# Meistersinger.....The Prize Song



## Itullian (Aug 27, 2011)

Such a beautiful moment in this wonderful opera.

What is your favorite Prize Song and who sings it?
And what recording is it from?
:tiphat:


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## wkasimer (Jun 5, 2017)

Itullian said:


> Such a beautiful moment in this wonderful opera.
> 
> What is your favorite Prize Song and who sings it?
> And what recording is it from?
> :tiphat:


Ben Heppner, on the recording with Sawallisch.


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## The Conte (May 31, 2015)

wkasimer said:


> Ben Heppner, on the recording with Sawallisch.


Snap!

There you go!

N.


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## DarkAngel (Aug 11, 2010)

Heppner is very good no doubt..........

Let us remember the "prize song" is actually Walther's love song to his beloved Eva standing in front of him, for me it must be sung with heart felt ardor and beauty, not a showcase of scoring technical singing points, for me Rudolf Schock sounds very convincing and romantic from 56 Kempe Meister








Schock & Grummer

_"Shining in the rosy light of morning,
the air heavy
with blossom and scent,
full of every
unthought-of-joy,
a garden invited me_
_and, beneath a wondrous tree there,
richly hung with fruit,
to behold in blessed dream of love,
boldly promising fulfilment
to the highest of joy's desires,
the most beautiful woman:
Eva in Paradise."_


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## Woodduck (Mar 17, 2014)

This one:


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## Barelytenor (Nov 19, 2011)

*Kaufmann Sings the Prize Song/Preislied "Morgenlicht Leuchtend"*

The Prize Song is one that separates true heldentenors from high baritones. While many a baritone can sing the "Winterstürme wichen den Wonnemond" aria from Die Walküre, only a true tenor can sing the Prize Song. One is basically in B-flat, one is in C, and the whole tessitura of the Prize Song will show every crack in the passaggio of a baritone voice (and of many tenors).

Melchior was a force of nature. I rather like Jonas Kaufmann's rich, baritonal sound in the Prize Song, where as usual it _sounds like he shouldn't be able to sing that high with that kind of voice._






Kind regards, :tiphat:

George


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## wkasimer (Jun 5, 2017)

> Melchior was a force of nature...


...who actually never sang the role on stage. The tessitura was too high, even for him.


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## amfortas (Jun 15, 2011)

Barelytenor said:


> I rather like Jonas Kaufmann's rich, baritonal sound in the Prize Song, where as usual it _sounds like he shouldn't be able to sing that high with that kind of voice._


_

I too like the vocal quality, but not so much the studio-bound feel of this particular recording. That may contribute to my feeling that, interpretively, Kaufmann gilds the lily a bit, rather than trusting the inherent beauty of the song._


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## Barelytenor (Nov 19, 2011)

@amfortas I don't disagree. Kaufmann does like to twist and turn those knobs he finds in a song. But man, what a gorgeous voice. Such color! I don't usually like the rather bland, white sound so many heldentenors can produce. Wolfgang Windgassen is a case in point. Basically a lyric tenor with impeccable German and musicianship. But a voice I just can't enjoy, which lessens my enjoyment of a lot of Wagner performances with Birgit Nilsson (who loved his voice, according to her autobiography).

Melchior just plants both feet and sings.

Kind regards, :tiphat:

George


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## Itullian (Aug 27, 2011)

I like Domingo's.
(ducks)


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## amfortas (Jun 15, 2011)

Itullian said:


> I like Domingo's.
> (ducks)


I do too. It was the first version I heard, so that has something to do with it. But I can still enjoy it, mangled German and all.


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## Barbebleu (May 17, 2015)

Itullian said:


> I like Domingo's.
> (ducks)


And Wagner always liked an Italianate voice for his tenors!


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## Woodduck (Mar 17, 2014)

Barbebleu said:


> And Wagner always liked an Italianate voice for his tenors!


He wanted what was then considered an Italian style of singing, by which we assume he meant a legato style. Singers didn't know at first what to make of the vocal writing in his mature works, which didn't feature the sort of symmetrical tunes they were used to. He had to insist "There are no recitatives in my works! It's all arias!"

I don't think there's any such thing as an Italianate voice - and some argue that Domingo didn't have one anyway. He did bring a good legato style to Wagner, though, and would certainly have earned the composer's approval. I doubt that he would have been bothered by Domingo's slight accent, and it doesn't bother me either.


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