Added: 5 years ago
From: Onegin65
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  • Her warm interpretation was worthy of Bayreuth.

  • Not her role?  Wieland Wagner himself invited her for Elisabeth in Bayreuth, and I assume he knew SOMETHING about Wagner style. Lotte Lehmann and Schwarzkopf both adored her, and both of them also knew a thing or two about German diction.

  • Gran Cantante y Una Artista sincera; Tal ves no devio incursionar en ciertos ro-

    les, que no le eran a fines, que no eran ideales para su cuerda de Soprano Li-

    rica. De todos modos era una Exelente Cantante y una Artista de muy noble

    estilo.

  • Danke für diese Aufnahme. Wir kannten bislang nur die Tonaufnahmen,

    Danke Danke Danke!

    Thanks for this recording. 'til now we only knew the audiorecording.

    Thanks thanks, thanks!

  • Mme. De Los Angeles sang such a wide variety of roles--many definitive interpretations: Rosina, Manon, Marguerite, Suor Angelica, Nedda, Mimi, Butterfly, Carmen, Salud, Martha, and this lovely Wagner heroine. Who today has sung such a range of roles to such perfection? And she gave lovely recitals including gorgeous Spanish songs and zarzuela arias! Very few of her post-war contemporaries could claim similar accomplishments. Callas, Tebaldi, Sutherland, Nilsson?

  • Mme. De Los Angeles was an admired interpreter of German lied in her recitals. No one criticized her German pronunciation. She received wonderful reviews for her performances at Bayreuth in this role. What beautiful sound and expression! A very lyrical approach to the role! You don't want a Brunnhilde voice for this touching role--after all, Elizabeth is a young nubile girl.

  • I should have written : Atrocious pronounciations by Saxon or German singers of ITALIAN OPERAS. Diction is part of art. De los Angeles has no perfect German either, but people aim at her non being a born Wagnerian. Well, mushed pronounciation of Italian is to be a non Bellinian, non Rossinian, non Verdian, usw....

  • I find she makes nuances that many saxon or German sopranos IGNORE. I am a bit fed up of people judging the non wagnerians, or the latins, sp severely when one has to stand the atrocious Italian or French pronounciations from other latitudes ! She sounds a little taxed here that has to do with a vocal crises that started in the mid fifties, Otherwise I find she expresses a lot and has a richer dynamics than many ! De los Ángeles was invited to Bayreuth for this role...Casual?

  • horrible costume! shes wearing a sack! wtf!

  • In this case I agree. Beautiful tone. She was superb in French and Italian repertory. Her verism roles were paragon of style.

  • Would that all Wagner were sung like this! No Bayreuth bark here.

    People argue that this is not real Wagner singing - yeah, no wobble or intrusive vibrato,no stridency, no ugliness at all.

    Give me more of this.

  • what do you mean with "middle of the road"? If you mean her career was middle of the road you are misinformed...

  • ELIZABETH RETHBERG is the singer who was known for this role

  • Thanks for this post. She made this work!

  • She were the first spanish singer that sang in Bayreuth. Now she continues having this pleasure. It was in 1961 and 1962. I don't like very much this performance but her Tannhäuser in Bayreuth with Windgassen, Bumbry an Fischer-Dieskau in 1961 is great (live recording).

  • I'm very pleasantly surprised!!! I've always LOVED De Los Angeles, but couldn't imagine her singing Wagner, let alone Dich Teure Halle. No bad! Still not really "HER" repertoire...but she did it quite admirably!

  • When de los Angeles unleashed those rich, warm tones that she possessed, the experience could be thrilling. I often found her singing to be too artsy and reticent. (I make the same criticism of Caballe.) The voice, nevertheless, was quite full and at times, penetrating. I love her Madama Butterfly.

  • Too bad "Dich teure Halle" sung by Nina Stemme disappeared from YouTube. That was just perfect -- the only one truly comparable with Birgit Nilsson.

    Knowing that Wagner is not Victoria's natural repertoire this was a brilliant interpretation. Much better than Nilsson singing belcanto.

    Brava!

  • (Continuation...)

    Wie jetzt mein Busen hoch sich hebet,

    so scheinst du jetzt mir stolz und hehr.

    Der mich und dich so neu belebet,

    nicht länger weilt er ferne mehr,

    Sei mir gegrüsst! Sei mir gegrüsst!

    Du teure Halle, sei mir gegrüsst!

  • Dich, teure Halle, Elisabeth's aria from Tannhäuser:

    Dich, teure Halle, grüss'ich wieder,

    froh grüss' ich dich, geliebter Raum!

    In dir erwachen seine Lieder

    und wecken mich aus düstrem Traum.

    Da er aus dir geschieden,

    wie öd' erschienst du mir!

    Aus mir entfloh der Frieden,

    die Freude zog aus dir.

  • I've been an admirer of VdlA for some time--I have my own pages here with clips. Imagine my surprise when I saw this.I knew she had performed at Bayreuth, a place one does not immediately associate with VdlA!!She says it was one of the most memorable periods in her life.

  • Wonderful performance! A very great voice and person - and just look at the range of languages and genres that she was comfortable in. Lovingly remembered by connoisseurs of music - and perhaps forgotten by those who look for more flamboyance and controversy.

  • Brava! Brava!!!!!!!!

  • her voice is full of sexapeal she sings clear and beautiful i'm german and i can understand each word.

    great victoria de los angeles.

  • I've never heard Callas or Tebaldi singing in german.

    I've heard Victoria singing English, Spanish, Catalan, Bask, Galego, Auvernes, French, Italian, Polish or Portugese. I think that se had not idiomatic problems.

    Brava Victoria!!!!!

  • Well, german isn´t her best language...

  • one of the best "Dich teure Halle"s i've ever heard. she sings beautifully. thank you for posting

  • Beautiful singing. Pity about the lip-synch being a bit out.

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