The artists - knowingly I am certain - ignore Schubert’s annotation “Nicht zu geschwind” (not too fast). A slightly slower tempo, say that of Barbara Bonney/Geoffrey Parsons, may be better suited for Gretchen’s state of mind. Having said this, however, I am tempted to use a similar argument for the faster tempo, for it perhaps expresses Gretchen’s despairing anguish more convincingly. Both renditions are exemplary and remarkable, and above all, immensely enjoyable!
@tomgeydan I could not agree more! I love the slow interpretation of Kiri Te Kanawa, but also this more fast tempo of Renee Fleming! So different, yet they both grasp at your heart!
If there is anything to say against it, among all the many things for it -- she is not so believable as a Gretchen. Her voice is too mature and rich to sound as virginally perturbed as poor little Margarethe needs to, even at the beginning, so the climax is way too big. Whether she could have pulled it back? I don't know. But it's beautiful singing, if overdriven as to interpretation.
@manthasagittarius well, but the issue here is that Margerite is no longer a virgin. This song comes after Faust has used and abused her and left her pregnant. So that hint of hysteria actually has a place in the interpretation, don't you think?
@tenore23 Absolutely correct, I share your opinion. And more than hysteria it`s madness that Gretchen can`t get rid of and which finally makes her lose everything. Fleming may be a little too mature for this Lied and because of the extreme speed it sounds more like an aria. And does not reflect Gretchen`s personality. But I must admit I love this version nonetheless.
@tenore23 Absolutely correct, I share your opinion. And more than hysteria it`s madness that Gretchen can`t get rid of and which finally makes her lose everything. Fleming may be a little too mature for this Lied and because of the extreme speed it sounds more like an aria. And does not reflect Gretchen`s personality. But I must admit I love this version nonetheless.
@tenore23 Absolutely correct, I share your opinion. And more than hysteria it`s madness that Gretchen can`t get rid of and which finally makes her lose everything. Fleming may be a little too mature for this Lied and because of the extreme speed it sounds more like an aria. And does not reflect Gretchen`s personality. But I must admit I love this version nonetheless.
SPLENDIDE!!!!
matteoelkhodr 2 days ago
This is beautiful, but I like Anne Sofie von Otter's rendition better.
oneredsoprano 9 months ago
Comment removed
daniphilth 9 months ago
@daniphilth Don't forget to listen to Elly Amaling and Lucia Popp in the song. Their interpretations are just as beautiful as Fleming's.
tenore23 9 months ago
Margarita en la rueca, un lied tan hermoso,,y lo es más en la bellísima voz de Renee magnífica siempre
belcanto24 10 months ago
The artists - knowingly I am certain - ignore Schubert’s annotation “Nicht zu geschwind” (not too fast). A slightly slower tempo, say that of Barbara Bonney/Geoffrey Parsons, may be better suited for Gretchen’s state of mind. Having said this, however, I am tempted to use a similar argument for the faster tempo, for it perhaps expresses Gretchen’s despairing anguish more convincingly. Both renditions are exemplary and remarkable, and above all, immensely enjoyable!
tomgeydan 10 months ago
@tomgeydan I could not agree more! I love the slow interpretation of Kiri Te Kanawa, but also this more fast tempo of Renee Fleming! So different, yet they both grasp at your heart!
jetaimearln 4 months ago
my absolute favourite of this song :) her breath control is incredible! i love her xxx
rhiannonpannon 11 months ago
Belle voix,mais je cherche la douleur,malgré quelques beaux accents bien travaillés.Pas assez déchirant.
abracadabranque 1 year ago
@manthasagittarius Mature women are also capable of being perturbed. Why try to find something wrong where none is? She sings extremely well.
kirkir2007 1 year ago 7
If there is anything to say against it, among all the many things for it -- she is not so believable as a Gretchen. Her voice is too mature and rich to sound as virginally perturbed as poor little Margarethe needs to, even at the beginning, so the climax is way too big. Whether she could have pulled it back? I don't know. But it's beautiful singing, if overdriven as to interpretation.
manthasagittarius 1 year ago
@manthasagittarius great comment, i totally agree w/ you. Elly Ameling's version is a pretty descent one, i highly recommend it.
minasgekos 1 year ago
@manthasagittarius well, but the issue here is that Margerite is no longer a virgin. This song comes after Faust has used and abused her and left her pregnant. So that hint of hysteria actually has a place in the interpretation, don't you think?
tenore23 10 months ago 8
@tenore23 Absolutely correct, I share your opinion. And more than hysteria it`s madness that Gretchen can`t get rid of and which finally makes her lose everything. Fleming may be a little too mature for this Lied and because of the extreme speed it sounds more like an aria. And does not reflect Gretchen`s personality. But I must admit I love this version nonetheless.
Altonahh10 1 month ago
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@tenore23 Absolutely correct, I share your opinion. And more than hysteria it`s madness that Gretchen can`t get rid of and which finally makes her lose everything. Fleming may be a little too mature for this Lied and because of the extreme speed it sounds more like an aria. And does not reflect Gretchen`s personality. But I must admit I love this version nonetheless.
Altonahh10 1 month ago
This has been flagged as spam show
@tenore23 Absolutely correct, I share your opinion. And more than hysteria it`s madness that Gretchen can`t get rid of and which finally makes her lose everything. Fleming may be a little too mature for this Lied and because of the extreme speed it sounds more like an aria. And does not reflect Gretchen`s personality. But I must admit I love this version nonetheless.
Altonahh10 1 month ago