The one and only Flagstad! She never lost her voice. She started in 1913 and was still making beautiful recordings until 1960. The voice actually became more beautiful in the lower and middle regions, if a little edgy on the extreme top. The sheer grandeur and majesty of her voice is easier experienced than described. Truly, Flagstad and Birgit Nilsson were THE personification of the Wagnerian soprano in the Twentieth Century. Neither of them had rivals. They were the real thing.
At age 18 and 19, I was very fortunate to be a volunteer usher at the San Francisco Opera. I saw Kirsten Flagstad perform in, "Die Walkure" and "Tristan und Isolde." Both were great performances, but my most memorable night came four years later when Mme. Flagstad was the guest artist on the old Sunday night, "Standard Hour" radio broadcast, from the San Francisco Opera House. This time I was seated in the Dress Circle, which is the upper half of the main balcony. She sang the "Immolation" scene from the finale of Gotterdamerung. Her voice carried to the upper levels as if she was standing next to you, clear, powerful, yet controlled in a manner that I have never heard another singer approach. She could override the entire orchestra without ever seeming to be loud. There are three above all that for me represent the greatest voices of the 20th century, (Caruso, Sutherland, and Flagstad)
Hello Mr. Thomas, thanks for your comment, it is always a pleasure to meet someone who in person had such wonderful experience and was lucky enough to hear Flagstad. I wish one of my ears was with you at the time...I would like to ask you something re: Flagstad's voice if you could possibly describe her voice how that would be? Why I ask is because I put many years to achieve similar results, but I am still working on my voice and when I record it comes very close yet I want to ask if you remember was her (Ms. Flagstad's ) voice seem to hang in the air? Did you have a feeling you were wraped up in her voice, or maybe you would describe it in your own words. I would appreciate if you tell me how it felt. It is very important to me to understand for technical purposes....if and how much you can describe, would be greatly appreciated. Thanks so much!
July14 2014 - Hello Ruby.. Unfortunately I am not a musician, I did have two years of going every Thursday & Saturday evening to usher at the San Francisco Opera House, At that time the SF Opera season was about 2 months long, from Sept. until Nov. followed by the SF Symphony season which ran several months. There were also many recitals, and visiting ballet companies. (There was no SF Ballet Co. at that time.) (1949-1950) The immediate impression of Flagstad's voice, was, so powerful, but at the same time so fluid and smooth. I had very little experience with the music of Wagner, and the two operas I saw, (Tristan and Die Walkure) but became a rabid young fan listening to her recordings. The finest performance wasn't an opera at all. San Francisco, for many years had a Sunday evening radio concert of one hour, "The Standard Hour," as per Standard oil. This was 1955 and I was fresh out of the navy & back with my parents. Our next door neighbor worked for Standard Oil and gave me two tickets because he could not use them at that time. The guest performer was Flagstad and she sang the Immolation Scene from Gotterdamerung. It was at this time that I really understood what I was witnessing. Her voice, without being the least bit overpowering, carried over the entire orchestra, and throughout the house. She did not use a floor mic. It was a great time to be young. The other greatest event during my short ushering career was when Toscannini brought the entire NBC Symphony with him from New York for a great showstopping concert.. They played, La Mer, Death & Transfiguration, and Eroica all on the same card. It was TERRIFIC...Thanks for the feedback, Roy Thomas (82 now, but my ears are still good.)
This is so brilliant. "Three words: Leave Wagner Alone." She understood that no one is born a dramatic soprano, and to truly develop into a Wagnerian you must start from the bottom, and SLOWLY (like 20 years slowly) add heavier roles. None of this just-out-of-conservatory, 27 year old wobbly mess of dramatic singers we find these days
@@thisisopera9724 callas was the greatest for a few years and that is what we remember her for. As a listener I don't care about long careers of sort of good performances, but exceptional peaks, even if the career is short lived. The toll her heavy roles took on her voice was the price she payed to be forever remembered.
@@hostlangr Oh yes! the greatest recital of Liebestod's Isolde is by Jessye Norman. Accept it and stop the hate. You sound ridiculous. Now sit back and dream ruclips.net/video/4n042id3FIM/видео.html
I find Flagstad completely true. Nowadays, vocal music has hit rock bottom. Everyone is losing the virtue of patience which is pertinent to vocal music, whether singing bel canto or Wagnerian. We had a period of revival in bel canto with Joan Sutherland, Maria Callas, and Luciano Pavarotti, but ever since, we have hit rock bottom. You cannot force the voice to do something immediately. You have to gradually work your way up into harder, more difficult parts like Kirsten did.
