@@pauloolivier3134 Dont forget Mödl and Varnay. And the romantic wimenish singing and voices of Behrendt and Meier. My vaforit is always and still Flagstad: she ahs all these in her voice.💯🧡
There is nothing flat about this performance. Miss Nilsson and Miss Flagstad are both glorious in their own right. Neither takes a back seat to anyone.
She was my favorite soprano. Thanks for this. They don't make 'em like this today. To have seen and heard the Nilsson Voice in its prime was a gift from God!! She also recorded well. Thanks for this video
As an opera singer myself and a fan of both Nilsson and Norman, I respectfully disagree. Both had/have tremendous technique, and I doubt anyone would ever question Jessye's elegance. They are both wonderful.
I think that this the most of Miss Nilsson's renditions of this most popular of Wagner's arias.Traubel's 1948 performance from the MET live is not to be ignored either.
I love Nilsson so much. She's a great coloratura soprano of her time. She truly understand the word head voice (in opera). Modern opera singers sing the *true head voice* the wrong way and they sounds terrible. They should follow Nilsson and Callas' technique.
connecting lower and upper registers with legato IS an example of technique, and, in my opinion, an example of technique lacking in most dramatic singers.
That’s because most of the so-called dramatic singers I think you have in mind are actually singing rep that is too dramatic for them. If they need to push to inflate the middle register in particular, then the axis of the voice will be knocked out of alignment.
Absolutely. The quality of sound produced by the voice should be uniform throughout the singer’s range. It is not just for the effect of sounding consistent but for developing a reliably efficient means of vocal production that avoids taxing the soft tissues of the vocal cords with undue pressure. This, of course, enables the further refinement of the instrument with the cultivation of impeccable, rounded vowels placed high as Nilsson always delivered. She had such laser precision jn vowel placement that it led some to say she almost sounded sharp. It’s such a travesty that recording equipment could never capture the full color and depth of her unrivaled voice.
@robertdonkers The main issue, was not a question about Mrs.Nilsson vs. Miss/Mrs.Norman. Primarily my question was “if someone ever sung this aria technically better than Mrs Nilsson (is it possible) ?”
Ich liebe Birgit Nilsson, allerdings habe ich - hier auf youtube mal eine Aufnahme von ihr gesehen, wo sie den Czardas aus der Fledermaus gibt - sie ist eher schon älter - der war echt zum Fürchten schlecht! Man hat richtig gesehen, wie sie sich total verkrampft hat, keck zu erscheinen....(ich finds gut, dass ich den nicht mehr finden konnte ;-))
Good or not good is of course a question about taste with respect to timbre, phrasing, interpretation etc. However has someone ever sung this aria technically better than Mrs Nilsson (is it possible) ?
I loved Nilsson. My first Wagnerian. But, she slides around on pitch - Sometimes a little above, sometimes below. Don´t understand. Obviously enough breath support to knock over a Grane!
I think she developed a technique that would secure her high notes, which sacrificed both accuracy of pitch and vocal beauty. She doesn't have the middle register that is essential to the great Wagnerian roles but she is excellent in Strauss.
Correct registrational bel canto technique was in existence a long time ago. It is still the truth,both scientific and aesthetic. The wrong headed re-inventing of the wheel beginning in last third of 20th century has been a disaster. Anyone hear of “cause and effect”?
Interesting to hear Nilsson in a role with which she is not normally associated. I know she sang Venus/Elisabeth in the complete Otto Gerdes recording, but I've not heard it. She does attempt a softer characterisation than usual, which is appreciated. Unfortunately, the transparent orchestration of this particular number clearly highlights her customary problems with pitch: flat when singing softly, and often sharp when singing loudly. Still, what I wouldn't give for a soprano voice of her size and steadiness nowadays to sing Elektra, Turandot, Salome and the Dyer's Wife. I have great hopes for Christine Goerke.
Nilsson is brilliant, as always (if occasionally a little sharp, as she tended to be)...however, Voigt in 1996 gave a technically perfect performance...and full of joy.
@@WelshHomo87 My thought exactly. I feel being slightly sharp on high notes made those notes pierce through the orchestra. Heck, that clash might even make it sound more fierce like flames above a laser beam.
