Ach ich fühl's - KARAOKE / PIANO ACCOMPANIMENT - Die Zauberflöte - Mozart

[@Crazy88.]

Ach, ich fühl's, es ist verschwunden! Ewig hin der Liebe Glück, ewig hin der Liebe Glück! Nimmer kommt ihr, Wonnestunden, meinem Herzen mehr zurück meinem Herzen, mienem Herzen mehr zurück! Sieh, Tamino! diese Tränen fließen, Trauter, dir allein, dir allein! Fühlst du nicht der Liebe Sehnen, der Liebe Sehnen, so wird Ruhe, so wird Ruh im Tode sein, fühlst du nicht der Liebe Sehnen fühlst du nicht der Liebe Sehnen so wird Ruhe, so wird Ruh im Tode sein, so wird Ruh im Tode sein, im Tode sein, im Tode sein.

[@eylemdemirhan44]

The best!! Thank you.

[@sedanahapetyan6304]

Thank you very much

[@victoriacicchitti4697]

Grazie!!! 🥰👏👏👏👏

[@Pianissim]

È un vero piacere! 😊

[@emilyjuhyuncho7776]

Thank you!

[@hildadelcastillo8495]

Thanks!

[@mikaela.music8]

Thanks for being so helpful 😊

[@Pianissim]

I'm very glad it is so Mikaela! Indeed, this is the purpose of this Channel 😀

[@yaseminek7581]

Hey! I love to practice with your accompaniments .. ⭐️ Thanks for helping us opera singers by working ! 🎶 At the moment I am working on "Me voilà seule .. Comme autrefois" of "Les Pêcheurs de Perles" from Bizet and "Se come voi piccina io fossi" of "Le Villi" from Puccini. Unfortunately, I do not find any accompaniment for these songs .. I would be so happy if you can help me and record them 🙏🏻 Thank you and continue to success!! 👑🌸

[@tsambikamusic]

Thank you, it's perfect to practice!😊

[@NikolaiGunter]

Wonderful!

[@Pianissim]

I'm glad you like it 😊 Thanks a lot!

[@-_-ello-_-]

Ach, ich fühl's, es ist verschwunden, Ewig hin der Liebe Glück! Nimmer kommt ihr Wonnestunde Meinem Herzen mehr zurück! Sieh', Tamino, diese Tränen, Fließen, Trauter, dir allein! Fühlst du nicht der Liebe Sehnen, So wird Ruh' im Tode sein!

[@dr.helenayipnolen9305]

U r so wonderful ! It feels like u r really accompanying for me. Timing for perfectly I love your playing. Thanks for posting this

[@erikarevillaclassic]

You're great!! Could you record o luce di quest'anima and je suis Titania please! I would appreciate it

[@avasophia1859]

Hello! I really appreciate your channel! Do you allow people to post videos on KZbin of them singing to your accompaniments?

[@Pianissim]

Thanks a lot! Sure, you can post them 😉

[@avasophia1859]

Thank you!

[@tessa1655]

1:29

[@CurtisCT]

I don't mean to be negative but you do not seem well acquainted with the sentiment or text of the aria. In this scene, Pamina expresses great passion, anguish and sadness which requires that the staccati in the accompaniment be played with more legato and expression. The tempo also requires more rubato, especially on the higher notes. Voices aren't machines, they require time and space to properly unfold on high, expressive notes.

[@LondonBrazilianDancers]

It’s just to learn the aria That’s what all piano accompaniments on KZbin do

[@katieb.1579]

That’s what all accompanists do, full stop. That’s their job. They are rarely ever your performance partner; most accompanists provide a neutral starting point from which a singer learns the technical tempo and the notes. Then, if this accompanist will be performing the song with the singer, they follow her interpretation (or the director’s interpretation) of the phrasing and emotion of the song, creating a very personalized performance. If this accompanist will not follow their soprano to the performance, then they allow her to have such a firm knowledge of the technical music that she can match the power of a full orchestra and, if necessary, keep them in line with *her* expressive choices (watch Kathleen Battle’s version and see if you can spot where she wrestles the orchestra back onto *her* tempo). Incidentally, I find plenty of time and space to unfold when singing to this track. I think you may be mistaking a performer’s difficulty hitting a high note accurately and on time for an expressive choice. (Also, I hate to mention this, but “staccato” and “legato” are antonyms.) I very much wonder whether you’ve shared your opinion with any sopranos, and what credentials authorize you to make these sorts of judgments to begin with. If you truly don’t mean to be negative, I would advise you in the future not to give into the temptation to say anything at all.

[@katieb.1579]

tl;dr You have no idea what you’re talking about, OP. Shut up and sit down. The fat lady just sang.

[@CurtisCT]

@@katieb.1579 So, I really hesitated to answer this comment as I wasn't sure if it was meant to be taken seriously or simply in jest. The more I read it however, the more astounded I became at the lack of rudimentary musical and singing principles. For reference, please see the following piano score to the aria: kzbin.info/www/bejne/f4fQqoiaadCImJo At 01:26 you'll clearly see Mozart's indication of staccato notes meant to be performed legato. You'll also hear a very correct interpretation of legato staccato by the singer, in this case Anna Moffo. On the high Bb she takes time to allow her voice to unfold in the style of the rubato. This has nothing to do with any "difficulty hitting a high note" and everything to do with expression. In fact, the entire aria is performed rubato and Moffo slows down the tempo whenever she sings a high note, as a means of heightened expression, not because of any difficulty she has in singing the note. "...and what credentials authorize you to make these sorts of judgments to begin with" Both a Bachelor's and Master's degree in Music Composition and Performance. I'm an opera singer with over 20 years of experience, debuting in 2002 at the Vienna Konzerthaus (Musikverein), Austria. My main teacher was Vittorio Giammarusso (deceased), student of Nicolai Gedda and protegé to Joan Sutherland.

[@제니-m4k]

00

[@Krassiana]

Too slow. Poor singer…