Kurt Moll: O wie will ich triumphieren

The master, Kurt Moll, in Die Entfuhrung aus dem Serail, singing O wie will ich triumphieren. Covent Garden 1990, Solti conducting.

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[BassosaurusRex]

I can't tell you how many times I've seen young bassos here on YouTube SAY how great they are & how so-and-so sucks compared to them.

Prove it.

Nothing more, nothing less. Just Prove it.

When I was 18 I talked to a world renowned basso after he sang Sarastro & he expressed how hard Mozart was to sing. At the time I thought he was an f'ing idiot.

20 years later, I now understand the wisdom of his words.

ANYONE can sing Mozart; it's a rare find when you find someone who can sing it well.

[BorisGodunov]

Righteous.

Opera is one of the last true meritocracies in the world. Audiences in the great opera houses are demanding, and the notion that Moll, Frick, etc., weren't "great" is absurd, given their immense popularity, recording legacy, long careers and so forth. You'd hardly get conductors like Karajan, Bernstein, Bohm, Reiner, etc. working with singers they thought weren't truly excellent.

So anyone you claims to be better then these giants better be on his way to La Scala right away.

[nuskoolbreaksus]

Kurt Moll is one of my fav Basses of all time. IvanDavidLippens, you need to get your coat, partner... you are barking up the wrong tree.

[IvanDavidLippens]

No offense, because I don't know you, but you don't seem to know a lot about the low male voice.

That note is cheese for me and I would classify myself as a Lyric Bass-Baritone.

I think Dietrich was more on track. Look up some of his examples. Those guys are more than Basses.

Moll is a big man who makes a big sound, but his resonance lies in the mid to upper part of his range. He rarely hits them well when he goes low.

His oafish timbre is the main reason he's classed this way, not his range.

[JupiterAdept]

Another octave below that at least? Noone can sing in that range, come on. Low russian profundi don't really go below low G and those notes are only suitable for a choir, not opera.

This D is amazing, he's projecting it over an orchestra into a big hall, if he sang this note in your living room you would poop your pants. Moll is a huge profundo in my opinion. With such a huge D he can probably sing a nice A as well.

[pierre paul zeiher]

tout simplement grandiose...

[Jarrod Rogers]

Kurt Mole IS a god! Absolutely wonderful performance, I can't stop watching it.

[Campbell Vertesi]

In modern tuning, this aria is unbelievably difficult for a low bass. Every phrase crosses the passaggio, and demands a lot of movement in that tricky register. In mozart's tuning this is more reasonable, but that doesn't help us now! This is one of the best renditions on Youtube - Moll absolutely crushes the piece. Bravo!

[KenKen3593]

Better than Frick, Moll is THE Mozart bass. THE Osmin, THE Sarastro, THE Commendatore! Frick may have him beat at Wagner, but Moll has that great vocal flexibility that he so exercises here. Long live the Molllll!

[IvanDavidLippens]

LoL Okay

[Dietrich Wolfinger]

Oh, you misinterpreted me; i am alluding to the three Operatic Profundi: Wichniakov, Miller & Pasuikov. Also, like i said, the D is not meant to be held for more than 15. In the score it is not marked as a fermata or opzionale sostenere, therefore it must be held for 15.

[IvanDavidLippens]

Who are the three Profundi? I've never heard of that. I seriously doubt it, though. There are several videos on YouTube of Men going off the end of the keyboard.

Tim Storms for example can go considerably lower than that.

I, myself, have been able to vocalize off of the keyboard very carefully a couple of times, but in no way would call myself a Basso Profundo. More like Lyric Bass-Baritone.

15 beats is good, I guess, but for a pro seems kinda standard. Hvorostovsky can sustain line for 30secs.