Forse...ma la Traubel al Sib urlava è il Do era una chimera. Come pure per la Flagstad. Frida Laider e la Nanni Larsen Tidsen erano pari alla Nilsson e poi la Grob Prandl di cui puoi ascoltare su yt tutto il Ring magnifica e che da filo da torcere a tutte. Cordiali saluti.
Birgit Nilsson was widely known as the leading Wagnerian soprano of her time. The successor to the great Norwegian soprano Kirsten Flagstad. A height that Jessye Norman never will achieve. Furthermore, I wrote that Nilsson has a better technique, which result in a lighter and more elegant performing. Anyway, it is not so important, everyone thinks what he thinks. However, it is fun and instructive to exchange views.
I always felt that Flagstad's voice was somewhat overrated, and much preferred Traubel, and then a bit later, Eileen Farrell. But Nilsson is still my favorite Wagnerian soprano of all time.
ForAll23, io ho ascoltato dal vivo tante volte la Nilsson, ma in disco rende al 50 per cento. Alcuni suoni si perdono e gli acuti risultano troppo secchi. Dal vivo la voce era tutta piu' rotonda.
@@fabriziogarzi9892 Yes, I have heard her on several occasions here in Gothenburg (Sweden). Most outdoors (liseberg a beautiful amusement park), in Scandinavium (a sports arena) and in Gothenburg's concert hall. In the last case, however, you almost had to wear hearing protection ;-). To say the least, powerful.
In the case of timbre, phrasing etc, the question is subjective, but the technical performance. is not. Jessye Norman does not have the same technical skill. It is evident in the end of the aria. There is J.Norman a bit tensed and forced. Mrs. Nilsson's voice is open and has full flow. It gives her perfomence an elegance that Mrs. Norman not reach.
Everyone here speaks of technique--but that is only part of singing. It bothers me that Nilsson does not connect lower notes to higher ones with true legato. I admire Nilsson, but am not moved by her performance. Lotte Lehmann admitted herself that she had technical problems, but listen to her recordings of this aria: to me, she has incomparably more radiance and excitement. So does Deborah Voigt. Perhaps it's a case of a dramatic soprano singing a lyric/spinto role. But to each his own.
![Quando Rondo - Grow Up [Official Music Video]](http://i.ytimg.com/vi/8zFnCg3BO4Q/mqdefault.jpg)
Birgit we miss you !!!
She was the best wagnerian soprano ever!!!!
So TRUE!!
Remember Kirsten Flagstad and Frida Leider.
@@susannevollmer2347 yes, i do, and Varnay, Konetzni, Traubel, Jones, Grob- Prandl, Lawrence, but Nilsson was the best!! with his laser voice !!
@@pauloolivier3134 Dont forget Mödl and Varnay. And the romantic wimenish singing and voices of Behrendt and Meier. My vaforit is always and still Flagstad: she ahs all these in her voice.💯🧡
@@pauloolivier3134 True, this steel in her voice is unsurpassed!
She makes it look so easy! Just stunning!
I'm typically not a huge fan of Wagnerian sopranos. However, Madame Nilsson was extraordinary, and I truly love her voice!!
There is nothing flat about this performance. Miss Nilsson and Miss Flagstad are both glorious in their own right. Neither takes a back seat to anyone.
She was my favorite soprano. Thanks for this. They don't make 'em like this today. To have seen and heard the Nilsson Voice in its prime was a gift from God!! She also recorded well. Thanks for this video
God!! She is my favorite soprano!! Astounding!
Beautiful... impressing!! Big voice... less effort... absolute Master...!! BRAVA BIRGIT !!
La NILSSON has the ELEGANCE, missing from others.
She had an amazing voice - I saw her perform at Covent Garden in the 70's
She is now on the Current 500 Swedish Kroner banknote
Damn! The greatest soprano to walk on a stage...ever!
She sounds so young and charming here.
She’s great, and I love that she’s wearing Endora’s outfit from “Bewitched”. 🙂
It's enough to make a grown man (me) cry!
soo gut
I'm glad you approve, Wagner :)
I will never forget seeing her in Elektra....she was amazing
Her best role, in my opinion. Heard her several times, both in Stockholm and later Chicago.
and i thought i was the only YT user who enjoyed opera and gymnastics at the same time!
