I hate how people who can't even attempt what these people are doing say things like 'he shouldn't do it'. You are comparing the very very best of all the people in the entire world at a given time in these roles. To say something so foolish about Jerusalem is such a disrespect to the amazing rarity of his talent, his work, and his artistry. Have some respect for the intense dedication and insane training of these artists. Or you could sing it.
I'd say this: To be such a slow conduction, the details you might see when slowed down tempi-wise, are all lost, the orchestra is uneven, and Jerusalem shouldn't really play Siegfried. I mean, he looks fine for the role as such, but his voice lacks the vital strenght and slight baritone-like tone which a heldentenor should have. Zednik however does a great job as always.
The string section in the beginning is perfect! I don't like Wagner that much but he composed some really great pieces in his time and this is one of them!
His timbre is a lyric tenor. However, having heard him live he has a lot of resonance, plus he can actually sing Siegfried. Anyone who can survive and do a lot of good things with it like him, gets credit in my book.
@nickbaritone I have the feeling that he is more of a lyrico-spinto who has somewhat artificially darkened his voice. But he lasted longer in this repertoire than Manfred Jung did and did a better job, it seems to me...
my qualms lie inthe fact that as popular as these operas are, one is hard-pressed to find the lyrics when not immersed in the world of music but uses them to simply enjoy them... would anyone out there be kind enough to provide them
@wanderwere Great. You can find the whole libretto by googling 'Siegfried libretto'. Schmiede, mein Hammer, ein hartes Schwert! Hoho! Hahei! Hoho! Hahei! Einst färbte Blut dein falbes Blau; sein rotes Rieseln rötete dich: kalt lachtest du da, das warme lecktest du kühl! Heiaho! Haha! Haheiaha! Nun hat die Glut dich rot geglüht; deine weiche Härte dem Hammer weicht: zornig sprühst du mir Funken, dass ich dich Spröden gezähmt! Heiaho! Heiaho! Heiahohoho! Hahei!
MIME Den der Bruder schuf, den schimmernden Reif, in den er gezaubert zwingende Kraft, das helle Gold, das zum Herrscher macht, ihn hab' ich gewonnen! Ich walte sein! Er trippelt, während Siegfried mit dem kleinen Hammer arbeitet und schleift und feilt, mit zunehmender Vergnügtheit lebhaft umher Alberich selbst, der einst mich band, zur Zwergenfrone zwing' ich ihn nun; als Niblungenfürst fahr' ich darnieder; gehorchen soll mir alles Heer! Der verachtete Zwerg, wie wird er geehrt!
es ist doch ziemlich unerheblich, ob Jerusalem da ein A singt oder etwas tiefer transponiert, das tut der Genialität der gesamte Aufnahme keinen Abbruch, verleiht ihr keine Minderung der Qualität. Gott sei Dank muss ich Opernaufführu gen nicht nach dem Bigger Faster More Higher Prinzip beurteilen, meine WAHRNEHMUNG kommt von innen.
I like him, too. But Siegfried Jerusalem has problems with his condition and the high notes. In 4:06 he avoids the high A's and sings E instead. He had always these troubles.
I like his Siegfried. He's filled with youthful energy, and he can remain sympathetic even in Götter. And it's so good to see a Siegfreid who doesn't look like a sumo fighter.
Seigfried Jerusalem is really the best 'Seigfried'. Full of muscular vigour, youthful dynamism and boyish charisma. These sets are marvelous. From the few Bayreuth productions I have seen they tend to be disappointing and minimal. I am not a traditionalist, I just like to see some imaginative artistry in the set design.
@CONTESTAR Exactly! Most classical and highly renowned recordings of this opera have a guy striking the anvil way out of time and sometimes forgetting to strike for long stretches of time.
Of course nothing compares to Bayreuth, but if you're interested in seeing the traditional production, this is the best version to have. Barenboim at Bayreuth strikes me as very interesting, as I enjoy postmodern interpretations. the one from the 70s that was set in the industrial revolution is too political for me. I think Wagnerian productions should be dreamlike and otherworldly...
This scene is one of the most difficult in all of the operatic literature. Take into consideration that the orchestra is probably about 20 yards away from the singer, in the pit, the conductor is difficult to see and the orchestra is huge and it sounds nothing on stage like it does in the audience. He is good at the percussion, fyi. He manages the singing pretty well.
do you think it might also have to do with your sound system? 1. you're listening through youtube, and it might not have been recorded perfectly--which would make it impossible to determine whether percussion's been done well... 2. it could also be that your sound system isn't all that great, esp. if you're just using your comp's speakers, which might have crappy base.
