Mozart Exsultate, Jubilate Part 2--Elizabeth Parcells

Part 1 http://www.youtube.com/watch?v=fiPnSP8p5Qg
Rejoice, be glad, O you blessed souls, Rejoice, be glad, Singing sweet songs; In response to your singing
Let the heavens sing forth with me. The friendly day shines forth, both clouds and storms have fled now; for the righteous there has arisen an unexpected calm. Dark night reigned everywhere [before]; you who feared till now, and joyful for this lucky dawn give garlands and lilies with full right hand.
You, o crown of virgins, grant us peace, console our feelings, from which our hearts sigh.
Alleluja EP
Hi res version http://www.elizabethparcells.com/animations.htm


2005 interview Elizabeth: As a recording, this is the best one on the site. The Motet is so standard. Every soprano who gets to a certain technical level is going to do it. It's the only Motet Mozart wrote for soprano and small orchestra with no chorus or other soloists. This can be put on a recital with piano.

Charlie: How many times did you perform it before you got to the occasion of this recording?

Elizabeth: Lots. This orchestra was flawless. It isn't that the Motet goes that well every time. You get lucky. You've got the right venue, you've got the right conductor, a fantastic orchestra. I was hot that night. Then it all comes together. The only flaw I can hear on that tape is when somebody in the audience coughs but the audience adds something because it's them you are bouncing it off. It's not like a straight recording. The reason this one is great is because it is live. We did it in one wash, there it was. We got to the end of it and I looked at the conductor with disbelief.

Charlie: Do you say the Motet isn't terribly difficult to sing?

Elizabeth: I don't say that. Here it is, everybody says Mozart is too easy for the beginners and too hard for the pros. If you take the student approach to it and just do what's on the page, it's not so hard. What's hard is when you want to do it exceptionally well. To go the extra mile with Mozart raises the difficulty.

Charlie: If you are going to go the extra mile with the Motet what does that entail?

Elizabeth: You sing it without flaws. Every note is in place, every phrase is shaped, every breath is full, every note is sung, every word is clear. That applies to other music but Mozart is particularly transparent so that flaws are more noticeable. To hear Mozart done clearly and flawlessly is a revelation. There's a long way between good and great. When it works, it's a feeling like no other.

There is room for two cadenzas in the Motet. The point of cadenzas, as when instrumentalists use them in concertos, is to pick up a theme from the piece and develop it some more in that cadence point. If you look at the introduction in the first movement there are some violin lines that are thematic to the piece. So, for the first cadenza, I stole some of the fiddle part, developed it slightly and resolved it.

I wanted the second cadenza to soar up, in one phrase, in one breath. I used the violin part in bar 18 of the introduction to Tu Virginum (sings). Only the violins get to play it. I was a little jealous so I picked that one. I didn't need to write the cadenza, I let Mozart do it! I wrote more cadenza in the score than I sang, it's a study.

Charlie: Did you have any expectations that the performance we are hearing was going to be special?

Elizabeth: It was Berlin. I knew that the concert was significant. It was an honor to be there. I was not intimidated but I was certainly aware of my surroundings. I did what I always do it to be at my best. It just happened that everybody else did the same thing and it was magic.

Charlie: Did you get any sense about the orchestra from the rehearsal?

Elizabeth: Yes. I found them highly professional, very cool. When we finished the first run-through, they honored me with a little bow applause on the music stands. I thought, well, lucky me. I've got my colleagues behind me. The conductor was very gracious. I was introduced to the orchestra as a discovery of his.

It's interesting how I met him. Felix and I, the voice and guitar duo, had gone down to perform at a resort for reclusive celebrities. The conductor was taking a week or two for a rest cure there. He heard our performance. He heard us do the Adelaide for instance, the Beethoven. He asked if I'd be interested in doing a concert sometime. I said of course, just let me know Maestro and I'll be there. Not long after he worked me into his following season.

Charlie: A good conductor?

Elizabeth: Fantastic. The whole thing was fascinating. It becomes very meaningful when you realize where you are and who you are with. Here I am the silly naïve girl from America stepping into this amazing culture and history and singing Mozart for the Germans.

Charlie: And they liked it.

Elizabeth: Yea, I did all right.

Category:

Music

Tags:

• score
• animation
• coloratura
• soprano
• classical
• bel
• canto
• aria
• sing
• singing
• singer
• opera
• alleluia
• motet
• k165
• exultate

[johnliao62]

Whoaaaaaaaa, she can hit an high c at the end and even and high c c sharp!

Did you now that her highest isn't an high c nor high c sharp, it is an high e flat (eb6) what a voice!!!!!!!!!!!!!!!!!!!!!!!!!

[danawinsor]

Brava Betsy! I'm proud to have known you.  You really left something of value behind.

[7inga7]

How wonderful!

[kjsinnyc]

Wonderful. Thanks so much for this. And for adding the score--terrific!

[8898samuel]

booooooooooooooooooooo!!!!!!!!­!!!!

[sophikogela]

 bravoooooooooooooooooo!!!

[dvaculiky]

LOVELY SINGING

[vinusj2]

i also enjoy listening...

[erin23kate]

Spectacular, especially the Alleluja. I've seen this butchered so often on YouTube, it's a pleasure to hear it beautifully done.

[Roscieto]

Actually, I Gruberova isn't in my list of favourite opera singers. I dunno why; might need to listen to her more, probably.