Really it is about growing just like Flagstad said, growing from one's original ability(everyone is differently able) ,knowing what comes easy to you and growing form there is what is most important,you can be one of the few who have a really strong voice to start with and it would potentially hurt the voice to sing overly light stuff
Some people think that there is no talents or voices. It is all wrong. There are voices, but the problem is that the voice has to mature and that happens not earlier than 35 for any voice type. Moreover, the young talents enter competitions, sing too much and ruin themselves even before becoming physiologically mature to sing Verdi, Wagner, etc. Why most competitions are around 25-30? This is a question that should be raised. No one cared if there would be Flagstad 70 y.old on stage instead of some dolls that jump up side down and except their body have nothing to show. If they have good body -that's good, let them go to modeling business and leave opera alone! 80 years ago there were many great singers, today-I don't know if you can find someone to compare with Flagstad or even Pavarotti. Who cared that he was overweight? Did not he filled the halls? did not he left his name in history? Because everythings is here for business, therefore smart singers go slower, but have an age issue, weight issue, etc. , and the rest you all know......we need to fight for opera if we want quality, if we really want to keep the genre. Nature could not give so many good voices and all of a sudden stop to produce them; it is our fault that we don't take too many years to study, to preserve, not to allow modern stupid productions that ruin opera. Sorry for being very straight forward, but unless we speak up we cannot change things to a better result.
+ruby edelman You said it so right! They used to study for hours per day. Nowdays the world only wants to use us. Nothing else. And less and less conductors really understand singing too. Where is Karajan or Toscanini? We need time and this disgusting capitalism is cutting it as much as it's possbile. To sing in 69 years and keep your voice young and share the art with younger people is a goal. Thank you for this comment! I wish more people would like it. Unfortunately even some teacher don't take care. I do.
Many singers are too ambitious. Not every voice is suitable for every role. Christa Ludwig loved Wagner and wanted to sing Isolde and Brünnhilde. She recordet "Liebestod" and "Starke Scheite schichtet mir dort". She had offers to sing the whole roles, but after all she decided not to do it because she knew that it would ruin her beautiful voice.
A notable exception: 23 year old Astrid Varnay, who made her debut in an unexpected performance of Sieglinde when the lead soprano became suddenly ill. Varnay, who had no stage experience at all, stepped out onto the stage, with Melchior and Traubel, who was making her own debut as Brünnhilde. This intense, brilliant performance was captured in a live Met broadcast on Dec. 6, 1941, the day before Pearl Harbor. It can be heard on YT.
Very interesting and inspiring. I also enjoy to listen to her speaking voice, so naturally open, warm and full, not as artificial as the speaking voices of many singers.
What an absolutely fabulous recording. This was the best Wagnerian Soprano of the 20th Century telling singers straight up to "leave Wagner alone" and her experience shouldve been enough for singers to accept this suggestion as gospel. Im amazed that she said that she sang at full voice in rehearsals.... This is amazing. Modern singers dont always do that as they risk tiring or throwing out their voices before the performance. She might've struggled with German but her English was flawless.
Likewise, I even would have been willing to swim part of the way. ;-) Joke aside, she raised the standard for Wagnerian sopranos to a dizzy height and only a handful of singers came close but never surpassed her. Thank you for sharing this valuable educative clip.
Many many thanks for uploading this. There is great info in a few minutes that will work for a lifetime. Happy to find a couple of similar conclusions with this great maestra. And good new thoughts to follow. Deeply grateful to have been able to hear this. Again thanks, and hoping that many many many more listen to it!
Thank you AfroPoli, I found it very interesting. The reason for waiting is for the natural expression of the voice to mature to that which is called for by the role. One's mind has so much involvement here. Caruso and Bjorling both resisted the temptation to dive into Othello for exactly this reason. Although they both recorded arias from the opera, they knew mentally that they needed more time for their expression to sit naturally in the mind. For to go against nature is to go against the voice
Madame Flagstad's advice applies not only to women who aspire to sing Wagner but also men. Singing Alberich will make a believer out of anyone who might doubt her wisdom (see the dim comments from an individual a few years ago).
Alberto Remedios CBE, with whom I studied for many years, was taught by Joseph Hislop, the great tenor. Hislop studied with Dr Gillis Bratt in Stockholm, one of Flagstad's teachers (Dr Bratt was a throat specialist & a respected singing teacher). Flagstad's advice is sound & sensible, especially regarding the lower voice having to be correctly placed. Alberto Remedios was adamant on a rock solid mastering of the middle voice! God Bless Dr Bratt, Flagstadt, Hislop, Alberto Remedios & Mr Poli!
Edmondo Rahme Flagstad herself studied with Dr. Bratt. He said that her voice was so small because the cords were not closing when she produced the sound. Her voice doubled in size after they worked together and doubled in size after the birth of her daughter...
Flagstad was THE Wagner soprano. Even the great Nilsson couldn’t match her column of seamless tone, although her top notes were far easier. Sutherland said Flagstad’s voice was the greatest she ever heard. And while she gave lip service to Callas, it was always, “she was a very hard worker,” or “she knew how throw herself about the stage.” Sills said many times that Ponselle was the greatest voice, and many people agreed. There will never be a perfect singer, but every great artist brings something worthwhile to the table. That’s my 2-cents!
