perfectly express that emotion. --->
--> 4.) On the other hand, Kraus' "signature" high C at the last "voila" in the Legend of Kleinzach is a bit "l'art pour l'art", BUT I like it a lot, as You can see this among my favorites.;) Also Kraus sang a nice high E-flat in the Arnoldo's aria ("O muto asil"). Did that add something to Rossini's music? Not really, but it was great, so why not?;) The list of examples are long, but I think it was enough. I apologize for my long answer, and I hope You accept my point of view. Regards:
Higher =/= Better, but when a high note is done magistrally and with as much beauty as there is in this interpretation, then, wow, that's wondrous
Hail Erna! <3
LacrimaLunaMortua 1 month ago
THIS BEAUTIFULL VOICE TYPE WAS DESTROYED BY CALLAS!
rosegerringer 2 months ago
This is a poor transfer of a good recording. It sound like it is coming from a drainpipe. It has been remastered no and a much finer recording is available.
And yes, the high notes so a lot for this song. Why not. Don't be such a purist! What sopranos today can match her versatility? None.
lauderfrost 4 months ago
Awesome! Erna Sack R.I.P.
bartje11 7 months ago
Comment removed
bartje11 7 months ago
On my second reading of Sack's bio, I was struck by the fact that In 1937 she sang at Carnegie Hall with Joseph Schmidt and Tauber. What a night that must have been! Unfortunately, as much as I would have given anything to attend, on that date I was but 7 weeks old and not yet attending the theatre! My loss!
gmmix 9 months ago
When you listen to an Erna Sack recording, you know what you are going to get--and you're seldom disappointed. If one wishes to hear Glow Worm without "the Sack treatment, fine a version on YouTube played by some village band. For me, I'll take the delightful Erna.
gmmix 9 months ago
In this case, the high notes are gloriously silly. As is the song, so it is appropriate.
presbyterosBassI 11 months ago
ps - Unfortunately, this selection has been ruined by overzealous "noise reduction" so it sounds as if played under water. :( I will look for another transfer, unless I have the 78 issue.
edisone1 1 year ago
I thank you for posting this - I have an album full of Sack's 78s, but have never played them! I shall do so, now.
edisone1 1 year ago
Great composition! Voice to match!
Vogler9 1 year ago
FIVE STARS all the way !
gnativerson 1 year ago
Some composers of the 18th and 19th centuries were pressured by the sopranos of the day to write music that could show off their repetoire of notes - so some arias etc may not be as the composer wished them to sound but they which side their was bread was buttered on so could be persuaded to add trills and high notes that were not expecially needed.
jonjamg 2 years ago
It is quite unique that a human voice can reach such extremely high notes. But do these notes really do something for this music? - I do not think so.
Porkolty 2 years ago
1.) I understand your point, but it's not so simple to answer. "Do these notes really do something for the music?" Sometimes they do, other times they don't, but it doesn't really matter. (For example in the Frühlingsstimmenwalzer those high notes DO contribute to the music, because they express the awakening nature and refer to the nightingales.) High notes (especially extreme high notes) are exciting, thrilling, and if a gifted singer can produce those notes, then she/he probably will. --->
MavericktheShy 2 years ago 5
---> 2.) If a figure skater could land a quadruple Axel, believe me, he would accomplish it. And if he could land it in combination with a quadruple Lutz, then guess what... ;)) Singing is more or less a show off, and I have nothing against that, to be honest. There are many examples when a just "see-what-I-can-do" phrase or note became standard. --->
MavericktheShy 2 years ago 5
---> 3.) Verdi did not write the high C's in the Manrico's stretta, he also did not write the cadenza at the end of the Duke's canzone (La donna e mobile), but I'm almost sure that a tenor, who sang the stretta in key, BUT without high C's, would be booed, and only a few could understand he just sang it the way Verdi intended it to be sung. Gigli introduced the high B at the end of Federico's lament, and he was right, because it perfectly express that emotion. --->
MavericktheShy 2 years ago 5
--> 4.) On the other hand, Kraus' "signature" high C at the last "voila" in the Legend of Kleinzach is a bit "l'art pour l'art", BUT I like it a lot, as You can see this among my favorites.;) Also Kraus sang a nice high E-flat in the Arnoldo's aria ("O muto asil"). Did that add something to Rossini's music? Not really, but it was great, so why not?;) The list of examples are long, but I think it was enough. I apologize for my long answer, and I hope You accept my point of view. Regards:
Maverick
MavericktheShy 2 years ago 5
@Porkolty
The notes are enjoyable IMO and need no other justification. Love this singing.
65attila 9 months ago