# Round 1: "Meine Lippen, sie küssen so heiss" Cheryl Studer and Alessandra Marc



## Seattleoperafan (Mar 24, 2013)

*Round 1: "Meine Lippen, sie küssen so heiss" Cheryl Studer and Alessandra Marc*

In the New Years Eve tradition of sweet midnight kisses I bring you this lovely aria by Lehar by 6 talented singers in 3 rounds beginning with two singers from the recent past.


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## The Conte (May 31, 2015)

I'd never heard Studer singing this before now and she sang it very similarly to how I expected given how wonderful her Merry Widow recording is. It's that wonderful bloom to her voice and its individual sound that comes across superbly in this song. I also like her interpretation (although Schwarzkopf makes more of the words). If Schwarzkopf is one of the six, then I expect her to win (but I am getting ahead of myself).

I have never heard Marc in this rep before and I generally like what she does here, there is a lot of seductive allure in her phrasing. However, her voice is a size too big for it (Brunhilde does Vienna).

I would want Studer's voice with Marc's sexiness. It's a hard choice, but I'm going with Marc in this case (sorry Cheryl, you know I adore you!)

N.


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## Seattleoperafan (Mar 24, 2013)

The Conte said:


> I'd never heard Studer singing this before now and she sang it very similarly to how I expected given how wonderful her Merry Widow recording is. It's that wonderful bloom to her voice and its individual sound that comes across superbly in this song. I also like her interpretation (although Schwarzkopf makes more of the words). If Schwarzkopf is one of the six, then I expect her to win (but I am getting ahead of myself).
> 
> I have never heard Marc in this rep before and I generally like what she does here, there is a lot of seductive allure in her phrasing. However, her voice is a size too big for it (Brunhilde does Vienna).
> 
> ...


Two more videos then Schwartzkopf. To me this is a fun aria to listen to over and over.


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## Woodduck (Mar 17, 2014)

The versatile Cheryl Studer, who seems to do everything as well as nearly everyone else and lacks only the striking vocal timbre (see Alessandra Marc below) which would put her in the top echelon of stellar sopranos, has clearly absorbed her lessons in operetta style. If I didn't know who she was I might easily mistake her for a singer from Lehar's own era. She sings and interprets this music about as well as anyone I've heard.

Alessandra Marc, unfortunately, rather tortures the thing with broad, heavy-handed gestures. I don't know the plot of _Giuditta,_ or what sort of personage the character is, and it may be that Marc knows something I don't that justifies her diva-like comportment. But it just doesn't sound quite authentic to me, and the singer's plush vocal tone doesn't compensate me for the loss of what I feel is the right spirit.


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## nina foresti (Mar 11, 2014)

Lehar and I don't really get along very well.
Pass


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## Tsaraslondon (Nov 7, 2013)

Unfortunately, this aria tends to mean one soprano to me and her version is so indelibly imprinted on my ear, that I find it hard to get her out of my head. No prizes for guessing who she is.

That said, of these two, I prefer what Studer does with the aria, as her version seems more "in style". Marc may have the plusher sound, but Studer somehow sounds more Viennese. Studer it is.


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## MAS (Apr 15, 2015)

I like Studer’s way with this music. 

I found Marc too much for this piece. The relentless closeups are also too much. Is she wearing ermine?


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## Seattleoperafan (Mar 24, 2013)

I used Marc's version in a Toastmaster speech and the audience were very impressed, but they are a different crowd than you. I wish Studer's was recorded in HD sound. She is a good fit for this music, but I love Marc's high notes. I would love to hear either lady sing this live back in their prime.


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## Seattleoperafan (Mar 24, 2013)

nina foresti said:


> Lehar and I don't really get along very well.
> Pass


I'd still love to kiss you on your cheek for NYE LOL. You'll like my next contest I think.


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## nina foresti (Mar 11, 2014)

Seattleoperafan said:


> I'd still love to kiss you on your cheek for NYE LOL. You'll like my next contest I think.


You are the B-E-S-T!
Have a safe and healthy 2022.
Sunny smiles, Nina


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## ALT (Mar 1, 2021)

Naturally, Cheryl Studer it is. She’s fabulous here. She is all class. Period.


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## MAS (Apr 15, 2015)

MAS said:


> I like Studer's way with this music.
> 
> I found Marc too much for this piece. The relentless closeups are also too much. Is she wearing ermine?


I like the way Mehta watches and is with Studer all the way.


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## ScottK (Dec 23, 2021)

This was fun! I'm unfamiliar with Operetta, Lehar, Giuditta, Meine Lippen, Marc and Studer and I'm not much of a soprano guy! I don't know if a second listen is considered cheating but I just had to. I listened to each once, went and checked the lyrics and listened again. Really fun!