@WACOAGENTS I am aware that you hear her as flat, and naturally you would think I am wrong because I disagree with you. I'm telling you that you're wrong. What you're hearing is darkness and maybe a bit of scooping. She is in the center of each pitch.
Flagstad was a great Wagnerian singer, a Lyric Soprano initially, as said, who grew into the Dramatic Realm. She was also aware that Norma was not in her realm. She had nothing to prove with her beautiful quality and superior deliver. This lesson is invaluable to all singers who would be wise to listen to this rather than their Voice (?) Teachers who have no connection to the era of Bel Canto.
vielen Dank...and yes, though I started very young for a Wagner singer, (because it was always easy, otherwise...) my teacher also insisted that I go slowly and surely with enormous breath work, bless her heart..And also started with Mozart, purcell, dowland, bellini, french repertoire, donizetti, bach...lovely, this video, Thank you very much.
I can think of at least one exception to the rule that Wagner should be attempted only later in one's career. Marjorie Lawrence started singing Wagner right at the beginning of her career, making her debut as Elisabeth in Tannhauser at the age of 25. A year later she sang Ortrud in Lohengrin, and from there she took on the other major Wagnerian heroines and alternated these roles with Flagstad at the Metropolitan. Polio kept her off the operatic stage from the year 1941, but she continued to sing concerts until the end of her career. It is a shame that Marjorie Lawrence is not better known today!
If alive now, Kirsten would say our "greatest" singers of this age would be in the chorus in her time........for me she is the greatest voice in the history of recorded music......over Lanza, Caruso, etc. Her daughter married and was living in North Dakota decades ago.....if what I read is true.
@WACOAGENTS Waco, as you know, I'm also a big fan of Deanna Durbin and just happen to possess the most popular Durbin channel on youtube. Durbin was a child prodigy and, in my opinion, the greatest movie singer. However, for me, Flagstad was the greatest soprano of the 20th century, an opinion shared by many. Durbin, in real life, is a lover of Wagnerian opera, her favorite music. She would be disappointed to see one of her fans trolling the greatest Wagnerian singer, ever, in her name.
Flagstad was THE Wagnerian singer. She never pushed the voice which was beautiful placed. Young singers should listen and heed the wisdom that she revealed here. Unfortunately, all that is heard today is shouting and hooting on the professional opera stage.
Her advice goes far beyond singing, just as the operas of Wagner go beyond mere music! She was a samurai of opera, and her advice would be well heeded by anyone engaging in an artistic pursuit!
I think it's fine as long as you don't strain/hurt your voice and throat, and as long as you're not officially performing the entire opera without years of opera training (teachers, coaches, etc). If a part is hard and/or you can't do it without straining something- STOP! My small dream is to play Brunhilde, but my voice is too light and I am too young. I would never even attempt the role unless I gave my life to opera for the next 20+ years.
I understand your pain. In my comment to you earlier, I mentioned how I dream of playing Brunhilde. The only way TO go is to start from the bottom (or from wherever you are because I don't know your music history). Take lessons from a good teacher and do what Flagstad recommended, start with light roles and move to bigger roles as you get more experienced. Or more likely just lieder songs and simple arias like 'Caro Mio Ben'' for now.
Do someone know witch's the aria She sang for the begining? And if is not bother for a long: how's the lastone aria's name? At my request, sorry dir disturbing. Thanks!!! 😊👍
8:15 Nur Todgeweihten taugt mein Anblick; wer mich erschaut, der scheidet vom Lebens Licht. Auf der Walstatt allein erschein' ich Edlen wer mich gewahrt, zur Wal kor ich ihn mir! Death-doomed is he who looks upon me; who meets my glance must turn from the light of life. On the war-field alone I come to heroes; those whom I greet with me needs must go hence!
Didn't Astrid Varnay start with Wagner at age 22? This video is highly informative, but I wonder if there are exceptions to the rule, because I believe Varnay had a pretty long career
Yes Astrid did and she was a sensation but she ran into a lot of problems with her voice in her later twenties and her voice never again sounded like it did in her early twenties. She was a spectacular singer but she became a mess of soprano fairly early on. She was the same age as Nilsson But was moving into MetSosoprano parts about the time Nilsson's big career took off
I'm just thinking that at that precise time, 1950, Callas was singing Walkure & Isolde at what? 27 years old ? In any case her example show what Flagstad is saying: Wagner is way to heavy for young singers, and if you do sing it, the price to pay might be too high (note, Flastad was 55 in 1950 and still had a voice, whereas Callas, well, she didn't get to 55, but her voice was long gone).
