I find Nilsson a phenomenon - at times I’m thrilled by her! I only saw her in person twice - once I Tanglewood where she performed Elektra’s “Recognition Scene”, and again shortly (within 1-2 weeks) I tend to think it was days after JFK’s assassination, in Boston Symphony Hall, she sang the Lord’s Prayer in dedication to him - and Du Bist Die Ruh (Schubert lied) - spectacular and very touching!
Esta mujer fue excepcional en todo lo que cantó. Se ganó la inmortalidad entre las más grandes voces e intérpretes del siglo pasado. Gracias Lohengrin O desde Chile. Dr.Fernando Rivas-Burattini. 🤝👏👏✝️🙏✝️🎼🎼🇨🇱🇨🇱.
Bergonzi is phenomenal too. And I liked very much her "Morrò" rather vocally than interpretatively. But everybody knows how great she was elsewhere, so doesn't bother me an astonishingly superb vocal rendition & less so interpretatively by someone like B. Nilsson.
Nilsson was much admired for her Verdi: this Ballo Amelia, the Forza Leonora, Aida, Lady Macbeth and, if I am not mistaken, she even sang Abigaille at the Met. Here she demonstrates superb legato and diminuendo. Any other Verdian roles I am not aware of please?
@@LohengrinO As far as I know she only sang Abigaille's aria & cabaletta on a Verdi recital on DECCA. Never heard of her singing the whole role - can't imagine it either. She also never mentions the role in her book. - There is of course the Verdi Requiem she sang, though I think this might also have been on recording only.
Amelia le venía bien, y en esta grabación está soberbia, muy afinada, además, y canta con una media voz aterciopelada muy interesante, bastante contenida. En verdad ya no hay voces así, una pena. No soy un incondicional, por ejemplo su Donna Anna me parece bastante mejorable y su agilidad y afinación muy objetables... Pero aquí está espléndida. Y Bergonzi es flipante, la verdad, qué fraseo tan elegante y qué línea de canto...
Very well produced singing, as secure as granite. What's lacking to me is that Italianate style and nuance throughout the vocal line. The delivery lacks the drama and pathos that the text demands and I think it stems from Nilsson's lack of real fluency in Italian, which she admitted was not her forte. In Germamic repertoire she was truly alive, in the Italian rep she's definitely holding something in reserve, not entirely comfortable.
@@LohengrinO oh I not (I very don't like her Carmen and Leonora in Forza). Generally, Nilsson sings EXCELLENT in this role, but Solti's conducting here isn't good ;/. Yes, for me there is no problem with listening to many interpretations of one aria - I just wanted to praise Nilsson by comparing her with another great singer. I greet you :)
Big fan of Ms LaserBeam,but this is just too cautious, clinical and, frankly, a tad boring... (Sounds kind of uninvolved and staid - almost hard to believe that it’s a live performance, sounds more like a studio recording where it’s obviously more difficult to act genuinely emotional/involved.)
I love the delivery of melody though and as in the case of Sutherland's Trovatore Leonora the Security and Iron Legato with which Birgit supports the vocal line...
“a tad boring” ? Probably NEVER been another Verdi soprano able to hold such beautiful long elegant legatos, let alone the steel in the high register. The whole aria is a single glorious arc.
@@michaelvarcoe-cocks9147 I’m talking about expression, emotion, tension, intensity, passion, characterization, not about technique or quality of voice. Much prefer Callas, Milanov, Cerquetti, Price, even Millo etc in this. Tastes: to each our own. 😘
I find Nilsson a phenomenon - at times I’m thrilled by her! I only saw her in person twice - once I Tanglewood where she performed Elektra’s “Recognition Scene”, and again shortly (within 1-2 weeks) I tend to think it was days after JFK’s assassination, in Boston Symphony Hall, she sang the Lord’s Prayer in dedication to him - and Du Bist Die Ruh (Schubert lied) - spectacular and very touching!
Esta mujer fue excepcional en todo lo que cantó. Se ganó la inmortalidad entre las más grandes voces e intérpretes del siglo pasado.