I saw this at the MET sitting on the front row ten feet to the right of Levine and it is a magnificent production, full of visual candy. You can hear the sound coming directly from the singers' mouths at that distance, but the sound of the orchestra goes straight up and over your head. The trombones were a mere fifteen to twenty feet from me. Had I sat in the grand tier or the front row balcony the sound would have been better.
do you also have this on DVD? if so, how are the orchestrations and percussion then? I do think the forging of Nothung sounds better with Barenboim, but it could just be that this recording doesn't take as well to youtube, but sounds great if you own the DVD.
No, I'm saying that he should hit it as if he were making the sword. Of course I know that Wagner wrote it (I'm not an idiot). It's just an acting issue.
because wagner has nothing to do with "sieg heil" and such rubbish. i like and adore wagner very much but to say that he is "the greatest composer ever lived on this planet" seems to me nonsense, too.
this "idiot" was not an answer to phantoms text above. it referred to a text which seems to be deleted now.
but i really would like to know where cyclonesupercell is able to hear fashistoid things in wagner; for i really seem to be "to stupid, ignoring or deaf", as he says, to hear things which in my opinion are only in the mind and ideology of some critics, buth neither in the text nor in the score of wagner...
@croscream It is hard and mechanistic; a driving beat that is rhythmic and driving as is industrial music. The raw aggression in Siegfried as he forges the ultimate weapon to crush his foes. The erratic strings drive a pounding madness to the cold clanging of unfeeling steel thus it is industrious in an old connotation.KMFDM borrow from erratic classical music or neo-classical conductors mostly the Russian set though. I don't know does that make any sense to you ?
Together with windgassen Siegfried Jerusalem is probably the best Siegfried ive heard
Napoleontas 1 month ago
BRAVO!!!!!
beignet58 1 month ago
the conclusion of this magnificent scene...Ilike very much Jerusalem here...
operalover67 2 months ago
Am I the only one thinking it's funny the guy's name really is Siegfried?
Ryak1234 2 months ago
Majestic and the staging, is what is should have been
Napoleontas 3 months ago
Pure metal!!!
funckydog88 5 months ago
Increible mr. Jerusalem!!!
orionalmighty 5 months ago
Ausgezeichnet!
heldentenor8 6 months ago
I hate how people who can't even attempt what these people are doing say things like 'he shouldn't do it'. You are comparing the very very best of all the people in the entire world at a given time in these roles. To say something so foolish about Jerusalem is such a disrespect to the amazing rarity of his talent, his work, and his artistry. Have some respect for the intense dedication and insane training of these artists. Or you could sing it.
MrDsmalls 8 months ago 2
I'd say this: To be such a slow conduction, the details you might see when slowed down tempi-wise, are all lost, the orchestra is uneven, and Jerusalem shouldn't really play Siegfried. I mean, he looks fine for the role as such, but his voice lacks the vital strenght and slight baritone-like tone which a heldentenor should have. Zednik however does a great job as always.
glenfagelfors 1 year ago
The string section in the beginning is perfect! I don't like Wagner that much but he composed some really great pieces in his time and this is one of them!
bassmajor 1 year ago
4:55 should have be the ringtone of every German male.
BloodofSpartans 1 year ago
This is my fav version of this
banmen0w 1 year ago
His timbre is a lyric tenor. However, having heard him live he has a lot of resonance, plus he can actually sing Siegfried. Anyone who can survive and do a lot of good things with it like him, gets credit in my book.
nickbaritone 1 year ago
@nickbaritone I have the feeling that he is more of a lyrico-spinto who has somewhat artificially darkened his voice. But he lasted longer in this repertoire than Manfred Jung did and did a better job, it seems to me...
philipvanlidth 1 year ago
catch John Frederic West... he can also...
jmg21yt 1 year ago
my qualms lie inthe fact that as popular as these operas are, one is hard-pressed to find the lyrics when not immersed in the world of music but uses them to simply enjoy them... would anyone out there be kind enough to provide them
wanderwere 2 years ago
@wanderwere
In which language? English? German?
piasecznik 1 year ago
@piasecznik german, of course
wanderwere 1 year ago
piasecznik 1 year ago
piasecznik 1 year ago
Zu dem Horte hin drängt sich Gott und Held:
mit immer lebhafteren Gebärden
vor meinem Nicken neigt sich die Welt,
vor meinem Zorne zittert sie hin!