Nur Todgeweihten taugt mein Anblick, wer mich erschaut, der scheidet vom Lebenslicht. Auf der Walstatt allein erschein ich Edlen, wer mich gewahrt, zur Wahl kor ich ihn mir!
believe it or not it is easy, all you do is sit down, memorize the wirds, that's it, one page at a tine, don't do a whole act, but page by page. you'll be great don't worry!
@mojopum Well, bravo! Someone else finally will admit "flat" and not call it something other than. I'm loving this gal more than ever now. I still maintain if she had hung it up at an earlier age I'd not had to make this point. I had No idea I was involving myself in a bunch here who are so pro Flagstad they'd not allow one unflattering comment. Geez! Yall all have a nice life and if you get a wee bit flat one day don't let it upset yourself, remember you're in good company.
@violinthief-- I see my last post was deleted..I figured you'd see to it with all your bragging rights and musical proust YOU'D have the last word. I think perhaps "thief" fits you perfectly.
@WACOAGENTS Waco, how in the world would I be able to delete your post when it was made on AfroPoli's channel? That only thing that appears to be missing is your sanity.
@WACOAGENTS Waco, sadly, you are being a troll by attacking one of the greatest musicians of the past century. Unfortunately, you are the one who brought DD into your troll attacks on others. As for my "bragging" - 15 of the 20 most watched YT DD videos are on my channel. Stating that simple fact establishes my bona fides so as to undo the harm you are doing. Who am I? I've performed with the Houston Grand Opera and have been invited, like Durbin, to audition for the Met. Good enough for you?
@cfreetenor -Thanks~! Hey- how about giving MY singer a try? Not that I don't think this old gal here is not a good singer; I like her husky voice. And, I really like her quality. See how much better I'm getting here? But, give this a listen when you have some time. Deanna Durbin
When she says "Leave Wagner Alone", she really does sound like a mythical character, full of power and authority.
Doesn't she though.
OMG you nailed it! She does!
She also means what she says.
It's helped by the cavernous reverb they put on her voice.
My goodness, even her speaking voice sounds spectacular!
She sounds so majestetic.
The one and only Flagstad! She never lost her voice. She started in 1913 and was still making beautiful recordings until 1960. The voice actually became more beautiful in the lower and middle regions, if a little edgy on the extreme top. The sheer grandeur and majesty of her voice is easier experienced than described. Truly, Flagstad and Birgit Nilsson were THE personification of the Wagnerian soprano in the Twentieth Century. Neither of them had rivals. They were the real thing.
Something about the water in Scandanavia. It affected Bjorling and Melchior also!
At age 18 and 19, I was very fortunate to be a volunteer usher at the San Francisco Opera. I saw Kirsten Flagstad perform in, "Die Walkure" and "Tristan und Isolde." Both were great performances, but my most memorable night came four years later when Mme. Flagstad was the guest artist on the old Sunday night, "Standard Hour" radio broadcast, from the San Francisco Opera House. This time I was seated in the Dress Circle, which is the upper half of the main balcony. She sang the "Immolation" scene from the finale of Gotterdamerung. Her voice carried to the upper levels as if she was standing next to you, clear, powerful, yet controlled in a manner that I have never heard another singer approach. She could override the entire orchestra without ever seeming to be loud. There are three above all that for me represent the greatest voices of the 20th century, (Caruso, Sutherland, and Flagstad)
Hello Mr. Thomas, thanks for your comment, it is always a pleasure to meet someone who in person had such wonderful experience and was lucky enough to hear Flagstad. I wish one of my ears was with you at the time...I would like to ask you something re: Flagstad's voice if you could possibly describe her voice how that would be? Why I ask is because I put many years to achieve similar results, but I am still working on my voice and when I record it comes very close yet I want to ask if you remember was her (Ms. Flagstad's ) voice seem to hang in the air? Did you have a feeling you were wraped up in her voice, or maybe you would describe it in your own words. I would appreciate if you tell me how it felt. It is very important to me to understand for technical purposes....if and how much you can describe, would be greatly appreciated. Thanks so much!
July14 2014 - Hello Ruby.. Unfortunately I am not a musician, I did have two years of going every Thursday & Saturday evening to usher at the San Francisco Opera House, At that time the SF Opera season was about 2 months long, from Sept. until Nov. followed by the SF Symphony season which ran several months. There were also many recitals, and visiting ballet companies. (There was no SF Ballet Co. at that time.) (1949-1950) The immediate impression of Flagstad's voice, was, so powerful, but at the same time so fluid and smooth. I had very little experience with the music of Wagner, and the two operas I saw, (Tristan and Die Walkure) but became a rabid young fan listening to her recordings. The finest performance wasn't an opera at all. San Francisco, for many years had a Sunday evening radio concert of one hour, "The Standard Hour," as per Standard oil. This was 1955 and I was fresh out of the navy & back with my parents. Our next door neighbor worked for Standard Oil and gave me two tickets because he could not use them at that time.