What struck me first, and maybe not so strongly the second go round, was that Marc, with the slower tempo and only piano, and no show-man Mehta looking in, seemed to make something sad or at least a little wistful out of the song. As I said, I know nothing of how it is usually performed. That's what prompted me to go read the lyrics. But if a melancholy strain is intentional, I couldn't see it in a read thru of the lyrics. Second go round I came to think that it may have been accidental and it may be that her not knowing the song as well dictated the slower approach. I thought Studer was clearly in command of the song and her playful phrasing sounded like it was the style that was called for. But for someone holding music - did she really need it? - I thought Marc gave a genuine performance. I thought her tone was the more beautiful of the two and her high notes tending a little shrill. But Studer seemed to be right at home and very alive and she got my vote!


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## MAS (Apr 15, 2015)

ScottK said:


> This was fun! I'm unfamiliar with Operetta, Lehar, Giuditta, Meine Lippen, Marc and Studer and I'm not much of a soprano guy! I don't know if a second listen is considered cheating but I just had to. I listened to each once, went and checked the lyrics and listened again. Really fun!
> 
> What struck me first, and maybe not so strongly the second go round, was that Marc, with the slower tempo and only piano, and no show-man Mehta looking in, seemed to make something sad or at least a little wistful out of the song. As I said, I know nothing of how it is usually performed. That's what prompted me to go read the lyrics. But if a melancholy strain is intentional, I couldn't see it in a read thru of the lyrics. Second go round I came to think that it may have been accidental and it may be that her not knowing the song as well dictated the slower approach. I thought Studer was clearly in command of the song and her playful phrasing sounded like it was the style that was called for. But for someone holding music - did she really need it? - I thought Marc gave a genuine performance. I thought her tone was the more beautiful of the two and her high notes tending a little shrill. But Studer seemed to be right at home and very alive and she got my vote!


You're allowed to listen as many times you want to, and even to enjoy the selections! The song is supposedly flirtatious - there are words about kissing lips hotly, but interpretations of the words can vary with different singers; Marc seems regretful and sad to me while Studer gets into the spirit of the thing.


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## Seattleoperafan (Mar 24, 2013)

MAS said:


> You're allowed to listen as many times you want to, and even to enjoy the selections! The song is supposedly flirtatious - there are words about kissing lips hotly, but interpretations of the words can vary with different singers; Marc seems regretful and sad to me while Studer gets into the spirit of the thing.


Since I haven't been kissed well in over a year I can understand Marc's wistful approach LOL ScottK you are certainly a welcome addition to the group.


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## ScottK (Dec 23, 2021)

Seattleoperafan said:


> Since I haven't been kissed well in over a year I can understand Marc's wistful approach LOL ScottK you are certainly a welcome addition to the group.


Thank you much!!! You've made me feel very welcome and not worry too much about my fondness for my own blather. I've no doubt kisses are coming!


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## ScottK (Dec 23, 2021)

My vote is in but a further thought did go through my mind about Marc's rendition. I remembered a production of The Merry Widow from long, long ago and that beautiful song Vilja. I wonder if she was going for something a lttle in that direction.


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## ALT (Mar 1, 2021)

Woodduck said:


> The versatile Cheryl Studer, who seems to do everything as well as nearly everyone else and lacks only the striking vocal timbre …. which would put her in the top echelon of stellar sopranos ….


Strange comment because: 
1. During her heyday, Studer was in the very top echelon of stellar sopranos. This is not subjective.
2. Subjective however is "lacks only the striking vocal timbre"
3. I know I can discern her voice, sound and style from the get-go and from like a mile apart.


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## Woodduck (Mar 17, 2014)

ALT said:


> Strange comment because:
> 1. During her heyday, Studer was in the very top echelon of stellar sopranos. This is not subjective.
> 2. Subjective however is "lacks only the striking vocal timbre"
> 3. I know I can discern her voice, sound and style from the get-go and from like a mile apart.


My opinions are no more "strange" than yours. People perceive such qualities as "stellar" and "striking" differently. I don't question that Studer was a major singer and artist, one whom I've never found less than admirable and enjoyable. I simply don't find her voice as individual as many others. I see no value in listing those others merely for the sake of argument, which I suspect would be forthcoming.


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## ScottK (Dec 23, 2021)

ALT said:


> Strange comment because:
> 1. During her heyday, Studer was in the very top echelon of stellar sopranos. This is not subjective.
> 2. Subjective however is "lacks only the striking vocal timbre"
> 3. I know I can discern her voice, sound and style from the get-go and from like a mile apart.


