Mozart - Il Popoli di Tesaglia - Edita Gruberova

[@xavierbicchiarelli6039]

A MASTERPIECE ! INCREDIBLE!! PURE ELEGIAQUE SINGING..NO OTHER WORDS.

[@johengen]

May angels be silenced as you sing your own way into heaven, Edita - none of them can sing as high as you could. Thank you for so many jaw-dropping moments of coloratura beauty and meltingly gorgeous musicality.

[@jimbuxton2187]

She is the only performer of this aria where the high G sounds free and vibrating with tone and vibrato. Everyone else sounds tight or squeeky.squeaky. She kept going for a long time. Sang professionally for over 40 years.

[@rafalo007]

Magnifique ! RIP Edita.

[@cvlen]

Rest in peace, dear Edita :')

[@marialiyubman]

I can’t believe she’s gone. 😭😭

[@siglinde86]

THIS IS AMAZING!! THE BEST VERSION OF THIS ARIA EVER, I LOVE EDITA SHE ´S PERFECT.

[@jimbuxton2187]

I have to agree with you.!

[@azriel8549]

Brava, Edita. Muchas gracias por tu magnífico arte y por tu generosa entrega a tu público. Descansa en paz; nunca te olvidaremos.

[@devioneharris8708]

Wow, I just love how effortless she makes this seem.

[@vincenzo-enzoscuderi4274]

Storica voce che ci ha fatto conoscere le bellezze delle partiture nelle Arie da Concerto mozartiane. Benedetta lei.

[@coraberger4947]

Purtroppo non benedetta. Morì ieri quando lei scrisse il commento.

[@vincenzo-enzoscuderi4274]

@@coraberger4947 benedetta signora. Benedetta Gruberova e la sua voce più viva che mai. Viva a tal punto da far rivivere persino il Mozart delle arie da concerto, pensi lei la forza delle Arti.

[@BEVER29]

Il y a là suffisamment de couleur(s) pour la composante dramatique de l'aria et, bien sur, toute l'aisance requise pour satisfaire à la colorature d'altitude. Grandiose!

[@claudiopasero5212]

BEVER29 i

[@dwijaksononugroho5891]

Rest in peace Edita Gruberova 😭😭😭😭🥺🥺🥺

[@dominiquebodson6271]

Merci Madame. Allez retrouver Mozart... et ceux que vous avez aimés.

[@marielaurencegonzalez2400]

PURETE !!!! MERCI

[@zamirisrael]

On DG Mozarteum Orchester Salzburg - Leopold Hager 1983

[@RequiemAeternam01]

PERFORMER(s): Edita Gruberova (soprano), Mozarteum-Orchester Salzburg, conducted by Leopold Hager. Originally released on Deutsche Grammophon, then again on Philips Classics in 1991.

[@ΙωάννηςΠάττας]

Καταπληκτική ερμηνεύτρια.

[@richardmoon1852]

thanks

[@jasonuncle3175]

I think that edita is amazing... Like everyone is that can do this aria justice. I prefer the crystaline perfection of dessay though :)

[@陳福村-c6v]

I thought that Gruberova could only hit up to high F. Because she and lucia popp , joan sutherland are prestigious and amazing coloratura sopranos that don't hit really high notes. And now I finally knew that Gruberova used to have a range of high G in her early ages. Brava !

[@jimbuxton2187]

陳福村 it sounds like she could go even higher! She said she could sing consistently up to High G#.

[@jasonhurd4379]

Jim Buxton In an interview with Opera News in 1980, the interviewer reported that Gruberova stopped the conversation cold at one point, and out of the blue sang a perfect, beautiful top G sharp. That means she probably vocalised up to A or B flat above high C, since a singer friend of mine told me that singers always leave a margin of two or three half tones at the top when vocalising, and never ever sing their topmost note in public. Elisabeth Schwarzkopf reported that, in Salzburg for Cosi, her dressing room adjoined that of Christa Ludwig, and to her amazement she used to hear the mezzo vocalising up to top F. I believe top C is the highest note Ludwig ever sang in public, in her many performances of the Dyer's Wife under Karl Böhm.