Gracias Lohengrin O desde Chile.
Dr.Fernando Rivas-Burattini. 🤝👏👏✝️🙏✝️🎼🎼🇨🇱🇨🇱.
Astonishing . Complete Artist
Eξαιρετική και η μέση φωνή της. Ήταν και θα παραμείνει από τις πολύ μεγάλες.
Ευχαριστώ, φίλε μου.
Nilsson was a true Verdian as well as a solid Wagner singer.
🌺BRAWISSISSISSIMO, MAESTRA!!! BELLISSIMA!!!🍀VERY, VERY NICE ANSAMBLE!!! PLATINE INTERPRETATION!!!🌹
Bergonzi is phenomenal too. And I liked very much her "Morrò" rather vocally than interpretatively. But everybody knows how great she was elsewhere, so doesn't bother me an astonishingly superb vocal rendition & less so interpretatively by someone like B. Nilsson.
Nilsson was much admired for her Verdi: this Ballo Amelia, the Forza Leonora, Aida, Lady Macbeth and, if I am not mistaken, she even sang Abigaille at the Met. Here she demonstrates superb legato and diminuendo. Any other Verdian roles I am not aware of please?
I really cannot imagine her singing Abigaile... the recording exists?
Puccini's princess 👑 Turandot.
@@LohengrinO As far as I know she only sang Abigaille's aria & cabaletta on a Verdi recital on DECCA. Never heard of her singing the whole role - can't imagine it either. She also never mentions the role in her book. - There is of course the Verdi Requiem she sang, though I think this might also have been on recording only.
Also a great gal.
Amelia le venía bien, y en esta grabación está soberbia, muy afinada, además, y canta con una media voz aterciopelada muy interesante, bastante contenida. En verdad ya no hay voces así, una pena. No soy un incondicional, por ejemplo su Donna Anna me parece bastante mejorable y su agilidad y afinación muy objetables... Pero aquí está espléndida. Y Bergonzi es flipante, la verdad, qué fraseo tan elegante y qué línea de canto...
Does anyone know what year this was recorded?
Very well produced singing, as secure as granite. What's lacking to me is that Italianate style and nuance throughout the vocal line. The delivery lacks the drama and pathos that the text demands and I think it stems from Nilsson's lack of real fluency in Italian, which she admitted was not her forte. In Germamic repertoire she was truly alive, in the Italian rep she's definitely holding something in reserve, not entirely comfortable.
because the music is far more difficult technically... as Lilly Lehman said: Id rather sing 3 Gotterdammerung Brunhildes than 1 Norma...
1st
in my case, I always prefer Callas in every role no matter who else sings it
@@LohengrinO Agreed.
@@LohengrinO
I do second.
Leontyne Price is also a very good Amelia, at least on disc.
@@LohengrinO oh I not (I very don't like her Carmen and Leonora in Forza).
Generally, Nilsson sings EXCELLENT in this role, but Solti's conducting here isn't good ;/.
Yes, for me there is no problem with listening to many interpretations of one aria - I just wanted to praise Nilsson by comparing her with another great singer.
I greet you :)
Wonderful voice and professional trained artist, vast experience on stage. Puccini-Turamdot always ♥ her beautiful sound rings first 😍.
Big fan of Ms LaserBeam,but this is just too cautious, clinical and, frankly, a tad boring... (Sounds kind of uninvolved and staid - almost hard to believe that it’s a live performance, sounds more like a studio recording where it’s obviously more difficult to act genuinely emotional/involved.)
I love the delivery of melody though and as in the case of Sutherland's Trovatore Leonora the Security and Iron Legato with which Birgit supports the vocal line...
“a tad boring” ? Probably NEVER been another Verdi soprano able to hold such beautiful long elegant legatos, let alone the steel in the high register. The whole aria is a single glorious arc.
@@michaelvarcoe-cocks9147 I’m talking about expression, emotion, tension, intensity, passion, characterization, not about technique or quality of voice. Much prefer Callas, Milanov, Cerquetti, Price, even Millo etc in this. Tastes: to each our own. 😘