Hines and Hotter In Don Carlo

[@landscapetransformationwit6018]

Can you imagine seeing these two towering figures on stage together?!?!?!? AND to hear this?

[@landscapetransformationwit6018]

Two LITERAL GIANTS doing battle. This is incredible that this exists.

[@pauloolivier3134]

From Don Carlo Teatro Colon 1962 Hines- Brouwenstijn-Zampieri Resnik-Protti- Hotter Fernando Previtali

[@karlheinz9336]

Hans was a great admirer of Hines. He wrote about him as one of his best colleagues in the US in his biography. Didnt they work together in Bayreuth as well? I visited Hans grave in Munich last year. He had such a long and rich life, one of the biggest music figures in the last century.

[@OscarLevant1]

I don't know if Hotter sang with Hines in Bayreuth. Hines did Gurnemanz and Wotan there in the late 50's early 60's but he said singing Wagner was too big a strain on his voice which was an Italiante basso cantante and not a Wagner high bass

[@hansbosse1106]

@@OscarLevant1 I seem to recall that that Hines said "bumped his head" when he tried Wotan, which is truly a "high" bass, more bass-baritone really and more suited to a Hotter. Or a George London. He never seemed to have any probs with the other Wagner roles (Gurnemanz, King Marke etc.) which were well within his range. He was one of the three greatest performers of Gurnemanz that I've ever heard, the other two being Kurt Moll and the aforementioned Hans Hotter.

[@andrewmargrave7518]

By 1962 Hotter was no longer a baritone, but instead a basso cantante. Hines was also a basso cantante, but his voice had the weight and darkness of a basso profondo, unlike Hotter's. The Inquisitor should really have a deeper voice than the Filippo. A deeper sound than that Hines produced would have been unobtainable, but a real basso profondo like Emanuel List was has a slightly deeper scale than Hines did. This duet is superbly sung by both men. Hotter's low E is fine, and Hines negotiates his final killer line with much aplomb.

[@claudioratier1072]

La versión es de 1962.

[@rodocar2736]

Hines is anthological here, but he never repeated this performance even when he continued to sing like the gods This version is from 62 in the Colon Theater, there is another from 52 (with Hotter) in the Metropolitan In my opinion the best version of Don Carlo is that of the metropolitan in 1961, with a young Franco Corelli in the role of Carlo, Curtis Verna as Isabella, Sereni as Posa and the formidable Irene Dalis as Eboli, in addition to Hines as Felipe II and a loose Udhe as an inquisitor

[@bodiloto]

due leoni dell'arte lirica . addio bel passato,per sempre addio .

[@Pronnt]

bodiloto queste voci e queste capacità esistono ancora. Alcune si sentono, altre vengono educate male, altre non verranno mai ascoltate perché appartengono a persone che nella vita fanno altro

[@bodiloto]

Pronny e' possibile che come hai detto tu che queste voci esistono ancora , ti credo . purtroppo il resto ha cambiato cioè le vecchie scuole della mia giovinezza purtroppo non esistono più e i vecchi maestri di canto ancora meno . anche la mentalità del pubblico moderno chi e' il moderatore di ogni tipo d'arte ha cambiata moltissimo ! in effetti le giovani voci di quali mi stai parlando tu sono condannate di morire uccise della mediocrità che regna sul mondo della lirica moderna . questa e' la realtà triste giovane amico . cordialità il vecchio

[@Pronnt]

bodiloto caro bodiloto, vorrei dirti che ti leggo qui da anni, e che io sono della città di Verdi. Al Teatro Regio il loggione è famoso per essere esigente e fischiante. Un tempo la liquidavo come nostalgia, ora inizio a pensare che, insieme alla nostalgia, un fondo di ragione sia presente. Come nelle cose che scrivi tu: con rispetto, sei sicuramente molto nostalgico, ma per alcuni versi a ragione. Io non penso che alcune delle voci che critichi siano così brutte o che cantino fuori classificazione come dici tu. Però hai ragione quando dici che la tecnica e il gusto della linea musicale non vengono più tramandati nel modo giusto. Inoltre, di questi tempi molte meno persone decidono di cantare, quindi i talenti naturali sono rari ad affacciarsi. Ad esempio, se prendessimo oggi un basso con la stessa capacità tecnica di Cesare Siepi, non è detto che avrebbe gli stessi risultati nella produzione vocale, semplicemente perché sono diversi il suo corpo, la sua gola, i suoi nervi, i suoi muscoli. Un saluto

[@achmedmohamed4708]

This is a performance who can sing louder.

[@chopinopus28]

This is must be from late 50s, or even sixties judging from Hotters vibratto....anycase Hotter not in great form vocally, but in the recording from the Met with Stiedry conducting from 1952 Hotter completely outsings Hines,. Μuch more focused sound, full of overtones, more ''metallic'' as well, also much more present (something that in some moments one can also hear in this recording , Hotters voice being captured much more present than Hines, many examples but to name one, see how distant Hines sounds in 7.12 and then Hotter in the same tune is like being next to you, even thought his voice is clearly more tired and not in such shape as Hines is ). All in all the recording from 1952, in which both singers are in top form, is one of for this mighty duet ever heard. Miss those days when giants like that could be heard!

[@edwardamosbrandwein3583]

It's from 1962. Hotter sang this role alternating wih William Wildermann and immediatly after he performed Wotan and der Wanderer in a complete RING DES NIBELUNGEN cycle conducted by Heinz Wallberg (if I'm not mistaken these were one of Hotter's final participations in Wagner's tetralogy).

[@landscapetransformationwit6018]

Also surprised by the quality of Hotter’s low E!

[@chopinopus28]

@@edwardamosbrandwein3583 Thank you very much for these useful information!!!!

[@WotanKlingsor]

Hotter is in great shape here!!!!