Dann wahrlich müht sich Mime nicht mehr:
ihm schaffen andre den ew'gen Schatz.
Mime, der kühne, Mime ist König,
Fürst der Alben, Walter des Alls!
Hei, Mime! Wie glückte dir das!
Wer hätte wohl das gedacht?
piasecznik 1 year ago
SIEGFRIED
hat während der letzten Absätze von Mimes Lied mit den letzten Schlägen die Nieten des Griffheftes geglättet und fasst nun das Schwert
Notung! Notung! Neidliches Schwert!
Jetzt haftest du wieder im Heft.
Warst du entzwei, ich zwang dich zu ganz;
kein Schlag soll nun dich mehr zerschlagen.
Dem sterbenden Vater zersprang der Stahl,
der lebende Sohn schuf ihn neu:
nun lacht ihm sein heller Schein,
seine Schärfe schneidet ihm hart.
piasecznik 1 year ago
das Schwert vor sich schwingend
Notung! Notung! Neidliches Schwert!
Zum Leben weckt' ich dich wieder,
tot lagst du in Trümmern dort,
jetzt leuchtest du trotzig und hehr!
Zeige den Schächern nun deinen Schein!
Schlage den Falschen, fälle den Schelm!
Schau, Mime, du Schmied:
er holt mit dem Schwert aus
so schneidet Siegfrieds Schwert!
piasecznik 1 year ago
Sur que ça fait plaisir de voir un Siegfried avec le physique de rôle. Ca gagne en crédibilité.
voir des quintaux plus large que haut... Moyen des fois.
isabelle070209 2 years ago
es ist doch ziemlich unerheblich, ob Jerusalem da ein A singt oder etwas tiefer transponiert, das tut der Genialität der gesamte Aufnahme keinen Abbruch, verleiht ihr keine Minderung der Qualität. Gott sei Dank muss ich Opernaufführu gen nicht nach dem Bigger Faster More Higher Prinzip beurteilen, meine WAHRNEHMUNG kommt von innen.
taxijunkie 2 years ago
and where's the problem??? I think he wouldn't do that, if it could be a problem for Levine or somone else!
TuJobajo 2 years ago
My favorite part of this opera!
banmen0w 2 years ago 2
I like him, too. But Siegfried Jerusalem has problems with his condition and the high notes. In 4:06 he avoids the high A's and sings E instead. He had always these troubles.
operamartin 2 years ago
I'm reading along with the score. There's no high A written in 4:06. And he sings the High A's in 4:55 to 5:00 .
piasecznik 2 years ago
I concur
turambarlaferla 2 years ago
by the way, not only is there no A written, he doesn't sing an E either, it's a F.
piasecznik 2 years ago
I like his Siegfried. He's filled with youthful energy, and he can remain sympathetic even in Götter. And it's so good to see a Siegfreid who doesn't look like a sumo fighter.
Sieglinde84 2 years ago 25
Now this guy surely would beat any Manrico up.
piasecznik 2 years ago
He's sure got the pipes and attitude for the role. I like him and Windgassen overall for this part.
kayewer 2 years ago 4
Seigfried Jerusalem is really the best 'Seigfried'. Full of muscular vigour, youthful dynamism and boyish charisma. These sets are marvelous. From the few Bayreuth productions I have seen they tend to be disappointing and minimal. I am not a traditionalist, I just like to see some imaginative artistry in the set design.
andrewnorris1 2 years ago 4
I hear people complaining about his percussionist skills and I really wonder!
I have never seen anyone do it better... Let alone, I have never seen anyone do it at all!
I am impressed by this guy's artistry
CONTESTAR 2 years ago 30
i can't understand that too
i saw that opera yesterday and i their siegfried was a really bad percussionist and completely messed with up the vocal timing, too
bassmajor 2 years ago
@CONTESTAR Yes you are absolutely right!
oznob64 4 months ago
@CONTESTAR Exactly! Most classical and highly renowned recordings of this opera have a guy striking the anvil way out of time and sometimes forgetting to strike for long stretches of time.
iwpoe 2 months ago
May be there's missing something - tell me what!