The guest performer was Flagstad and she sang the Immolation Scene from Gotterdamerung. It was at this time that I really understood what I was witnessing. Her voice, without being the least bit overpowering, carried over the entire orchestra, and throughout the house. She did not use a floor mic. It was a great time to be young. The other greatest event during my short ushering career was when Toscannini brought the entire NBC Symphony with him from New York for a great showstopping concert.. They played, La Mer, Death & Transfiguration, and Eroica all on the same card. It was TERRIFIC...Thanks for the feedback, Roy Thomas (82 now, but my ears are still good.)
You have been blessed as the "Immolation" is my ultimate!
Roy Thomas Bravo!!!,great lucky experience.Is great that you shared this with all us,her fans.Thank you very much!!!
So jealous!!!!
No wonder she is such a great singer. She had the voice and the intelligence to use it properly
Can you imagine passing a ship with Flagstad singing out of a porthole? I chuckled at that, lucky do;phins.
This is so brilliant. "Three words: Leave Wagner Alone." She understood that no one is born a dramatic soprano, and to truly develop into a Wagnerian you must start from the bottom, and SLOWLY (like 20 years slowly) add heavier roles. None of this just-out-of-conservatory, 27 year old wobbly mess of dramatic singers we find these days
Callas started with Wagner. if you have the voice for it, you can do it early on.
@@Daniela-pr7rz Callas also practiced for many years, and an insane amount.
@@thisisopera9724 callas was the greatest for a few years and that is what we remember her for.
As a listener I don't care about long careers of sort of good performances, but exceptional peaks, even if the career is short lived.
The toll her heavy roles took on her voice was the price she payed to be forever remembered.
This is insanely great. Omg that chest voice. She is incomparable.
Oh that WAS GREAT!!! She sounds like the most majestic voice ever!!
Flagstad, Nilsson, and Sutherland were the three GREATEST voices EVER
george prentice I can't tell you how many times I have listened to this. It always just blows me away. It's a voice like a pipe organ
george prentice I can't tell you how many times I have listened to this. It always just blows me away. It's a voice like pipe organ
You forget the great Jessye Norman. I'm sorry she puts Flagstad to shame
@@axe7064, *🤔🤔 No!*
@@hostlangr Oh yes! the greatest recital of Liebestod's Isolde is by Jessye Norman. Accept it and stop the hate. You sound ridiculous. Now sit back and dream
ruclips.net/video/4n042id3FIM/видео.html
"I wasn't taught to explain, only to sing". Magnificent.
That's truly the majestic voice of an opera goddess. More than impressing.
I find Flagstad completely true. Nowadays, vocal music has hit rock bottom. Everyone is losing the virtue of patience which is pertinent to vocal music, whether singing bel canto or Wagnerian. We had a period of revival in bel canto with Joan Sutherland, Maria Callas, and Luciano Pavarotti, but ever since, we have hit rock bottom. You cannot force the voice to do something immediately. You have to gradually work your way up into harder, more difficult parts like Kirsten did.
Really it is about growing just like Flagstad said, growing from one's original ability(everyone is differently able) ,knowing what comes easy to you and growing form there is what is most important,you can be one of the few who have a really strong voice to start with and it would potentially hurt the voice to sing overly light stuff
You need to hear Goerke.
Warm, plain-speaking, and genuine. You want to be her friend.
Some people think that there is no talents or voices. It is all wrong. There are voices, but the problem is that the voice has to mature and that happens not earlier than 35 for any voice type. Moreover, the young talents enter competitions, sing too much and ruin themselves even before becoming physiologically mature to sing Verdi, Wagner, etc. Why most competitions are around 25-30? This is a question that should be raised. No one cared if there would be Flagstad 70 y.old on stage instead of some dolls that jump up side down and except their body have nothing to show. If they have good body -that's good, let them go to modeling business and leave opera alone! 80 years ago there were many great singers, today-I don't know if you can find someone to compare with Flagstad or even Pavarotti. Who cared that he was overweight? Did not he filled the halls? did not he left his name in history? Because everythings is here for business, therefore smart singers go slower, but have an age issue, weight issue, etc. , and the rest you all know......we need to fight for opera if we want quality, if we really want to keep the genre. Nature could not give so many good voices and all of a sudden stop to produce them; it is our fault that we don't take too many years to study, to preserve, not to allow modern stupid productions that ruin opera. Sorry for being very straight forward, but unless we speak up we cannot change things to a better result.
You are 100% right!
+ruby edelman You said it so right! They used to study for hours per day. Nowdays the world only wants to use us. Nothing else. And less and less conductors really understand singing too. Where is Karajan or Toscanini? We need time and this disgusting capitalism is cutting it as much as it's possbile.
To sing in 69 years and keep your voice young and share the art with younger people is a goal.
Thank you for this comment! I wish more people would like it. Unfortunately even some teacher don't take care. I do.
I so agree with you!!
