Added: 3 years ago
From: Onegin65
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  • Mit seinem hellen Bass sehr kultiviert gesungen. Die Arie fordert allerdings mehr Schwärze und ein anderes Timbre. Über diese stimmlichen Qualitäten verfügen Gotttlob Frick und Kurt Moll in weit stärkerem Maß.

  • In dieser schwierigen Arie, die äußerste Reinheit und Klarheit erfordert eine der schönsten Stimmen und die bestmögliche Phrasierung.

    Begeisternd!

  • @KOProductionsUSA The original calls for him to go up to the E, not down. Following the original music.

  • Hand. The final d's are spoken as t's.

    Sarastro is not a bad guy, agree. But not so good as he thinks he is, either, imho.

    We are used to the low E at the end--Pape declines to go there, and I'm sure he could but perhaps not so strongly as true bassi. He is a bass-baritone. the distinction is not so much profundo vs noble as the actual range of the instrument.

  • @KOProductionsUSA be completely sure about his voice, true bass even not cantabile. Two 3 days ago I was in his Don Carlo with Kaufmann, Halfvarson etc. at Bayerische Statsoper Munich. I was shocked with his voice, because his voice is not even similar to the voice in recordings like this.I used to be think the way like you that he is a bass baritone. However, he has got huge chesty bass voice penetrating over the orchestra. The recordings are tricky, don't trust them.

  • @onaykk thank you I'll defer to your ear.

  • What means "Hanttt"?

  • mozart

    

  • I love Pape (like, seriously. so much love), but this just strikes me as so weird and wrong. Anyone else? I feel like he's the classic Sprecher voice- rich pretty bass-baritone. But Sarastro? The settled, slightly grizzled, paternal, basso profundo Sarastro voice? I just don't hear it.

  • @lucyliesinashes Sarastro is not that profundo, he must have light in his voice, he's not a bad guy...

  • @guimaul69 Mmm, fair enough. It's still just really weird to my ear. *shrug*

  • @guimaul69 He doesn't sing that low and goes above Middle C as well. Not a Basso Profundo at all.

    I'm singing this now and I don't really have THAT lower voice. It only goes down to F# that is an octave and a half below Middle C.

  • He's expressive, but he can't touch Alexander Kipnis (1929).

  • He comes Dresden...))))

  • Certified Intergalactic!

  • That soprano is Genia Kuemeier, btw

  • Kühmeier, btw :)

  • Quel immense artiste et surtout quel Sarastro sensationnel. Rares sont ceux qui peuvent prétendre à un tel niveau d'excellence dans ce rôle

  • This is a nice young basso that I rather like. However, it always seems he is not projecting enough. Had a chance to see him in Salzburg as Sarastro, but I had a conflicting schedule. I wonder how he sounds live.

  • Live is absolutely wonderful. He fills the hall. I saw that performance in Salzburg and it was magical

  • It's dark concentrate metal that projects everywhere in a hall. He is not a "profundo", he is noble bass.

  • It seems to me that Rene Pape always "runs" behind the orchestra. The orchestra is a bit too loud (or Pape too quiet). So the harmony between the two is not so good.

    But Pape sings beautifully. Rich and profound timbre. We surely hear him in those low F# and I like it.

  • ...that balance issue is just the way microphones are placed. Clearly not in a perfect way. In the hall it was perfect :)

  • Sublime!!!

  • wow, one of the best voices I've ever heard.

  • superbe basse.

  • I wish they could put Mozart in a tablet.

  • who are the other in the cast? and the conductor?

  • It;s from Salzburg, 2006: Genia Kuhmeier as Pamina, Diana Damrau as Konigen der Nacht, Paul Groves as Tamino, Christian Gerhaher as Papageno. Riccardo Muti is the conductor.

  • I don't think that this performance is from 2006, but you can find the one from 2006 on youtube too.

  • You are absolutely right. I confused the productions.

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