As an opera singer myself and a fan of both Nilsson and Norman, I respectfully disagree. Both had/have tremendous technique, and I doubt anyone would ever question Jessye's elegance. They are both wonderful.
I think that this the most of Miss Nilsson's renditions of this most popular of Wagner's arias.Traubel's 1948 performance from the MET live is not to be ignored either.
I love Nilsson so much. She's a great coloratura soprano of her time. She truly understand the word head voice (in opera). Modern opera singers sing the *true head voice* the wrong way and they sounds terrible. They should follow Nilsson and Callas' technique.
I would say more a dramatic soprano. You didnt see her do much bel canto.
Quintessential Wagnerian Diva!
connecting lower and upper registers with legato IS an example of technique, and, in my opinion, an example of technique lacking in most dramatic singers.
That’s because most of the so-called dramatic singers I think you have in mind are actually singing rep that is too dramatic for them. If they need to push to inflate the middle register in particular, then the axis of the voice will be knocked out of alignment.
Absolutely. The quality of sound produced by the voice should be uniform throughout the singer’s range. It is not just for the effect of sounding consistent but for developing a reliably efficient means of vocal production that avoids taxing the soft tissues of the vocal cords with undue pressure. This, of course, enables the further refinement of the instrument with the cultivation of impeccable, rounded vowels placed high as Nilsson always delivered. She had such laser precision jn vowel placement that it led some to say she almost sounded sharp. It’s such a travesty that recording equipment could never capture the full color and depth of her unrivaled voice.
They dont make talent like this anymore
This made my day! :))
Es ist mir total schleierhaft, wie man Norman in einem Atemzug mit Birgit Nilsson nennen kann. Da sind ein paar Klassen dazwischen....
@Alles Mögliche 🙃
but Madame NILSSON wow the BEST
haha thats all I watch on here! Thank God for YT :)
Heute wäre sie 100 Jahre alt geworden!
Birgit was the greatest of them all...
@robertdonkers
The main issue, was not a question about Mrs.Nilsson vs. Miss/Mrs.Norman.
Primarily my question was “if someone ever sung this aria technically better than Mrs Nilsson (is it possible) ?”
Kirsten Flagstad.
The orquestra has many problems in time and oders problems too, but Birgitt Nilsson are fantastic all time.
Birgit Nilsson canta magníficamente esta bella Aria de Tannhauser
This was her forte. Wagner.
Die wunderbare Birgit, nie hatte ich sie, selbst bis ins hohe Alter, schlecht gehört!!!
Das ist wohl war.....!!!
Sie sollten sich auch einmal Lotte Lehmann mit der Hallen-Arie anhören!
Ich liebe Birgit Nilsson, allerdings habe ich - hier auf youtube mal eine Aufnahme von ihr gesehen, wo sie den Czardas aus der Fledermaus gibt - sie ist eher schon älter - der war echt zum Fürchten schlecht! Man hat richtig gesehen, wie sie sich total verkrampft hat, keck zu erscheinen....(ich finds gut, dass ich den nicht mehr finden konnte ;-))
Good or not good is of course a question about taste with respect to timbre, phrasing, interpretation etc.
However has someone ever sung this aria technically better than Mrs Nilsson (is it possible) ?
EXQUISITA
I loved Nilsson. My first Wagnerian. But, she slides around on pitch - Sometimes a little above, sometimes below. Don´t understand. Obviously enough breath support to knock over a Grane!
That's true - I was afraid to say it! Nevertheless she is one of the great sopranos of all time. But she often had issues with pitch.
+Dave Glo Ja, es stimmt! Leider ist die Intonation nicht sicher! Jessy Norman`s Aufnahme ist um Klassen besser! Und sie hat die schönere Stimme.
Und man soll nie Kirsten Flagstad vergessen!
I think she developed a technique that would secure her high notes, which sacrificed both accuracy of pitch and vocal beauty. She doesn't have the middle register that is essential to the great Wagnerian roles but she is excellent in Strauss.
