Non mi dir: Elisabeth Grümmer

Soprano Elisabeth Grümmer (1911-1986) sings Donna Anna's second aria from Don Giovanni (1954 Salzburg Production). Conducted by Furtwangler. Anton Dermota sings Ottavio.

[@christopherrobinwattsthoma6318]

If only today one could find a soprano with only half the art of Grummer what a wonderful world it would be!

[@elna827]

One of the most beautiful versions of this aria I've ever heard. Something about her tone goes straight to my heart.

[@AntW11]

This is a masterclass. Her huge bell like tones, phenomenal breath control and style are exemplary.

[@Tenortalker]

So many sopranos are cumbersome in the coloratura of this aria, but Elisabeth Grummer is the finest I have ever heard - such ease, grace and style!

[@peterkratzke952]

👍🙏😇🎼🎹

[@sandorkonya8005]

The most beautiful version I EVER HEARD OF THID ARIA. Grummer was the perfect Donna Anna in Interpretation and Acting ,Phrasing Skills She ,with here clean silvery Voice was perfect for this role YMO,

[@sandorkonya8005]

Grummers Aristrocratic ability to phrase is one of a kind RIP my Dear

[@Moegiust]

To my ear, Elisabeth Grümmer had one of the most naturally beautiful voices of any soprano who ever made records. While I agree with the other comments that the conductor did her no favors with that tempo, the clip displays both her beautiful instrument and great breath control. Thanks for posting it.

[@judithverabutzberger]

This is really a perfect masterclass also the regie of Herbert Graf and Furtwängler just perfect ! The beste Donna Anna I know just perfect and Dermota following her helping her in each phrase ! Just amazing !

[@jrakg]

Grummer declared modestly that she had "the long breath" and was easily able to accommodate to Furtwangler's slow templi. How wonderful to see her! - John Austin, Australia

[@stephihoffman8558]

She did breathe in the first phrase though! It is still the best!!! Perfection.

[@air911cooled]

She actually sort of owns this aria - till today. So fascinating, so gracious, so unique.

[@pammyjones1151]

Absolutely perfect....... don't think I've heard it sung better than this.... beautiful......a masterclass!!.....thank you so much 😘

[@dutchcub]

Simply divine. Who needs the nowadays singers when we have the treasures of the past....

[@wotan10950]

Grummer was a great artist and HONEST musician, nearly unknown to today’s public. She sang her music as written, and even in Wagner, she adhered to the dotted notes, and never added the gasps and screams favored by some of her more famous colleagues.

[@raymondsoneira2397]

She is the soprano I love the most since she played Elsa in Bayreuther Festspiele 1959 which was conducted by Matačić

[@cantorandopera]

one of the hallmark's of furtwangler's conducting are his slow tempi. this is very extreme. the music seems to die. what a tribute to Grummer that she can accomodate this and make it beautiful anyway.

[@PapagenoHannover]

Wunderschön!!!!!!!!!!

[@voraciousreader3341]

This really is the tempo this aria is supposed to be, folks! Fürtwangler was highly respected because he knew what he was doing, and the sopranos with excellent breath control can manage this tempo without any problem. Those who can’t, speed up the slow arias and slow down the fast ones, and Mozart, like Bach, wrote some real gut-busters!

[@talitasofijakomelj9730]

What a wonderful recording! Sooo beautiful!

[@shood5799]

Oh, WOW, I would pass right out before I got to the coloratura. She's amazing.....that is the slowest tempo I've ever heard that. She sounded wonderful.

[@sandorkonya8005]

Today they wont everything ( Dollars First) in an Instant....Live in not run on an APP! It needs Time and DEVELOPMENT

[@FranciscoFerrerGaliana1930]

PRECIOSA ARIA

[@AdamHWarren]

Excellent sound quality for a 1954 recording, and I subscribe to the previous eulogia!

[@nisanus]

Ein Traum. Perfekt wäre zu wenig gesagt! Eine Göttin

[@paulwien65]

She is the ultimative Donna Anna. And her Pamina in Salzburg as well... Agathe Elsa ...etc. one of the most underrated sopranos in 20.Century... I understand why Walter Legge torpedoes her record career .. she stands head and shoulder obove E.Schwarzkopf not in physical beauty but in all artistic belongings....