[@jimbuxton2187]

@@jasonhurd4379 ...yes you are correct. Many of the coloraturas I have vocalized up to c above c and Eb above that...they are hard to secure though and anything can affect them.

[@jimbuxton2187]

@@jasonhurd4379 .... Christina Deutekom used to practice the queen of night up a third....

[@jasonhurd4379]

@@jimbuxton2187 WHAT! That is astounding! What a voice that woman had. I have never heard another singer use that same odd 'clucking' technique she used in some fioritura passages. She certainly was unique!

[@洞庭容子]

R.I.P.🕊️

[@hagenat1]

Ich finde keine Worte, um ihren Gesang zu würdigen..

[@gustopheles]

Edita is a genius. What year was this recorded?

[@horiaganescu3948]

1983

[@horiaganescu3948]

"Popoli di Tessaglia! Io non chiedo..."

[@petrhajek82]

Do you think Edita ever sang this song live? Or do you think there is a video somewhere out there?

[@francette19380]

Well done. But my favorite is and will be Edda Moser

[@yiixhudhxdzivdudgiddixid6491]

جميل.

[@petrhajek82]

Is this the only recording of Gruberova singing that?

[@miaovoo7161]

wowowowo

[@sonqualnave]

I LOVE Edda moser above all! Dramatically she is the best but we have to admit that her G's are a bit screamed is this aria unlike Dessay (who is for sure weaker dramatically)

[@janvukelic7362]

Reversal

[@sonqualnave]

Why torturing? ..dont forget that at the time it was not like now : Divas trying to put shoes which are not their own.. I mean : if Mozart wrote this aria it means that the soprano he wrote it for was able to sing it .. :-) The problem is actually for us singers, years and century after trying to perform and reproducing those arias written for a special person:-)

[@jasonhurd4379]

sonqualnave You are absolutely correct: Mozart did not write in a vacuum, then expect his singers to try and accomplish the feats he set before them. Rather, he found out what they were able to do, then wrote to their strengths. That's how we know Cavalieri had lost much of her top register between Entführung and the Vienna version of Don Giovanni, since two of Konstanze's three arias rise to top D several times, but Elvira's Vienna aria only goes to top B flat.

[@roobookaroo]

The date of this performance is important. Any chance to retrieve it. Also, where? And who is providing the lovely orchestral accompaniment? All those details are not superfluous, they are the objective markings of the singing. They should have been mentioned in the "Show more" box,

[@horiaganescu3948]

1983, SALZBURGER MOZARTEUM ORCHESTRA, LEOPOLD HAGER (CONDUCTOR)/DEUTSCHE GRAMMOPHON/PHILIPS

[@RequiemAeternam01]

@@horiaganescu3948 Actually, it wasn't released on Philips until 1991, with the release of the momentous Complete Mozart Edition

[@horiaganescu3948]

@@RequiemAeternam01 I know that... That's why I mentioned Deutsche Grammophon first and Philips later... DG is 1983 and Philips is 1991 (The Complete Mozart Edition)... Many DG recordings were issued by Philips later... It was Polygram (DECCA, Deutsche Grammophon, Philips)... they "exchanged' recordings, especially from DB to Philips... Well, Philips doesn't exist any longer and the good old times of the great recordings (and the great old performers / musicians) have arguably gone...

[@RequiemAeternam01]

@@horiaganescu3948 Yes, it was the same deal with the operas. From Apollo et Hyacinthus, K. 38, to La finta giardiniera, K. 196, were recorded first on Deutsche Grammophon, then in 1991 for Philips. As well as the piano concertos with Alfred Brendel, which was first released on DECCA, as you mentioned, and then again in 1991.

[@horiaganescu3948]

@@RequiemAeternam01 Mozart's piano concertos with Alfred Brendel / Academy of St. Martin-in-the-Fields / (Sir) Neville Marriner were first recorded and released by Philips. They were later released by DECCA (when Philips did not exist any longer). Wagner's opera "Tristan und Isolde" (Birgit Nilsson / Wolfgang Windgassen... / Bayreuth / Boehm / 1966) was first issued by DG and then reissued (late 1980s) by Philips.There are many examples of lending, borrowing, etc.

[@Mandolino82]

Miagolio continuo e di cattivo gusto anche in incisione....

[@BEVER29]

For sure; funny endless joker! ;-))

[@cabepfir]

Non mi sembra che sia migliore della versione di Cyndia Sieden, come scrivevano di là.

[@karilamminpaa8987]

To some, names / their spelling is no big deal. Buttt seriously, is it really IL Popoli di Tes(s) aglia ??????!!! Historical differences in spelling maybe ?

[@giant4692]

Anche quando la voce ancora l'assisteva, la Gruberova aveva sempre la sgradevole tendenza a "cantarsi addosso". Per capire COME vadano cantate le arie da concerto di Mozart, basta ascoltare Edda Moser.

[@dasingaman1]

Wrong... edda moser is the definitive winner in this aria... must be a bunch of young people who dont know any better to say that dessay's version is this best..

[@1belcantofan]

dasingaman1 I agree. Dessay has lost her voice at a relatively young age, while madame Gruberova is STILL singing into her 70's! Most young singers do not know the glorious Edda Moser, much to their detriment- especially if they happen to be singers. Too many young singers have no tradition and do not even know their own history. Let's face it, tastes are all subjective, some people like strawberry, or vanilla, or rocky road. We DO have to respect an artist who has been able to maintain the quality of her voice over SO long a time! Truly amazing...Gruberova and Devia put so many of these children to shame. This aria is just mean! It is fiendishly difficult to sing! Anyone who can even accomplish it...just hats off...and not JUST screech it!!! But have some beautiful piani and phrasing. We don't need to argue all day about who is the best...we are lucky that this music has been offered up to us as lovers of this vocal art and we can listen and compare versions! I am grateful for the choices!

[@jimbuxton2187]

I disagree.....Moser's voice while glorious and incredible, is too big for this aria that Mozart himself wrote for the 18 year old Aloysia Weber....every note most be the same quality to pull this one off. Beverly Hoch does this aria easily...

[@sonqualnave]

listen to Natalie Dessay version...

[@Feisenbach]

I did - and...?

[@yangsimon9080]

Natalie lost her voice at late 40s and retired already while Gruberova still singing rock solid on stage.

[@gianerajohn436]

Yang Sigmund Gruberova hasn’t been singing for over a decade. She’s been humiliating and embarrassing herself. Before that, she’s been butchering scores with scoops and portamenti.

[@skitzo429]

this must be an old recording, she hasnt sounded like this for a LONG time

[@jasonhurd4379]

Evan 1982.

[@RequiemAeternam01]

@@jasonhurd4379 1983

[@ivanguerrero3317]

NO-ONE CAN SING THIS ARIA BETTER THAN NATALIE DESSAY , EDITA MAKES A GOOD PERFORMANCE BUT ITS NOT AMAZING

[@opricnik]

Try to listen the first note and compare it: Gruberova has a perfect and clear G. Unfortunately we can’t say the same for Dessay. And I grow up with Dessay’s Concert Arias, I was her fan in the ‘90s: but recently, listening her recordings, I found a lot of “problems” even at the beginning of her career

[@jimbuxton2187]

I love Dessay and she's an amazing musician as well as singer, but Gruberova has an easier go at this. Her high G's are free and full.

[@raphaelpisano5462]

Way too much scooping around 8'30!

[@jhb134]

Raphaël Pisano - Well, surely the demands of this aria almost-DEMAND a scoop, of some sort - how else could that passage be navigated? Besides, one can hardly see how anyone of Aloysia Weber's/Mozart's time could possibly have sung this aria, any better. It's difficult enough to find singers of OUR time to attempt it!