Dont know enough about the lay of the land to know if conversations like these are usually left to the original "discussers" and, even if its not intended, the appearance of ganging on should be avoided BUT.....based only on the Lehar, because that's all of her I know, I would say that compared to say Fleming or even Marc, I found Studer's voice to be very well produced but not as distinctive.


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## MAS (Apr 15, 2015)

ScottK said:


> Dont know enough about the lay of the land to know if conversations like these are usually left to the original "discussers" and, even if its not intended, the appearance of ganging on should be avoided BUT.....based only on the Lehar, because that's all of her I know, I would say that compared to say Fleming or even Marc, I found Studer's voice to be very well produced but not as distinctive.


ALT might just be a teeny bit of a Studer enthusiast.


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## ALT (Mar 1, 2021)

MAS said:


> ALT might just be a teeny bit of a Studer enthusiast.


No different from any other enthusiast for any other singer. So no worries. Safe and happy 2022 to all.


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## The Conte (May 31, 2015)

As the resident Studer fan (as opposed to being an 'enthusiast'), I have to say that I find Studer's voice instantly recognizable and that was the first thing that drew me to her when I first heard her sing. Her other gifts kept me hooked. A friend of mine often mistakes her for Sutherland (and you wouldn't say that she didn't have a distinctive voice).

I do realise that pointing out the similarity to another singer does weaken my case that she sounds distinctive though!

N.


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## Seattleoperafan (Mar 24, 2013)

The Conte said:


> As the resident Studer fan (as opposed to being an 'enthusiast'), I have to say that I find Studer's voice instantly recognizable and that was the first thing that drew me to her when I first heard her sing. Her other gifts kept me hooked. A friend of mine often mistakes her for Sutherland (and you wouldn't say that she didn't have a distinctive voice).
> 
> I do realise that pointing out the similarity to another singer does weaken my case that she sounds distinctive though!
> 
> N.


I can always tell it is her BUT to my ear she has a very American type of vocal production. I don't know if that makes sense. She was in my books never the best in whatever category she sang BUT she sang a wide repertoire very well and we sure could use her talents today! I liked her best in Elsa, Salome and Violetta. She sure sings Lehar beautifully. My favorite thing Studer sang is below:


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## Woodduck (Mar 17, 2014)

The Conte said:


> As the resident Studer fan (as opposed to being an 'enthusiast'), I have to say that I find Studer's voice instantly recognizable and that was the first thing that drew me to her when I first heard her sing. Her other gifts kept me hooked. A friend of mine often mistakes her for Sutherland (and you wouldn't say that she didn't have a distinctive voice).
> 
> I do realise that pointing out the similarity to another singer does weaken my case that she sounds distinctive though!
> 
> N.


Hmmm... What differentiates fans from enthusiasts? Or, for that matter, from devotees, lovers, groupies and nuts? That should give us something to argue about when we're tired of discussing Dame Joan's indistinguishable vowels.

I'm surprised that anyone would mistake Studer for Sutherland, or anybody for Sutherland, whose voice and style possess more than one highly distinctive trait. I'll grant that it can be hard to tell even certain famous singers apart on the basis of a few notes, as demonstrated by a couple of Met Opera quizzes in which the participants, all experienced opera fans/enthusiasts, tried to do just that. But it shouldn't take much more than a short phrase to distinguish, say, Bjorling, Di Stefano, Del Monaco, Peerce, Corelli, Bergonzi, Valletti, Tucker, and Vickers, just to pick some leading tenors one might have heard in a Verdi opera in the 1950s and '60s. Sopranos singing opposite these tenors might have included Callas, Tebaldi, Sutherland, Zeani, Cerquetti, Olivero, Milanov, Farrell, Scotto, Price and Moffo. An extremely varied bunch of voices and vocal "personalities", I'd say.

Is Studer's sound as distinctive as theirs? Not to my ears, but that doesn't mean that her singing won't be recognizable to someone with a keen ear, or someone who's spent a fair amount of time listening to her. Those are different questions, aren't they?


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## ALT (Mar 1, 2021)

Woodduck said:


> Is Studer's sound as distinctive as theirs? Not to my ears, but that doesn't mean that her singing won't be recognizable to someone with a keen ear, or someone who's spent a fair amount of time listening to her.


It is. It took me all of one time (and only one time) to detect something very different in Studer from so many others, in both her sound and in her delivery/style/phrasing. Of the sopranos you listed I can, with little effort, recognize Sutherland, Cerquetti, Milanov and Farrell, the latter over and above the others. Price, too, to a lesser degree. But not Olivero, Scotto or Moffo, none of whom register much in my listening experience. Of the current crop of sopranos, it's a lost cause. I couldn't tell them apart if you waterboarded me.