She also always left me with a feeling that she was constantly about to go off pitch. It got worse as she got older.
Correct registrational bel canto technique was in existence a long time ago. It is still the truth,both scientific and aesthetic. The wrong headed re-inventing of the wheel beginning in last third of 20th century has been a disaster. Anyone hear of “cause and effect”?
Birgit's great! Btw... is that a costume or an outfit?
Interesting to hear Nilsson in a role with which she is not normally associated. I know she sang Venus/Elisabeth in the complete Otto Gerdes recording, but I've not heard it. She does attempt a softer characterisation than usual, which is appreciated. Unfortunately, the transparent orchestration of this particular number clearly highlights her customary problems with pitch: flat when singing softly, and often sharp when singing loudly. Still, what I wouldn't give for a soprano voice of her size and steadiness nowadays to sing Elektra, Turandot, Salome and the Dyer's Wife. I have great hopes for Christine Goerke.
Nilsson is brilliant, as always (if occasionally a little sharp, as she tended to be)...however, Voigt in 1996 gave a technically perfect performance...and full of joy.
It enabled her to be above the orchestra
@@WelshHomo87 My thought exactly. I feel being slightly sharp on high notes made those notes pierce through the orchestra. Heck, that clash might even make it sound more fierce like flames above a laser beam.
That's "most beautiful"
liz at her best
Possibly Traubel, whose voice was richer, fuller, bigger in the early forties. Just an opinion.
Forse...ma la Traubel al Sib urlava è il Do era una chimera. Come pure per la Flagstad. Frida Laider e la Nanni Larsen Tidsen erano pari alla Nilsson e poi la Grob Prandl di cui puoi ascoltare su yt tutto il Ring magnifica e che da filo da torcere a tutte. Cordiali saluti.
Middle Ages meet the sixties :)
she was 46 at the time! haha :)
Who's the conductor,?
Donald Voorhees.
@VinnyLog
With that thought, there is neither a bad or a good opera singer.
I can not see it in that way.
Birgit Nilsson was widely known as the leading Wagnerian soprano of her time. The successor to the great Norwegian soprano Kirsten Flagstad. A height that Jessye Norman never will achieve.
Furthermore, I wrote that Nilsson has a better technique, which result in a lighter and more elegant performing.
Anyway, it is not so important, everyone thinks what he thinks. However, it is fun and instructive to exchange views.
I always felt that Flagstad's voice was somewhat overrated, and much preferred Traubel, and then a bit later, Eileen Farrell. But Nilsson is still my favorite Wagnerian soprano of all time.
ForAll23, io ho ascoltato dal vivo tante volte la Nilsson, ma in disco rende al 50 per cento. Alcuni suoni si perdono e gli acuti risultano troppo secchi. Dal vivo la voce era tutta piu' rotonda.
@@fabriziogarzi9892 Yes, I have heard her on several occasions here in Gothenburg (Sweden). Most outdoors (liseberg a beautiful amusement park), in Scandinavium (a sports arena) and in Gothenburg's concert hall. In the last case, however, you almost had to wear hearing protection ;-). To say the least, powerful.
Jessye Norman's performance of this is equally masterful.
In the case of timbre, phrasing etc, the question is subjective, but the technical performance. is not.
Jessye Norman does not have the same technical skill. It is evident in the end of the aria. There is J.Norman a bit tensed and forced. Mrs. Nilsson's voice is open and has full flow. It gives her perfomence an elegance that Mrs. Norman not reach.
birgit was great, but the conductor...:(
a TV show the sound is very bad
i do prefer crespin or Norman on this particular role
Debra Voigt has them all beat!
hahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahaha
Not Birgit Nilsson she doesn't
Why is she flat in many places?
Everyone here speaks of technique--but that is only part of singing. It bothers me that Nilsson does not connect lower notes to higher ones with true legato. I admire Nilsson, but am not moved by her performance. Lotte Lehmann admitted herself that she had technical problems, but listen to her recordings of this aria: to me, she has incomparably more radiance and excitement. So does Deborah Voigt. Perhaps it's a case of a dramatic soprano singing a lyric/spinto role. But to each his own.
Brilliant ! But i prefer Crespin !