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Adults use it on themselves, often when confronted with desirable objectives that require uncomfortable sacrifices. Parents and teachers like to use it when kids get overly demanding, asking for things that are dangerous or unattainable. Is there anyone who hasn't heard that one? It's a caution that crops up early in life. But whatever you might aspire to, if you express those aspirations too openly, someone is bound to come up with an old, familiar warning: "Be careful what you wish for. It might also include deeper desires - a rewarding career, a sincere and loving relationship, spiritual fulfillment. It might include material things, such as a bigger paycheck or a spiffier car. ‘Heimliche Aufforderung’ (orch.Most of us, in one way or another, maintain a sort of personal wish list. ‘Es gibt ein Reich ’ ( Ariadne auf Naxos) ‘Allmächt’ge Jungfrau!’ ( Tannhäuser, Act III, Scene 1
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‘Dich, teure Halle’ ( Tannhäuser, Act II, Scene 1) She has the instrument and musicianship to maybe even surpass the great Jessye and continue the Norwegian legacy set by Kirsten Flagstad at the premier in 1950. Both violin and horn solos are top drawer.īuy Davidsen now, enjoy, marvel, dip in now and then, and then wait for her next Vier letzte Lieder in a decade or two.
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And considering a dramatic soprano in full chest tone is one of the more difficult sounds to reproduce on record, the recording handles the difficulties well.Įsa-Pekka Salonen is a fine accompanist, not his regular repertoire-the Philharmonia (they played the world premier of Four Last Songs almost 70 years before this recording) is suitably Straussian. Again, nothing to detract from Davidsen’s singing. Remember the Deccas from the ‘60s and ‘70s? They are in another universe. The recording is typical Henry Wood Hall, London fix-in-the-mix. It’s far from annoying and will in no way hinder your enjoyment of this spectacular debut. In the here and now, she has a bit of an affectation-she begins a note (not always clearly, I should add), and then swells with an ever intensifying vibrato. She’s so young and so talented, I have no doubt she’ll tackle this repertoire later in her career (as did Fleming) and give us one for the ages. But for a relative youngster, Davidsen brings that bright powerhouse of an instrument with good technique and lovely phrasing. So, how does Davidsen compare with the greatest in this repertoire, Norman/Masur/Philips, Schwarzkopf/Karajan/EMI, Fleming/Thielemann/Decca and Stemme/Pappano/EMI? Very well, with all of them.įleming and Stemme both have a darker sound, Schwarzkopf, lighter, and Norman, well, I don’t think her recording will ever be matched. Her performance is outstanding, full of subtlety, power and a gleaming cantabile. She is to be commended for tackling it at such a young age (31 at the time of recording).įor those of you in love with these four final songs, connected to the ideas, themes, and intense musicality, buy or stream Davidsen with confidence. It’s here where Davidsen will be compared to the greatest in this repertoire. The opening Wagner and Strauss tracks are all wonderful and staples in the repertoire, but many of you will be streaming or purchasing this release for Strauss’ final and greatest works, the four songs, named after his death as Four Last Songs (Vier letzte Lieder).
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Care with the text, phrasing and power is highlighted in all the repertoire. Yet, from the very first track, ‘Dich, teure Halle’ ( Tannhäuser, Act II, Scene 1), Davidsen thrills with power in all registers, beautiful phrasing and breath control. As such, Davidsen’s voice will mature in time as well as her musicianship. And, in a field (Wagnerian sopranos) where they hit their strides in their 50s. Yet, a few had an objective, critical ear.Īt 34, Davidsen is far from the finished article, but there is no doubt she has a remarkable instrument for one so young.
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I’m a little late to the party as the PR ebullience was reinforced by a torrent of rave reviews. This is Davidsen’s debut recording from 2019. Leading the landing page, a quote from the paper of record, the New York Times:ĭavidsen is the first Scandinavian soprano signed by Decca since the great Birgit Nilsson. When I did my research for Norwegian soprano Lise Davidsen, my first stop was her very professional, beautifully designed website. Is she the real deal or part of a hype machine? Strauss: Four Last Songs, other songs with orchestra, Wagner arias. I posted an advance on social media earlier in the week advertising today’s review: