I like the movement in Pamina's lament, a piece that can seem a bit endless; Lehmann's tone and manner are more passionate than sad: her conception is wonderful. But the tessitura is too high for her, especially at age 44. She sounds strained. The despairing ending is very beautiful nonetheless.
I don't know how often Lehmann's Countess was heard in Vienna, but there are some unforgettable phrases in her performance of the cavatina; still, she lacks the cool, long-breathed poise of an Elisabeth Rethberg or a Felicie Hüni-Mihacsek. Her voice and manner are almost too warm, too spontaneously felt.
A lovely performance, she makes Pamina a real woman, not some prissy little girl, like most sopranos do. Brava Lotte
mazzone1 2 years ago
I like the movement in Pamina's lament, a piece that can seem a bit endless; Lehmann's tone and manner are more passionate than sad: her conception is wonderful. But the tessitura is too high for her, especially at age 44. She sounds strained. The despairing ending is very beautiful nonetheless.
AulicExclusiva 2 years ago
I don't know how often Lehmann's Countess was heard in Vienna, but there are some unforgettable phrases in her performance of the cavatina; still, she lacks the cool, long-breathed poise of an Elisabeth Rethberg or a Felicie Hüni-Mihacsek. Her voice and manner are almost too warm, too spontaneously felt.
AulicExclusiva 2 years ago
Good! - That's all I can say about this. No more, no less.
transformingArt 2 years ago
Outstanding! Brava!
paulostroff99 2 years ago