[@aliena2979]

That's exactly it!

[@brunegilda2453]

Elisabeth, Eva, Freia, Gutrune, Hänsel...

[@clivepapayanis3121]

No better ever. Viva Donna Anna

[@federricoilgrande]

Che rompiscatole questi che discutono sui "tempi", come se la profondità dell'espressione, il superbo legato degli archi, la nitidezza e luminosità delle armonie fossero "négligeables" (il resto nol dico...) viva Furtwaengler e stupenda Grummer !!!

[@sandorkonya8005]

^Grümmer is the ultimate Dona Anna.....Period..YMHO

[@jabokk]

Very Nice,..

[@clivepapayanis3121]

Cannot say it enough about Grummer in enough different places: She was one of the greatest sopranos ever...and the VERY best Donna Anna, Fiordiligi, Pamina, Elsa, and Agathe. Period. I.M. not so H.O. Nobody can listen to too much of her regardless of tempo or recording quality. If we only had one a third as good today...

[@jasonhurd4379]

Clive Papayanis I agree totally! Her Agathe is my favorite of her roles. So feminine and sincere, and with that warm glow that seems to emanate from her whenever she sings.

[@rossmerchant8435]

I always think it's a shame she occupied a similar fach in the EMI stable as the boss's wife at the time. Perhaps we might have had a heftier recorded legacy from her

[@aliena2979]

Eva ( "Die Meistersinger von Nürnberg" ). She was unbeatable!

[@alanmichael1440]

If you think this is perfect, listen to her in the 1956 live version with Mitropoulos ... a miracle.

[@ekonvollm]

Wunderbare Elisabeth Grümmer! Grandios, wie sie diese extrem schwierige Arie bewältigt. Nur Sena Jurinac kommt ihr in der Fricsay-Aufnahme nahe, während Birgit Nilsson bei Böhm die technischen Schwierigkeiten nicht bewältigt.

[@terramarecieli]

Crudele? Ah, no, mio bene! Troppo mi spiace allontanarti un ben che lungamente la nostr’alma desia! Ma il mondo, oh Dio!… Non sedur la mia costanza del sensibil mio core! Abbastanza per te mi parla amore. Non mi dir, bell’idol mio, che son io crudel con te. Tu ben sai quant’io t’amai, tu conosci la mia fé. Calma, calma il tuo tormento, se di duol non vuoi ch’io mora! Non mi dir, bell’idol mio, che son io crudel con te. Calma, calma il tuo tormento, se di duol non vuoi ch’io mora! Forse un giorno il cielo ancora sentirà pietà di me.

[@sandorkonya8005]

Die aperfectio. In person Elisabeth Grümmer

[@federricoilgrande]

Grazie

[@MultiVeldmuis]

Brava!

[@orion8835]

This entire scene is ideally created and performed. What modern productions and singers do to this scene is often horrendous.

[@arturo8402]

Is this the typical tempo of the time, because I heard other versions of this aria that are very slow....maybe the conductor knew the singers could handle it perhaps?

[@voltaire1377]

nowadays we just lost the habit to ear Something just perfect like this and we get used to average singing...

[@hugowolf2231]

Scrivete 'Grümmer' che 'Gruemmer' o 'Grummer'

[@federricoilgrande]

mi spiace , ma non so scrivere l'umlaut con la tastiera del computer

[@christophersmith551]

The translation is wrong at a critical point. The Italian says you know ‘how much l loved you’ , not ‘l love you’, as in the subtitle. The ambiguity of Anna’s feelings to Ottavio is thereby missed.

[@baritonoguapo]

Yes! I've heard three different versions of Don G conducted by Furtwangler and all three annoy the hell out of me with Wagnerian tempos he chooses!

[@EmilyGloeggler7984]

Her acting is not very good here, but her vocal interpretation and technique are excellent. 7/10.

[@emma4817]

There is something in very poor taste about giving artists of this level marks out of ten. It's not primary school, or a Miss America contest.

[@christophersmith551]

She originally trained as an actress

[@Muttonchop_USA]

Emily Greene is all over KZbin putting down great singers. Meanwhile, I've listened to her sing on her KZbin page, if you can call it singing. I think she graduated from the Sour Grapes School of Music Criticism.