Added: 3 years ago
From: layne867
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  • Together with windgassen Siegfried Jerusalem is probably the best Siegfried ive heard

  • BRAVO!!!!!

  • the conclusion of this magnificent scene...Ilike very much Jerusalem here...

  • Am I the only one thinking it's funny the guy's name really is Siegfried?

  • Majestic and the staging, is what is should have been

  • Pure metal!!!

  • Increible mr. Jerusalem!!!

  • Ausgezeichnet!

  • 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!

  • 4:55 should have be the ringtone of every German male.

  • This is my fav version of this

  • 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...

  • catch John Frederic West... he can also...

  • 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

    In which language? English? German?

  • @piasecznik german, of course

  • @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!
  • 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?

  • 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.

  • 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!

  • 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.

  • 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.

  • and where's the problem??? I think he wouldn't do that, if it could be a problem for Levine or somone else!

  • My favorite part of this opera!

  • 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'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 .

  • I concur

  • by the way, not only is there no A written, he doesn't sing an E either, it's a F.

  • 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.

  • Now this guy surely would beat any Manrico up.

  • He's sure got the pipes and attitude for the role. I like him and Windgassen overall for this part.

  • 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.

  • 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

  • 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

  • @CONTESTAR Yes you are absolutely right!

  • @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.

  • 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.

  • As the Germans might say about Levine as a conductor 'etwas fehlen,' Good enough I suppose but little excitement.

  • 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.

  • this DVD as realy wonderful!!!

  • Comment removed

  • @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

    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 I agree with you. He looks like "I´m going to hit the sword so they think I´m making it."

  • I watched this dvd two years ago. Is very good!

  • wonderful clip

  • very good,very difficult to sing bravo

  • sory, but you are an idiot.

  • Why? is he an idiot?

  • 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.

  • Comment removed

  • this is the begging of industrial music!

  • Totally agree.

  • damn fucking agree.

  • @butheadVSbevus

    That is interersting, could you explain why this is the beginning of industrial music?

  • @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 ?

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