For classical german music it's perfect! Never know anything better from the USA from that time.
jjoh1983 2 years ago
As the Germans might say about Levine as a conductor 'etwas fehlen,' Good enough I suppose but little excitement.
ianduckworth 2 years ago 2
Of course nothing compares to Bayreuth, but if you're interested in seeing the traditional production, this is the best version to have. Barenboim at Bayreuth strikes me as very interesting, as I enjoy postmodern interpretations. the one from the 70s that was set in the industrial revolution is too political for me. I think Wagnerian productions should be dreamlike and otherworldly...
NazTb0y 2 years ago 3
This comment has received too many negative votes show
Percussion sucks. Singing is good.
piterdevries 3 years ago
This scene is one of the most difficult in all of the operatic literature. Take into consideration that the orchestra is probably about 20 yards away from the singer, in the pit, the conductor is difficult to see and the orchestra is huge and it sounds nothing on stage like it does in the audience. He is good at the percussion, fyi. He manages the singing pretty well.
ridiman49 3 years ago 7
do you think it might also have to do with your sound system? 1. you're listening through youtube, and it might not have been recorded perfectly--which would make it impossible to determine whether percussion's been done well... 2. it could also be that your sound system isn't all that great, esp. if you're just using your comp's speakers, which might have crappy base.
NazTb0y 2 years ago
I saw this at the MET sitting on the front row ten feet to the right of Levine and it is a magnificent production, full of visual candy. You can hear the sound coming directly from the singers' mouths at that distance, but the sound of the orchestra goes straight up and over your head. The trombones were a mere fifteen to twenty feet from me. Had I sat in the grand tier or the front row balcony the sound would have been better.
hermanzoon 2 years ago
do you also have this on DVD? if so, how are the orchestrations and percussion then? I do think the forging of Nothung sounds better with Barenboim, but it could just be that this recording doesn't take as well to youtube, but sounds great if you own the DVD.
NazTb0y 2 years ago
this DVD as realy wonderful!!!
liricobarroco 3 years ago
Comment removed
phantom4087 3 years ago
@phantom4087 Actually he's not 'tap-a-tap-tapping' because he or the director want it that way, the notes and the rhythm are written out by Wagner.
piasecznik 1 year ago
@piasecznik
No, I'm saying that he should hit it as if he were making the sword. Of course I know that Wagner wrote it (I'm not an idiot). It's just an acting issue.
phantom4087 1 year ago
@phantom4087 I agree with you. He looks like "I´m going to hit the sword so they think I´m making it."
javierleonenriquez 1 year ago
I watched this dvd two years ago. Is very good!
BaBabiBarbara 3 years ago
wonderful clip
ehsiao11 3 years ago
very good,very difficult to sing bravo
girardje70 3 years ago 3
Comment removed
cyclonesupercell 3 years ago
sory, but you are an idiot.
Leubald 3 years ago
Why? is he an idiot?
liricobarroco 3 years ago 2
because wagner has nothing to do with "sieg heil" and such rubbish. i like and adore wagner very much but to say that he is "the greatest composer ever lived on this planet" seems to me nonsense, too.
Leubald 3 years ago
Comment removed
cyclonesupercell 3 years ago
Comment removed
Leubald 3 years ago
This has been flagged as spam show
this "idiot" was not an answer to phantoms text above. it referred to a text which seems to be deleted now.
but i really would like to know where cyclonesupercell is able to hear fashistoid things in wagner; for i really seem to be "to stupid, ignoring or deaf", as he says, to hear things which in my opinion are only in the mind and ideology of some critics, buth neither in the text nor in the score of wagner...
Leubald 3 years ago 2
this is the begging of industrial music!
butheadVSbevus 3 years ago 15
Totally agree.
layne867 3 years ago
damn fucking agree.
TheInnerGrinner 3 years ago
@butheadVSbevus
That is interersting, could you explain why this is the beginning of industrial music?
croscream 8 months ago
@croscream It is hard and mechanistic; a driving beat that is rhythmic and driving as is industrial music. The raw aggression in Siegfried as he forges the ultimate weapon to crush his foes. The erratic strings drive a pounding madness to the cold clanging of unfeeling steel thus it is industrious in an old connotation.KMFDM borrow from erratic classical music or neo-classical conductors mostly the Russian set though. I don't know does that make any sense to you ?
butheadVSbevus 3 months ago