Many singers are too ambitious. Not every voice is suitable for every role. Christa Ludwig loved Wagner and wanted to sing Isolde and Brünnhilde. She recordet "Liebestod" and "Starke Scheite schichtet mir dort". She had offers to sing the whole roles, but after all she decided not to do it because she knew that it would ruin her beautiful voice.
I agree totally. very good observation.
I would gladly have sailed to Australia and back just to hear Flagstad singing scales next door.
A notable exception: 23 year old Astrid Varnay, who made her debut in an unexpected performance of Sieglinde when the lead soprano became suddenly ill. Varnay, who had no stage experience at all, stepped out onto the stage, with Melchior and Traubel, who was making her own debut as Brünnhilde. This intense, brilliant performance was captured in a live Met broadcast on Dec. 6, 1941, the day before Pearl Harbor. It can be heard on YT.
Very interesting and inspiring. I also enjoy to listen to her speaking voice, so naturally open, warm and full, not as artificial as the speaking voices of many singers.
Do you actually listen to what she talks about or just her voice?
What an absolutely fabulous recording. This was the best Wagnerian Soprano of the 20th Century telling singers straight up to "leave Wagner alone" and her experience shouldve been enough for singers to accept this suggestion as gospel. Im amazed that she said that she sang at full voice in rehearsals.... This is amazing. Modern singers dont always do that as they risk tiring or throwing out their voices before the performance. She might've struggled with German but her English was flawless.
Wonderful. Thank you for sharing this. I wish I could have heard her live. Magnificent singer.
We are in the precense of greatness! The most wonderful voice of them all......
to put it bluntly - you don't mess with Wagnerian operas unless you have the experience, power and endurance to deal with it.
Very well said!
Leave Wagner alone. (To young singers). Please, say that to opera directors and bosses of opera houses. :-)
#LeaveWagnerAlone oh yeah... he has so much demands (vocally) for his operas!
And people from productions. Horrible productions nowadays.
One of a kind. I adore her.
Likewise, I even would have been willing to swim part of the way. ;-)
Joke aside, she raised the standard for Wagnerian sopranos to a dizzy height and only a handful of singers came close but never surpassed her.
Thank you for sharing this valuable educative clip.
she has a big, strong voice
To me, the voice of the 20th century. And a wonderful singing lesson indeed, at the end in particular of course.
Many many thanks for uploading this. There is great info in a few minutes that will work for a lifetime. Happy to find a couple of similar conclusions with this great maestra. And good new thoughts to follow. Deeply grateful to have been able to hear this. Again thanks, and hoping that many many many more listen to it!
Thank you AfroPoli, I found it very interesting. The reason for waiting is for the natural expression of the voice to mature to that which is called for by the role. One's mind has so much involvement here. Caruso and Bjorling both resisted the temptation to dive into Othello for exactly this reason. Although they both recorded arias from the opera, they knew mentally that they needed more time for their expression to sit naturally in the mind. For to go against nature is to go against the voice
Wagner ! Her advice is great !
Madame Flagstad's advice applies not only to women who aspire to sing Wagner but also men. Singing Alberich will make a believer out of anyone who might doubt her wisdom (see the dim comments from an individual a few years ago).
Alberto Remedios CBE, with whom I studied for many years, was taught by Joseph Hislop, the great tenor. Hislop studied with Dr Gillis Bratt in Stockholm, one of Flagstad's teachers (Dr Bratt was a throat specialist & a respected singing teacher). Flagstad's advice is sound & sensible, especially regarding the lower voice having to be correctly placed. Alberto Remedios was adamant on a rock solid mastering of the middle voice! God Bless Dr Bratt, Flagstadt, Hislop, Alberto Remedios & Mr Poli!
Edmondo Rahme Flagstad herself studied with Dr. Bratt. He said that her voice was so small because the cords were not closing when she produced the sound. Her voice doubled in size after they worked together and doubled in size after the birth of her daughter...
Birgit Nilsson thought Hislop was a terrible teacher.
Imperial voice!
Her mere talking, nay, her mere inhalations are music. They are like heavy ornaments of gold upon the ear.
advice for all careers, thankyou kirsten flagstad and thankyou for sharing
The voice of a Norse Goddess.
Es ist befreiend zu hören, dass es Wagnerstimmen gibt, die klar und ohne Wobbel singen können.
Flagstad was THE Wagner soprano. Even the great Nilsson couldn’t match her column of seamless tone, although her top notes were far easier. Sutherland said Flagstad’s voice was the greatest she ever heard. And while she gave lip service to Callas, it was always, “she was a very hard worker,” or “she knew how throw herself about the stage.” Sills said many times that Ponselle was the greatest voice, and many people agreed. There will never be a perfect singer, but every great artist brings something worthwhile to the table. That’s my 2-cents!
Thanks very much for sharing this, it's fascinating hearing a legend talk about her technique and learning.
