I'm getting a message saying that the version with Rysanek isn't available.

I haven't listened yet, but I will do tomorrow and I can't wait!

N.

 

Try this

 

I cannot abide Rysanek so for me it’s between the two Americans. And my vote goes to the superlative/splendid Studer. Not that Steber was chopped liver.

 

I loved all three but I see a difference in Steber's from the other two that stands out and once again gives me the goosebumps the others do not.
I do think that seeing Studer live seems to give her an unfair edge because one can see the drama unfolding before one's eyes but Steber, bless her heart cannot be undone.

 

Don't miss my new contest with your hero Shicoff.

 

Like ALT, I have no difficulty eliminating Rysanek from consideration. Like nina foresti, I avoided watching the video of Studer so as to experience the singing unbiased.

The choice between Studer and Steber isn't simple. Studer excels for sheer dramatic intensity; it's a live performance, and sounds like it, with Studer taking chances and going for broke. Steber has the more distinguished instrument and uses it masterfully, but doesn't match Studer's wild intensity. The poor sound of her recording undoubtedly undercuts her performance, the effect of the scene depending at least as much on the orchestra as on the singer. These factors make for an apples and oranges situation, and I'll have to refrain from voting. But it may be that if Steber were recorded in the theater with first-rate sound I'd choose her.

 

I liked all three and I have good memories of hearing Rysanek in the theater. I didn’t know Steber sang this music until she was included in one of the rounds in this contest. Being used to listen through recording muck, the Steber version didn’t bother me much (is it live or just a wretched transfer?). I liked her version best.

 

I liked all three and I have good memories of hearing Rysanek in the theater. I didn't know Steber sang this music until she was included in one of the rounds in this contest. Being used to listen through recording muck, the Steber version didn't bother me much (is it live or just a wretched transfer?). I liked her version best.

Someone on YouTube says it was a live concert.

 

The Steber is not from a concert but, rather, from one of her performances in Munich under Böhm, 1953. For those of you "conflicted" by audiovisual vs audio-only, I will make it easy on you. Here is Studer in audio-only, live performance outtakes from the work (not with Solti and not in Salzburg either). From the 'video' description:

In-house recording
Act I scene (00:12); Act II scene (13:32); Act III scene (26:16)
Folks, this is a festival of blazing and tremendous top notes. But it's much more than that, naturally. Worth repeating: the stuff that separates the wheat from the chaff, the women from the girls, the artist from the pedestrian.
Act I and II images are of the soprano as the Figaro Countess. Act III image is of her as the Empress.

 

I didn't see the issue with this as a video as when I played it she was abstracted and not singing with the words. Very artistic as opposed to a standard literal video. It was like they just spliced her image in occasionally from what I saw. Perhaps I made a mistake.

 

Studer nails this. Her voice was perfectly suited to this role, just as it was to Chrysothemis. She also delivers Strauss' word setting with great artistry. Her version is going to be very hard to beat.

Rysanek too has just the right voice for this (and coached Studer, she is also Herodias on Studer's recording of Salome). However, she isn't as committed to the drama in this recording whilst singing wonderfully.

Steber is hampered by bad sound, but listening through the aural smog what can be discerned. I very much like the dark quality of her voice, but it's not eight for this part. She would be better off as the Nurse or Klyteamnestra. It's sung well and with much feeling, but she doesn't have the desperate emotional intensity of Studer.

This is no contest. Studer is streets ahead of the competition.

N.

 

Steber is hampered by bad sound, but listening through the aural smog what can be discerned. I very much like the dark quality of her voice, but it's not eight for this part. She would be better off as the Nurse or Klyteamnestra.

The Nurse and Klytemnestra are for mezzo and contralto. Strauss chose Schumann-Heink to premiere the latter. Why do you think Steber's voice is wrong for the Empress? She takes in the requirements of the music easily - the tone is rich and full, and the high notes are brilliant - while Studer, though she handles it very well, sounds pushed to her limit, and Rysanek sounds...well, like Rysanek.

 

Completely at a loss to score this one. And this time I don't want to go back. I have the impression, now how do I articulate and score it in this game that is not really what the listening is all about but which is without question, so much fun! First time hearing Steber and for some reason I did not expect that great a singer...not sure why but I didn't. This forum is making a Cheryl Studer fan out of me and Rysanek is a lifelong love! I think all of them, with their own pluses and minuses, perform the scene wonderfully, by "all time greatest" standards. Not saying they're the greatest, I'm saying I can't imagine a league above them! So I'm not choosing one over the others, I'm just defining myself the way most of us do...true to our loves! Leonie!

 

Although I am decidedly a strong Steber fan I very much respect your choice. The reason is because in both their cases (which Studer lacks)they are both very recognizable. I call that a plus.

 

At the work’s world premiere in 1919 the Dyer’s Wife was sung by Lotte Lehmann which is hard to imagine someone of similar vocal weight and coloring undertaking it today. I also can’t hear Lehmann’s “breathy” singing in a role requiring so much stamina and power over the massive orchestral writing. I don’t think she recorded anything of the role. But I’d be grateful to be proven wrong.