Love how she jumps on this delicate song with both marching boots.
Lighter, with lots more vibrato and better French
Tenoro profondo
Fancy meeting you here
And let’s hear it from the woodwinds:
We gather that Juilliard has summarily fired a…
The US violinist has announced she is still…
The Metropolitan Opera has appointed Daniele Rustioni as…
First reports from British tenor Freddie de Tommaso’s…
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“Love how she jumps on this delicate song with both marching boots.” NL–WWII is over, your side won, and now are (allegedly) on the same side again. Yes, Elizabeth S. was late in disavowing the Huns, but oh could she sing!
Her voice was good. But not her politics
A song like this really does best with simpler treatment. I go with Marianne Faithful’s take – it feels heartfelt.
What was with that guy moving the microphone while Joan Baez and Nana Mouskouri were singing?
And I guess they had never heard of soundchecks in those days. I thought their version was delightful, but better when Baez backed off the guitar — it was really too loud where she was standing and rather covered Mouskouri’s crystalline voice. A simple soundcheck would have sorted that — there was nothing wrong with the actual playing.
Mon Dieu, ma mème m’a chanté cela toujours quand j’étais petite. .L’amour arrive à faire cercle complet. Merci de cette belle selection que j’écouterai dans la soirée calme.
I’m missing VdlA
https://youtu.be/5XYqiDLW5h4
Lovely! Thanks for posting!
Yes, now you are entering into a whole other level of exquisite interpretation. Sort of makes all the others irrelevant, although I’ll still listen to Giglil
Joan Baez et Nana Mouskouri sont pour moi les plus émouvantes
I’ve long had Elisabeth Schwarzkopf’s and Beniamino Gigli’s versions, love them, adore Padre Martini’s beautiful song, which I last heard in Bad Toelz, Germany,in circumstances that an never be repeated. At a romantic tryst, the restaurant Grundig played “Plaisir d’Amour”. My knees are still knocking.