@WACOAGENTS I am aware that you hear her as flat, and naturally you would think I am wrong because I disagree with you. I'm telling you that you're wrong. What you're hearing is darkness and maybe a bit of scooping. She is in the center of each pitch.
Flagstad was a great Wagnerian singer, a Lyric Soprano initially, as said, who grew into the Dramatic Realm. She was also aware that Norma was not in her realm. She had nothing to prove with her beautiful quality and superior deliver. This lesson is invaluable to all singers who would be wise to listen to this rather than their Voice (?) Teachers who have no connection to the era of Bel Canto.
Beautiful singing ! Thank you so much :)
INVALUABLE ADVICE SINCE THERE ARE NO SINGERS IN ANY OPERA HOUSE, WHERE "SHOUTING" HAS BECOME THE NORM, WHO CAN MATCH FLAGSTAD.
Wow! What a goldmine. Thank you for sharing!
Astounding! Thank you for posting this...
Wow! I never heard Flagstad talk before. Thanks for this. Good advice too.
Surprisingly dark for a soprano
vielen Dank...and yes, though I started very young for a Wagner singer, (because it was always easy, otherwise...) my teacher also insisted that I go slowly and surely with enormous breath work, bless her heart..And also started with Mozart, purcell, dowland, bellini, french repertoire, donizetti, bach...lovely, this video, Thank you very much.
Informative beyond words.TY afroPoli for sharing and K.F. for the welcome information.
I can think of at least one exception to the rule that Wagner should be attempted only later in one's career. Marjorie Lawrence started singing Wagner right at the beginning of her career, making her debut as Elisabeth in Tannhauser at the age of 25. A year later she sang Ortrud in Lohengrin, and from there she took on the other major Wagnerian heroines and alternated these roles with Flagstad at the Metropolitan. Polio kept her off the operatic stage from the year 1941, but she continued to sing concerts until the end of her career. It is a shame that Marjorie Lawrence is not better known today!
Thank you so much for sharing this!
Most enlightening! Thank you for sharing.
Happy birthday Kirsten Flagstad.
Fascinating! Thank you for posting how a great artist prepares.
so amazingly helpful! thank you for sharing this!
MAGICAL! DEEP! THIS SINGER IS POWERFUL!
Stunning video
Thank you-John
What a voice!
THANK YOU, RUclips Angel!
If alive now, Kirsten would say our "greatest" singers of this age would be in the chorus in her time........for me she is the greatest voice in the history of recorded music......over Lanza, Caruso, etc. Her daughter married and was living in North Dakota decades ago.....if what I read is true.
Benjaminio Gigli called hers the greatest voice, regardless of gender
valdengo1 no, her daughter lived in Montana, Wisconsin and lastly in Arizona. I knew her husband, a very nice man...
@WACOAGENTS Waco, as you know, I'm also a big fan of Deanna Durbin and just happen to possess the most popular Durbin channel on youtube. Durbin was a child prodigy and, in my opinion, the greatest movie singer. However, for me, Flagstad was the greatest soprano of the 20th century, an opinion shared by many. Durbin, in real life, is a lover of Wagnerian opera, her favorite music. She would be disappointed to see one of her fans trolling the greatest Wagnerian singer, ever, in her name.
Flagstad was THE Wagnerian singer. She never pushed the voice which was beautiful placed. Young singers should listen and heed the wisdom that she revealed here. Unfortunately, all that is heard today is shouting and hooting on the professional opera stage.
Her advice goes far beyond singing, just as the operas of Wagner go beyond mere music! She was a samurai of opera, and her advice would be well heeded by anyone engaging in an artistic pursuit!
Thank you for placing this!
1:03, consiglio per giovani cantanti
1:53, sui tre insegnanti
3:05, sui ruoli precedenti prima di Wagner (anche operette)
Bravissimo!!!,100%agree!!!,maestrissima Kirsten Flagstad!!!
Maravillosa!!!!, simply marvelous...she is so rigth!!!!BRAVAAA!!!!!
The timbre of her speaking voice is curiously reminiscent of Birgit Nilsson's :)
MadonnaImperia but better.
singers, listen to Ms. Flagstad
I think it's fine as long as you don't strain/hurt your voice and throat, and as long as you're not officially performing the entire opera without years of opera training (teachers, coaches, etc). If a part is hard and/or you can't do it without straining something- STOP! My small dream is to play Brunhilde, but my voice is too light and I am too young. I would never even attempt the role unless I gave my life to opera for the next 20+ years.
I understand your pain. In my comment to you earlier, I mentioned how I dream of playing Brunhilde. The only way TO go is to start from the bottom (or from wherever you are because I don't know your music history). Take lessons from a good teacher and do what Flagstad recommended, start with light roles and move to bigger roles as you get more experienced. Or more likely just lieder songs and simple arias like 'Caro Mio Ben'' for now.
