Pauly's 1938 Metropolitan Opera début as Elektra was greeted with the kind of raving superlatives critics seldom use. Many years later, as a retiree in Israel, she still remembered Olin Downes' ecstatic New York Times review:
There is no more formidable rôle in opera... Yet it was sung last night magnificently, summoned into being by the recreative fury of an incandescent temperament and an amazing art. This incredible feat was accomplished by the Metropolitan's newly acquired Hungarian soprano Rose Pauly—that same Rose Pauly who stirred an unprepared and unsuspecting Philharmonic-Symphony audience last March in Carnegie Hall to a frenzy of excitement by her singing of extensive excerpts from the music
@65attila Ditto. No wonder she was greatly admired and adored by Richard Strauss, yet she was also a singer with great versatility, with 67 roles in her repertoire. Many thanks, John, for sharing and Homoclassicus for posting.
@65attila Yes, I like Price, Fleming, and Voigt in this aria. But Rose Pauly is wonderful. Did Jeritza also record it? Thanks for sending, and thanks to Homoclassicus for posting.
@65attila John, I remember years ago I heard Jeritza sing an aria from a Strauss opera on a Belcantodisc LP, and the singing was very impressive. It was probably from Ariadne. Thanks!
THIS is SINGING, not the nonsense heard on the operatic stage today. Just listen to the brilliance of tone and vibrations. Singers should listen and ask their voice teachers why they cannot duplicate the same vocal approach
Fleming's version of this aria is surprisingly amazing, but of course she couldn't surpass someone who had the very right voice for this role, like Rose Pauly. Fleming's voice is essentially lyrical, and this is an aria for dramatic, powerhouse sopranos (or at least lyric dramatic ones).
Fleming's statement in her book that singers in the "Golden" Era sang with a higher placement is succinct. Impressarios today, are accoustically challenged, therefore singers are submitted to the distortion of their voices thus leading to the decline of the ART of Singing.
@796824 Interesting this- even well into the Fifties certain sopranos tried to keep a girlish timbre in the tone ( early Callas, Sutherland ). Ljuba Welitsch, although possessing a voice powerful enough for Salome, still had this' young' sound.It seemed to be a fashion from the eary 1900s -both Tetrazzini & Melba had 'girlish' voices even though they could hit full-toned high notes.Hollywood preferred this sound & it was almost caricatured in Snow White. Pauly's voice is young & full. Amazing
Era Una Cantante, Una Artista, De Las Mejores; Gran Magnifisencia, Tanto Vocal, Co-
mo Interprete. De Esos Artistas Que No Se Deben Olvidar...
55werther 1 week ago
Thanks for posting
trov85 1 week ago
Yes!!!
youfeda 1 year ago
awesome! TY John
paulostroff99 1 year ago
A beautiful performance. I think Rethberg created the part, and Strauss and Hoffmansthal wanted Tauber for the tenor lead, but he was not available.
One can imagine Ljuba Welitsch [perhaps the best Salome ever] doing it well.
saltburner2 1 year ago
Comment removed
PIPZZZ02 1 year ago
Pauly's 1938 Metropolitan Opera début as Elektra was greeted with the kind of raving superlatives critics seldom use. Many years later, as a retiree in Israel, she still remembered Olin Downes' ecstatic New York Times review:
AulicExclusiva 2 years ago
There is no more formidable rôle in opera... Yet it was sung last night magnificently, summoned into being by the recreative fury of an incandescent temperament and an amazing art. This incredible feat was accomplished by the Metropolitan's newly acquired Hungarian soprano Rose Pauly—that same Rose Pauly who stirred an unprepared and unsuspecting Philharmonic-Symphony audience last March in Carnegie Hall to a frenzy of excitement by her singing of extensive excerpts from the music
AulicExclusiva 2 years ago
She made very few records but clearly this souvenir, from a different Strauss work, gives a refulgent instance of what all the excitement was about.
AulicExclusiva 2 years ago
A stunning recording of an artist who should be better known. Thanks for posting.
janejones11 2 years ago
Magnifcent - Thanks for posting. Flemimgs's os good but not this. Price also sings thus aria beautifully,
65attila 2 years ago 5
Truly gorgeous. Thanks, John, for sending this my way.
vstasov 2 years ago
@65attila Ditto. No wonder she was greatly admired and adored by Richard Strauss, yet she was also a singer with great versatility, with 67 roles in her repertoire. Many thanks, John, for sharing and Homoclassicus for posting.
dantitustimshu 1 year ago
@65attila Yes, I like Price, Fleming, and Voigt in this aria. But Rose Pauly is wonderful. Did Jeritza also record it? Thanks for sending, and thanks to Homoclassicus for posting.
meltzerboy 1 year ago
@meltzerboy
Nate
I could not find a record of this with Jeritza/
John
65attila 1 year ago
@65attila John, I remember years ago I heard Jeritza sing an aria from a Strauss opera on a Belcantodisc LP, and the singing was very impressive. It was probably from Ariadne. Thanks!
meltzerboy 1 year ago
@65attila
Superb, wonderful, magnificent!
Thanks to Homoclassicus for posting, and to John for sharing!
CurzonRoad 1 year ago 2
the top spins like Rysanek. Athough Rysanek's top is a little bit more secure
viverito 2 years ago
how do u mean?
moghedien13 2 years ago
THIS is SINGING, not the nonsense heard on the operatic stage today. Just listen to the brilliance of tone and vibrations. Singers should listen and ask their voice teachers why they cannot duplicate the same vocal approach
796824 2 years ago 3
seriously. this buries renee flemings version.
moghedien13 2 years ago 5
Yes, Fleming is aware of that, since she emanates from this era
796824 2 years ago
Fleming's version of this aria is surprisingly amazing, but of course she couldn't surpass someone who had the very right voice for this role, like Rose Pauly. Fleming's voice is essentially lyrical, and this is an aria for dramatic, powerhouse sopranos (or at least lyric dramatic ones).
Homoclassicus 2 years ago
Fleming's statement in her book that singers in the "Golden" Era sang with a higher placement is succinct. Impressarios today, are accoustically challenged, therefore singers are submitted to the distortion of their voices thus leading to the decline of the ART of Singing.
796824 2 years ago
@796824 Interesting this- even well into the Fifties certain sopranos tried to keep a girlish timbre in the tone ( early Callas, Sutherland ). Ljuba Welitsch, although possessing a voice powerful enough for Salome, still had this' young' sound.It seemed to be a fashion from the eary 1900s -both Tetrazzini & Melba had 'girlish' voices even though they could hit full-toned high notes.Hollywood preferred this sound & it was almost caricatured in Snow White. Pauly's voice is young & full. Amazing
PIPZZZ02 1 year ago
I looked for it since ages! It's magnificent! Thanks
gudrunill 3 years ago
This is how Strauss should be formed, played and sung! Thank u for posting..
OstrasDeNoruega 3 years ago
Excellent! Rare recording TY
Onegin65 3 years ago
esoteric to me- thnx I appreciate it- goes to the top of the favorites list-
hswatnik 3 years ago