It is not only the power and the blazing high notes, but the voice is very even throughout, the fullness of tone from the low notes to the top remain focused.
I have the record from La Scala´s visit to Moscow and my compatriote's contribution is the most thrilling. The soviet organisers changed one concert to be held in the great new hall in the Kremlin much to Birgit's dismay. The hall was used for party conferences and was enormous and with very bad acoustics. It turned out well anyway.
I heard Nilsson in her prime both with orchestra and in recital, starting in my early adolescence, decades ago. The sound of the voice was considerable, though probably not the largest I've ever heard. However, she could penetrate an orchestra of any size with her thrilling projection. Even her stupendous pianissimo projected, as she shows us here) . "Vissi d'Arte" was a recital favorite of hers--at least I heard her sing it in different recitals. Like "Dich teure Halle," it was one of her go-to arias. This recording, in a hall that is too 'live', gives a great sense of the way the voice carried, at least the way I remember it.
My wife heard Nilsson in person and said her voice cut through and penetrated the orchestra, rather than "blanket-ing" the theater. Recordings can suggest the opposite!
@@thorvonoden5879 I'm sure that's nonsense. Not heard mention of any issues with Caballe being heard. She used chest tones, her voice carried properly.
@@deniznejatizar8716 Maybe he´s deaf... But, remember, media has imposed such horrible voices for such a long time saying those are amazing that people got used to rubbish and fail to recognize the real thing.
@@drefesou8912 You’re absolutely right. The technique is in decline, so is vocal teaching. I am so fortunate that I realized that at the beginning of my vocal studies.
@@pelleas9 ok, so she wasn’t the greatest lady Macbeth in history. But she WAS one of the great dramatic sopranos of the 20th century. Your dismissive, pompous comment is disrespectful, trite, and boring. MANY great singers lack a “trill” and “flexibility”, but a trill and flexibility won’t help you get through Isolde, Brünnhilde, Turandot, Aïda, Elektra, or Tosca, 6 roles which are far superior to Lady Macbeth, and at which Nilsson triumphed.
It is not only the power and the blazing high notes, but the voice is very even throughout, the fullness of tone from the low notes to the top remain focused.
Her voice is blasting through my speakers. What a huge volcanic sound !!!!
Wonderful to hear her instrument 'up close'. The very definition of squillo and projection.
She was INCREDIBLE! What a voice!!
I have the record from La Scala´s visit to Moscow and my compatriote's contribution is the most thrilling. The soviet organisers changed one concert to be held in the great new hall in the Kremlin much to Birgit's dismay. The hall was used for party conferences and was enormous and with very bad acoustics. It turned out well anyway.
I heard Nilsson in her prime both with orchestra and in recital, starting in my early adolescence, decades ago. The sound of the voice was considerable, though probably not the largest I've ever heard. However, she could penetrate an orchestra of any size with her thrilling projection. Even her stupendous pianissimo projected, as she shows us here) . "Vissi d'Arte" was a recital favorite of hers--at least I heard her sing it in different recitals. Like "Dich teure Halle," it was one of her go-to arias. This recording, in a hall that is too 'live', gives a great sense of the way the voice carried, at least the way I remember it.
My wife heard Nilsson in person and said her voice cut through and penetrated the orchestra, rather than "blanket-ing" the theater. Recordings can suggest the opposite!
It was never a flooding voice, but more of a fire-hose voice. It never poured out, but blasted forth and cut through.
Danke !!!
Bravo !!!
Una voce possente vulcanica insinuante, ma, nel contempo, acuta e svettante che si eleva nelle grandi altezze musicali.
Brava Birgit.
Voce drammatica e maestra.
You're incredible 😍
Bravo!!!
OMG lucky audience! You can hardly believe your ears!
7:49 Nilsson becomes Caballe haha
I always thought dramatic voices had the most beautiful pianissimo.
@@JoanSutherlandFan I prefer Nilsson 's pianissimo over Caballe s overused, monotonous, boring pianissimo.
Ajajsjsj yesss
Caballe the most over rated singer I know of, maybe if she was amplified you could hear her, but she would never fill an opera theater,
@@thorvonoden5879 I'm sure that's nonsense. Not heard mention of any issues with Caballe being heard. She used chest tones, her voice carried properly.
Puh leeze! She was a great L. Macbeth.
Poor piano, I can barely hear it. Such a mismatch. Birgit's voice needs a full orchestra!
Russian microphones..........................
😍😍😍😍
Great singer, but not a Lady Macbeth. No agility, no trill, no dramatic colors.
Pelleas 1902
You’re kidding right ?
@@deniznejatizar8716 Maybe he´s deaf... But, remember, media has imposed such horrible voices for such a long time saying those are amazing that people got used to rubbish and fail to recognize the real thing.
@@drefesou8912
You’re absolutely right. The technique is in decline, so is vocal teaching. I am so fortunate that I realized that at the beginning of my vocal studies.
@@drefesou8912 Maybe you are deaf ? Or you don't know what is a trill ?
Or you can't read music ?
@@pelleas9 ok, so she wasn’t the greatest lady Macbeth in history. But she WAS one of the great dramatic sopranos of the 20th century. Your dismissive, pompous comment is disrespectful, trite, and boring. MANY great singers lack a “trill” and “flexibility”, but a trill and flexibility won’t help you get through Isolde, Brünnhilde, Turandot, Aïda, Elektra, or Tosca, 6 roles which are far superior to Lady Macbeth, and at which Nilsson triumphed.