So interesting!
Maestra!
thanks! the great Wagnerian...
Do someone know witch's the aria She sang for the begining? And if is not bother for a long: how's the lastone aria's name? At my request, sorry dir disturbing. Thanks!!! 😊👍
+Justin Roberts 😊👍 . I'm really pleased with you. God bless you for your amability!!!! . ☺👍💖 .
The aria at the beginning is Senta's Ballad
3:41 "My second Wagnerian role-" and then there were no more cuz the roof fell down on her, the end
8:15 Nur Todgeweihten taugt mein Anblick;
wer mich erschaut,
der scheidet vom Lebens Licht.
Auf der Walstatt allein erschein' ich Edlen
wer mich gewahrt,
zur Wal kor ich ihn mir!
Death-doomed is he who looks upon me;
who meets my glance
must turn from the light of life.
On the war-field alone I come to heroes;
those whom I greet
with me needs must go hence!
Didn't Astrid Varnay start with Wagner at age 22? This video is highly informative, but I wonder if there are exceptions to the rule, because I believe Varnay had a pretty long career
Yes Astrid did and she was a sensation but she ran into a lot of problems with her voice in her later twenties and her voice never again sounded like it did in her early twenties. She was a spectacular singer but she became a mess of soprano fairly early on. She was the same age as Nilsson But was moving into MetSosoprano parts about the time Nilsson's big career took off
I'm just thinking that at that precise time, 1950, Callas was singing Walkure & Isolde at what? 27 years old ? In any case her example show what Flagstad is saying: Wagner is way to heavy for young singers, and if you do sing it, the price to pay might be too high (note, Flastad was 55 in 1950 and still had a voice, whereas Callas, well, she didn't get to 55, but her voice was long gone).
loboestepario2424 I doubt it's because she sang Wagner early in her career.
Callas lived in the fast lane. Flagstad did it differently.
Callas was great though. so was Flagstad.
Some sopranos lose their high notes in perimenopause/forties when they produce less estrogen. I went from a lyrical soprano to a mezzo
Nur Todgeweihten
taugt mein Anblick,
wer mich erschaut,
der scheidet vom Lebenslicht.
Auf der Walstatt allein
erschein ich Edlen,
wer mich gewahrt,
zur Wahl kor ich ihn mir!
How does a singer go about memorizing the text of a Wagner opera? Pages upon pages upon pages of words
believe it or not it is easy, all you do is sit down, memorize the wirds, that's it, one page at a tine, don't do a whole act, but page by page. you'll be great don't worry!
It helps to understand the words
The great woman.
a samurai of opera,indeed:-)!!
Shame most of the comments comment on her voice alone but NOT on what she's trying to encourage and advise people to do. Sad.
And Poncelle made her debut with Leonora in Forza del Destino
Where did this originate? Was it from a radio program?
@mojopum Well, bravo! Someone else finally will admit "flat" and not call it something other than. I'm loving this gal more than ever now. I still maintain if she had hung it up at an earlier age I'd not had to make this point. I had No idea I was involving myself in a bunch here who are so pro Flagstad they'd not allow one unflattering comment. Geez! Yall all have a nice life and if you get a wee bit flat one day don't let it upset yourself, remember you're in good company.
Wow
Yes, you are definitely missing something. No one sang Wagner better than Flagstad.
@violinthief-- I see my last post was deleted..I figured you'd see to it with all your bragging rights and musical proust YOU'D have the last word. I think perhaps "thief" fits you perfectly.
meyerbeer is harder too; probably spontini is the hardest though
@WACOAGENTS Waco, how in the world would I be able to delete your post when it was made on AfroPoli's channel? That only thing that appears to be missing is your sanity.
speaking, she sounds like Jessye Norman
2:58f. Great
what is the intro song?
Senta's Ballad from Der Fliegende Hollander
Thank you! :D
@@Aarchione thanks
One might wish ;-)
@WACOAGENTS Waco, sadly, you are being a troll by attacking one of the greatest musicians of the past century. Unfortunately, you are the one who brought DD into your troll attacks on others. As for my "bragging" - 15 of the 20 most watched YT DD videos are on my channel. Stating that simple fact establishes my bona fides so as to undo the harm you are doing. Who am I? I've performed with the Houston Grand Opera and have been invited, like Durbin, to audition for the Met. Good enough for you?
SUPERIOR
@WACOAGENTS Tested the pitch accuracy electronically. /Discussion.
@cfreetenor -Thanks~! Hey- how about giving MY singer a try? Not that I don't think this old gal here is not a good singer; I like her husky voice. And, I really like her quality. See how much better I'm getting here? But, give this a listen when you have some time. Deanna Durbin
The Wagnerian soprano of the 21st century? And pray, who may this 27 economic student be?
Acacia Bloom davidghamidi1 was probably referring to Nina Stemme...
@WACOAGENTS Apparently you don't.