Have a safe, healthy and happy new year.


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## Seattleoperafan (Mar 24, 2013)

Woodduck said:


> Hmmm... What differentiates fans from enthusiasts? Or, for that matter, from devotees, lovers, groupies and nuts? That should give us something to argue about when we're tired of discussing Dame Joan's indistinguishable vowels.
> 
> I'm surprised that anyone would mistake Studer for Sutherland, or anybody for Sutherland, whose voice and style possess more than one highly distinctive trait. I'll grant that it can be hard to tell even certain famous singers apart on the basis of a few notes, as demonstrated by a couple of Met Opera quizzes in which the participants, all experienced opera fans/enthusiasts, tried to do just that. But it shouldn't take much more than a short phrase to distinguish, say, Bjorling, Di Stefano, Del Monaco, Peerce, Corelli, Bergonzi, Valletti, Tucker, and Vickers, just to pick some leading tenors one might have heard in a Verdi opera in the 1950s and '60s. Sopranos singing opposite these tenors might have included Callas, Tebaldi, Sutherland, Zeani, Cerquetti, Olivero, Milanov, Farrell, Scotto, Price and Moffo. An extremely varied bunch of voices and vocal "personalities", I'd say.
> 
> Is Studer's sound as distinctive as theirs? Not to my ears, but that doesn't mean that her singing won't be recognizable to someone with a keen ear, or someone who's spent a fair amount of time listening to her. Those are different questions, aren't they?


My pet peeve with much of the current crop of singers is hardly any have a very distinctive sound like the singers you listed. Jonas Kaufmann doesn't have a voice many of you like, BUT you always know it is him, even if the voice is unnaturally darkened. Studer is not a three note you know it's her type of singer, but if you listen to a whole phrase you should be able to pick her out.


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## The Conte (May 31, 2015)

Woodduck said:


> Hmmm... What differentiates fans from enthusiasts?


I didn't mention enthusiasts. I wrote 'enthusiast' for a reason.



Woodduck said:


> I'm surprised that anyone would mistake Studer for Sutherland, or anybody for Sutherland, whose voice and style possess more than one highly distinctive trait. I'll grant that it can be hard to tell even certain famous singers apart on the basis of a few notes, as demonstrated by a couple of Met Opera quizzes in which the participants, all experienced opera fans/enthusiasts, tried to do just that. But it shouldn't take much more than a short phrase to distinguish, say, Bjorling, Di Stefano, Del Monaco, Peerce, Corelli, Bergonzi, Valletti, Tucker, and Vickers, just to pick some leading tenors one might have heard in a Verdi opera in the 1950s and '60s. Sopranos singing opposite these tenors might have included Callas, Tebaldi, Sutherland, Zeani, Cerquetti, Olivero, Milanov, Farrell, Scotto, Price and Moffo. An extremely varied bunch of voices and vocal "personalities", I'd say.
> 
> Is Studer's sound as distinctive as theirs? Not to my ears, but that doesn't mean that her singing won't be recognizable to someone with a keen ear, or someone who's spent a fair amount of time listening to her. Those are different questions, aren't they?


I think Studer's sound is far more distinctive than Farrell, Scotto or Moffo, but this is all subjective, isn't it?

N.


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## The Conte (May 31, 2015)

Seattleoperafan said:


> My pet peeve with much of the current crop of singers is hardly any have a very distinctive sound like the singers you listed. Jonas Kaufmann doesn't have a voice many of you like, BUT you always know it is him, even if the voice is unnaturally darkened. Studer is not a three note you know it's her type of singer, but if you listen to a whole phrase you should be able to pick her out.


THIS!

I agree with all of this.

N.


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## Tsaraslondon (Nov 7, 2013)

The Conte said:


> I didn't mention enthusiasts. I wrote 'enthusiast' for a reason.
> 
> I think Studer's sound is far more distinctive than Farrell, Scotto or Moffo, but this is all subjective, isn't it?
> 
> N.


That rather surprises me. I don't know Farrell so well, but I think I'd probably recognise Moffo and Scotto in a blind test after just a few notes.


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## Woodduck (Mar 17, 2014)

Tsaraslondon said:


> That rather surprises me. I don't know Farrell so well, but I think I'd probably recognise Moffo and Scotto in a blind test after just a few notes.


I would know all three before I'd know Studer, but I've been listening closely to Studer lately and might spot her more easily than formerly. It's certainly in part a matter of who we've heard and enjoyed most, which isn't to deny that some singers really are more distinct than others in timbre and manner of execution. Individuality is certainly a major factor in propelling an artist into the limelight and securing a following and a reputation.


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